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Journal articles on the topic 'Status of the poet'
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1
Fayyaz, Parwana. "Jami’s Rhetoric of Old Age and Aging in Salaman va Absal." Afghanistan 5, no. 1 (April 2022): 30–59. http://dx.doi.org/10.3366/afg.2022.0083.
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Between the years 1480 and 1484 AD, Jami wrote a long and extraordinary narrative poem, the masnavī of Salaman va Absal. At the time of its completion, Jami was about seventy years old. In this article, I discuss the significance of the poet’s age at the time he wrote this poem, while also examining the Sufi–Neoplatonic interpretations of old age embedded in the poem itself. I argue that Jami uses old age as a rhetorical device, and aging as an induction into a new mode of thinking. This allows the poet to emancipate himself from the poem’s aesthetics and its aesthetic constraints, to focus instead on its metaphysical purpose and potential. In so doing, the poet elevates his poetry to the status of a kind of perfection, which involves transforming the poetic form. Only then does Jami complete his treatise on the unity of oneness (as opposed to duality) from the perspective of an elderly poet. The unusual, passionate love between Salaman and Absal is presented as a Sufi–Neoplatonic interpretation of transcendence and sublimation. Using an interdisciplinary research methodology, this article examines these ideas through a close reading and analysis of the three chapters of the poem in which Jami draws particular attention to images of old age and aging. With this article, I hope to demonstrate the importance of old age studies within Persianate Studies more broadly. This shift in focus prompts a re-evaluation of the late works of classical and medieval Persian poets and their discussions of creativity, imagination, and memory in old age.
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Gottlieb, Evan M. "CHARLES KINGSLEY, THE ROMANTIC LEGACY, AND THE UNMAKING OF THE WORKING-CLASS INTELLECTUAL." Victorian Literature and Culture 29, no. 1 (March 2001): 51–65. http://dx.doi.org/10.1017/s1060150301291049.
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Poets are the unacknowledged legislators of the world.—Percy Shelley, “A Defence of Poetry”THESE WORDS, written in 1821, celebrate the figure of the poet as leader and prophet.1 By noting that this position is “unacknowledged,” however, Shelley intimates that the Industrial Revolution sweeping Britain threatens to shrink the political and social relevance of poets. While Shelley makes no mention of class distinctions in “A Defence of Poetry,” had he paused to consider the relative status of the poet in class terms, he would probably have admitted that his era’s working-class versifiers were, with a few exceptions, the most unacknowledged poets of all.
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R, Selvarani. "‘Azhagoviyam’ by Singaporean Poet Pathental Murugadhasan - A Multifaceted Perspective." International Research Journal of Tamil 4, no. 4 (August 26, 2022): 67–79. http://dx.doi.org/10.34256/irjt2248.
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Poetry composed by poets should help in creating a society with lofty ideas and goals that sow the best and most nutritious seeds in the minds of the readers and guide them well. The Singai poet, Paththenral Murugadossan, who attempted to compose poetry with such a lofty mind, was one of the foremost poets of Singai. His work ‘Azhakoviyam', a short poem that has been taken up as a subject of study here, incorporates an epic flavour and describes the status of the country. The author has created this short poem with patriotism as well as the dignity of domesticity with two eyes. In the sixties, there was a chaotic atmosphere in the history of Singhai. There was a great deal of popular hostility towards those countries because of the occupation of Singapore by different nationalities. Its impact was reflected in the literature of the day. One of the most notable pieces of literature is Alakoviyam. This article examines the history of Singai at that time, and the author reveals in this short epic that the Tamil people migrated in search of livelihood, considering Singai as their motherland and working hard for the development of the country. Moreover, the purpose of this article is to examine from a multifaceted perspective the genetic ideas, social ideas, ethical thoughts, and literary merits contained in this short poem.
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Jelnikar, Ana. "Srečko Kosovel and Rabindranath Tagore: Points of Departure and Identification." Asian Studies, no. 1 (December 1, 2010): 79–95. http://dx.doi.org/10.4312/as.2010.-14.1.79-95.
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In this paper I explore some of the connections the Slovene poet Srečko Kosovel (1904–1926) surmised between himself and the Indian poet Rabindranath Tagore (1861–1941). I argue that what linked the two poets into a joint framework across the vastly different cultural and politico-geographic space was not just the fact that Kosovel read Tagore and took inspiration from the Bengali poet at the height of Tagore’s reputation in continental Europe, but that they shared a number of preoccupations, informed by their respective historical positioning. Both wrote from a profound awareness of their region’s subjugated status and endorsed an anti-imperialist stance that rejected nationalism as a viable means of liberation, embracing instead a creative universalist ideal.
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Kamal, Dr Sera Tarek. "Lamentation of Ibn Al-Rumi to Abu Al-Husain Yahiya Bin Umar Bin Al Hussein Bin Zaid Bin Ali(May Allah be pleased with him)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, no. 1 (September 1, 2018): 95–118. http://dx.doi.org/10.36473/ujhss.v226i1.189.
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Lamentations have formed an important theme throughout the successive periods of Arab poetry, especially the Abbasid period, for the multifaceted and humanistic aspects of this original poetic purpose, on the one hand, and because it transcends merely a positive emotional attitude of the elusive and negative people and life on the other. It is also worthy of research and guidance, and it is important to know the importance of human life and its causes. And its poets deserve attention . It was "the son of Rumi" who lived a life filled with oppression and injustice, one of the most prominent poets of this purpose and notify it, and seems to be overlooked as much as the poet and value this was motivated by the Astitharh carefully study a range of modern researchers, led by "Akkad" who Straighten him a complete study titled " son Abrome his life from his hair, "Abdul Hamid good in his study" Ibn Al-Rumi spelling "and other studies that have tried to explore this Mknunat felt Ahaaraly technical and substantive levels. With regard to the purpose of lamentation, the scholars unanimously agreed on the distinction of Ibn al-Rumi in it, and enabled him to know his data, especially the technical ones, but what is taken on these studies interest in certain poems other than the poet in this regard, especially those inherited by his children without paying attention to other poems The poet sang in religious and social figures that had an impact on changing the behavior of the society by diagnosing its shortcomings and standing up against the oppression and oppression practiced by the ruling authority against some of them, especially the "students" who suffered from the marginalization and persecution of power. and supporter of the family of Ali bin AbiTalib ( The poet of the poems, which included the heat of the passion and honesty, and the high level of artistic which provided the poet these characters, especially their hero, "Hussein bin Yahiya ibn Umar bin Zaid bin Ali" In this regard, because it included the sincerity of emotion, and creativity in the embodiment of poetic images coated with verbal templates, the poet's keenness to choose the most beautiful and plush; to fit the status of the lure and the end of the greatness he chose for himself, not a monk in a moral unit that the impact in the poem that included beyond One hundred percent, the visions of the Poet were gathered Life, time, alarm, and patience, which we tried to study, taking the technical and social approaches to uncover the meanings of the poem artistically and objectively .
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Kamal, Dr Sera Tarek. "Lamentation of Ibn Al-Rumi to Abu Al-Husain Yahiya Bin Umar Bin Al Hussein Bin Zaid Bin Ali(May Allah be pleased with him)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES, no. 226(1) (September 1, 2018): 95–118. http://dx.doi.org/10.36473/ujhss.v0i226(1).189.
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Lamentations have formed an important theme throughout the successive periods of Arab poetry, especially the Abbasid period, for the multifaceted and humanistic aspects of this original poetic purpose, on the one hand, and because it transcends merely a positive emotional attitude of the elusive and negative people and life on the other. It is also worthy of research and guidance, and it is important to know the importance of human life and its causes. And its poets deserve attention . It was "the son of Rumi" who lived a life filled with oppression and injustice, one of the most prominent poets of this purpose and notify it, and seems to be overlooked as much as the poet and value this was motivated by the Astitharh carefully study a range of modern researchers, led by "Akkad" who Straighten him a complete study titled " son Abrome his life from his hair, "Abdul Hamid good in his study" Ibn Al-Rumi spelling "and other studies that have tried to explore this Mknunat felt Ahaaraly technical and substantive levels. With regard to the purpose of lamentation, the scholars unanimously agreed on the distinction of Ibn al-Rumi in it, and enabled him to know his data, especially the technical ones, but what is taken on these studies interest in certain poems other than the poet in this regard, especially those inherited by his children without paying attention to other poems The poet sang in religious and social figures that had an impact on changing the behavior of the society by diagnosing its shortcomings and standing up against the oppression and oppression practiced by the ruling authority against some of them, especially the "students" who suffered from the marginalization and persecution of power. and supporter of the family of Ali bin AbiTalib ( The poet of the poems, which included the heat of the passion and honesty, and the high level of artistic which provided the poet these characters, especially their hero, "Hussein bin Yahiya ibn Umar bin Zaid bin Ali" In this regard, because it included the sincerity of emotion, and creativity in the embodiment of poetic images coated with verbal templates, the poet's keenness to choose the most beautiful and plush; to fit the status of the lure and the end of the greatness he chose for himself, not a monk in a moral unit that the impact in the poem that included beyond One hundred percent, the visions of the Poet were gathered Life, time, alarm, and patience, which we tried to study, taking the technical and social approaches to uncover the meanings of the poem artistically and objectively .
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Byrne, Shannon N. "Horace Carm. 2.12, Maecenas, and Prose History." Antichthon 34 (November 2000): 18–29. http://dx.doi.org/10.1017/s0066477400001155.
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Carm. 2.12 has often received attention because scholiasts observe that Licymnia is a pseudonym for Maecenas' wife Terentia. The poem is also interesting for the originality of the recusatio it contains, and for the comments it elicits from scholars on Maecenas. Horace begins with a polite refusal to incorporate epic themes into his poetry, and in lines 9-12 he announces that Maecenas will better tell of Caesar's deeds in prose (‘pedestribus historiis’). Rejections of grand themes are found in Greek poetry, but for Roman poets the recusatio acquired the added function of dismissing apparent requests for weighty poetry, and poets on occasion address Maecenas in recusationes that supposedly decline his requests. Typically the poet recommends another poet to undertake the rejected task in a more elevated style, usually because the other person's talent (ingenium) is better suited to the job. In the case of Carm. 2.12.9-12, however, Maecenas himself is the suggested alternate, and he is not asked to compose a poem, but to write about Caesar's deeds in prose. Interpretations of these lines tend to focus on Horace's motives for suggesting that Maecenas, whose literary style was notoriously bad, should compose anything, much less prose history, for Caesar. In fact there are no motives or hidden meanings concerning Maecenas as a writer. Horace merely turned to a genre that better represented both his patron's status and the weightiness of Caesar's deeds.
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شاكر, سروود كنعان. "The image of women in the poetry of Jamil Sidqi al-Zahawi." JOURNAL OF LANGUAGE STUDIES 6, no. 3, 1 (April 1, 2023): 216–28. http://dx.doi.org/10.25130/jls.6.3.1.15.
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Woman was the core of poet`s attention throughout ages till this moment. They used to describe her as source of inspiration and ingenuity for their poetry. Woman was the main inspiration for writers as well as poets who played a real role within the psyche of human beings. Woman was presented within the poetry or works of Al Zahawi indifferent images. She, for example, took the image of good mother, daughter and wife. As mother, she incarnated the source of protection, emotion and education. As lover, she had a great role with the works of the poets in the sense that, the poet described her physical beauty. She also played the role of oppressed woman either by her father, husband or the society and its tradition that was opposed on her. Thus, the poet calls to elevate her status and role mainly within the Iraqi society and generally with the entire world because she is the second half or part of the society. The research dealt with the concept of woman and her role within the view of Al Zahawi.
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Al-Mallah, Majd. "Voice and Power: Ḥafṣah bint al-Ḥājj and the Poetics of Women in Al-Andalus." Journal of Arabic Literature 51, no. 1-2 (April 6, 2020): 1–26. http://dx.doi.org/10.1163/1570064x-12341397.
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Abstract This paper examines the poetry of the Andalusī woman poet Ḥafṣah bint al-Ḥājj (d. 589/1191) in the context of a rich body of anecdotes surrounding that poetry as preserved in Nafḥ al-ṭīb, which al-Maqqarī (d. 1041/1632) wrote to preserve the cultural memory of al-Andalus. Known as the preeminent woman poet of Granada in the twelfth century, she lived most of her life under Almohad rule and had a connection to their court. Although literature surrounding Ḥafṣah is generally limited compared to major male poets, this paper will show that a close analysis of al-Maqqarī’s section on Ḥafṣah reveals the poet’s voice and agency. This paper argues that al-Maqqarī’s framing of Ḥafṣah in his landmark work elevates rather than marginalizes the poet and her status as a cultural figure in al-Andalus.
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Hanauer, David I. "Beauty judgements of non-professional poetry." Scientific Study of Literature 5, no. 2 (December 31, 2015): 183–99. http://dx.doi.org/10.1075/ssol.5.2.04han.
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The process of reading and writing poetry is increasingly conducted by non-professionals. The current study utilized a series of regression models to explore the mechanism through which beauty judgements of non-professional poetry are made. The analysis addressed the relationships among the decision that a poem was written by a published poet (authorial attribution), a perception of the quality of the writing, the emotional response to the poem and a beauty judgement of the poem. 54 participants from two graduate applied linguistics programs rated 5 non-professional poems for their beauty, emotive response, quality of writing and semi-professional status of the writer. Analyses were conducted on averaged ratings across all five poems. The results indicate the beauty judgements, emotive response and quality of writing judgements were closely related. The decision that a poem is written by a published poet predicted the quality of writing and emotional response to the poem. An inconsistent mediation model was determined, in which increases in the semi-professional status of the writer increased the self-reported emotive response and quality of writing which in turn increased the beauty judgement of the poem. The results suggest a mechanism by which convergence of aesthetic judgement with novice reviewers is directed by the social sanctioning of the authority and quality of the writer.
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Sokalska, Małgorzata. "U stóp pomników. Kantaty okolicznościowe ku czci Adama Mickiewicza i Juliusza Słowackiego." Prace Filologiczne. Literaturoznawstwo, no. 10 (13) (April 25, 2020): 151–69. http://dx.doi.org/10.32798/pflit.568.
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Monuments erected in honour of poets and cantatas dedicated to them are connected by the community dimension of the cult which they manifest. In the monuments erected from the mid-nineteenth century and onwards to commemorate Mickiewicz and Słowacki, we can observe a particular difference in the perception of both poets. The first is presented as a poet-prophet from the very beginning, the second receives such attributes only with time (at the end of the twentieth century). A similar phenomenon can be seen in cantatas’ libretti often composed and performed on the occasion of the unveiling of the monuments dedicated to the bards. Compositions in honour of Mickiewicz are quantitatively more numerous and more accurately define his status as a poetprophet, whereas Słowacki is deified in this genre rather as a poet, master of words.
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Clark, Timothy. "French Heidegger and an english poet: Charles Tomlison's ?Poem? and the status of HeideggerianDichtung." Man and World 20, no. 3 (August 1987): 305–26. http://dx.doi.org/10.1007/bf01249044.
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Vierke, Clarissa. "Boarding a Full Bus." Matatu 51, no. 1 (June 18, 2020): 94–117. http://dx.doi.org/10.1163/18757421-05101001.
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Abstract This paper interrogates the notion of intervention in popular poetry. It takes the example of popular poetry from Dar es Salaam, which has so far not received much scholarly attention, since it can neither be classified as traditional nor avantgarde. The urban poets struggle to make ends meet, but regularly publish their poetry in the newspaper or through social media and organize themselves in networks. They often remain without a voice in their society, but, contrary to a romanticist perception of the downtrodden, also do not seem to do much to criticize the status quo. Rather than following patterns of postcolonial paradigms which reduce poetry to a political message, I will argue for the potential of the aesthetic experience of poetry, whose imagery stirs the imagination of alternative worlds. Taking the example of a poem by the a female poet, Bi Jalala Sikudhani, I will show how the poem offers alternative views on her lifeworld.
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Çınarcı, Mehmet Nuri, and Merima Grabčanović. "Historic Ottoman Poet Biographers." Prilozi za orijentalnu filologiju, no. 70 (November 30, 2021): 79–102. http://dx.doi.org/10.48116/issn.2303-8586.2020.70.79.
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Ottoman poet biographies, whose main purpose is to provide information about the lives, arts and works of poets, are among the most important sources of classical Turkish literature with their examples written more than once in every century from the 16th century to the XX century. The poets, whose biographies give information about their lives, are composed of people who have undertaken different duties belonging to different layers of the Ottoman social structure. After all, the most important point that brings together the biographies of these people, who have serious differences in status, is that they are poets. For the biographies of poets belonging to different strata, the tadhkirah definitely refers to the sources. These sources can be the poet himself, a close friend, another poet’s biographies or a history book, or the author himself. Historical poems written by poets on various occasions over the centuries are also one of the written sources used by tadhkirahs. An important part of the poets in the biographies, using this systematic called abjad calculation and created by assigning numerical values to Arabic letters, they make history on the success of the sultans, the conquests of cities, an important natural event, and even the death of a book they have finished. However, besides the poets, it is seen that the authors of tadhkirahs also write down history with an approach that puts the poets in the center. These dates, which were dropped, give them the identity of a pastor, in the words of the tadhkirahs. It is not because they wrote a history book that is meant by their identity as a pastor; it is the poets’ reduction of dates on some important issues in their lives, which are based on the abjad calculation and written in verse. Within the tradition of Ottoman tadhkirah writing, many tadhkirah writers have dropped dates about the poets they mentioned in their works. In this study, information has been given from the authors of tadhkirahs, who have included history poems in their biographies, and in what ways these dates have contributed to the science of history and literature.
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Boldyreva, Elena M. "Citizen poet as a cultural hero in russian and chinese poetry: the theme of folk suffering in the works of Du Fu and N. A. Nekrasov." Yaroslavl Pedagogical Bulletin 5, no. 122 (2021): 226–38. http://dx.doi.org/10.20323/1813-145x-2021-5-122-226-238.
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The article is devoted to one of the aspects of the Russian-Chinese cultural dialogue: a citizen poet as a cultural hero in Russian and Chinese poetry on the example of the theme of folk suffering in the works of N. Nekrasov and Du Fu, analyze historical, autobiographical and philosophical determinants of the poets' appeal to civil and folk subjects, considered how archetypal situations, motives and images are actualized in the work of both poets, determined by their writing reputation, their status in the cultural life of the era – the role of a citizen poet, patriot poet, singer of folk suffering. When comparing the works of poets, many typologically similar motifs significant for their artistic world are revealed that represent the theme of folk suffering: steady personosphere, correlation of a subject of national sufferings to motive of wandering and steady top wasps of great Russians and the Chinese rivers, the emotional sphereof the lyrical hero, motive of wretchedness and poverty of the people, motive of national groan and crying of children, motives of beating by a whip and bones of dead persons, motives of soldiering, military service, a landowner and official arbitrariness, inaction and silence of the power, its deafness to national sufferings. Special attention is paid to a subject of a heavy female share in works of poets, epization of their lyrics containing the developed plots reproducing various sides and options of national sufferings and also the system of poems doubles amazingly connected not only separate motive and figurative musters, but also logic of expansion of a lyrical plot, the principles of the subject organization and almost literally repeating verbal formulas. The article concludes that there are similarities and differences in the artistic representation by the poet-citizen of the topic of folk suffering.
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Kahhorova, Shahnoza Abdimuminovna. "POETIC INTERPRETATION OF NONEXIST TION OF NONEXISTANCE (F ANCE (FANA) IN THE A) IN THE EPIC “LAILI AND MAJNUN” OF FUZULI." Scientific Reports of Bukhara State University 3, no. 3 (March 30, 2019): 176–79. http://dx.doi.org/10.52297/2181-1466/2019/3/3/11.
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In the article It is conceived about the views of the author according to Sufism, particularly, about the artistic interpretation of the status of FanoendBaka in the epic poem of "Layli end Majnun". Fuzuli's epic "Layla and Majnun" was a mystical epic along with secularism, in which the poet skillfully created a tax in the person of Majnun, Ruhi Mutlaq in the person of Layla.
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Duran, Angelica. "A Statue, a Poet, a Poem, and a Translation." Milton Quarterly 53, no. 2 (May 2019): 115–17. http://dx.doi.org/10.1111/milt.12293.
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Innes, Paul. "National Poets, the Status of the Epic and the Strange Case of Master William Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (April 22, 2016): 35–50. http://dx.doi.org/10.1515/mstap-2016-0004.
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This essay contextualises Shakespeare as product of a field of forces encapsulating national identity and relative cultural status. It begins by historicising the production of national poets in Romantic and Nationalist terms. Lefevere’s conceptual grid is then used to characterise the system that underpins the production of Shakespeare as British national poet, and his place within the canon of world literature. The article defines this context first before moving onto the figure of Shakespeare, by referring to various high status texts such as the Kalevala, the Aeneid, The Faerie Queene and Paradise Lost. The position accorded Shakespeare at the apex is therefore contingent upon a series of prior operations on other texts, and their writers. Shakespeare is not conceived as attaining pre-eminence because of his own innate literary qualities. Rather, a process of elimination occurs by which the common ascription of the position of national poet to a writer of epic is shown to be a cultural impossibility for the British. Instead, via Aristotle’s privileging of tragedy over epic, the rise of Shakespeare is seen as almost a second choice because of the inappropriateness of Spenser and Milton for the position.
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WINTROUB, MICHAEL. "The Heavens Inscribed: the instrumental poetry of the Virgin in early modern France." British Journal for the History of Science 42, no. 2 (December 15, 2008): 161–85. http://dx.doi.org/10.1017/s0007087408001581.
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AbstractThe expert in the early modern period was frequently looked upon with suspicion. Though expertise was associated with specialized knowledge and skill, it was also associated with cunning, deception and social climbing. Indeed, such knowledge threatened well-defined and time-honoured social and disciplinary boundaries. This was certainly the case with practical mathematics, which was considered by many to be an inferior grade of knowledge, especially when compared with natural philosophy and theology. This spawned numerous attempts to elevate the status of practical mathematics and to lend legitimacy to its practitioners. This article focuses on one such attempt, that of an early sixteenth-century French cosmographer–explorer–poet named Pierre Crignon. Crignon participated in voyages of exploration and was renowned as a cosmographer and navigator, but his contemporaries perhaps best knew him as a poet. The paper examines how Crignon attempted to bring together and legitimate the disparate forms of his expertise as a navigator, cosmographer, humanist poet and theologian through the multivalent medium of his poetry, and in particular through a poem comparing the Virgin Mary to the astrolabe.
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Stewart, Edmund. "PROFESSIONALISM AND THE POETIC PERSONA IN ARCHAIC GREECE." Cambridge Classical Journal 62 (June 10, 2016): 200–223. http://dx.doi.org/10.1017/s175027051600004x.
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Greek poets of the archaic period, though often characterised as amateur aristocrats, could also seek to present themselves as professionals – regular practitioners of a specialist skill (τέχνη). In this capacity, the poet is understood to work primarily for the benefit of the community (either his own or, more commonly, those through which he travels). In return for these services, he expects to receive both a special status and material rewards (though financial gain is not presented as his main motivation). The poet's professional status thus forms one part of his identity and is a source of respect in the ancient city.
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Ferradou, Carine. "La poésie en question dans la première et la cinquième élégie de George Buchanan." Renaissance and Reformation 36, no. 4 (March 15, 2014): 11–35. http://dx.doi.org/10.33137/rr.v36i4.20980.
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From the first verse of the first Elegy (entitled “Quam misera sit conditio docentium literas humaniores Lutetiae...”) written by Buchanan while he was a young teacher in Paris, the Scottish scholar depicts himself as an unlucky lover of poetry whose passion is impeded by his educational job. Through his fifth Elegy, “Ad Franciscum Oliuarius, Franciae Cancellarium, nomine Scholae Burdigalensis”, the Scottish scholar, then teaching Latin in Bordeaux, becomes the advocate of the Muses in order to obtain from the French Chancellor François Olivier the financial and moral help that classical studies need at the moment. In the first Elegy which testifies a personal experience as well as in the second one which is an “event poem” written for the defense of the Collège de Guyenne, Buchanan adopts the position of the poet complaining that too many difficulties prevent him from living completely and with dignity from his art whereas he embodies a sophisticated way of life, civilization in short. In both elegies, the status of the poet is seen as problematical: George Buchanan uses the topoi of the poet’s representation and of the current situation that is sometimes personal, sometimes shared by his fellow teachers in Bordeaux. Such a situation casts doubt on the poetical vocation of the “Prince of Poets of his time”, so called a little later by the French publisher Robert Estienne.
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Whomsley, Stuart. "Poetry and the transpersonal." Transpersonal Psychology Review 22, no. 1 (2020): 63–67. http://dx.doi.org/10.53841/bpstran.2020.22.1.63.
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This paper considers poetry, poets and the transpersonal. It first considers the creation of poetry in relation to the transpersonal with the focus on the poet, in particular the role of altered states of consciousness for the poet in the act of creation; the focus then shifts to the reader of poetry to consider if poetry reading can lead to transpersonal states, finding at least that poetry has effects that go beyond the meaning of the words.
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Jarniewicz, Jerzy. "Translation and the emigrant experience. A case study." Tekstualia 1, no. 36 (April 1, 2014): 115–26. http://dx.doi.org/10.5604/01.3001.0013.4576.
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The article offers a discussion of the bilingual collection of poems by Wioletta Grzegorzewska, the Polish émigré poet living in Britain, as an example of the condition of an émigré poet-in-translation. The book, addressed both to her „native” Polish-language readership and to the new, foreign-language readers in the country of her settlement, shows how the status of the émigré poet undermines the distinction between the foreign and the familiar, providing an apt illustration of Salman Rushdie’s view of emigrants as „translated people”. As the detailed analyses of the English translations in Grzegorzewska’s book reveal, the translator not only defi nes her readers, but also, paradoxically, creates the poet he is translating: the translator’s choices are shown to work towards obliterating the poet’s status as an émigré writer and, with British readers in mind, eliminating traces of her linguistic and cultural otherness.
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Wang, Yanning. "Fashioning Voices of Their Own: Three Ming-Qing Women Writers’ Uses of Qu Yuan’s Persona and Poetry." Nan Nü 16, no. 1 (September 10, 2014): 59–90. http://dx.doi.org/10.1163/15685268-00161p03.
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This article explores how, during the Ming-Qing era, women writers used the persona and poetry of the great Chinese poet Qu Yuan (340?-278 bce). In order to establish the authority of their own voices, marginalized female writers often identified themselves with the mainstream male tradition. The legacy of Qu Yuan became one of their favorite examples to follow. Qu Yuan’s sao-style poems, especially the long poem “Encountering Sorrow,” are classics in the Chinese literary canon. Qu Yuan’s high moral standard and his eventual suicide for a just cause earned him a reputation as a patriotic poet-statesman much respected by later generations. Ming-Qing women writers made use of Qu Yuan’s literary and moral authority to create their own personal, political, and intellectual voices. By doing so, they demonstrated their efforts to upgrade their status in literary and social arenas.
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Krishnamurthy, S. "Revolutionary Elements in Bharathidasan Songs." Shanlax International Journal of Tamil Research 6, no. 3 (January 1, 2022): 186–93. http://dx.doi.org/10.34293/tamil.v6i3.4684.
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The revolutionary poet Bharathidasan is notable among the unparalleled Tamil poets of the twentieth century. Many contributions were made for the liberation of India. His songs of liberation caused a stir among the natives. Aware of his contemporary social status, Bharathidasan was passionate about the need for Tamils to excel on the world stage. Bharathidasan can be described as a social activist who set out to eradicate the superstitions and social ills that pervaded his contemporary Tamil community in his songs. Bharathidasan is proud to be the first Tamil poet to have given voice to songs for the betterment of women and advancement in life. The purpose of this article is to explore the ideas of revolutionary elements found in the various songs of Bharathidasan, who was a firm believer that the country would prosper only if women progressed.
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L, Savariammal, and Rejina S. "The Position of the Underprivileged People in Sirpi’s Poetic Work ‘Sarpayaakam (Sacrificial rite for the destruction of serpents)’." International Research Journal of Tamil 4, no. 4 (October 17, 2022): 268–74. http://dx.doi.org/10.34256/irjt22435.
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The poet Sirpi is a boon to 20th century Tamil. In his poem, this article examines the status of the downtrodden people in society, the status of women, and the status of the people affected by politics. In the poem, Sarpayaakam, the position of the people of the lower strata of the society, the atrocities committed on the women belonging to that community, and the sufferings suffered by the people due to the political situation are also mentioned in this work. It depicts the idea that even nature silently accepts the idea that the upper classes in society think of the lower classes as contemptuous and degrading. Human society still suffers from poverty. Though there are many political programmes to eradicate poverty, poverty persists as they are not able to work. Even in the dreams of the people, there is no atmosphere of prosperity. When will their dream come true? Poverty has persisted for ages. People must be freed from these continuing clutches of poverty. The poet's desire to get rid of their hunger is expressed. Pointing out that society is deteriorating because of politics and that politics is a Snakes and Ladders game. The poet points out in his lines of poetry that many politicians are enslaving society as poisonous snakes who puff out and lunge their bodies to move on. The poet's view that the lower classes should fight unitedly and fight against the power of the upper classes to reduce their arrogance is expressed in a way that arouses the sentiments of the lower classes.
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Bernotienė, Gintarė. "Death of a Poet. Epitaphs and Dedications to Vytautas Mačernis." Colloquia 49 (July 19, 2022): 79–102. http://dx.doi.org/10.51554/coll.22.49.05.
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The author of the article examines the corpus of dedications to the poet Vytautas Mačernis, written by poets who lived in Soviet and post-Soviet Lithuania after 1966. The group of epitexts (epitaphs, dedications, and literary letters), scattered in collections of poems and periodicals and united by genre, is analyzed as a series of artefacts confirming the status of Mačernis as a literary classic and revealing the reception of the poet in the community of writers and in the cultural memory of the nation. The formation of Mačernis’s image and the legend about him was influenced by his early death. In turn, it led to a mystification of the poet’s figure and to the attribution to him of almost supernatural powers of a prophet and guardian of the nation. The most significant texts dedicated to Mačernis highlight the gradual stages of poet’s establishment as the youngest poet in the canon of Lithuanian literature and the prevailing, almost fixed trend of romanticizing him and presenting his destiny in an exotic way. The poetic forms of the dedications and the intertextual connections testify to the fact that Mačernis’s works have been recognized as an essential part of the canon.
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Malamud, Martha A. "Happy Birthday, Dead Lucan: (P)Raising the Dead in Silvae 2.7." Ramus 24, no. 1 (1995): 1–30. http://dx.doi.org/10.1017/s0048671x00002290.
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In the conclusion to his ground-breaking study of the relationship between Latin literature and politics in the age of Nero, J.P. Sullivan looked forward to the literature of the Flavian period, offering a broad survey of the leading writers and their political and literary affiliations. His portrait of Statius, written with his typical wit, is distinctly unappealing:But it is to Statius'Silvaeand to ten books of Martial's epigrams that the fastidiously curious turn to discover the sort of praise that the latest and last heir of the Flavian house, though not the modern reader, would find congenial. The longest piece of this kind is Statius' ecphrastic poem on the great equestrian statue of Domitian erected in the Forum Romanum. It was, like the statue, a commissioned piece and was dashed off in less than fortyeight hours …. This poem and theEucharisticon(Silv.4.2) on the great splendour of Domitian's lavish feast to which the poet was invited are adequate illustrations of how far poets were prepared to go in their presumably acceptable adulation. G.W.E. Russell once remarked to Matthew Arnold, ‘Everyone likes flattery; and when it comes to Royalty you should lay it on with a trowel.’ Statius seems to have anticipated the advice.
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Atashi, Laleh. "The Status of William Carlos Williams in American Modernism." Messages, Sages and Ages 3, no. 2 (November 1, 2016): 54–63. http://dx.doi.org/10.1515/msas-2016-0015.
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Abstract William Carlos Williams was an American poet who renounced poetic diction in favor of the unpoetic, establishing himself in American Modernism as a powerful voice distinct from such canonical contemporaries as T.S. Eliot and Ezra Pound. His attitude towards literary production was different from many of his contemporaries in that he believed ‘the idea is in the thing’ and therefore the presence of objects rather than abstractions is strongly felt in his poems. A critical survey of Williams’ poems indicates that the poet/physician observes, describes and levels criticism at his society where modernism has transformed the American identity in significant ways. In this article, American icons and popular culture are retraced in the poetry of William Carlos Williams in an effort to explain the seeming opacity of his poems.
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Hasan, Raeed. "Repitition and Omission in the Poetry of Al-Abass bin Al-Ahnif." Islamic Sciences Journal 10, no. 4 (March 9, 2023): 304–28. http://dx.doi.org/10.25130/jis.19.10.4.14.
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This study deals with the phenomenon of repetition and deletion in the poetry of one of the Abbasid poets, which is (Abass bin AL-Ahnif), and therefore the importance of these phenomena in the Arabic poetry, The meeting will undoubtedly raise the question of how all these elements can be achieved in a single poem.
Therefore, this study deals with the poetry (Abbas ibn al-Ahnaf) in terms of the way he used to repeat and delete in his hair, and how to link these two phenomena in the sense and significance, and how this reflected on the eloquence of the system. This study deals with a small glimpse of the poet, his name and proportions, and his status, and his death, as it defines the phenomena of repetition and deletion in the language and in the terminology of scientists, and was exposed to the use of Abbas bin Ahnaf these two phenomena in his office.
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Talafha, Ahmad, Mushira Talafha, Khetam Shraideh, Imad Ababneh, Lina AlJarah, and May Al Shaikhli. "Embedded Cultural Patterns in Abu Firas Al-Hamadani’s Ra’iyyah: Arabic Poetry." World Journal of English Language 13, no. 1 (December 28, 2022): 319. http://dx.doi.org/10.5430/wjel.v13n1p319.
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This paper tackles the cultural patterns in Abu Firas Hamdani's captivity poetry, namely Ra’iyyah poem. The poet, who is normally a part of ideological, cultural, or social paradigms, represents and regenerates, consciously or unconsciously, the cultural patterns, especially those represented by his predecessors in their literary works, whether in prose or verse. Antonyms and displacement, and many other linguistic tools, allow a space for the poet to freely criticize, expose, and thus persuade authorities into setting him free. Undoubtedly, cultural criticism, a product of postmodern thoughts, is one of the prominent trends in the world of literary criticism, and it places the focus on culture as a platform from which the authors express their status and agenda. The embedded cultural patterns that are traced in Abu Firas’ poetry are divided into three major themes, based on the suggested cultural patterns as elaborated in the current study.
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Lee, Kyung-soo. "Kim Sang-Ok beyong His Status as a Shijo Poet." Journal of The Society of Korean Languge and Literature 89 (August 31, 2020): 297–334. http://dx.doi.org/10.33335/kll.89.10.
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Waysband, Edward. "The Poetics of Shock: “The Pitiful Vice” in Khodasevich's “Under the Ground”." Slavic Review 80, no. 4 (2021): 769–91. http://dx.doi.org/10.1017/slr.2022.5.
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With its central image of the old masturbator in the Berlin “underground” restroom, Khodasevich's poem “Under the Ground” (1923) both shocked and fascinated its readers. Khodasevich's intervention into two taboo themes in turn-of-the-century European culture—masturbation and public restrooms—is primarily self-reflexive, indicating his anxieties about the ambiguous place and status of a modernist poet and exploring the norms of poetic representation. The essay proposes to read “Under the Ground” as a site of contested and mutually commenting meanings among concerns about taboo sites of urban modernity, a self-reflexive vision of autoerotism, and aesthetic modernism with an emphasis on the shock effect. In analyzing Khodasevich's radicalization of his modernist poetics through the re-appropriation of these taboo themes, I also examine how current theorizations in the developing subfields of sexuality and urban studies that deal with masturbation and restrooms can contribute to the ongoing research on modernist authorship as understood through the figure of the poet-flâneur.
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Sunyer, Magí. "<i>Gaziel</i>, d’Apel·les Mestres: un Mefisto irònic i un Faust bohemi." Zeitschrift für Katalanistik 32 (July 1, 2019): 271–88. http://dx.doi.org/10.46586/zfk.2019.271-288.
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Summary: This article explores the intertextual relations between Faust, by Johann Wolfgang von Goethe, and two texts by Apel∙les Mestres: the poem and the drama Gaziel (from 1891 and 1909, respectively). The influence of German literature on Mestres, and particularly of Goethe and Heine, is such that Gaziel can be regarded as a direct reproduction. The fact that Gaziel, Faust’s parallel, is a Poet frames the work as part of the debate on the Artist, which was a feature of Catalan Modernisme, and relates to Mestres’ status as a complete man of letters – draftsman, musician, poet, playwright and prose writer – which was made abundantly clear by the magnificent illustrations of the poem’s first edition. The ironic relationship between Mephistopholes and Gaziel provides the basis for an analysis of the function of the devil in the two works and the game of complicities that Mestres constructs around his character. Keywords: Faust, Gaziel, intertextuality, Modernism, artist, devil
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Naddaf, Gerard. "The role of the poet in Plato's ideal cities of Callipolis and Magnesia." Kriterion: Revista de Filosofia 48, no. 116 (December 2007): 329–49. http://dx.doi.org/10.1590/s0100-512x2007000200004.
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Plato's attitude toward the poets and poetry has always been a flashpoint of debate, controversy and notoriety, but most scholars have failed to see their central role in the ideal cities of the Republic and the Laws, that is, Callipolis and Magnesia. In this paper, I argue that in neither dialogue does Plato "exile" the poets, but, instead, believes they must, like all citizens, exercise the expertise proper to their profession, allowing them the right to become full-fledged participants in the productive class. Moreover, attention to certain details reveals that Plato harnesses both positive and negative factors in poetry to bring his ideal cities closer to a practical realization. The status of the poet and his craft in this context has rarely to my knowledge been addressed.
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Al-Lami, Sawsan Azeez Khlaif. "The concept of Modesty in the Poetry of Behçet Necatigil." Al-Adab Journal 2, no. 140 (March 15, 2022): 137–50. http://dx.doi.org/10.31973/aj.v2i140.3625.
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Behçet Necatigil is considered one of the important Turkish authors in the 20th century. He was born in FATİH district in Istanbul in 1916 and died on 13 of December 1979 in Istanbul. The poet Necati started writing while he was very young. He had several important works in his short life that lasted only 63 years. Although he was creative in several and different works in literary types such as Drama, Translation, the art of conversing, and radio drama, the poet Behçet Necatigil who was known by his poetic identity, is considered one of the most important poets in Turkish literature and the successful one among them.
The concept of modesty is a synonym to simplicity which includes several meanings such as not to be snobbish, or dictator which is a humane phenomenon in its concept. This concept of modesty is considered one of the positive conducts and one of the most important concepts that society respects and adopts it and eager to have it. In general, everyone aims at being a simple, moderate and not a snobbish person. Regardless of the spiritual and materialistic status of any person, this means that he adopted a lifestyle that is ordinary and simple. The poet Behçet Necatigil is one of the poets who adopted this situation all over their lives and was eager to be a moderate person. Thus, we see this concept clear in his poems.
This is the reason that pushes us to write a research paper specifically on the poet Behçet Necatigil. We see that he is a person full of modesty and simplicity. He has largely and successfully used in his poems the concept of modesty as well as its derivatives. Our research paper will focus on this concept, and we will introduce a short summary about the life of the poet and his literary personality as well as his works. Then we sill study the concept of modesty in details. After that, we will expand our research paper to talk about how this concept has been used in the poems written by Behçet Necatigil.
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Chagnon, Michael. "Flirting with the Radical: Intertextuality, Intervisuality, and Gendered Subversions in Manuscripts of Sūz u Gudāz." Journal of Material Cultures in the Muslim World 2, no. 1-2 (December 9, 2021): 55–96. http://dx.doi.org/10.1163/26666286-12340018.
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Abstract This essay focuses on a corpus of eight mid- to late eleventh-/seventeenth-century illustrated manuscripts of the poem Sūz u Gudāz by the poet Nawʿī (d. c. 1019/1610). The text describes the struggle of a Hindu maiden, whose fiancé has died, to commit satī on his funeral pyre despite the interventions of various figures in her life. The essay discusses how later Safavid painters adapted and transformed established pictorial compositions associated with mas̱navīs from the Khamseh (“Quintet”) of Neẓāmī to illustrate Nawʿī’s poem, reflecting its status as a javāb (pointed response) to Neẓāmīan romances. The illustrators often altered the compositional models to draw attention to the gendered dimensions of Nawʿī’s subversive poetics.
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Kronenberg, Leah. "A PETRONIAN PARROT IN A NERONIAN CAGE: A NEW READING OF STATIUS’SILVAE2.4." Classical Quarterly 67, no. 2 (October 30, 2017): 558–72. http://dx.doi.org/10.1017/s0009838817000660.
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Critics generally agree that Statius’Silvae2.4, a poem about a dead parrot dedicated to Statius’ patron Atedius Melior, is modelled closely on Ovid'sAmores2.6, a poem about Corinna's dead parrot. In particular, many read Statius’ poem as picking up on the metapoetic strand in the Ovidian model, in which the parrot may be interpreted as a poet-figure, though they also note that Statius’ poem shows more of a concern for the tensions involved in a poet's relationship to his patron (and the emperor). I agree with this general interpretation of the poem and its metapoetic aspect; however, there are some oddities about the dead parrot and its relationship to itsdominusthat have not been fully explained by theories that equate the parrot with either Statius or a non-specific Flavian poet-figure and thedominuswith Atedius Melior or a similar patron-figure. For instance, why is the parrot dead, and why does Statius write an epicedium for it that is similar in tone to the epicedia for dead people inSilvae2? Why is the parrot's relationship to its master an ambiguous one such that his cage can be described as a prison (carcer, 2.4.15), and the master's grief over the parrot's death is never specifically mentioned? Finally, why does the parrot speak the name of Caesar instead of Atedius Melior, the friend of Statius to whom the poem is dedicated?
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Shahzadi, Imrana, Hafiz Asif Ali Raza, and Iftikhar Ahmad Khan. "http://habibiaislamicus.com/index.php/hirj/article/view/197." Habibia Islamicus 5, no. 2 (June 7, 2021): 1–12. http://dx.doi.org/10.47720/hi.2021.0502a01.
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Kaab Bin Zuhair is one of the those important literary personalities who played a vital role in the field of Arabic poetry in pre-Islamic & Islamic era. This article deals with the status of the famous poem "Lamiya" and its topical and artistic study. This Qaseeda (Poem) consists of fifty-seven verses. This poem artistically presents the high moral stature. It is also known by Qaseeda Baanat Suaad. The research is divided into six parts: 1. Introduction to the poet and Qaseeda and its authenticity. 2. Literary Importance of Laamiya 3. Opinions of ancient & modern experts about the title of the poem 4. Topical study of the Qaseeda 5. Literary and prosodic analysis 6.Results In short, this Qaseeda of high artistic significance has got more than fifty interpretations and translations and is regarded as a basic source of seerat study.
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Roe, John Alan. "The Sidneian self and refined Eros in Chapmans Ovids Banquet of Sence." Recherches anglaises et nord-américaines 36, no. 1 (2003): 139–45. http://dx.doi.org/10.3406/ranam.2003.1676.
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Sidney in his Apology carefully adapts Plato’s strictures on poetry and shows how, far from being a slavish imitator, the poet can be understood as a creator, akin to the divine creator God. George Chapman follows Sidney closely in this, and he even adopts the term enargeia to emphasise the creator’s ability to imagine a work fully and perfectly prior to its execution. Both poets are concerned with the moral status of poetry and they make use of the artistic concept of ideal form in order to guarantee the poem’s ethical credentials. When Chapman tackles an Ovidian erotic subject, as in Ovids Banquet of Sence, he keeps in mind the heroic Ovid of the Metamorphoses as a foil to the more scurrilous author of the Ars amatoria or the Amores. In the course of his poem Chapman investigates the various senses, in the manner of Ficino in his Commentary on Plato’s Symposium on Love, but unlike Ficino he invests those senses more obviously limited to the body, such as touch, with a dignity similar, if not even superior, to that of sight.
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Clarke, Margaret Anne. "PALIMPSESTS AND SYMBOLS." Revista de Estudos de Cultura 8, no. 20 (July 13, 2022): 36–50. http://dx.doi.org/10.32748/revec.v8i20.17873.
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The purpose of this essay is to resolve an apparent contradiction in the critical reception of the epic poem Invenção de Orfeu, by the preeminent Brazilian poet Jorge de Lima (1893 – 1953). The poet, according to his own account, had two principal aims in writing the poem: firstly, to effect a radical regeneration of poetry and poetics in order to renew religious and specifically Catholic values, in modern society, and secondly to modernise the classical and Renaissance epic genre, in its original Aristotelian sense, within the contexts of the twentieth century and the modern era. However, the critical scholarship concerning Invenção de Orfeu expresses the opposite view, that the work comprises a compendium of apparently unconnected and disassociated ideas, genres, textual fragments and poetic figures of all kinds, with no discernible sequence, and no thematic core. My aim, therefore, is to demonstrate the status of Invenção de Orfeu as a unified entity, with reference to Jorge de Lima’s single motive, repeatedly stated for composing his epic: to expound the principal tenets of the Catholic faith and “restorepoetry in Christ”. I will use theory drawn from recent scholarship on theology and literature to illustrate the compositional structures underpinning the poem: firstly the one “root-metaphor” of the holy Trinity and Jesus Christ as the divine Logos, a concept on which all the verse in Invenção de Orfeu is based; secondly, the reintegration of “chains of memory” in order to re-establish a lineage of religious belief in a secularised world. Both of these principles, however, are realised through a poetics whose “invention” comprises a dynamic and multi-dimensional process of re-creation and re-composition of language by the poet. To illustrate, I will examine two particular features of Invenção de Orfeu, which, as I argue, transform Invenção de Orfeu into a thematic and stylistic unity. Firstly, the intertextuality inherent to the work: the appropriation and adaptation of classical and Renaissance epic texts interwoven in dense and intricate ways with Jorgede Lima’s own creation, to create a palimpsestic text. Secondly, the process of symbolisation, that is, the creation of symbols by the poet to generate a network of links, connections and relations within the language of the poem, which serve to render the text as one cohesive and integrated whole.Keywords: Brazil, religion, epic, poetry
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Mueller, Stefanie. "“No more little boxes” – Poetic Positionings in the Literary Field." Zeitschrift für Anglistik und Amerikanistik 69, no. 1 (March 1, 2021): 91–104. http://dx.doi.org/10.1515/zaa-2020-2031.
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Abstract My article’s title borrows a line from Thomas Sayers Ellis’s poem “Skin, Inc.” (2010), a poem which uses the metaphor of incorporation in terms of its economic and formal affordances: formally as signifying upon a container, a box, in which the poet/lyric persona finds himself trapped as he is trying to create and to write; and economically, as signifying upon the poet as entrepreneur, who has to sell a brand and a product in the literary marketplace. Based on Pierre Bourdieu’s work on the theory of the literary field, I think of the poem as a form of poetic position-taking in the literary field in the Unites States in 2010. In my reading, I explore the literary marketplace as presented in the poem, and I argue that we can use this image of the market to think about the role of race in the literary field in the US, in particular with regard to what has been called the “post-soul aesthetic.”
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Haas, Renate. "A Note on Troilus and Criseyde V. 1786–92." Florilegium 10, no. 1 (January 1991): 93–98. http://dx.doi.org/10.3138/flor.10.006.
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The first envoy of Troilus and Criseyde is an important locus for Chaucer’s view of his great poem and of his own status as a poet. Various scholars have felt it is here that Chaucer makes the highest claim ever for his poetry. Thus this stanza has often been cited; yet it is astonishing how little it has been analyzed. Its elegance has repeatedly been mentioned en passant, but, pursuing broader questions, Chaucerians have largely forgotten to scrutinize how this elegance is effected or how Chaucer actually makes his claim and what may be implied by this.
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Olsen, Sarah. "The Fantastic Phaeacians: Dance and Disruption in the Odyssey." Classical Antiquity 36, no. 1 (April 1, 2017): 1–32. http://dx.doi.org/10.1525/ca.2017.36.1.1.
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This article analyzes the descriptions of both choral and individualized dance in Odyssey 8, focusing on the unique and disruptive qualities of the virtuosic paired performance of the Phaeacian princes Halius and Laodamas. I explore how this dance is particularly emblematic of Phaeacian culture, and show how the description of dance and movement operates as a means by which Odysseus and Alcinous competitively negotiate their relative positions of status and authority within the poem. I further argue that the Homeric poet uses dance to foreground generic exploration and expansion in a manner consistent with recent understandings of the Odyssey’s flexible and improvisatory poetics.
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M.A, English Literature- Poetry Shaymaa Saleem Yousif. "William Butler Yeats' Political Views of Rising in Easter 1916." journal of the college of basic education 26, no. 108 (March 30, 2022): 649–66. http://dx.doi.org/10.35950/cbej.v26i108.5297.
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It has been 103 years since the Rising of Easter 1916 had broken in Ireland. Yet, there are still far reaching questions regarding the real political views of William Butler Yeats in his famous poem Eater 1916. William Butler (1865-1939) is one of the poets who wrote about the events in their country in general and about the Rising of Easter1916 in particular. Butler as an Irish poet is expected to believe and support this rising, but as a protestant who spent most of his youth in London, should refuse and denounce The Easter Rising 1916. Yeats belongs to the protestant who was controlling the political, social, and economic life of Ireland. For this reason, many people suspected his loyalty and accused him of lacking the sense of Irish nationalism and patriotism. However, Yeats attacked his Irish contemporaries who under evaluates his nationalism, saying that every man born in Ireland should belong to it, and if a man considers himself an Irishman then he is indeed a part of Ireland. This research states how Yeats was insisting on his Irish nationality in spite of the fact that he had spent most of his life living out of Ireland and he belongs to the Anglo section through analyzing important and relevant lines from his historical and patriotic poem, Easter1916. Additionally, some relevant messages between the poet and, his friends will be stated to support his views. It is concluded that W.B. Yeats positively expresses his Irish nationality and support of independence through his poem Easter 1916
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Dahami, Yahya Saleh Hasan. "Home in the Poetry of Saudi Arabia Poets: Abdus-Salam Hafeth an Example of a Distinguished Arab (3)." Ihya al-Arabiyah: Jurnal Pendidikan Bahasa dan Sastra Arab 8, no. 2 (December 31, 2022): 14. http://dx.doi.org/10.30821/ihya.v8i2.12118.
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<p>With particular reference to the Saudi poet Abdus-Salam Hashem Hafeth, this study tries to shed light on some literary characteristics of modern Saudi Arabic poetry. It specifically focuses on the concept of homeland as an illustration of the status of modern Saudi Arabic poetry. One may argue that Arabic poetry is in a good place right now among Arab authors, critics, and poets. By using the poet's magnificent city as a representation of his affection for his big country, the Kingdom of Saudi Arabia, the researcher attempts to demonstrate the poet's intelligence by showing his gorgeous city as a symbol of his love.</p><p>An introduction starts the study, then, it analyzes the subtitle Arabic Poetry: The Tongue of the Arabs. Afterward, a brief analysis of Glimpse at Eternal Saudi Poetry and the Conception of Home in Saudi Poetry. The study's primary section employs a critical-analytical method to evaluate Abdus-Salam Hafeth's poem Nostalgia, Oh My Home. The examination of the poem concentrates on the idea of home as its central theme and covers verse lines nine through eleven. Finally, the research comes to a brief conclusion with some remarks.</p>
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Rashid, Frank D. "Transparent Eye, Voice Howling Within: Codes of Violence in Lawrence Joseph's Poetry." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1611–20. http://dx.doi.org/10.1632/pmla.2008.123.5.1611.
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In the early quatrains of “Rubaiyat,” a poem in Lawrence Joseph's fourth book, into it, The poet adopts a curious perspective for an American poet of Arab ancestry who is intensely critical of American military aggression. Taking on the “eye” of the aggressor, he pulls up the “satellite image of a major / military target, a 3-D journey / into a landscape of hills and valleys.” He follows the lens as it zooms closer to the ground:Zoom in close enough—the shadowsof statues, the swimming pools of palaces …closer—a garden of palm trees,oranges and lemons, chickens, sheep. … (41)
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Curtright, Travis. "The making of a martyr and loss of a poet: Richard Tottel, Reginald Pole, and Thomas More in 1556–57." Moreana 55 (Number 209), no. 1 (June 2018): 1–23. http://dx.doi.org/10.3366/more.2018.0028.
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Should Thomas More be considered England's lost Renaissance poet? This essay investigates the printing and reception of More's vernacular verses in light of the Marian restoration of Catholicism, including More's overall treatment as a martyr, an opponent of heresy, and the political uses of his reputation. In the context and events of 1556–57, More's status as a poet diminishes while his public persona as a divinely inspired author of theological controversies grows.
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Severin, Marta. "Gheorghe Grigurcu’s Exegesis. Some Opinions." Dialogica. Revistă de studii culturale și literatură, no. 3 (November 2023): 28–34. http://dx.doi.org/10.59295/dia.2023.3.04.
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Gheorghe Grigurcu is known as a literary critic of poetry, while the position of poet was the writer’s first vocation. We identify the marginalization of the poet both geographically, being isolated in “Amarul Târg” (Târgu Jiu), and literary, by imposing some malicious restrictions: all this placing him under the badge of suspicion. Regarding the exegesis of Gheorghe Grigurcu, it is appropriate to selectively inventory some opinions belonging to contemporary literary critics or writers who have asserted themselves and capitalized on the status of a literary critic, but also a poet, as the writer Grigurcu himself wanted to be received. The dual nature of the writer, critic and poet, makes it impossible to analyze the two vocations separately, a fact that requires their twin research. Nonconformist, awkward, atypical, formidable polemicist, judicial spirit, corrosive is just some of the defining attributes that highlight the personality legitimized by the book universe. For the literary critic, poet, polemicist and author of aphorisms of the same name, to give up writing is to deny oneself.
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Azimi, Saba, Shideh Ahmadzadeh, and Mahmoud Reza Ghorban Sabbagh. "Catachrestic Divergence:." American & British Studies Annual 15 (December 21, 2022): 100–115. http://dx.doi.org/10.46585/absa.2022.15.2433.
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“The Monkey Puzzle” is one of the most interesting as well as intimidatingly complex poems of Marianne Moore. It envelops Moore’s attitude as an objectivist poet moving towards the relationship between language and the world. The scarce critical attention it has received does not reflect the high status it should have in Moore’s oeuvre. The present paper builds on the body of research that does exist, and from there moves on to a detailed analysis of the poem in an attempt to show how a catachrestic divergence from significatory processes is at work all throughout this poem. The reinterpretation of the poem through a focus on its catachrestic bounciness will not only shed light on some of its most complex imagery, but will also show how a philosophical filament runs through the whole poem and invites the readers to trespass the boundaries of the significatory walls drawn around our imagination.