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1
Al-Husseini, Sahar Abdul Ameer Haraj. "Graphematic Emblems in Selected Poems by John Hollander Sahar Abdul Ameer Haraj Al-Husseini." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, no. 1 (September 1, 2018): 49–60. http://dx.doi.org/10.36473/ujhss.v226i1.172.
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Graphematic poem or shape poem or pattern poem, like any other poem, is a poem that discusses diverse and common subjects like love, idea, time and many other topics ; yet with a certain difference that is the subject is similar to the printed format of the text. To say that it presents a picture of certain familiar object that is similarly the subject of the poem. Such poems are likewise termed shaped verse. They are not new for they are part of a long convention that ranges from Alexandrian Greek poets to Lewis Carroll and beyond. John Hollander(1929 –2013) is an American poet who wrote pattern poetry with a variety of diverse themes . His Types of Shape (1969) offers twenty-five shaped poems in the convention of George Herbert, a seventeenth century English poet. Graphematic poems must also to a certain degree own their special self-reflective picture in so far as the shape as well as the content are concerned. They show a wide array of themes and Hollander's graphematic poems show fascinating investigates with unbending forms that undermine the authority of his writing. Hollander in uniting content and form supports creating one authoritative outcome in the field of poetry.
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Al-Husseini, Sahar Abdul Ameer Haraj. "Graphematic Emblems in Selected Poems by John Hollander Sahar Abdul Ameer Haraj Al-Husseini." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES, no. 226(1) (September 1, 2018): 49–60. http://dx.doi.org/10.36473/ujhss.v0i226(1).172.
Full textAbstract:
Graphematic poem or shape poem or pattern poem, like any other poem, is a poem that discusses diverse and common subjects like love, idea, time and many other topics ; yet with a certain difference that is the subject is similar to the printed format of the text. To say that it presents a picture of certain familiar object that is similarly the subject of the poem. Such poems are likewise termed shaped verse. They are not new for they are part of a long convention that ranges from Alexandrian Greek poets to Lewis Carroll and beyond. John Hollander(1929 –2013) is an American poet who wrote pattern poetry with a variety of diverse themes . His Types of Shape (1969) offers twenty-five shaped poems in the convention of George Herbert, a seventeenth century English poet. Graphematic poems must also to a certain degree own their special self-reflective picture in so far as the shape as well as the content are concerned. They show a wide array of themes and Hollander's graphematic poems show fascinating investigates with unbending forms that undermine the authority of his writing. Hollander in uniting content and form supports creating one authoritative outcome in the field of poetry.
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Nugroho, Henriono. "The Famous Poet in Harpur’s Poem." ATAVISME 12, no. 1 (June 30, 2009): 23–30. http://dx.doi.org/10.24257/atavisme.v12i1.154.23-30.
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This research aims to discuss literary work through stylistic analysis based on sistemic functional linguistics and literature semiotic system. The research methods used are the librarian study, descriptive method and objective intrinsic approach. The research result shows that the semantic analysis has produced the automatized linguistic meaning and foregrounded linguistic meaning. Next, the first meaning produces the subject matter and the secong meaning produces the literary meaning. Later, the literary meaning produces theme. Finally, it is proved that the subject matter tells about harmony; the literary meaning is about Shelley’s fame; and, the theme is about a famous poet.
Abstrak:
Penelitian ini bertujuan mengkaji karya sastra melalui analisis stilistika berdasarkan ilmu bahasa fungsional sistemik dan sistem semiotik karya sastra. Metode penelitian menggunakan studi pustaka, metode deskriptif, dan pendekatan intrinsik objektif. Hasil penelitian menunjukkan bahwa analisis semantik menghasilkan makna bahasa latar belakang (the automatized linguistic meaning) dan makna bahasa latar depan (the foregrounded linguistic meaning). Makna pertama menghasilkan masalah utama (subject matter) dan makna kedua menghasilkan makna sastra (literary meaning). Makna sastra menghasilkan tema. Masalah utama berkisah tentang harmoni, makna sastra tentang ketenaran Shelley, dan tema tentang seorang penyair terkenal.
Kata kunci: makna bahasa latar belakang, makna bahasa latar depan, makna sastra, tema.
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السلامي, عمار. "The formative origin of the poem between emotional arbitrariness and artistic intent according to Al-Jawahiri The poem ((O Tigris of goodness)) as a model." Kufa Journal of Arts 1, no. 24 (November 23, 2015): 235–56. http://dx.doi.org/10.36317/kaj/2015/v1.i24.6315.
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The poet's compositional origin differs from one poem to another, and from one situation to another. Each poem has its own circumstance, and its distinctive motives. This is why it was natural to find in Al-Jawahiri different motives and multiple origins. Sometimes it is subject to emotional arbitrariness, and at other times it is subject to artistic intent, and perhaps in many cases both of them meet with the poet during the birth of the poem, or this continues until a little later. Perhaps the best way for us to know this is what we find in the memoirs of the poet himself, of a statement of the motives of some of the poems and a description of the state that afflicted him while reciting the poem.
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Asfour, Mohammad. "Deconstructive Reading." International Journal of Arabic-English Studies 3, no. 1 (January 1, 2002): 45–53. http://dx.doi.org/10.33806/ijaes2000.3.1.4.
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This paper examines four poems by four different poets dealing with more or less the same subject. The subject is an invitation by a young man addressed to a young woman to come and live in his world. The situation is familiar enough, and it is fraught with possibilities, both poetic and moral. The poetic possibilities have to do with whether or not it is possible to write a good poem about an immoral theme, whether a good theme elevates the poem to its own level of goodness regardless of the artistry of the poet, and whether it is possible, to begin with, to separate the artistry from the morality of the poem. The moral possibilities have to do with whether the invitation is innocent or wicked, whether both the inviter and the invited are aware of the moral complexities of the situation or not, and whether the reader has to take sides in order to appreciate the poems..
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Surat, Irina Z. "Calvary." Literary Fact, no. 3 (25) (2022): 163–94. http://dx.doi.org/10.22455/2541-8297-2022-25-163-194.
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The article is dedicated to the subject of the crucifixion in Russian lyric poetry of 19th–21st centuries. It studies five poems that present different images of Calvary. Analyzing A.S. Pushkin’s “Worldly power” we discover a lexical connection of the poem to prayers and liturgical texts. The poem “When rowan leaves are dank and rusting…” by A.A. Blok requires consideration from two angles: among his other Christological poems and in the light of a general among symbologists tendency of eroticizing Christian images. We demonstrate that the subject of co-crucifixion is natural for Blok, that it was slowly emerging in his lyric poetry of the 1900s. The article analyzes O.E. Mandelstam’s poem “The implacable words…” in the context of his lyric poetry of the 1910s, as well as in comparison to the later variation of the image (“Like chiaroscuro’s martyr Rembrandt…”). The research reveals “maternal projection” of the subject of Calvary on the example of the poem “Mother” by V.V. Nabokov, passages from A.A. Akhmatova’s poem "Requiem” and I.A. Brodsky's poem “Still-life.” El.A Shvarts’s poem “Rembrandt’s etching — Christ and the thieves” represents ekphrastic versions of the biblical story.
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Lucas, Rose. "Poetry and Breathing: Beyond subject and object." Axon: Creative Explorations 13, no. 2 (February 21, 2024): 81–91. http://dx.doi.org/10.54375/001/vxzmirsxxj.
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This paper will consider the ways in which the poetic form echoes a visceral experience of embodiment that re-imagines the relationship between subject and object. Through a focus on poetic elements such as the rise and flow of line, the vital pauses of punctuation and white space together with the slip of association and metaphoricity, this paper contends that the lyric poem in particular not only recreates the experience of the respiring body but offers us an inhabited insight into an interplay of inside and outside, self and other, what sustains and what speaks. In this way, both poetry and breath can be seen to provide a deconstructued paradigm for subjectivity – a subjectivity that emerges from the flow of overlap and connectedness rather than differentiation. In this sense, the poem speaks the body as well as the body speaking the poem. Informed by a conceptual framework that includes Thích Nhất Hạnh’s concept of ‘interbeing’ as well as Levinas’ notion of the face as it meets the breathing face of the other, this discussion references the work of eco-poet Anne Elvey in addition to my own poetry project, ‘Remarkable as Breathing.’
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Kudalina, Anna A. "LOVE, DEATH AND SPEECH. ABOUT TWO POEMS BY O. MANDELSTAM AND I. BRODSKY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2022): 82–90. http://dx.doi.org/10.28995/2686-7249-2022-6-82-90.
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The article provides a comparative analysis of O. Mandelstam’s poem “Skillful mistress of guilty glances” and “It is not that the Muse is gathering water in the mouth…” by J. Brodsky. It proves the fact of Brodsky’s borrowing the imagery of O. Mandelstam’s poem with its over re-denotation and deliberate stylistic degradation. The analysis focuses on such concepts as “love”, “death” and “speech”, each of which, while retaining the original connotations of Mandelstam’s poem, acquires a new, reduced meaning through the use of certain lexical means (for example, colloquial and jargon words) Thus, the concept of “love” in Brodsky’s poem turns out to be an ironically reduced memory, in which the lyrical subject focuses attention not on the object of his love, but on himself, unlike in Mandelstam’s poem of address. The concept of “death” is also deflected sarcastically by Brodsky, since his subject of speech speaks already from oblivion, representing “nothing inside”. The notion of “speech”, although it has a rather negative semantics in both poems, turns out to be mute in Brodsky, characteristic of just such a lyrical subject who has already crossed the threshold of death, at which the lyrical subject of Mandelstam’s poem stops.
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Ye, Danmin, and Dongzhu Wang. "Dynamic Coherence in the Dialogue of Subjects." Chinese Semiotic Studies 16, no. 1 (February 25, 2020): 105–18. http://dx.doi.org/10.1515/css-2020-0005.
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AbstractAs the subjects to create and construct coherence in discourses, human beings should become the focus of coherence study. This paper points out the linguistic philosophical nature of discourse coherence and discusses the existence, dynamicity, and plasticity of dialogicity among subjects in coherence based on Bakhtin’s Theory of Dialogue. We demonstrate the construction of coherence on the basis of intentional space, which consists of theme, subject, and the whole context (or TSW structure). This paper analyzes two poems, one a Chinese poem and the other an English poem, as examples to verify the existence, dynamicity, and plasticity of dialogicity among subjects in the coherence space construction process. We also apply the TSW structure to the analysis of these two poems. This study provides discourse subjects with helpful tips and enhances comprehension of the discourse.
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Mandarino, Francesco Vito, Edoardo Vespa, Alberto Barchi, Ernesto Fasulo, Emanuele Sinagra, Francesco Azzolini, and Silvio Danese. "Precision Endoscopy in Peroral Myotomies for Motility Disorders of the Upper Gastrointestinal Tract: Current Insights and Prospective Avenues—A Comprehensive Review." Life 13, no. 11 (October 31, 2023): 2143. http://dx.doi.org/10.3390/life13112143.
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Our review delves into the realm of peroral endoscopic myotomies (POEMs) in the upper gastrointestinal tract (UGT). In recent years, POEMs have brought about a revolution in the treatment of UGT motility disorders. Esophageal POEM, the first to be introduced, has now been validated as the primary treatment for achalasia. Subsequently developed, G-POEM displays promising results in addressing refractory gastroparesis. Over time, multiple endoscopic myotomy techniques have emerged for the treatment of Zenker’s diverticulum, including Z-POEM, POES, and hybrid approaches. Despite the well-established efficacy outcomes, new challenges arise in the realm of POEMs in the UGT. For esophageal POEM, the future scenario lies in customizing the myotomy extent to the minimum necessary, while for G-POEM, it involves identifying patients who can optimally benefit from the treatment. For ZD, it is crucial to validate an algorithm that considers various myotomy options according to the diverticulum’s size and in relation to individual patients. These challenges align with the concept of precision endoscopy, personalizing the technique for each subject. Within our text, we comprehensively examine each myotomy technique, analyzing indications, outcomes, and adverse events. Additionally, we explore the emerging challenges posed by myotomies within the context of the evolving field of precision endoscopy.
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BASHIRLI, ULVIYA. "EDUCATIONAL SUBJECTS IN THE POEM “PHOENIX” BY THE AZERBAIJANI FOLK POET NARIMAN HASANZADEH." Sharqshunoslik. Востоковедение. Oriental Studies 02, no. 02 (October 1, 2022): 26–29. http://dx.doi.org/10.37547/ot/vol-01issue-02-04.
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The works of the People's Poet of Azerbaijan Neriman Hasanzadeh are of great importance in the upbringing of the young generation in the spirit of patriotism. In this regard, the poem “Phoenix”, dedicated to our historical past, deserves to be remembered as a special. Although the events in the work cover the 1820s, they are still echoed today. The Russian Empire attacked Azerbaijan with a large army in order to conquer the Caucasus and enslave its inhabitants. He overthrew the existing Azerbaijani khanates and annexed their lands. Later he won the war with Iran and usurped the lands inhabited by Azerbaijanis. However, the Azerbaijani people were not defeated and the struggle for freedom continues, albeit locally. Along with men, girls and women also participate in these wars. In the background of all these heated massacres, the image of a mother traditionally called the “Phoenix” stands out. With the image of a simple artist, carpet weaver, N. Hasanzadeh created a generalized image of Azerbaijani mothers who put national pride and homeland honor above all else. While reading the poem “Phoenix”, the reader is as if experiencing the events of a difficult period, his heart is filled with love for the country, he is ready to sacrifice his life for the country. Of course, the effect of such work is sufficient in our victory in the Second Karabakh War.
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Enjuto Rangel, Cecilia. "Nicolás Guillén y la Guerra Civil española." Periphērica 2, no. 1 (2022): 129–58. http://dx.doi.org/10.5399/uo/peripherica.2.1.7.
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The poetry that emerges from the Spanish Civil War (1936-1939) develops a poetic discourse, to motivate its readers to become active historical agents and witnesses, and to politically support the Republican cause. In España: Poema en cuatro angustias y una esperanza (Spain: Poem in Four Anguishes and One Hope) the Cuban poet Nicolás Guillén (1902-1989) defends a poetics of solidarity with Republican Spain, while also acknowledging the colonial and postcolonial history that problematizes this “transatlantic” aesthetic position. Particularly in the “Angustia primera” and in the last poem “La voz de la esperanza,” Guillén highlights the racial and cultural identity of the speaker to legitimize his solidarity with the Republican cause from the perspective of the Latin American subject, who feels their cultural roots and political convictions connects them to Spain. The four “anguishes” or poems reveal the Latin American alliance with anti-fascist Spain and lament the tragedy of the death of Federico García Lorca, while the last poem defiantly and optimistically underlines the ethical imperative to fight against fascism. In this essay, I analyze España: Poema en cuatro angustias y una esperanza by Guillén within the political, literary, and cultural context, of an avant-garde poetics and as part of his intellectual effort to support with his prose, especially his chronicles, the Republican cause.
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Kolowca, Tomasz. "„Wjeżdża, ale nie szablę niezgody przynosi” Poseł moskiewski – poemat dyplomatyczny Jana Żabczyca." Terminus 25, no. 4 (69) (2024): 405–30. http://dx.doi.org/10.4467/20843844te.23.025.19268.
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The article is divided into three main parts. First, the author introduces the subject, genre and historical background of the poem. The main content of the poem is a legation from False Dmitry to Cracow sent in order to keep an alliance with the Commonwealth by wedding per procura of Dmitry and Maryna Mniszech. Similar works of literature from the seventeenth century are also presented. The second part focuses on the details of the poem, referred to as a diplomatic poem, in New Diplomatic History’s language, since the subject of diplomacy determines the structure, the nature of the characters and the main purpose of their actions: agreement and settlement, as opposed to victory over the enemy as the subject of heroic poems. The third part provides a detailed analysis of diplomatic ceremonies, gifts, habits and customs, e.g. speeches and table seating during the wedding. It also proposes an interpretation of the tzar and aristocrat’s wedding as an image of the alliance between Russia and the Commonwealth. It is concluded that Poseł moskiewski is a short but important poem in the history of Polish epics. As a representative of diplomatic literature, it is unique among early modern Polish epic poetry.
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Monzon, Sofia. "Poem and its Self-translation." TranscUlturAl: A Journal of Translation and Cultural Studies 12, no. 2 (September 30, 2020): 69–71. http://dx.doi.org/10.21992/tc29514.
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“Poema II/ Poem II”, a bilingual expression that goes beyond a mere literary translation, is part of the series Poetízame las ganas/ Turn My Yearnings into Poetry. Although it started as an original poem in Spanish, my first language, an English translation ended up coming together from the first lines. Very much influenced by the playful translations of Eliot Weibenger into English, I enjoy playing with source and target languages to puzzle the reader, by erasing the traces of the translation process, while, at the same time, keeping a foreign debris within the kind of language I use in both texts. With these two pieces that arise as a reciprocated translation, the poet challenges a bilingual form of creative expression in which there is a clear refusal to utterly domesticate the texts. Love and language are, undoubtedly, both the object and the subject of the whole poem. They are represented through an unceasing analogy that depicts the symbolic connections behind these two intrinsic, most desired—and perhaps hardest to understand—human domains.
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З. Арва, Сара. "ФИГУРА ПЕСНИКА У ЦИКЛУСУ „КРИТИКА ПОЕЗИЈЕ” БРАНКА МИЉКОВИЋА." PHILOLOGIA MEDIANA 15, no. 1 (May 16, 2023): 63–73. http://dx.doi.org/10.46630/phm.15.2023.04.
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The aim of this research was to analyse the figure of the poet within the cycle „The Criticism of Poetry” from Miljković’s book of poetry Origin of Hope (1960). By interpreting several poems from the presented cycle, this paper questions the position of the lyrical subject, while seeking out the possibilities of the lyrical self being identified with poets and thus interpreted as a poetic subject – a poet within the poem or a poet who possibly leads metapoetic dialogues with other poets. The figure of the poet is also considered through Nietzsche’s and Hegel’s philosophical approach to the ambivalent knowledge that is inherent to contemplatives and creators, but which conditions their destruction as well. Through the end of the cycle, this research also problematizes the social position of the poet and the possibility of interpreting the cycle through the title inversion – as poetry of criticism – criticism of future poetics, the disappearance of poetic language, poems and poets in general.
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O’Halloran, Ken. "A poem on the subject of Sleep Apnoea." Physiology News, Autumn 2016 (September 1, 2016): 11. http://dx.doi.org/10.36866/pn.104.11.
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Milyutina, Marina G. "“Grammar poetry” in the poem O. Sedakova “Alatyr”." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 47–53. http://dx.doi.org/10.20339/phs.5-22.047.
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It is known that grammar is a link between the meanings of lexical and figurative-symbolic. The article proposes one of the possible options for interpreting O. Sedakova’s poem “Alatyr”, based mainly on his poetic grammar. Attention is focused on the change of temporal plans, infinitive series and the subject sphere of the poem. It has been shown that grammatical semantics, reinforced by lexical indicators, helps the poet to more accurately and deeply reveal the symbolic image of Alatyr through the image of the “cross of time” connecting the past with the future, to come to sleep, life with death, the beginning with the end. Infinitive series at the end of the poem, mainly consisting of verbs of imperfect form, allow Sedakova to express, at the grammatical level, a contemplation of real-irreal reality as sleep-death and make the implicitly presented modal plan of the poem more ambiguous. An open subjective position in infiinitives (ambiguous implied dative) makes it possible to interpret the filling of the subject sphere in different ways, to perceive it both as external (belonging to the reader) and as internal (belonging to the lyrical hero). The subject sphere organized in this way becomes trans-subject, and the poetic discourse acquires the opportunity to be assigned to any speaker.
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Dr. Sandhya Tripathi. "A Note on Ambiguity in W.B. Yeats’ “Sailing to Byzantium”." Creative Launcher 5, no. 3 (August 30, 2020): 20–24. http://dx.doi.org/10.53032/tcl.2020.5.3.03.
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W.B. Yeats is a poet of great artistic honesty and integrity. In his critical statements he has candidly stated his artistic intentions and preoccupations. For such students of Yeats as have been puzzled by the artistic intentions of the poet in regard to the subject matter of his poetry, he has clarified his stance in his cryptic remark, “I remake myself” in my poetic compositions. Yeats, as every scholar knows it, is paradoxically a very complex and a simple poet. His complexity lies in his reader’s bewilderment at the contradictory artistic issues and his simplicity lies in its being a key to the unlocking of some of the ambiguities lurking in some of his poems. In his poetry, sometime he raises an issue which develops logically but the conclusion seems to stultify his explicit poetic statement, because the conclusion of the poem is deliberately made meaningfully ambiguous. His “Sailing to Byzantium” is a poem of this type of complex simplicity.
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Mankovsky, Arkady. "“GOOD NIGHT” (1843) BY Ap. GRIGORIEV AND “FEVER” (1847) BY A. FOETH: UNACCOUNTED ASPECTS OF COMPARISON." Lomonosov Journal of Philology, no. 6 (March 19, 2023): 185–96. http://dx.doi.org/10.55959/msu0130-0075-9-2022-6-185-196.
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The poems by A. Grigoriev and A. Foeth mentioned in the title have already been compared in studies of diff erent years (see works by B. Bukhshtab, A. Ilyushin, L. Tatarenkova and M. Maslova in the “References”). However, it appears that not all possible aspects of comparison were taken into account; fi rst of all, the subject of study did not cover poetry as such: the features of its structure, imagery, poetic technique, etc. Th e author attempts to fi ll this gap: the subject of his attention is primarily the “semantic halo of meter” in both poems (the question was partially addressed by M. Gasparov with regard to Grigoriev’s poem). Th e analysis of the lexico-semantic connections in Ap. Grigoriev’s poems (which are the focus of our research) helps us better understand their composition; the subject-object analysis of both poems also yields results. Th e comparison of Grigoriev’s “Good Night” with Lermontov’s “Cossack Lullaby” (“Kazach’ja kolybel’naja pesnja”), which seems to lie on the surface, still has some potential and might well contribute to an understanding of the composition of both poems. Th e same applies to the comparison of Foeth’s poems with Pushkin’s “Winter Evening” and “Devils” (“Besy”) which had a certain infl uence on the younger poet. It is also important to take into account the immediate context of both poets’ work, in which the poems should be considered: for Grigoriev it is a free translation of Mickiewicz’s “Dobranoc”, which appeared in print simultaneously with the poem in question; for Foeth it is some poems from the “Ballads” cycle, which includes “Fever”.
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Hahn, Stephen. "William Carlos Williams and the Subject of Aging." William Carlos Williams Review 40, no. 2 (December 1, 2023): 206–42. http://dx.doi.org/10.5325/willcarlwillrevi.40.2.0206.
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Abstract This essay examines how Williams’s approach to the subject of aging in his poetry developed over time, from an early and inchoate desire for deeper knowledge of life to a complex celebration of aging as an integral part of the life process. It argues that Williams’s treatment of aging subjects (whether identified with the lyric speaker of a poem or a person characterized in a poem) is distinct from that of other major poets, encouraging the reader’s empathetic engagement while also pointing up the aging subject’s resistance to care. The essay concludes that Williams’s distinctive view of death, represented in a poem such as “The Descent,” is one of relinquishment rather than resistance.
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İÇLİ, Ahmet. "Traces Of The I And The Other In The Nazires (=Similar Poetry): The Journey Of I To We In The Example Of Mustafa Ali's Poetry And The Nazires written for his poetry With "We" Redıf (=Rhyme)." Akademik Dil ve Edebiyat Dergisi 6, no. 3 (October 30, 2022): 156–65. http://dx.doi.org/10.34083/akaded.1169198.
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It is known that the same or similar poems/works were written within the scope of nazire tradition in classical Turkish poetry. Such poems are basically based on writing a similar or better example of a sample or model poem. It is also important that these poems, which are similar in many ways, show the same feelings, dreams, thoughts and goals. In one aspect, the model poem; It can be thought that it was a source of inspiration or an interpreter for other poets who tried to write a similar poetry. The content of the model poem is a guide for other poets trying to express themselves. In addition, defining and positioning oneself through this model poem is a reflection of different emotions and feelings. It is historically significant that the poems, are a mirror of the living world, can deal with similar subjects. It is important that a poet conveys information about himself, that others find traces of themselves around the same poem, and that they express themselves in this way, in terms of being a manifestation of the reality of the information and feelings given by the poets and the reactions they receive. In the context of nazire poetries, it is possible for each poet to describe her/his "I=self" with "we". In one sense, the " personalities" united around the model poem, form the we-consciousness. While this situation establishes a network of relations in terms of togetherness, they actually convey/describe the others around them There are many signs and indications in the poems in terms of containing the information about the poet. The expressions in which the words "I" and "we" are used are at the forefront of the issues that explain the characteristics of the poets, Gelibolulu Mustafa Ali's poem with "we" redif (rhyme, repeated voices), can be evaluated in this context and can be supported by historical data. This poem also carries clues about Ali's personal attitudes and behaviors, worldview, dreams and emotions. The poems written similar to this poem of Ali are important in that both carry traces of their poets and contain the elements of "I" and "other" around the "we" redif. In this article, the poem of Gelibolulu Mustafa Ali from and the nazires written to his poem will be evaluated in terms of conveying the self/I and other elements within the framework of the nazire tradition and then the content analysis.
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Uljasz, Adrian. "Rękopisy wierszy Kajetana Koźmiana w zbiorach Biblioteki Naukowej PAU i PAN w Krakowie." Rocznik Biblioteki Naukowej PAU i PAN 65 (2020): 71–81. http://dx.doi.org/10.4467/25440500rbn.20.005.14164.
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Manuscripts of Kajetan Koźmian’s Poetry in the Academic Library of the Polish Academy of Art and Sciences and the Polish Academy of Sciences Collection The Academic Library of the Polish Academy of Art and Sciences and the Polish Academy of Sciences collection contains a great number of works by a poet Kajetan Koźmian (1771–1856). Especially valuable are the authorial manuscripts of the writer’s works. The paper deals with some chosen autographs of K. Koźmian’s poems available in the Academic Library of the Polish Academy of Art and Sciences and the Polish Academy of Sciences. An annex has been added at the end – a publication of K. Koźmian’s poem Cantata for the Coronation of Napoleon after the author’s manuscript which has yet to become a subject of any academic research. The paper discusses the following authorial manuscripts of K. Koźmian’s poems with some elements of analysis: To Zygmunt Krasiński (Poem I), To Wincent Krasiński in 1843, An Anacreontic to S. Małachowski, Cantata for the Coronation of Napoleon, On Hegel’s Philosophy in 1848, 77 years of age, A Poem to Franciszek Wężyk on the Road to Karlsbad spa. The paper refers to a research on some manuscripts of K. Koźmian’s poems done by a literary historian Piotr Żbikowski (1935–2011).
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वाग्ले Wagle, महेन्द्र Mahendra. "'हर्कबहादुर' कवितामा समसामयिक यथार्थ Contemporary Reality in the Poem 'Hark Bahadur'." Academia Research Journal 3, no. 1 (January 3, 2024): 148–58. http://dx.doi.org/10.3126/academia.v3i1.61274.
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रस्तुत लेखमा कवि दिनेश अधिकारीको ‘हर्कबहादुर’ कवितालाई अध्ययनको विषय बनाइएको छ । यसमा समसामयिक यथार्थवादी चिन्तनको आधारमा कृतिको विश्लेषण गरिएको छ । दिनेश अधिकारी समसामयिक विषयमा कविता लेख्ने आधुनिक कवि हुन् । उनको ‘हर्कबहादुर’ कवितामा समसामयिक यथार्थवादी दृष्टिकोण रहेको छ । साहित्यमा प्रस्तुत गर्ने विषयमा रचनाकारको तत्कालीन परिवेशसँग जोडिएर आउने समाजमा विद्यमान् रहेका विषय समसामयिक यथार्थवादी चिन्तनसँग सम्बद्ध हुन्छन् । यसमा यसै चिन्तनमा अटाउने युगबोध, सचेतता, मानवता, स्वतन्त्रता, विश्वबन्धुत्वजस्ता विषयलाई केन्द्र बनाइएको छ । यसमा विश्लेष्य कविता ‘हर्कबहादुर’मा एक निम्नवर्गीय व्यक्तिको प्रतिनिधित्व हर्कबहादुरले गरेको छ । यस कवितामा हर्कबहादुरले सामना गरेको शोषण, दमन, असमानता, अन्याय आदि समाज र राज्यसत्ताका कारक हुन् । गरिबी, अभावग्रस्त जीवन र विवशता निम्नवर्गीय वास्तविक चित्र हुन् । यस कविताको विषय निम्नवर्गीय व्यक्तिले भोगेको जीवन नै हो जुन समसामयिक यथार्थसँग सम्बद्ध छ । यस लेखमा अध्ययनलाई व्यवस्थित गर्नका लागि सामग्रीहरूको सङ्कलनमा पुस्तकालयको उपयोग गरिएको छ । यसमा आर्थिक विषमता र दयनीय अवस्था, मानवता, युगबोध र सचेतता तथा समानता, स्वतन्त्रता र विश्वबन्धुत्व जस्ता उपशीर्षकलाई विश्लेषणको विषय बनाइएको छ । सैद्धान्तिक पक्षसँग सम्बद्ध सामग्रीहरूलाई वर्णनात्मक विधिको उपयोग गरिएको छ भने कविताका सान्दर्भिक पङ्क्तिहरू उदाहरणका रूपमा समावेश छन् । यसमा ‘हर्कबहादुर’ कवितामा निम्नवर्गीय जनका समस्या टटकारो देखिएको र उनीहरूको गास, बास र कपासको समस्यालाई समाधान गर्नेतर्फ सबै लाग्नुपर्ने भाव व्यक्त गर्ने समसामयिक यथार्थ रहेको निष्कर्ष निकालिएको छ ।
In this article, the poem 'Hark Bahadur' by the poet Dinesh Adhikari, has been made the subject of study. In it, the poem is analyzed on the basis of contemporary realist thinking. Dinesh Adhikari is a modern poet who writes poems on contemporary issues. His poem 'Hark Bahadur' has a contemporary realistic approach. The topics presented in literature are related to contemporary realist thinking in connection with the current environment of the author. It focuses on topics such as understanding of the age, awareness, humanity, freedom, and world brotherhood, which are based on this thought. In this analytical poem 'Hark Bahadur', a lower class person is represented by Hark Bahadur. In this poem, the exploitation, oppression, inequality, injustice, etc. faced by Hark Bahadur are factors of society and state power. Poverty, lack of life and constraint are the real picture of the lower class. The subject of this poem is the life experienced by the lower class people which is related to the contemporary reality. In this article, the library has been used in the collection of materials to organize the study. In it, subheadings like economic disparity and miserable conditions, humanity, understanding of the age and awareness and equality, freedom and world brotherhood have been made the subject of analysis. Descriptive method is used for the materials related to the theoretical aspect while the relevant lines of the poem are included as examples. In this, it is concluded that in the poem 'Hark Bahadur', the problems of the lower class people are acute and it is a contemporary reality that expresses the feeling that everything should be done towards solving their problems of grass, housing and cotton.
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Tidjani, Ridwan Adewale. "Al muqaranah Al Adabiyah Baina Imru Al Qais wa Lord Alfred Tennysson." (الطموحات ) EL-THUMUHAT 2, no. 1 (April 22, 2020): 1–13. http://dx.doi.org/10.25299/elthumuhat.2019.vol2(1).2340.
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Abstract
Imru-l-qais remains an idol in the ancient Arabic poem. He had transformed it by introducing some new metaphor and rhetoric, which Arabian poets stayed on for decades after. Also, Imru-l-qais poem has been able to move outside Arabian peninsula into other international literature. This paper focused on one of his greatest poem (Almuhalaqoh) and how influencial this work was received by poets in their different literature - English, French, Dutch, and Russian. Alfred Lord Tennyson's _Locksley_ _Hall_ (1892) was was inspired by Imru-l-qais' poem. He read it, diggest it, and reproduce it in English form. However, this paper uses the comparative method to review the influential aspect between the two works. Therefore, the paper sought to reveal the confluences of the two poems substantively, which the result of the comparision showed that they dealt almost with the same subject within the poem; as well as meeting up on the structure and rhythm level. Historically, the connection between the two poems emerged through the translation of some Arabic Poems and its explanation by William Jones (1794), Johann Wolfgang von Goethe (1832) and others.
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B. Oueijan, Naji. "The Amorous Dynamics of Romanticism." International Journal of Arabic-English Studies 4, no. 1 (January 1, 2003): 16–30. http://dx.doi.org/10.33806/ijaes2000.4.1.2.
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If a poet writes a poem, it is because he/she loves poetry; and if he/she loves poetry, it is because he/she loves the elements that warrant poetic experience. These elements, including the poet himself and all that constitutes a poem (the subject matter, poetic diction and form), act intimately one upon the other to produce poetic experiences. The agent that activates the interaction of all of these elements is amour; it is a love liaison, which in Romanticism, is principally invigorated by spontaneous powerful feelings. In this work, 1 claim that in Romanticism an affaire d'amour takes place between the self and the other, the poet and the poem; this culminates with amorous moments (ecstatic poetic experiences), which Wordsworth would call "spots of time" and Shelley, "visitations of the divinity". The dynamics of amour are motor forces that seem to embrace, exalt, and serve the poet-lover..
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Masalov, Aleksei E. "IDEM-FORMA, METABOLA, IDENTITY. IMAGE STUCTURE OF THE POEM BY VLADIMIR ARISTOV "THE DOLPHINARIUM"." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2020): 128–39. http://dx.doi.org/10.28995/2686-7249-2020-9-128-139.
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In the article, the author accomplishes analyzing the poem “Dolphinarium” by Vladimir Aristov, in which the poet expresses his search for “the space of general likeness” and a common language, a common corporality. He denominated the work in that vein a concept of “idem-forma”, which means and a way of worldview and a special technique of creating poems and a method in analyzing artistic texts. Such a concept correlates with the concept of metabola, which was introduced by M.N. Epstein for analysis of the metarealism image structure and its poetic language. In V. Aristov’s poetics metabola is one of the elements of idem-forma, which expresses relationships of syncretism, synthesis, and identity at the trope level. While the poet only proposes the term “idem-forma” in the early 21st century, the image structure of the poem “The Dolphinarium” shows us that V. Aristov searches on that count all his literary way. The specific features of that technique usage in the poem are the synthesis at the chronotope and focalization levels, the subject neo-syncretism and the images-metabolas, expressing both the re-semantisation of details in the Soviet life, and the synthesis of worlds – the human and natural, the bodily and linguistic.
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Richardson, LeeAnne. "Michael Field’s “A Dance of Death”." Nordlit 15, no. 2 (March 26, 2012): 71. http://dx.doi.org/10.7557/13.2050.
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The 1912 poem "A Dance of Death" by Michael Field (pen name of Katherine Bradley and her niece Edith Cooper) depicts Salome in an alternate version of the biblical story: this Salome dances on a frozen river, falls through the ice, and is decapitated on a jagged edge. Nonetheless, her beautiful head continues dancing over the frozen river. This poem is highly unusual, especially in the context of the other poems in the postconversion volume Poems of Adoration, because it questions, rather than submits to, authority. In re-writing a familiar Christian tale, as well as a familiar decadent theme, Field uses the poem to assert the supremacy of their artistic vision, which (despite their ardent Catholicism) cannot be subject to any law outside themselves. Like the continually dancing head of Salome, which continues to create beauty even after nature (and perhaps God) has struck it down, the poet is subjugate only to her own law and creates without boundaries or restrictions on her art. Bradley and Cooper were acutely aware of their authorial persona (actively taking not only a masculine but also a singular poetic identity), and their mode of reconciling the apparent contradictions of this identity are mirrored in their presentation of Salome in a "Dance of Death."
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Hame Bichkol Mohammed, Ahang Shafique. "Signs of the country in the poems of Qubadi Jalizadeh, an example of the poetry of the martyr walks alone, the gardens of Melek Taus." JOURNAL OF LANGUAGE STUDIES 7, no. 2 (December 31, 2023): 96–131. http://dx.doi.org/10.25130/lang.7.2.5.
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The subject of our research is how to refer to the national theme in qubadi Jalizadeh's poems. We have tried to express patriotic thoughts and intentions in all its dimensions within our discussion, as well as in detail the signs by which the poet expresses his mentally distressed feelings for his country. One of the most important points we have reached is that the poet has spoken the most beautiful poem for his country, with a warm and passionate passion, which was a high imagination, a creative thought, an emotion, and a poetic imagination, the family of his simple words, simple expressions, which always carried a national and patriotic message.
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Mahmoud-Mukadam, Abdur-Rasheed, and Abdullah Akanni Shithu. "Poem of Isa Alabi Abubakar on 11th of September Remembrance (Phonetic Morphological Study)." Lisanudhad: Jurnal Bahasa, Pembelajaran, dan Sastra Arab 10, no. 01 (August 24, 2023): 23–53. http://dx.doi.org/10.21111/lisanudhad.v10i01.8969.
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Human speech consists of successive sounds, and these sounds are interconnected and composed of groups to form words, then these words are organized into sentences and phrases to lead to a clear intended meaning from the speaker to the same listener. It is a study of the September Eleventh (11) memorial poem by the poet Isa Alabi at the phonemic and morphological levels that aims to show features and phonetic connotations in the poem and what the names of the attributes contained in it are. The study resulted that the descriptive analytical approach and came to the most important results: (1) the presence of the main syllables in the poem with the absence of secondary syllables (2) a perfect fit between sound and meaning (3) good selection of words that suit the nature of the poem (4) the names of the subject are the most frequently mentioned in the poem among the adjective
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Baransi, Rima Abu Jaber. "How the Visual Form of the Poem Serves the Poetic Indications? An Analytical Reading of Two Poems by the Poet Anwar Saba." European Journal of English Language and Literature Studies 12, no. 1 (January 15, 2024): 1–19. http://dx.doi.org/10.37745/ejells.2013/vol12n1119.
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The place in the creative space of poetry has always been a focus of sight, and a subject that occupies the pioneers and scholars of this art, who have counted the place as an integral part of the identity of both the poetic text and the poet alike. The concept of 'place' is not exclusive to the physical space or geographical space in which events take place but an important element that demonstrates the relationship between man and place, identity, belonging, and the origins that bind man to the past and present, and the characters with their concerns, feelings, pains and hopes. In my talk about the place in the poem, I do not deal with these concepts only; I actually Igo beyond it to talk about the space that has geometric dimensions over which words are arranged, how these words are designed, the relationship of blackness to whiteness above this visual space, or what we might call the visual formation of the poem. This study seeks to discuss the features of the thematic and visual location in two selected poems of the poet Anwar Saba, to monitor the relationship between the spatial expressions mentioned in each poem and their visual spatial formation, and how they serve or complement each other, and their visual spatial formation, and how they serve or complement each other.
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Deudney-Theron, E. "Metapoëtiese raakpunte in die poësie van Gerrit Kouwenaar en Breyten Breytenbach." Literator 12, no. 2 (May 6, 1991): 49–58. http://dx.doi.org/10.4102/lit.v12i2.758.
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Prompted by the poem "brief in een fles voor breyten" in which a certain poetic relationship between the Dutch poet Gerrit Kouwenaar and the Afrikaans poet Breyten Breytenbach is implied, the author of this article traces the outlines of a meta-poetics common to both poets and through which their poetry has intertextual links with the poetics of among others Poe, Mallarme and Wallace Stevens. The following common denominators are found in Kouwenaars’s body of works and Breytenbach’s ("yk") and Lewendood: the proliferation of the subject, the ‘killing’ of life in language, the extended metaphor of food, eating and excretion and the living poem as a present absence.
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Hosseini, Sajed, and Payam Babaie. "Artistic Immortality as an Objet Petit a: The Subject of Samuel Taylor Coleridge’s “Kubla Khan”." Khazar Journal of Humanities and Social Sciences 25, no. 1 (April 2022): 5–16. http://dx.doi.org/10.5782/2223-2621.2022.25.1.5.
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This study presents a psychoanalytical reading of Coleridge’s “Kubla Khan” having an eye on Žižek’s theory of the subject. “Kubla Khan” contains a host of components providing an illustration of Coleridge’s psychological status. In such a case, Žižekian approach to psychoanalysis could provide a suitable paradigm for an analytical reading of the poem. The works of Žižek conducted disputatious re-articulations of the subject/object, the displacement of an objet petit a (object of desire) with object-cause of desire, and parallax. Žižek, like Hegel, accentuates the one-to-one relationship of the subject and the object while introducing parallax and the ticklish subject, which are later followed by tickling object. It is thus possible to illustrate the psychoanalytical status of Coleridge in the course of writing “Kubla Khan.” The poem pictures a path to immortality while it is in search to immortalize its poet too. In this study, it is demonstrated how Coleridge followed his objet petit a, which is ‘artistic immortality,’ in the lines of “Kubla Khan.”
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Tsarcova, Vera B. "INTERPRETATION IN FOREIGN LANGUAGES EDUCATION: PSYCHOLOGICAL ASPECT." Educational Psychology in Polycultural Space 54, no. 2 (2021): 121–29. http://dx.doi.org/10.24888/2073-8439-2021-54-2-121-129.
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The article is devoted to one of the problems of foreign language education – the definition of the role of interpretation in preparing students of special (language) directions to participate in the dialogue of cultures. Interpretation is considered as a phenomenon and as a way of comprehending reality, which allows the subjects of the dialogue of cultures to reach mutual understanding. The main characteristic of interpretation, which is necessary for the purposes of foreign language education, is its psychological character. It is determined by the psychology of the author, the psychology of the work, as well as the psychology of the reader-interpreter. It is proved that the interpretation of a work of art, which has universal, historical and personal plans, has huge epistemological and axiological possibilities. They activate the entire educational potential of interperetation (educational, developmental, cognitive, and educational). Russian Russian poet A. A. Fet (1820–1892) uses the poem “Wir saßen am Fischerhaus” by the famous German poet and publicist Heinrich Hein (1797–1856) and the translation of this poem into Russian to illustrate the interpretation technology. The poem is considered as a space of personal meanings of the author. They are the ones that are subject to interpretation and bring the reader-interpreter back from the poet's world to the modern real world. And the real world is full of unexpected cultural facts, closely related to the content of the work of G. Heine, with distant Lapland and the life of modern lapps. Thus, interpretation is presented as an educational strategy. Together with the strategies of contextualization, philologization and argumentation, it ensures the achievement of the main goal of foreign language education – the creation of an individual who can act as a genuine subject of the dialogue of cultures. The article also emphasizes the importance of the teacher as the organizer of the educational process and the subject of the dialogue of cultures.
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Wood, Chauncey. "George Herbert's "Grief": The Poem, Its Placement, and Its Subject." George Herbert Journal 42, no. 1-2 (2018): 16–28. http://dx.doi.org/10.1353/ghj.2018.0002.
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Mustafa, Ismaeel Ibrahim, and Kawther Mohammed Ahmad. "تشكيل الخطاب الشعري بين المعنى والمقام قصيدة البردة لكعب بن زهير أنموذجا." Journal of University of Human Development 3, no. 4 (December 31, 2017): 268. http://dx.doi.org/10.21928/juhd.v3n4y2017.pp268-281.
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The subject of this study is in the field of discourse, And specifically how to form a poetic discourse, And looks for the most important factors in this regard, It appeared that the poet in the process of artistic construction of the poem takes the context into account, While relying on his technical experience, This will put him in the process of compatibility between influential.
With regard to a poet who lived before Islam and fed a Jahiliyya culture and he wanted to produce a poetic speech in an Islamic context, It becomes more important in the content of his discourse, While seeking to satisfy the consignee he draws from his accumulated culture, And is in negotiations between the two sides.
Our poet “Kaab bin Zuhair” poet Jahili, But he said poetry before the Messenger of Allah, He had to consider his position and the context of his poem, This has resulted in the poem “AlBurda”, It was discussed during the research on the question of meaning and its relationship to human perception.
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ALDULAIMI, Ihsan Hadi Ahmed. "DEATH AND POST-DEATH IN THE POETRY OF AHMED ARIF." Rimak International Journal of Humanities and Social Sciences 4, no. 1 (January 1, 2022): 320–28. http://dx.doi.org/10.47832/2717-8293.15.24.
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The great Turkish poet Ahmed Arif is considered one of the important poets in Turkish literature in the 20th century. He was born in Diyar Bakr on 23rd of April 1923 and died on 2nd of June 1991 in Ankara. Through his life that lasted for 68 years, he published one book about poetry. It was considered the best book to be published in Turkey which makes him different from any other poet. Death as a fact and part of our nature is considered the end of life. The separation of the soul from the body is inevitable. It is impossible that a man can be born again after his death. Hence, there was a great discussion about the nature of our life and the existence of death throughout the whole history of human beings. Specifically, the scientists, philosophers, and thinkers, made scientific activities over humanity and death and what would happen after it. The poets are among the groups who express their opinion concerning this subject arousing different new point of views in their comments and thoughts. The nature of the poem is to think differently and explain it differently too resorting to symbolic language. Hence, the exposition of the beliefs difficult to be understood through poetry and literature create a genuine overflow of thoughts. Ahmed Arif is one of the well-known poets by his valuable thoughts in this subject. I decide to introduce a detailed explanation about life of the great Turkish poet Ahmed Arif as well as his literary orientation and poem. Among his poems, we introduce some information about death and life after death through which I browse all the poems by Ahmed Arif who is considered one of the important poets in Turkish literature in the 20th century. Key words: Ahmed Arif, Turkish Literature, Death, Death and Beyond.
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Kotanchan, R. V. "The Theme of Faith and Faithlessness in Works of A.S. Norov of the 1820s." Язык и текст 9, no. 2 (2022): 49–56. http://dx.doi.org/10.17759/langt.2022090206.
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The article is devoted to actual questions of religious literary criticism. The object of research is the literary process of the nineteenth century. The subject is A.S. Norov’s work. He is a Russian poet of the second circle of the literary process of the nineteenth century. The article contains descriptions of religious problematics and themes of the poem «The Temple», which is the translated version of the poem of A. de Lamartin. This research provides characteristics to religious and philosophical questions of the poem «The Temple». The target of the research is the characteristic of A.S. Norov’s work. Particular attention is paid to the theme of faith and disbelief. The scientific novelty consists of providing new facts about religious problematics of Russian classical literature.
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S, Shini. "The Structure of the Kurunthokai Kurinchithinai Poems on the Basis of the Thinai Theory." International Research Journal of Tamil 4, S-13 (November 21, 2022): 200–204. http://dx.doi.org/10.34256/irjt224s1328.
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The form of poetry is the oldest of literary genres. This form of art, the poem, has many elements. Tolkappiyar's theory of Thinai explains these aspects. Tolkappiyar refers to the objects found in the poem in three categories, namely, the Muthal, the Karu, and the Uri. According to Tolkappiyar, all agam literature would be created into scenes using what is necessary for these materials. The agam literature of the Sangam has been developed with subtle methods of fiction. In agam literature, Thinai elements have been used for the creation of agam. It is noteworthy that all the internal songs of the Sangam are situated in this state. In the structure of Kurunthokai too, the three elements of the Muthal, the Karu, and the Uri have been used for poeticization. These elements are not always combined and poetically composed in all poems. In some of the poems, it is possible to recognize that these three elements are combined, and in some poems, the poems are constructed in conjunction with one or two elements. In compiling the Kurinji Thinai poems in the Kurunthokai, the land-based descriptions or references contained in those poems have supported the movement of the poem on many levels. In Kapilar's poems, Kurinji’s land background is more fictional. Natural themes have been highlighted at various levels in the Kurinji poems. The essentiality of themes can be inferred in places where the subject matter, the underlying theme of the poem, is presented in detail.
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Marinkov, Jelena. "Autopoetic sculpting of Stevan Raičković: Poetic self-consciousness in the poem cycle 'Razgovor sa ilovačom' and the poem 'Iz mraka te, pesmo, zovem, iz ničega'." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 2 (2021): 37–54. http://dx.doi.org/10.5937/zrffp51-29713.
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In this paper, we have analyzed the manifestations of poetic self-consciousness in the poetry of Stevan Raičković in the poem cycle Razgovor sa ilovačom and in the poem from the poetry collection Verses, Iz mraka te, pesmo, zovem, iz ničega. By semantically shaping the motif of the loam, the poetic complementarity between the poem and the cycle was established-the ideal of the poem as sculpture and the meta-lyrical reflection of the poet, evoked by observing the transformation of his own character into a bust. The poem Iz mraka te, pesmo, zovem, iz ničega evokes a symbolic attempt to sculpt the poem, based on visual imagination. Explicit autopoiesis is manifested in this poem-the poetic self-consciousness tries to view the poetic text as a matter that can be manually shaped, and in the end reaches a conclusion about the incompatibility of the means of expression and the assumed result. In the cycle Razgovor sa ilovačom, the means by which the poem is supposed to be materialized also appears to be incompatible with poetic contents, and lyrical subject expresses doubts about the constitutive power of language. The discrepancy between the stativity of the sculpture and the dynamism of the inner life, however, causes a return to words. Self-referentiality in the cycle Razgovor sa ilovačom indicates the implicit autopoiesis manifested in the treatment of the relationship between life and art and the problematization of equivalence between nature and poetry: because the poet tries to fix phenomena from life in the poem, just like the sculptor, he moves away from the dynamism of life. Interpreting the way in which the motif of the loam is shaped in relation to the theme of poetry, demonstrates the development of poetic self-awareness and doubts about the possibility of writing an authentic poem.
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Sukarno, Sukarno. "Revealing the Meanings on William Wordsworth’s Poem Strange Fits of Passion Have I Known." International Journal of Linguistics, Literature and Translation 5, no. 3 (March 13, 2022): 114–26. http://dx.doi.org/10.32996/ijllt.2022.5.3.15.
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This study investigates a literary work, a poem, from a linguistic framework. The aim of this study is to reveal the meanings found in William Wordsworth’s poem ‘Strange Fits of Passion Have I Known’ from systemic stylistic analysis in the framework of Systemic Functional Linguistics and Verbal Art Semiotics. The data were collected by library study and analyzed with a descriptive, deconstructive method and content analysis with an intrinsic objective approach. This result of the study proves that the subject matter of this poem is ‘the poet rode a horse to Lucy’s cottage from the rice of evening till the drop of the bright moon”. The deep level of meaning refers to the last clause complex ‘O that is a mercy, to myself I cried If Lucy should be dead.’ The deeper level of meaning of this poem is about ‘the death of a young girl named Lucy’, and finally, the deepest level or the theme of this poem is about ‘death is a natural part of life cycle.’
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Bodin, Per-Arne. "The Romantic, the Gothic, and the Visual Three Narratives about Amalia von Krüdener and the Russian Poet Fedor Tiutchev." Romantik: Journal for the Study of Romanticisms 3, no. 1 (March 4, 2016): 153. http://dx.doi.org/10.7146/rom.v3i1.23258.
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<p>One poem by the nineteenth-century Russian poet Fedor Tiutchev begins with the line ‘Я помню время золотое’ (or ‘Ia pomniu vremia zolotoe’) [I remember a golden time]. It is about the poet’s early youth, a meeting with a young woman, a spring outing to castle ruins on the Danube. The poem has led to many attempts to determine the exact time and place of this moment and the identity of the young woman. The aim of the article is to show the complex relationship that exists between fiction, reality, and the scholars’ or critics’ meta-level narrative about fiction and reality. I will attempt to demonstrate<br />how three distinct narratives (a romantic, a Gothic, and a visual) can originate in this poem, thereby illuminating and perhaps changing our aesthetic appreciation of the poem. The first two narratives have been established by literary historians. The third and last narrative emerges from a compilation of the paintings and photographs preserved by the woman presumed to be the subject of the poem.</p>
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Scase, Wendy. "“When Ace beareth up Six”: Ever Is Six the Best Chance of the Dice and the Composition and Collecting of Middle English Dice Poems." Chaucer Review 58, no. 3-4 (October 2023): 494–505. http://dx.doi.org/10.5325/chaucerrev.58.3-4.0494.
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ABSTRACT Ever Is Six the Best Chance of the Dice is a Middle English political prophecy found in many manuscripts from the fifteenth to the eighteenth centuries. Unlike most prophecy, it uses dice diagrams or special dicing terms as a code for the individuals or groups who are its subject. Most previous discussion focuses on decoding the dice references. The present article instead investigates the affordances of the language of dice for the poet, and for scribes and readers. Ever Is Six, it argues, creates a new cryptic language by aligning prophecy with the traditions of prognostication by dice found in the Middle English poems Thou that has cast three sixes here and the Chaucerian Chaunse of the Dyse. But whereas these poems offer a key for the interpretation of dice throws, Ever Is Six invites its readers to identify with elite interpretative communities who can crack the code. Its highly variant texts include several impossible throws, increasing the challenge for readers. The numerous copies of the poem testify to its success in attracting interpretative communities to copy, collect, and respond to it. The essay identifies two previously unlisted texts of the poem and offers a new edition.
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Woźniewska-Działak, Magdalena. "Syberie by Norwid." Studia Norwidiana 37 English Version (2020): 43–60. http://dx.doi.org/10.18290/sn.2019.37-3en.
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The article is an interpretation of Norwid’s poem entitled Syberie, one of the works in the Vade-mecum series. Referring to the literature of the subject (inter alia, Zofia Trojanowiczowa, Włodzimierz Toruń), the author puts forward the thesis that the poem is a lyrical masterpiece, maximally condensing the extensive content related to Siberia and the exiles, which is a major subject of 19th-century Polish literature. Norwid’s poem, set in author’s contexts and in the contexts of the epoch, reveals its depth and possibilities of poetic synthesis. In the article, the author proves the “participation” of the work in the three great dialogues of that time provoked by the subject of Siberia.
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MILLER, ANDREW. "Favoring Nature: Herman Melville's “On the Photograph of a Corps Commander”." Journal of American Studies 46, no. 3 (May 9, 2012): 663–79. http://dx.doi.org/10.1017/s0021875811001381.
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This paper involves a close reading of Herman Melville's poem “On the Photograph of a Corps Commander,” published in Melville's 1866 collection Battle-Pieces. Realizing that Melville's poem is one of the first descriptions (ekphrases) of a photograph in verse, the paper explores how Melville's poem uses physiognomy to describe the subject of the photograph: an American Civil War general, who is only identified as “the Corps Commander.” In this way, Melville's poem reflects the nineteenth-century philosophical and popular notions of photography. These notions came to regard photography as a Neoplatonic medium capable of recording and revealing the inner character of its subjects. Relying on these conceptions of photography, Melville's poem describes the photograph of the Corps Commander as having the power to reveal the Platonic absolute of American masculinity, and thus it comes to hail the photograph as a semi-sacred image that has the power to draw Anglo-Saxon American men into a common brotherhood.
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Chirume, Silvanos. "The ‘Stupidity’ of √2." Global Academic Journal of Linguistics and Literature 5, no. 1 (January 19, 2023): 1–2. http://dx.doi.org/10.36348/gajll.2023.v05i01.001.
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This poem is deemed suitable for mathematics students and teachers, lecturers and teacher educators of either college or university undergraduate levels. The poem is intended to encourage teaching and learning of mathematics (e.g., number theory and proofs) and this could be achieved more effectively through humour (which ‘warms’ the classroom environment and reduces fear and anxiety), historical anecdotes, research (to discover new knowledge and verify given points as true or false), innovation, and application. The poem can be recited, acted or dramatised or transformed into a video to be shared amongst the learners. Modern learning theories advocate for learning mathematics in a variety of ways and integrating it with other subjects, and through this poem, student motivation, self assessment and a thorough grasp of the subject matter are envisaged more through action (researching, performing and recitation) rather than only through listening. Thus, the poem contributes to the body of knowledge on constructivist and integrated learning.
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Dr. Goswami Shivdani Giri. "Tracing Eastern Influences in The Fakeer of Jungheera." Creative Launcher 6, no. 2 (June 30, 2021): 76–85. http://dx.doi.org/10.53032/tcl.2021.6.2.12.
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The paper aims at analysing various influences that Henry Derozio underwent in the composition of his Fakeer of Jungheera. The reviewers and commentators, while admitting some poetic merits in the poem, find it largely imitative of Byron and hence greatly wanting. However, a close first-hand study of the poem along with the poet’s notes alluded to it throws light on a number of facts related to its subject matter and style. It is revealed that far from being modelled on Byron's ballads like The Corsair or The Siege of Corinth or The Prisoner of Chillon, it is unmistakably Indian in conception and amazingly rich in local colours and imagery. Even the apparent similarity is superficial, and instead of being a fanciful tale, the Fakeer of Jungheera is the poetic recreation of a real-life episode heard by and believed in by the poet. The paper also examines the art of poetic diction and devices that the poet employs in the poem.
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KIM, Yangsoon. "Eliot’s The Waste Land and Thomson’s The City of Dreadful Night: Exploring a Cityscape and a Soundscape." Journal of the T. S. Eliot Society of Korea 32, no. 2 (January 31, 2023): 27–60. http://dx.doi.org/10.14364/t.s.eliot.2023.32.1.27-60.
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Starting with Eliot’s own acknowledgement of a particular debt toward James Thomson, this study closely compares Eliot’s The Waste Land and Thomson’s The City of Dreadful Night, and examines how the two poets’ interest in London as a subject is manifested in their works and how the cityscape is embodied in each poem. It may be easy to find the thematic similarities from the sterile urban settings between the two poems: the speaker(s)’ quest, the hellish city reality, and the pessimistic overtones. Based on a detailed analysis of both poems, this paper also discusses the types of factors that make The Waste Land a modernist poem, and The City of Dreadful Night a Victorian poem regardless of the differing eras to which each author belongs. The particularized visual images and the acoustic modernity of The Waste Land will be emphasized, as its fragmented sonic dimension including its polyglot and dissonant idioms, songs and noises, and its differing and diverse voices, is strikingly innovative and unique.
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Rygielska, Małgorzata. "Man’s measures. Piotr Mitzner and fundamental anthropological questions." Tekstualia 3, no. 62 (November 28, 2020): 111–22. http://dx.doi.org/10.5604/01.3001.0014.5623.
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The articles concerns various possibilities of interpreting Piotr Mitzner’s poem Jest miarąfrom the volume of poems I po kropce (2013). Three important interpretative contexts for Mitzner’s poem can be identifi ed: 1) different ways of understanding Protagoras’ maxim anthroposmetron consi-dered to be the „magnacharta of Western relativism” (G. Reale); 2) the theoretical and practical implications of the development of craniometry, with its connections to the physical and cultural anthropology of the 19th and 20th centuries (along with references to the ideological use of human skull measurements i.e. during the 2nd World War), the refl ection on human cognitive limitations. The formal aspects of Mitzner’s poem that are crucial for its analysis include repetitions, rhythm and graphic and sound arrangement as well as the construction of the implied subject.
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Johnston, Elizabeth D. "Stripp'd." Excursions Journal 6, no. 1 (January 24, 2020): 1–3. http://dx.doi.org/10.20919/exs.6.2015.203.
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This poem pays stylistic and thematic homage to 18th century writer Charlotte Smith's poem, "Thirty-Eight," which takes as its subject the revelations that come with age. However, the subject of this poem is decidely modern.
Having visited Las Vegas in her "naive" twenties, the author of "Stripp'd" (at age 38) revisits Las Vegas under quite different circumstances: as a professor of humanities attending a working teacher's conference. The poem is a poignant depiction of the vexed relationship between the public nature of teaching and private industry, gesturing as it does toward the ways in which the publishing industry subsidizes education. The speaker of the poem reconsiders the luxuries available to her, via the generosity of publishers, in contrast to the populations of less economically privileged who surround the conference and, in turn, whose labor supports her own leisure.
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Anamika Kumari. "The Poetry of A. K. Ramanujan: In Search of Self." Creative Launcher 4, no. 6 (February 29, 2020): 71–76. http://dx.doi.org/10.53032/tcl.2020.4.6.12.
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Self at the centre of all kinds of search manifests itself in Ramanujan’s art from the very beginning of his creative life and the artist has all through assumed an elusive character till his vision clears; well, but his vision is gained through experience. His vision of the self permeates most of his elusive poems, the poems which have so far been faulted on one count or another. First, perhaps is “The Stridess” which is not by chance, the first poem of Ramanujan’s first volume of poems, and this volume The Striders is also entitled after this poem. Ramanujan concern with the self and hence his idea of the individuality of beings is very much there but misted with an uncanny subject like waterbug and mare, gone veiled under an objectivist style of the moderns.