Relevant bibliographies by topics / War poetry

Academic literature on the topic 'War poetry'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "War poetry"

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Tick, Edward. "War Poetry." Military Behavioral Health 3, no. 2 (April 3, 2015): 92–94. http://dx.doi.org/10.1080/21635781.2015.1032540.

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Tick, Edward. "War Poetry." Military Behavioral Health 3, no. 3 (July 3, 2015): 167–70. http://dx.doi.org/10.1080/21635781.2015.1062282.

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Tick, Edward. "War Poetry." Military Behavioral Health 3, no. 4 (October 2, 2015): 328–30. http://dx.doi.org/10.1080/21635781.2015.1092784.

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Choi, Hie Sup. "Yeats’s War Poetry." Yeats Journal of Korea 49 (April 30, 2016): 255–74. http://dx.doi.org/10.14354/yjk.2016.49.255.

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Patterson, Clare. "Post-War Poetry." Groundings Undergraduate 11 (May 1, 2018): 72–79. http://dx.doi.org/10.36399/groundingsug.11.181.

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The modernist poems “The Waste Land” (1922) and Paris (1919) both respond in oblique ways to the aftermath of the First World War, featuring prominent images of both death and societal decline as well as new growth and restoration. Through close readings which place these two texts within the post-war context and the poetic and literary responses of this period, I examine the ways in which T. S. Eliot and Hope Mirrlees combine emotional and societal responses to the First World War with wider conceptions of civilisation, myth, folklore and cultural history.
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Koethe, John. "Poetry and the War." Antioch Review 62, no. 1 (2004): 88. http://dx.doi.org/10.2307/4614602.

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Thornton, R. K. R., and Tim Kendall. "Modern English War Poetry." Modern Language Review 103, no. 4 (October 1, 2008): 1119. http://dx.doi.org/10.2307/20468059.

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GOLDENSOHN, LORRIE. "DYING IN WAR POETRY." Yale Review 100, no. 2 (2012): 33–57. http://dx.doi.org/10.1353/tyr.2012.0032.

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GOLDENSOHN, LORRIE. "DYING IN WAR POETRY." Yale Review 100, no. 2 (March 3, 2012): 33–57. http://dx.doi.org/10.1111/j.1467-9736.2012.00784.x.

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Einhaus, Ann-Marie. "Women's War Poetry Revisited." Women: A Cultural Review 26, no. 4 (October 2, 2015): 472–75. http://dx.doi.org/10.1080/09574042.2015.1106254.

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Dissertations / Theses on the topic "War poetry"

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Lancaster, Philip George. "The making of a poet : a scholarly edition of Ivor Gurney's poetry, 1907 to Armistice 1918." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/12162.

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Ivor Gurney (1890-1937) was equally gifted as a poet and a composer. While a very small number of pieces of juvenilia survive, arising from his passion for and immersion in literature, he began to write poetry following his enlistment as a soldier in the First World War. In this thesis I have prepared an edition of all of Gurney’s poetry from its beginnings until the Armistice on 11 November 1918. The edition of over two hundred poems incorporates 59 poems and fragments that have not previously been published. I have sought to present this body of poetry in chronological order, and with extensive textual notes and commentary, to chart the development of poems through all stages of draft to fnal poem. This has been made possible by an unprecedented detailed analysis of all Gurney’s manuscripts and a wholesale reorganisation of that extensive collection.
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Hodgson, Katharine Merwinna. "Russian Soviet war poetry 1941-45." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239076.

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Silva, Gelson Peres da. "W. H. Auden's inter-war poetry." Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/91910.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente
Made available in DSpace on 2012-10-24T03:47:34Z (GMT). No. of bitstreams: 1 257997.pdf: 721944 bytes, checksum: b3ccc7d076706bdbd26778aa71933686 (MD5)
This dissertation focuses the historical context of the inter-war period in England and Wystan Hugh Auden#s poetry. Auden#s poetic work has been read, interpreted, analysed and criticised considering his biography, a form of reading that subtly differs from autobiography. I think that his texts are autobiographical pieces that denote the 1920s and 1930s social, cultural, economic and political changes through which England went. For this I analyse autobiographical traces in his poetry and his specific use of ambiguity that constitutes in my point of view a political strategy that shelters the author before the social censorship against homosexuals in that period of the English History. The poet disguises his subjectivity in masks or third person as a protagonist forced to behave performatively in order to survive in his society. The poems show individuals living in a conservative society and their impossibility to live a love relationship in its completion. Protected by ambiguity, the poet is able to keep a place in society free from the cruelties engendered against homosexuals who were considered subversive individuals in that epoch. Auden#s political use of ambiguity is thus a strategy to hide his homosexuality, what elicits his concern with gender matters. Moreover, the poems show the poet#s awareness towards social class. By bringing up gender and class, Auden#s inter-war poetics can contribute to gay, lesbian and queer studies as a form to show socio-cultural views of homosexuality and homosexuals# quotidian lives. Esta tese focaliza o contexto histórico do período entre-guerras na Inglaterra e a poesia de Wystan Hugh Auden. A obra poética de Auden tem sido lida, interpretada, analisada e criticada considerando-se sua biografia, uma forma de leitura que sutilmente difere de autobiografia. Eu penso que seus textos são peças autobiográficas que denotam as mudanças sociais, culturais, econômicas e políticas pelas quais a Inglaterra passou. Para isto, eu analiso os traços autobiográficos em sua poesia e seu uso específico da ambiguidade que se constitui em meu ponto de vista em uma estratégia política que protege o autor diante da censura social contra os homossexuais naquele período da História da Inglaterra. O poeta esconde sua subjetividade em máscaras ou em terceira pessoa como um protagonista forçado a comportar-se performaticamente a fim de sobreviver em sua sociedade. Os poemas mostram indivíduos vivendo em uma sociedade conservadora e sua [dos indivíduos] impossibilidade de viver relacionamentos de amor em sua completude. Protegido pela ambigüidade, o poeta é capaz de manter um lugar na sociedade, livre das crueldades engendradas contra os homossexuais que eram considerados indivíduos subversivos naquela época. O uso político da ambiguidade por Auden é assim uma estratégia para esconder sua homossexualidade, o que demonstra sua preocupação com questões de gênero. Além disso, os poemas mostram a consciência do poeta para com classes sociais. Ao abordar gênero e classe, a poética entre-guerras de Auden pode contribuir para os estudos gays, lésbicos e queer como forma de mostrar as visões sócio-culturais da homossexualidade e das vidas quotidianas dos homossexuais.
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Roi, Caterina <1992&gt. "Wilfred Owen: a new war poetry." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10002.

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L’elaborato finale va ad analizzare il cambiamento e l’evoluzione della poesia di Wilfred Owen, celebre poeta inglese della prima Guerra Mondiale. Lo studio e l’analisi vertono, principalmente, su come è cambiato il suo modo di fare poesia, in particolare grazie all’incontro con il poeta e soldato Siegfried Sassoon. Partendo da un resoconto prettamente biografico della prima infanzia e giovinezza di Owen, per sottolineare come sia nato l’interesse a l’amore per la poesia, è importante mettere in evidenza i modelli poetici. Primo fra tutti uno dei maggiori esponenti del Romanticismo, John Keats, guida e ispirazione del giovane Wilfred. Cresciuto in una famiglia medio borghese a inizio Novecento, Owen entra in contatto con Keats fin dagli studi scolastici e lo accoglie come maestro e insegnante. Prima di arruolarsi nell’esercito e prendere parte al massacro che fu la Prima Guerra Mondiale, due esperienze segnano la vita e la poetica di Owen. Nel 1911 diventa aiutante del Vicario in una piccola parrocchia, a Dunsden, e nel 1913 parte per la Francia per fare l’insegnante. Entrambi i viaggi lasciano un segno nella vita del giovane, e sono fondamentali per la sua crescita come scrittore. Tramite l’analisi di alcune delle più significative poesie scritte durante quegli anni, è possibile vedere come il germe della scrittura sia presente, ma ancora molto acerbo. Nel 1914, con lo scoppio della guerra, Owen si interroga sul suo destino. Sarà il conseguente arruolamento nell’esercito e l’esperienza della vita in trincea che segnerà il punto di rottura con il resto. Per quanto riguarda la formazione poetica, la nascita di Wilfred Owen, il grande “war poet”, avviene grazie all’incontro e all’amicizia con Siegfried Sassoon. I due poeti si incontrano nel 1917 a Craiglockhart, ospedale di guerra vicino ad Edimburgo. Il rapporto personale va di pari passo con quello professionale, Sassoon diventa maestro e mentore per Owen, che grazie a lui inizia a dar voce all’orrore sperimentato in guerra. Proprio durante la permanenza qui scrive tre delle più celebri poesie, ‘Anthem for doomed youth’, ‘Disabled’ e ‘Dulce et Decorum Est’. L’importanza di questo incontro si rivela dal punto di vista poetico; Sassoon introduce Owen ad un nuovo modo di fare poesia e di raccontare la guerra. Owen rimane sempre fedele ad un tono quasi Romantico di poesia, non abbandonando mai la prima influenza Keatsiana, ma impara a coadiuvare l’orrore e la devastazione della guerra usando nuovi metodi di poesia, come la famosa para-rima. In conclusione, tramite l’analisi delle sue poesie si può notare come sia stato prezioso e importante l’aiuto e il sostegno di Siegfried Sassoon, è probabile che senza di lui non Owen non sarebbe stato il poeta che conosciamo, ed è sicuro che è merito suo se nel 1920 è stata pubblicata la prima collezione di poesie del poeta anglosassone.
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Khan, Nosheen. "Women's poetry of the First World War." Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/66938/.

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This thesis seeks to study women's poetic response to the First World War a hitherto neglected area of the literature inspired by the war. It attempts to retrieve from oblivion the experience of the muted half of society as rendered in verse and document as far as possible the full range of the poetic impact the war made upon female sensibility. It is thematic in structure and concentrates upon the more recurrent of attitudes and beliefs which surface in women's war writings. The thematic structure was adopted to cover as wide a range as possible of the ways the historical experience could be met and interpreted in literature. This study takes into account the work of the established writers of the period as well as the amateur versifiers who made war their subject. The first chapter discusses verse which defines the nature of war as apprehended by the female consciousness. Chapter Two examines the poets' use of religious concept and image to lend meaning and purpose to an event entirely at variance with the ideals employed to explain it. The third chapter considers the exploitation of the perennial poetic subject of nature to interpret war by accommodating it into the language and thought of an apparently alien literary tradition. War as it impinged upon the consciousness of people on the Home Front is discussed in Chapter Four; it is partly concerned with revising the calumnious images of women in war time as set out by the soldier poets. Chapter Five looks into the writing of those women who wrote out of their experience of working in the various organisations which were an integral part of the machinery of warfare. War as an experience of suffering - suffering peculiar to the female - defines Chapter Six. The purpose of this study has been to suggest the variety of literary responses to the First World War by those who, at great cost, produce the primal munition of war - men - with which their destinies are inextricably ,linked. As part of a response to a particular historical event, the literary interpretation of which has conditioned modern war consciousness, women's war poetry is not without relevance for it adds a new dimension to the established canon of war literature and correspondingly a new vista to understanding the truth of war.
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Loxley, James William Stanislas. "Royalist poetry in the English Civil War." Thesis, Royal Holloway, University of London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319509.

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Leadingham, Norma Compton. "Propaganda and Poetry during the Great War." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1966.

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During the Great War, poetry played a more significant role in the war effort than articles and pamphlets. A campaign of extraordinary language filled with abstract and spiritualized words and phrases concealed the realities of the War. Archaic language and lofty phrases hid the horrible truth of modern mechanical warfare. The majority and most recognized and admired poets, including those who served on the front and knew firsthand the horrors of trench warfare, not only supported the war effort, but also encouraged its continuation. For the majority of the poets, the rejection of the war was a postwar phenomenon. From the trenches, leading Great War poets; Owen, Sassoon, Graves, Sitwell, and others, learned that the War was neither Agincourt, nor the playing fields of ancient public schools, nor the supreme test of valor but, instead, the modern industrial world in miniature, surely, the modern world at its most horrifying.
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Ho, Tai-Chun. "Civilian poets and poetry of the Crimean conflict : the war at home." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/8730/.

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Cast in the shadow of the soldier-poets of the First World War, the Civilian poets of the Crimean War (1854-56) have long been dismissed as ill-informed patriots. Challenging this long-standing assumption, this thesis argues that Crimean War poetry constitutes a distinctive category of war poetry which should be studied in its own right, and that reading a civilian’s war poem requires a careful consideration of the poet’s engagement with the epistemological, ethical and formal implications of dealing with war and suffering at several removes. For mid-nineteenth-century critics and poets the distant war in the Crimea was not only a media war but also a literary one, during which they drew on established traditions and forms to negotiate with revised conceptions of the role and genre of war poetry. These conceptions were in turn being constantly updated and contested by modern forms of reportage, particularly telegraphic dispatches and photographs. This thesis considers the artistic endeavours of a wide range of civilian poets including Alfred Lord Tennyson, his friend Franklin Lushington, the ‘Spasmodic’ Sydney Dobell, the working-class Chartist Gerald Massey, the Punch contributor Tom Taylor, the satirist Robert Brough and anonymous poets whose works appeared in newspapers, journals and magazines at the time. In doing so, it seeks to provide fresh, historically nuanced readings of the cultural impact and legacy of their poetic output. This thesis also argues for a differentiation between early and late poetic responses. Burdened with their knowledge of the suffering caused by their government’s mismanagement of the war, civilian poets from January 1855, set out to challenge established conventions of war poetry and experiment with sophisticated poetic forms other than the lyric. They drew on a range of formal resources, including the sonnet, satires and dramatic monologue to write new kinds of documentary, questioning, or even satirical war poetry. As such, their poetic responses were not intended to arouse readers’ patriotic sentiment and to advocate the government’s military campaign as did traditional patriotic poetry, but to perform a wide variety of political critiques- to challenge the political elite’s prosecution of the war and the dominant class system; to commemorate the bodily pain of the wounded; to give voice to the emotional suffering of civilians remaining at home during the war; to ease the public’s anxiety about the welfare of soldiers’ families, and to explore the trauma of war.
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Rousseau, Jacques. "Dispatches from an older war." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17457.

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Masters, James Marvin. "Poetry and civil war in Lucan's Bellum Civile." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.276516.

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Books on the topic "War poetry"

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Brunner, Edward. Cold War poetry. Urbana: University of Illinois Press, 2000.

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Harvey, Anne. In time of war: War poetry. Glasgow: Blackie, 1987.

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1933-, Harvey Anne, ed. In time of war: War poetry. London: Blackie, 1987.

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Lyon, Philippa, and Nicolas Tredell, eds. Twentieth-Century War Poetry. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1.

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Theologische Universiteit van de Gereformeerde Kerken in Nederland., ed. War poetry: Een collectie. Kampen: Theologische Universiteit van de Gereformeerde Kerken in Nederland, 1988.

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1948-, Fuller Simon, ed. The Poetry of war. London: BBC Books, 1990.

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Keenaghan, Eric. Queering Cold War poetry. Columbus: Ohio State University Press, 2009.

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Theologische Universiteit van de Gereformeerde Kerken in Nederland., ed. War poetry: Een collectie. Kampen: Theologische Universiteit van de Gereformeerde Kerken in Nederland, 1988.

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1968-, Lyon Philippa, ed. Twentieth-century war poetry. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2005.

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John, Hollander, ed. War poems. New York: Knopf, 1999.

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Book chapters on the topic "War poetry"

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Campbell, Matthew. "Poetry and War." In A Companion to Twentieth-Century Poetry, 64–75. Malden, MA, USA: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470998670.ch6.

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Hart, Jonathan. "War, Violence, Poetry." In The Poetics of Otherness, 83–121. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137477453_6.

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Piette, Adam. "First World War Poetry." In A Companion to British Literature, 195–209. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch87.

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Emig, Rainer. "Making War Poetry Contemporary." In A Companion to Poetic Genre, 543–54. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444344318.ch38.

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Labbe, Jacqueline M. "Mediating History: War Poetry." In Writing Romanticism, 49–77. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306141_3.

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Hamburger, Michael. "Internationalism and War." In The Truth of Poetry, 148–79. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003261339-7.

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Footitt, Hilary. "Poetry, Parables and Codes." In Languages and the First World War: Communicating in a Transnational War, 115–27. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137550309_7.

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Lyon, Philippa, and Nicolas Tredell. "The First World War." In Twentieth-Century War Poetry, 22–58. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1_3.

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Lyon, Philippa, and Nicolas Tredell. "The Second World War." In Twentieth-Century War Poetry, 91–127. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20912-1_5.

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Sherry, Vincent. "War and Empire." In A Companion to Modernist Poetry, 119–31. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch10.

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Conference papers on the topic "War poetry"

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Omar, Aram Wasman. "The View of War in the Poetry of the 1st World War." In 8TH INTERNATIONAL VISIBLE CONFERENCE ON EDUCATIONAL SCIENCE AND APPLIED LINGUISTICS. Ishik University, 2017. http://dx.doi.org/10.23918/vesal2017.a2.

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Malitska, A. D. "Mars and muses. Poetry in the time of war." In INTERACTION OF THE EXPERIENCE OF POST-YUGOSLAV AND UKRAINIAN AREAS: CULTURAL, LINGUISTIC, LITERARY, ARTISTIC, HISTORICAL, AND JOURNALISTIC ASPECTS. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-393-4-19.

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Sangriso, Francesco. "Consonance and Dissonance in Skaldic Poetry on War and Peace." In Fiat pax. Le désir de paix dans la littérature médiévale. Fabula, 2023. http://dx.doi.org/10.58282/colloques.9702.

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Pilar, Martin. "THE VISION OF WAR IN POETRY AND FICTION OF JACHYM TOPOL." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s27.075.

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Nikolaev, Dmitry. "“HAPPY VICTORIOUS NEW YEAR, INVINCIBLE COUNTRY!”: PRAVDA'S POETRY IN THE BEGINNING OF 1943." In FIRST KULAKOV READINGS: ON THE FIELDS OF RUSSIA'S MILITARY. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3635.khmelita-19/99-128.

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In the article, the poetic works published in the newspaper Pravda in January-March 1943 are considered for the first time as an unity of texts. The pathos, themes, poetics, style and genre features of the poems of N. Aseev, D. Bedny, A. Bezymensky, E. Dolmatovsky, N. Zaryan, V. Inber, S. Marshak, M. Rylsky, A. Surkov, N. Tikhonov, S. Shchipachev and others are analyzed. Poetry is considered in the context of the main historical events of the time - the break of the siege of Leningrad, the victory in the Battle of Stalingrad, as well as main soviet holidays and memorable dates. It is proved that the relevance and even concreteness of the poetry, its close connection with the news from the front is combined with the maximum generalization, and the actual journalistic, agitation and propaganda component requires in poetry solutions that maximally affect the mass reader such as folklore genres and images, traditions of classicism, satire, etc. Poetry on the pages of Pravda from the first days of 1943 has been claimed as poetry of victory, and the emotional content of many poems can be expressed by N. Aseev's formula: “Glee - rage // Stand up to help // Until the decisive end”. It is particularly noted that the poems presented in ‘Pravda' by poets of different nations of the USSR should reflect the unity of the multinational country’s in The Great Patriotic War
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Bovt, A. Yu. "The Reflection of Peculiarities of Serhii Zhadan’s War Poetry in English Translation." In PHILOLOGICAL SCIENCES AND TRANSLATION STUDIES: EUROPEAN POTENTIAL. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-261-6-55.

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MEHMETALI, Bekir. "THE RULE OF POETIC NECESSITY IN CONTEMPORARY POETRY." In III. International Research Congress ofContemporary Studiesin Social Sciences. Rimar Academy, 2021. http://dx.doi.org/10.47832/rimarcongress3-10.

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Poetry flowed from the tongue of the Arab poets in a natural flow in the early days of his era, and it preceded its cradle in the pre-Islamic era, and accordingly the saliqa and innate nature took place. Classical Arabic in which he produced his poetry, in rules and linguistic laws, and by analogy with them, his poetry will be studied in meaning and structure, and that he will be mistaken in saying this, and the linguist will seek to find linguistic ways to penetrate the poet into the Arab rule that was made by the grammatical extrapolation. Hence the term poetic necessity, which is to find a nice linguistic way out because the poet's statement is not inconsistent with the made linguistic rule. There was a lot of disagreement between the grammarians on this subject. The problem of the research is manifested in the permissibility of using the poetic necessities of the contemporary poet who lives in our time, or the impermissibility of that, and he wonders: Is it permissible for the contemporary poet to use the poetic necessities that the ancients used? And how much is permissible to use it? Does he use it consciously and intentionally, compared to the ancients, or are they linguistic errors that he falls into without being aware of them? The research is theoretical and applied on two collections of poetry by two contemporary Arab poets who live in a nonArab spatial and linguistic environment (Turkey), namely Ayman al-Jabali and Khaled alMuhaimid. The study relied on the descriptive approach, which describes some of the poetic necessities used by the ancients, and which were mentioned by specialized sources and references. The importance of the research lies in its problem and topic, and the conclusions drawn from the research are presented at the end
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Storozhuk, Alexander. "BAI JUYI AND ORIGINS OF THE NEW YUEFU." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.07.

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The first poetic cycle of 50 New Yuefu was written by Bo Juyi (白居易, 772–846) in 809 after the works of by his friend Li Shen (李紳, 772–846). Bo Juyi wrote it simultaneously with another great Tang poet Yuan Zhen (元稹, 779–831), and the new literary style has been known for centuries as Yuan-Bo (元白). Both of the poets shared the same attitude towards the role of letters in the society and aspired to implement their credo at the official posts they held. The origin of New Yuefu philosophy dates back at least to 806, when he together with Yuan Zhen created the illustrious political composition known as Celin (策林), where the bulk of their sociopolitical concepts were pronounced and stated. Most of these notions, inspired by Fugu movement, seem quite predictable and naive: the belief in an omni harmonizing role of ancient ritual, claim of necessity to promote worthy and knowledgeable, appeal to stop war and cut taxes. With all that this was a declaration of primary of benevolence over quasi orderliness, and this idea fully revealed later in New Yuefu poetry. Surely enough, New Yuefu have not been limited to the 50 poems, inspired by Li Shen. The new poetic experience gave birth to a whole literary trend, covering the most burning, up-to-date issues of contemporaneousness as well as the nearest past, picturing typical characters of different strata, pointing out social diseases and perils. The absolute trust in uppermost ritual role of a text has been embodied in such texts as, for example, Song of Eternal Grief (《長恨歌》), where the infamous story of Emperor Xuan-zong (玄宗, 685–762) and his favorite concubine Yang Gui-fei (楊貴妃, 719–756) found a new interpretation, that later would have become mainstream. Thus, the main conclusions are: 1) New Yuefu had a philosophic basement, carried out long before the first poem of the new style appeared; 2) its main goal was to revive the actual social role of poetry; 3) it had a great impact on the later Chinese poetry and social thought.
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"Poetry as Resistance and Recovery: An Examination of Shock in the Poetry of Wilfred Owen and American Veterans of the Iraq War." In June 25-26, 2018 London (UK). Higher Education And Innovation Group, 2018. http://dx.doi.org/10.17758/heaig4.h0618404.

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Hlushkova, S. A. "Poetry as an act of reflection against the background of the Russian-Ukrainian war." In INTERACTION OF THE EXPERIENCE OF POST-YUGOSLAV AND UKRAINIAN AREAS: CULTURAL, LINGUISTIC, LITERARY, ARTISTIC, HISTORICAL, AND JOURNALISTIC ASPECTS. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-393-4-17.

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Reports on the topic "War poetry"

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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina, and Ekaterina O. Shmeltser. Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis. [б. в.], July 2020. http://dx.doi.org/10.31812/123456789/3864.

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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Los, Josyp. Панорама сенсів: аргументи авторитетів світоглядної публіцистики. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11731.

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The article deals with the problem of the meaningfulness (essence) of the worldview journalism in the context of the argumentative resources of the work of influentive authors, for which the missionary role of the word is decisive. The search for meaning has been debated for centuries by orators, philosophers, psychologists, writers, sociologists, historians, journalists, and so on. In addition to other factors, a combination of the principles of worldview journalism and conceptual humanitarianism gives effective results. The author explores the acute problem of the effectiveness of a journalistic text through the prism of knowing the truth, meaning, since this is precisely where the source of wisdom is found; we are talking about spirituality, culture, historical memory. As influental authors proved with their arguments, the collection of facts is not enough, it is important to find the meaning of the existence of the individual, communities, and humanity. A number of examples show how the speakers of worldview journalism use all texts, not only from the archives: we are talking about poetry, art, in general, about literature, which revealed the most truth. Figuratively speaking, it is not only about the world of borders, it is important to consider horizons. Turning information into a commodity, focusing on “seasonal” interest based on the materialism of facts, or the inadequacy of many concepts and categories, the faking of media, relativity, obscurity of texts, anti-culture, in other words, the revolution of nihilism inevitably relativizes the very essence of journalism. If creative life is a manifestation of the freedom of the spirit, based on authentic truth, then we should strive to achieve the “extension of vision”, to master combinatorial (combinative) thinking. The ability to think in this way differs from ordinary logic in which the main universal thing remains in the center of attention, and the personality is not lost in individual details. Consequently, we can build a genealogy of ordered things and concepts, feel their inner relationship. Key words: meaning, worldview, journalism, argument, influence, moral principles, creativity.
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Hotsur, Oksana, and Anastasiia Bila. Епістолярна спадщина Олени Теліги як виразник творчої особистості. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11723.

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The scientific research considers and analyzes the epistolary heritage of Olena Teliha. Excerpts from her correspondence are presented, which testify to the formation of a brilliant woman, a creative personality who played an extremely important role in the struggle for the formation of Ukrainian statehood. It is from the letters that we learn that for her letters are almost an ideal way of communication. The epistolary heritage of Olena Teliha allows us to reveal the vision of the main processes in her personal life against the background of the general historical discourse. In addition, the main communicative visions that determine her creative personality are highlighted: communicative vision of friendship, love, creation of literary talent, perseverance and strength, resistance to rejection. Attention is focused on the importance of studying and researching the epistolary heritage of creative personalities in the context of social communications. From the quoted letters, which are distinguished by their sincerity and accuracy of expression, it is possible to determine and formulate what positions and ideas the civic activist, poet and publicist adhered to. In addition, we can see the line of consistency in the formation of a creative personality who not only lives and writes, but acts – creates history, its moment, the value of which is felt and understood by future generations. It is found that the life path in its interconnection with historical circumstances and social environment influenced the formation of the creative personality of the genius poet and publicist. The peculiarities of the epistolary of Olena Teliha are determined by the circumstances, people and personalities that she had to face in life. The promising areas of research are the letters of Olena Teliha, which are in the archives of other countries and the allocation of journalistic and documentary aspects of her epistolary heritage. Keywords: epistolary heritage, letters, public figure, journalism, creative personality.
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Lyzanchuk, Vasyl. THE CHARITABLE ENERGY OF THE JOURNALISTIC WORD. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11415.

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The article investigates the immortality of books, collections, including those, translated into foreign languages, composed of the publications of publications of worldview journalism. It deals with top analytics on simulated training of journalists, the study of events and phenomena at the macro level, which enables the qualitative forecast of world development trends in the appropriate contexts for a long time. Key words: top, analytics, book, worldview journalism, culture, arguments, forecast.The article is characterized intellectual-spiritual, moral-aesthetic and information-educational values of of scientific and journalistic works of Professor Mykola Hryhorchuk “Where are you going, Ukraine?” and “Freedom at the Barricades”. Mykola Ivanovych’s creative informational and educational communication are reviews, reviews, reviews and current works of writers, poets, publicists. Such as Maria Matios, Vira Vovk, Roman Ivanychuk, Dmytro Pavlychko, Yuriy Shcherban, Bohdan Korsak, Hryhoriy Huseynov, Vasyl Ruban, Yaroslav Melnyk, Sofia Andrukhovych. His journalistic reflections are about memorable events of the recent past for Ukrainians and historical figures are connected with them. It is emphasized that in his books Mykola Hryhorchuk convincingly illuminates the way to develop a stable Ukrainian immunity, national identity, development and strengthening of the conciliar independent state in the fight against the eternal Moscow enemy. Among the defining ideological and political realization of the National Idea of Ukrainian statehood, which are mentioned in the scientific and journalistic works of M. Hryhorchuk, the fundamental ones – linguistic and religious – are singled out. Israel and Poland are a clear example for Ukrainians. In these states, language and religion were absolutized and it is thanks to this understanding of the essence of state-building and national identity that it is contrary to many difficulties achieve the desired life-affirming goal. The author emphasizes that any information in the broadest and narrow sense can be perceived without testing for compliance with the moral and spiritual mission of man, the fundamental values of the Ukrainian ethnic group, putting moral and spiritual values in the basis of state building. The outstanding Ukrainian philosopher Hryhoriy Skovoroda emphasized: “Faith is the light that sees in the darkness…” Books by physicist Mykola Hryhorchuk “Where are you going, Ukraine?” and “Freedom at the Barricades” are illuminated by faith in the Victory over the bloody centuries-old Moscow darkness.
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7

Our Voices, Our Images: A Celebration of Hispanic Heritage Month. Inter-American Development Bank, August 2003. http://dx.doi.org/10.18235/0006425.

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This event brought together winners of an art and literature competition for Washington DC artists who explored issues and events relevant to Hispanic Americans and the Hispanic experience in the United States. The exhibition was a joint initiative of the IDB Cultural Center and the D.C. Commission on the Arts and Humanities. The Awards Ceremony took place in September 2003 at the IDB Cultural Center Art Gallery with the participation the Honorable Anthony Williams, Mayor of the District of Columbia. The selected visual artists and poets received IDB Cultural Center grants.
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