Literatura académica sobre el tema "Humanistic poetry"
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Artículos de revistas sobre el tema "Humanistic poetry"
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Codrescu, Andrei, Radu Vancu, and Laurent Milesi. "On 21st-Century Poetry and Poetics." Word and Text - A Journal of Literary Studies and Linguistics 12 (2022) (December 30, 2022): 145–50. http://dx.doi.org/10.51865/jlsl.2022.10.
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This academic interview with contemporary poet Andrei Codrescu (dating July 2022) examines several contemporary meanings of 21st-century poetry and poetics, the relevance of American poetry schools that dominated the latter half of the 20th century, effects of this post-humanistic turn on the poetic discourse(s). It also whether the public condemnation of Russian culture in general is justified or not in the aftermath of the Russian aggression against Ukraine.
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Alieva, Fatima Abdulovna, Fatyma Khamzaevna Mukhamedova, and Aigul' Muratovna Bekeeva. "Artistic system of the children’s poetic folklore of Dagestan." Litera, no. 11 (November 2020): 42–56. http://dx.doi.org/10.25136/2409-8698.2020.11.34158.
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The subject of this research is the artistic system of children's folklore of Dagestan. Based on the analysis the example of cradlesongs, play poetry, and calendar songs, the author determines their thoughtful humanistic and democratic motif, high ideological focus, and aesthetic perfection. The article covers the ideological, thematic and artistic content, and highlights the archaic elements of cradlesong poetry, which enjoys most popularity among other genres of the poetic folklore. The author’s special contribution consists in explication of specificity of artistic means and aesthetic foundations of the folk worldview and culture reflected in folk poetry; as well as in analysis of compositions of various folklore genres as the elements of single literary system, which indicates their focus on labor, strong ideals of patriotism, kindness and continuity throughout the entire social practice of the people. The oriented towards a young developing individual, children's poetic folklore reconstructs the work and life experience in a form comprehensible to a child. This is why were created the cradlesongs, nursery rhymes, games that involved poetry, and all these word-creating activities, which in their centuries-long evolution led to higher imagery, infused and gifted each upcoming generation truly humanistic values. Children's poetic folklore that reflects the questions of folk pedagogy based on life experience of the mountaineers, had a major impact upon the development Dagestan children's literature.
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Zhang, Jing. "Humanistic Solicitude in Robert Frost’s Out，Out." Learning & Education 10, no. 7 (2022): 243. http://dx.doi.org/10.18282/l-e.v10i7.3032.
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Robert Frost tries to save the era occupied by industrial civilization with his poetry. His poems with primitive style 
 are simple and easy to understand, but they contain rich humanistic spirit. Out, Out, for example, is a concern for the survival of 
 people living on the land. The author satirizes the materialized and spiritualized times through the way of poetry, which reflects the 
 humanistic concern conveyed by him.
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Akamov, Abusup'yan Tatarkhanovich, and Aigul' Muratovna Bekeeva. "The peculiarities of poetic language of Abdurrahman of Kakashura." SENTENTIA. European Journal of Humanities and Social Sciences, no. 4 (April 2021): 43–50. http://dx.doi.org/10.25136/1339-3057.2021.4.36468.
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This article is examines the literary style of the prominent theologian and poet Abdurrahman of Kakashura. Special attention is given to the philosophical-aesthetic principles that underlie his works. The author emphasizes the uniqueness of the poet’s worldview, imagery, and specific use of linguistic means. His poetic gives an in-depth perspective on Sufism – one of the central phenomena in the political and cultural life of the Republic of Dagestan. The works of Abdurrahman of Kakashura prevalently deliver a humanistic message, since he considered as the founder of humanistic trend in the Kumyk literature and to a certain degree represents a transitional stage between the medieval and modern literature. The conclusion is made that the poetry of Abdurrahman of Kakashura should be viewed not only as poetry aimed at proliferation of the ideas of Sufism, but also as the poetry of “progress” oriented towards healing from the mental malady the society was concerned with. In his poetry, the author trace genuine benevolence, ardent hatred of those who build their wealth on misery of the others. The impact of the poetry of Abdurrahman of Kakashura upon successive generations of Kumyk and Dagestani poets is indisputable. It is worth noting that most of the issues addressed in his poetry had vast repercussions in Dagestan and contributed to the development of progressive thought of his time.
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Dr. Budhanath Pratihast. "A.K. Ramanujan’s Select Poems: A Humanistic Approach." Creative Launcher 5, no. 2 (2020): 48–53. http://dx.doi.org/10.53032/tcl.2020.5.2.05.
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Attipat Krishnaswamy Ramanujan (1929-1993), needs no introduction in the word of Indian English Poetry. His poems are liked by every person because his poems are either replete with the humanistic approach or his poem have autobiographical elements. He was a poet, translator, playwright and folklorist. He belonged to a Hindu family. He was a trilingual writer who wrote in English, Tamil and Kannada. He has interpreted some works written in Sanskrit and Tamil bases on some classical and modern variants. He had four poetry collections to his credit: The Striders (1966), Relations (1971), Second Sight (1986), and The Black Hen (1995). Ramanujan’s poems are so easy and personal that these poems touch the heart of reader.
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Semenist, Ivan. "“Misty Poetry” as a reflection of the nature of Chinese literature of the “New Period” (second half of the 20th century)." Synopsis: Text Context Media 26, no. 4 (2020): 145–50. http://dx.doi.org/10.28925/2311-259x.2020.4.5.
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The subject of the study is the formation of “Misty Poetry” trend in Chinese literature of the late 20th century. The study aims at the disclosure of the dynamics of “Misty Poetry” within modernist paradigm against the backdrop of Chinese literature of the “New Period”. The method is grounded in identification of key modernist poetics categories, perceived and transformed in the versification practice of Misty Poetry. Sociocultural contextualization method is employed to locate Misty Poetry in the post Cultural Revolution aesthetic and ideological context of China. The study results cover the lyrical attempt at a modernistic search for identity in Chinese literature of the “New Period”. The pursuit of self and vaster category of identity is considered and comprehensively analyzed through the array of representative poetic texts (Zhang Ming, Meng Lang, Bei Dao, Duo Duo). “Misty Poetry” marked the beginning of the “New Period” in the history of modern Chinese literature. The trend demonstrated qualitative changes in the ideological foundations and artistic practice of the new poetry of China in the 20th century. “Misty Poetry” became a kind of aesthetic protest against the ideological and artistic clichés of the preceding cultural-historical era. The concept of “self” within the paradigm of Misty Poetry is corroborated to be perceived as an independent consciousness, not dictated by any ideology or doctrine, disclosed through the means of a poet’s internal thoughts depictions, both conscious and subconscious. The paper results demonstrate the transformative potential of the Misty Poetry trend poetics on prosodic level, level of stylistic imagery and genre specificity. The paper interpretative results explore the significance of the “Misty Poetry” in the way that it revived and gave a new impetus to the further development to the humanistic orientation of Chinese poetry. The novelty is connected with the aesthetic means of territorializing the marginal space that provides the poet and the poetic protagonist with a critical distance from the dominant discourse of the political-cultural establishment of post Cultural Revolution China are disclosed. The paper concludes the Misty Poetry trend drew attention to the subjective beginning in art and opened the discourse for an active search for a new artistic reality in which the legacy of classical poetry of China, the best humanistic traditions of the new poetry of the early 20th century and the modernist features of Western poetry were combined.
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Soule, Janis Rodgers. "2013 Society for Humanistic Anthropology Poetry AwardsFirst Place." Anthropology and Humanism 39, no. 1 (2014): 93. http://dx.doi.org/10.1111/anhu.12040.
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AYAZ, JINDWADA AYAZ, and Ramzan Tahir. "U-2 YOUSUF HASSAN KI GHAZAL MEIN TABQATI AUR SMAJI SHAOOR." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 3 (2021): 14–24. http://dx.doi.org/10.53575/u2.v5.03.14-24.
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One of the striking and significant name of Ghazal poetry during the decade of seventies was Yousaf Hassan. He chose capitalistic mindset and social discrimination in Pakistani society as a permanent subject of his Ghazal. His poetry offers a critique of the materialization of social relations. He aims to posit mutual compassionate empathy and high humanistic values as the characteristic features of an individual. His poetic work Aye Dil Aye Darya comprises of remarkable verses which represent the perception about social as well as class discrimination. The striking feature of this representation is the portrayal of classical as well as traditional metaphors in a progressive context.
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AYAZ, JINDWADA AYAZ. "YOUSUF HASSAN KI GHAZAL MEIN TABQATI AUR SMAJI SHAOOR." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 3 (2021): 14–24. http://dx.doi.org/10.53575/arjish.005.03.0335.
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One of the striking and significant name of Ghazal poetry during the decade of seventies was Yousaf Hassan. He chose capitalistic mindset and social discrimination in Pakistani society as a permanent subject of his Ghazal. His poetry offers a critique of the materialization of social relations. He aims to posit mutual compassionate empathy and high humanistic values as the characteristic features of an individual. His poetic work Aye Dil Aye Darya comprises of remarkable verses which represent the perception about social as well as class discrimination. The striking feature of this representation is the portrayal of classical as well as traditional metaphors in a progressive context.
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Karaali, Gizem. "Can zombies write mathematical poetry? Mathematical poetry as a model for humanistic mathematics." Journal of Mathematics and the Arts 8, no. 1-2 (2014): 38–45. http://dx.doi.org/10.1080/17513472.2014.926685.
Texto completoTesis sobre el tema "Humanistic poetry"
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Santos, Alessandro Barnabé Ferreira. "Jorge de Sena e a Peregrinação Infecta: das paisagens poéticas que se (não) dão a ver." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-30012018-190912/.
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Jorge de Sena figura como personalidade poética de difícil enquadramento nas searas de produção poética da década de 40 a 60 em Portugal. Não tendo sido um poeta presencista ou neorrealista, nem surrealista ou sequer aderindo fielmente ao fingimento poético de Fernando Pessoa, o poeta português forja uma poética própria a partir da ideia de testemunho e de metamorfose esta avultando como resultado poético do ato ético-estético da poesia, através da simbiose entre sujeito empírico e sujeito poético. Esta dissertação tem por objetivo investigar a (não) figuração de paisagens poéticas relacionadas aos seus destinos de exílio: Portugal, Brasil, e Estados Unidos da América. Ou seja, o que pode ser visto ou aquilo que é escondido destas e nestas paragens de sua peregrinação infecta, encontrada em sua Peregrinatio ad Loca Infecta (1969), diário tornado objeto estético na configuração ética de seu testemunho circunstancial. Para tanto, a investigação apoia-se nos estudos geográficos de orientação humanista-cultural, bem como nos estudos em torno da relação entre escrita poética e paisagem, desenvolvidos pelo crítico francês Michel Collot.<br>Jorge de Sena figures as a poetic personality of difficult framing in the poetic scene production from the 40\'s to 60\'s in Portugal. He was not a presentialist or neorealist poet, nor surrealist or even adhering faithfully to Fernando Pessoas own poetics. This Portuguese poet forges a poetics of his own from the idea of testimony and metamorphosis which stands as the poetical result of the aesthetic and ethical act of his poetry, that occurring through a symbiosis between the empirical subject and the poetic subject. This thesis investigates the figurations or not of poetic landscapes related to his destinations of exile: Portugal, Brazil, and United States of America. Therefore, what can be seen or what is hidden from these places and in these spaces of his infected pilgrimage, in his Peregrinatio ad Loca Infecta (1969), an infectious diary turned into an aesthetic object in the ethical configuration of his circumstantial testimony. To do that so, this investigation is supported on geographic studies from a humanistic and cultural orientation, and also upon the studies concerning to the relation between poetry and landscape promoted by the French schollar Michel Collot.
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Thiemann, Susanne. "Vom Glück der Gelehrsamkeit : Luisa Sigea, Humanistin im 16. Jahrhundert /." Göttingen : Wallstein, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2746414&prov=M&dok_var=1&dok_ext=htm.
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Lima, Ricardo da Cunha. "A presença clássica na poesia neolatina do humanista português Antônio de Gouveia." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-06122007-113357/.
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Esta tese trata da obra poética neolatina publicada em Lyon, França, nos anos de 1539 e 1540, pelo humanista português Antônio de Gouveia, consistindo em duas centenas de epigramas e mais quatro cartas de amor em versos. Foram feitos o estabelecimento do texto latino, com o cotejo de diferentes edições, e a tradução para o português, acrescida de notas e comentários. Foram feitas diversas análises, de cunho poético, para examinar os procedimentos estilísticos de composição da obra e para verificar a presença da literatura clássica no texto renascentista. A existência de duas diferentes edições da poesia epigramática propiciou o exame e a interpretação de algumas das alterações introduzidas pelo poeta lusitano. Inclui-se, ainda, um capítulo sobre a vida de Antônio de Gouveia, enfocando, principalmente, sua formação humanística e sua circulação nos meios artísticos e acadêmicos da Renascença européia.<br>This thesis deals with the Neo-Latin poetic work published by Antônio de Gouveia, Portuguese humanist, in Lyon, France, in the years 1539 and 1540, consisting of two hundred epigrams and four love letters in verse. The thesis includes the comparative edition of the Latin text, with critical apparatus, and the translation of it into Portuguese, with notes and comments. It also includes a poetic analysis, in order to examine the stylistic procedures of the composition of the work, and to verify the influence of classical literature on this Renaissance text. The existence of two different editions of the epigrammatic poetry permitted the examination and interpretation of some changes made by the Portuguese poet. The thesis also has a chapter about the life of Antônio de Gouveia, focusing his humanistic education and his movement in the artistic and academic circles of European Renaissance.
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Wu, Chunfeng. "François Cheng dans son temps : pour une création humaniste." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20132.
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Cette étude consiste à mettre en lumière la double dimension du temps chez François Cheng. Partant du principe qu’il est un homme de dialogue, on ne peut que remarquer sa situation particulière dans son époque. En effet, il est à la fois contemporain des grandes remises en cause révolutionnaires de l’humanisme littéraire et des voix comme celles d’Yves Bonnefoy ou de Philippe Jaccottet C’est ainsi que nous nous proposons, dans notre première partie, de mettre en parallèle l’œuvre poétique de François Cheng avec les diverses voix de la poésie française de la deuxième moitié du XXe siècle. Pour mieux cerner la place qu’il occupe dans cette époque et montrer le rapprochement avec ses contemporains, nous tâchons de retracer les mutations principales en ce qui concerne la méfiance envers les images, une redéfinition du sujet et un renouveau de la notion d’humanisme. La deuxième partie est centrée sur des analyses détaillées de l’écriture poétique chengienne dont le but est de mieux comprendre une poésie de l’élémentaire qui a souci de renouer le lien avec l’univers vivant. La troisième partie tâche d’éclairer le temps lui-même, qui est fondé sur le Vide et le Change. Habité par cette conviction, le poète conçoit sa création comme une Œuvre inachevable. A travers les analyses des thèmes traditionnels de la poésie occidentale comme la nuit ou l’amour, et de certains de ses usages (celui la sonorité et du rythme notamment), notre étude se propose d’interpréter la vitalité d’une démarche d’écriture qui rompt avec les conventions et ouvre la parole à un dynamisme certain<br>This study consists in showing François Cheng’s double dimension of time. Assuming that he is a man of dialogue, we can only remark his particular situation in his time. Indeed, he is a both contemporary of the revolutionary cause of humanism and the literary and of voices like Yves Bonnefoy or Philippe Jaccottet. Thus we propose in the first part a parallel study between the poetic work of François Cheng and the diverse voices of the French poetry of the second half of twentieth century. To better understand Cheng’s place in that time and show the comparison with his contemporaries, we try to trace the major changes regarding distrust of images, a redefinition of the subject and a revival of the concept of humanism. The second part focuses on the detailed analysis in Cheng’s poetry work to better understand a poetry of elemental who desire to renew the relationship with the world. The third part of our research seek to clarify his own time based on the Empty and the Change. With this conviction, the poet sees his creation as an unachievable Work. Through the analysis of traditional themes in Western poetry such as night, love, the sound and rhythm, our study is to interpret the vitality of a writing process who breaks with conventional and opens the speech to the dynamism
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Evans-Cockle, Matthew. "Humanist method and the prophetic office of English poetry in the works of Edmund Spenser and John Milton." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/60298.
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Erasmus’s Renaissance humanist grammatical hermeneutics changed the way theology was conceived and practiced. The literary critical resources Erasmus brought to theology from the study of the classical poets, however, were not only powerful agents of change within Reformation theology. They were also retrieved for poetry by early modern authors. Key Erasmian concepts and perspectives relating to both bonae litterae and sacrae litterae as well as to secular pedagogy and rhetorical theology were assimilated by English culture and provided important foundational elements within the early modern prophetic poetics of Edmund Spenser and John Milton. Careful consideration of the manner in which these Erasmian concepts and perspectives were integrated into Spenser and Milton’s understandings of both poetry and the poetic vocation provides important insight into the complex theological dimensions of these poets’ work—particularly into the workings and significance of a number of Spenser and Milton’s most challenging religious figures and into the prophetic claims related to their mimetic production.<br>Arts, Faculty of<br>English, Department of<br>Graduate
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Junior, Delphim Rezende Porto. "Preceptivas humanistas e musicais na tratadística quinhentista: um estudo das representações retóricas do exercício musical no renascimento italiano." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-12072018-172351/.
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O debate humanista das práticas artísticas no Renascimento italiano fomentou especialmente no século XVI uma das mais complexas e profícuas elaborações textuais da produção tratadística da música. A contextualização teórica daquela prática musical bem como a investigação do papel dos seus artífices profissionais e diletantes, objetivos dessa pesquisa, pretende situar analiticamente a partir das publicações quinhentistas impressas em língua italiana e latina o exercício e a formação epistêmica do antigo músico. Fundamental ferramenta para a compreensão dos tratados tanto escritos por músicos profissionais quanto por diletantes cortesãos, a Retórica é chave de leitura do \"texto além do texto\" e conhecimento também comum àqueles autores que, apresentavam em suas publicações, além do domínio técnico esperado, extenso aparelho humanista. Ao confrontar as disciplinas e habilidades fomentadas pelo estudo da musica prattica italiana com a studia humanitatis comum a cortesãos e músicos durante o Renascimento, pretendemos demonstrar bibliograficamente o alto grau de importância dos conhecimentos extrínsecos à pura ação do instrumentista ou cantor, explicitando os elementos retóricos, poéticos e científicos contidos naquelas edições musicais italianas. Uma vez que o próprio entendimento de música e músico é complexamente diverso e amplo naquele contexto, é coerente recuperar tal horizonte de sentido - conceitos e ideias - através dos documentos musicais artísticos e inartísticos que expõem, além das sede argumentorum filosóficas, as emendas e os tópicos visitados e empreendidos na redação dos tratados. Literariamente, o tratadista humanista, também referido à época como perfetto musico, age como um gentil-homem que transita discursivamente entre os nobres cortesãos de seu tempo, elaborando e amplificando o discurso técnico com vistas ao decoro de seus leitores e ao fim do seu ofício. Por essa razão, é oportuno considerar as disciplinas práticas do exercício do músico no Renascimento como parte de uma complexa rede de conhecimentos, na qual é proeminente o discurso e suas poéticas, empreendendo a recuperação das preceptivas e do arrazoado quinhentista daquele exercício artístico.<br>The humanistic debate of artistic practices in the Italian Renaissance, especially in the sixteenth century, fostered one of the most complex and fruitful textual elaborations of music treatises. The theoretical contextualization of that musical practice, as well as an investigation on the role of their professional and dilettante musicians, which are the goals of this research, aim at analytically contextualizing the epistemic formation of Renaissance musicians based on 16th century publications printed in Italian and Latin. An essential tool for understanding the treatises in question, Rhetoric is the appropriate tool for reading the \"text beyond the text,\" in addition to being common knowledge to those authors who showed a broad humanistic baggage in their publications, as well the expected technical mastering. By paragoning disciplines and skills fostered by the study of Italian musica prattica and the studia humanitatis among courtiers and musicians in Renaissance, we intend to bibliographically point out the high degree of importance of extrinsic knowledge to the pure action of players or singers, explaining the rhetorical, poetic, and scientific elements contained in those Italian musical editions. Since the very understanding of music and musicians is intricately diverse and broad in that context, it is fair to recover that horizon of meaning--concepts and ideas--through artistic and non-artistic musical documents that outline, beyond the philosophical sedes argumentorum, amendments and topics dealt with in those treatises. Literarily speaking, the humanistic musician, also referred to, at the time, as a perfetto musico, acts as a gentilhuomo who moves, discursively speaking, amongst the nobles and courtiers of his time, developing and broadening technical discourse in view of the decorum of his readers and for the sake of his craft. Therefore, it is appropriate to consider the practical disciplines of Renaissance musicians\' exercise as part of a complex network of knowledge that highlights the poetic speech, recovering preceptives and 16th-century reasoning behind that artistic exercise.
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Jeridi, Sihem. "Les enjeux humanistes du dialogue entre poésie et peinture dans Les écrits sur l'art de Francis Ponge." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100064.
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Francis Ponge a entrepris un dialogue avec la peinture en vue d’interroger les fondements d’une telle interférence telle qu’elle se manifeste dans le cadre parisien du 20ème siècle. Ce rapport conçu par le poète comme une alliance participe de l’instauration d’une philosophie humaniste qui clame son attachement au réel comme principe majeur de la création artistique et poétique. L'unité thématique et technique qui régit les textes repose sur des rapprochements systématiques qui concernent plusieurs aspects : parallélisme des pratiques, convergence des visions de l'art, unicité de la définition d'artiste... Ponge prépare le terrain à un nouveau tournant dans son œuvre qui est le dialogue entre l’écriture et la peinture, une pensée qui s'est installée définitivement dans les pages de L'Atelier bien qu'elle se déploie tout au long de ses textes et notamment les premiers. D'une réflexion qui se profile en filigrane sous la forme d'une métaphore filée, la pensée sur l'art revêt un statut majeur dans la poétique de Ponge<br>Francis Ponge undertook a dialogue with the painting to question the foundations of such interference such as it shows itself in the Parisian frame of the 20th century. This relationship conceived by the poet as an alliance participates of the institution of a humanist philosophy which cries out its attachment in the reality as the major principle of the artistic and poetic creation. The thematic and technical unity which governs texts relaying on systematic links which concern several aspects: parallelism of the practices, the convergence of the visions of the art, the uniqueness of the definition of artist... Ponge prepares the ground for a new turning point in its work which is the dialogue between the writing and the paint a thought which settled down definitively in the pages of The Workshop although it displayed throughout its texts in particular the first ones. Of a reflection which is outlined between the lines under the shape of a spun metaphor, the thought on the art dresses a major status in the poetics of Ponge
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Garnier, Sylvain. "Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040148.
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L'expression poétique semble inhérente au théâtre classique. Pourtant, les pièces de la seconde moitié du XVIIe siècle, en particulier les tragédies, sont le fruit de principes « réguliers » qui ont cherché à dépoétiser le théâtre et ont largement réussi dans cette entreprise. Pour rendre compte de ce processus, il est nécessaire de retracer l'histoire de la poésie au théâtre depuis la naissance de la tragédie humaniste, au milieu du XVIe siècle, jusqu'à l'instauration de ce que la postérité appellera le classicisme. Il apparaît ainsi que l'élocution lyrique s'est progressivement déplacée au fil du temps du genre tragique vers le genre comique en suivant l'évolution de la poésie lyrique depuis le style sublime de la Pléiade jusqu'à l'expression burlesque de Scarron en passant par la simplicité malherbienne, l'ingéniosité mariniste ou l'enjouement galant. L'expression lyrique glisse ainsi progressivement des chœurs et des discours pathétiques de la tragédie humaniste vers les soupirs, les chansons et les pointes des amants de la tragi-comédie et de la pastorale avant d'être parodiée dans la parlure ridicule des personnages de la comédie burlesque. Parallèlement à ce mouvement, les penseurs réguliers théorisent l'opposition fondamentale du langage poétique et du langage dramatique, rendant ainsi presque impossible le développement d'une tragédie régulière poétique<br>Poetical expression seems to be an inherent aspect of classical theatre. However, plays written in the second half of the seventeenth century, particularly the tragedies, were conceived to adhere to regular standards of form which tended towards the removal of poetic expression from theatre and which largely succeeded in doing so. To summarise this process, it is necessary to recount the history of poetic expression in plays from the advent of humanist tragedy in the mid-sixteenth century to the establishment of what would be later called « classicism ». It can then be demonstrated that lyrical elocution shifted over time from tragedy to comedy, following the same evolution as lyrical poetry which evolved from the noble style of the Pleiade all the way to Scarron’s burlesque expression, through the simplicity of Malherbe’s expression, the ingenuity of marinism, or the preciosity of the gallant style. Poetical expression thus progressively shifted from the choirs and pathetic discourses of the humanist tragedy, towards the sighs, songs, and conceits of the lovers of tragi-comedy and pastorales, before being parodied in the ridiculous manner of speech of the characters in burlesque comedy. Simultaneously, theorists of regularity theorised the fundamental opposition between poetic and dramatic language, thus making the development of a regular poetical tragedy nearly impossible
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Guillaume, Catherine. "Devenir lecteur des référents culturels dans l'œuvre du poète européen Guillermo Carnero." Thesis, Orléans, 2018. http://www.theses.fr/2018ORLE1161.
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Le poète européen Guillermo Carnero, dit ‘novísimo’, publie ses premiers poèmes dans l’Espagne du franquisme tardif des années 70 du siècle dernier et se fait alors connaître du grand public par son oeuvre phare Dibujo de la muerte. Auteur de onze livres, il poursuit l’élaboration de son oeuvres piralaire jusqu’au dernier recueil en date, Carta florentina, publié en 2018, tout en conduisant une carrière universitaire en tant que professeur de littérature à l’université d’Alicante. Souffrant d’une réception souvent figée par les figures de réception imposées de l’historiographie littéraire, la signifiance de cette oeuvre, réputée difficile, ne fut que trop rarement mise en évidence malgré la parution d’essais européens. Or, le poète, lecteur et érudit cosmopolite amoureux des arts et des cultures exprime dans sa poésie une intime relation au monde grâce à une relation dialogique avec le référent culturel, qui y occupe une place centrale en tant qu’axe fondateur autour duquel s’articulent l’expression de l’émotion poétique et la réflexion sur la création. L’hybridité constitutive du tissage de l’insaisissable ordonné de cette oeuvre poétique induit chez le lecteur une réception engagée et une itinérance au sein des univers culturels propres à l’auteur. Ainsi se met en oeuvre la médiation humaniste entre le poète et son lecteur grâce à la prégnance du référent culturel mobilisé pour dire l’intime d’un douloureux rapport au monde. Cette médiation humaniste facteur de connaissance de soiest ici conduite hors de toute recherche d’intertextualité mais laisse place à l’écriture de l’émotion à l’oeuvre, saisie dans l’instantanéité des ambivalences d’une insaisissable voix poématique<br>The European poet Guillermo Carnero, known as 'novísimo', published his first poems in late Franco's Spain in the 1970s and became known to the general public with his flagship work Dibujode la muerte. Author of eleven books, he continues the development of his spiral work until the latest collection, Carta florentina, published in 2018, while conducting an academic career as a professor of literature at the University of Alicante. Suffering from a reception often frozen by the imposed reception figures of literary historiography, the significance of this work, reputed difficult, was only too rarely highlighted despite the publication of European essays. The poet, reader and cosmopolitan scholar inlove with the arts and cultures, expresses in his poetry an intimate relationship with the world through a dialogical relationship with the cultural referent, which occupies a central place there as a founding axis around which are articulated the expression of poetic emotion and reflection on creation. The hybridity that constitutes the weaving of the elusive order of this poetic work induces in the reader a committed reception and a roaming within the author's own cultural universes. Thus the humanist mediation between the poet and his reader is implemented thanks to the influence of the cultural referentmobilized to express the intimacy of a painful relationship with the world. This humanistic mediation, a factor of self-knowledge, is conducted here without any search for intertextuality but leaves room for the writing of emotion at work, captured in the instantaneity of the ambivalences of an elusive poematic voice
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Kern, Matthias. ""L'amour du peuple" : esthétique populiste et imaginaire du populaire dans la culture française de l'entre-deux-guerres." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0152.
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La production culturelle de l’entre-deux-guerres se distingue par un intérêt renouvelé pour la représentation des enjeux sociaux qui troublent la vie quotidienne de la population française : le travail et la misère dans un espace de plus en plus urbanisé deviennent les sujets primordiaux dans la littérature, la photographie et le cinéma, notamment pendant la période entre 1928 et 1939. Face à la crise financière, les grèves ouvrières et l’essor du Front populaire, le champ artistique réagit avec un renouveau des formes de représentation réaliste qui doit aboutir à l’interrogation de la nature du ‘peuple’, des liens sociaux qui le déterminent et de la survie des traditions populaires pendant la modernisation des pratiques quotidiennes. En littérature, un courant éphémère du roman domine les débats à partir de 1929 : le roman populiste, courant fondé dans un manifeste de Léon Lemonnier. Il devient rapidement la toile de fond d’une discussion sur le besoin de renouveler le roman réaliste et naturaliste. Simultanément, le groupe de la littérature prolétarienne autour d’Henry Poulaille se réclame de la même volonté en donnant la voix aux ouvriers. Les deux groupes, ainsi que beaucoup d’autres auteurs qui se rapprochent du populisme littéraire, réclament un renouveau du roman par le biais de la description du ‘peuple’ et de ses conditions de vie. La notion de ‘peuple’ s’oppose, dans ce contexte, à la bourgeoisie et ses écritures ‘psychologique’ et ‘snobiste’. Recourir au ‘peuple’ signifie donc avant tout une certaine esthétique anti-bourgeoise, mais – contrairement aux avant-gardes – également antimoderne, créant l’imaginaire d’une normalité marqué par la pauvreté qui devrait correspondre à l’expérience de la majorité de la population française.La thèse présente cherche à dégager d’abord les éléments d’un tel imaginaire du ‘peuple’ en s’appuyant sur la critique artistique ainsi que sur l’analyse de plusieurs romans de la nébuleuse du roman populiste : Pierre Mac Orlan, Eugène Dabit, André Thérive, Marcel Aymé et Henry Poulaille. Elle montre ensuite la survie des éléments esthétiques du populisme dans le film du réalisme poétique et dans la photographie documentaire qui donne naissance à la photographie humaniste. Ce faisant, ce travail représente une contribution sociocritique à l’histoire des idées de l’entre-deux-guerres français et signale les pièges idéologiques d’une esthétisation de termes comme ‘petites gens’ et du ‘peuple’<br>The cultural production of the interwar period in France is noted for its renewed interest in the representation of social issues which shake the everyday life of the French population : work and urban misery become the main subjects in literature, photography and cinema, especially in the period between 1928 and 1939. In view of the financial crisis, labour strikes and the rise of the Front Populaire, the artistic field reacts with a renovation of realist representation styles, which should lead to a questioning of the nature of ‘people’, of the underlying social connections in the masses and of the place of popular traditions in a modernized way of life. In the ambit of literature, a short-lived movement of novel writers dominates the discussions from 1929 onwards: the populist novel, a movement founded in a manifesto written by Léon Lemonnier. This movement becomes quickly the backround for a further discussion about the needs for a renewed literary realism or naturalism. Simultaneously, the group for proletarian literature, founded by Henry Poulaille, follows the same aesthetics and claims to be the real representants of the working people by giving workers the occasion to publish. Both groups, as well as many other authors close to the literary populism, try to renew the novel by describing the ‘people’ and their living conditions. In this context, the notion ‘people’ is opposed to the bourgeoisie and its ‘psychologic’ or ‘snobby’ writing style. Thus, resorting to the term ‘people’ means first and foremost that the creator subscribes to an anti-bourgeois aesthetics, but also to an anti-modernist mindset – which distinguishes populism from the French avantgardes. It means furthermore that the creator strengthens a conception of everyday life marked by poverty which should correspond to the experiences of a majority of the French population. This thesis tries to bring out the elements of such an imagination of the ‘people’ on the basis of the artistic criticism and of the analysis of several novels written by authors who are more or less associated to the populist novel movement: Pierre Mac Orlan, Eugène Dabit, André Thérive, Marcel Aymé and Henry Poulaille. The thesis goes then on to highlight the survival of aesthetic elements of populism in the cinema of poetic realism and in French documentary photography which marks the beginning of humanist photography. By doing so, the thesis represents a sociocritical contribution to the history of ideas of the French interwar period and indicates the ideological traps of aesteticization of terms like ‘little people’ or ‘people’ in general
Libros sobre el tema "Humanistic poetry"
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A key to the treasure of the Hakīm: Artistic and humanistic aspects of Nizāmī Ganjavī's Khamsa. Leiden University Press, 2011.
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A Ciceronian sunburn: A Tudor dialogue on humanistic rhetoric and civic poetics. University of South Carolina, 2006.
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Attallah, Fahmy. Beauty of being: Psychological tips for holistic wellness of the person as a whole--mind, body, spirit, and soul. Chapman University Press, 1999.
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Michael, Rothberg, and Garrett Peter K, eds. Cary Nelson and the struggle for the university: Poetry, politics, and the profession. State University of New York Press, 2009.
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Cassidy, Jacques. Man, the human feelings dimension: "poetry, music, and freedom" and other lectures : advanced considerations in aesthetics of the human feelings that inspired-- the great humanistic or religious poetry and song : a series of classroom lectures in the humanities from his greater work, Of man, the island and the continent. Gateway Press, 1997.
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Bet, Cherrington, ed. Facing the world: Ananthology of poetry for humanists. Pemberton, 1989.
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Galand-Hallyn, Perrine. Les yeux de l'éloquence: Poétiques humanistes de l'évidence. Paradigme, 1995.
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Sesto, Prete, and Desgraves Louis, eds. Ausone, humaniste aquitain. Société des bibliophiles de Guyenne, 1986.
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Fonnker créoloceltique: Exploration de la pensée humaniste métissée. Editions JFR/Grand Ocean, 2005.
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1487-1527, Vecerius Conrad ca, Vecerius Conrad ca 1487-1527, Vecerius Conrad ca 1487-1527, Loutsch Claude, and Melchior Myriam, eds. Humanistica Luxemburgensia: La Bombarda de Barthélemy Latomus [et] les Opuscula de Conrad Vecerius. Éditions Latomus, 2009.
Buscar texto completoCapítulos de libros sobre el tema "Humanistic poetry"
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Bogotch, Ira. "International Humanistic Challenges to Educational Leadership in Prose and Poetry." In Educational Leaders Without Borders. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-12358-5_9.
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Schulenberg, Ulf. "“The Humanistic State of Mind”." In Pragmatism and Poetic Agency. Routledge, 2021. http://dx.doi.org/10.4324/9781003214205-4.
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Schulenberg, Ulf. "“The Humanistic State of Mind”." In Pragmatism and Poetic Agency. Routledge, 2021. http://dx.doi.org/10.4324/9781003214205-4.
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Olson, Emelie, and Kurtuluş Öztopçu. "IMAGES OF WOMEN IN THE POETRY OF EARLY TURKISH MYSTICS AND THE STATUS OF WOMEN IN TURKISH SOCIETY." In Humanist and Scholar, edited by Heath W. Lowry and Donald Quataert. Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463230081-002.
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De Gregorio, Mario. "«Un arancio in gennaio». La Vita del beato Giovanni Colombini di Feo Belcari da racconto agiografico a testo di lingua." In Le vestigia dei gesuati. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-228-7.10.
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Composed between 1448 and 1449, the Vita del beato Giovanni Colombini by Feo Belcari was printed for the first time in 1477 and was destined to growing publishing success over the following centuries both as an independent text and in miscellany dedicated to the blessed. It will be the third edition of the Accademia della Crusca Vocabolario, published in 1691, to increase its affirmation by admitting the entire poetic and prose work of Belcari among the privileged references for the Tuscan vernacular and the Italian language. A recognition that will lead to a Veronese edition of the work in 1817, edited by authoritative scholars of Italian humanistic literature, which will condition many reprints of the work during the first half of the nineteenth century and which will persist even later, when it will be included in series very different, between religious and linguistic / literary interests.
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Pavlincová, Helena. "Dopisy Jana Patočky Robertu Konečnému." In Filosofie jako životní cesta. Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-5.
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The contribution contains 11 unpublished letters of Jan Patočka from 1935–1967 supplemented with the author’s comments and explanations. The addressee of the letters, the nature of which is friendly and rather private, was the Brno philosopher, poet and psychologist Robert Konečný. The author devotes the introduction to the illumination of the origins of the letters and the description of the lives of both friends, whose actions, thought and unquestionable moral authority make them integral figures of the humanist tradition of Czech philosophy.
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Deveson, Aaron. "“And No One Talks of National Rebirth”: Liberal Humanist Interventionism in the Post-Imperial Space of D.J. Enright’s Poetry." In Geocriticism and Spatial Literary Studies. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96494-8_9.
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Marsh, David. "Poggio and Alberti Revisited." In Atti. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-6453-968-3.08.
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The careers of the Curial secretaries Poggio Bracciolini (1380-1459) and Leon Battista Alberti (1404-1472) reveal many parallels. In 1437-1438 the Este court of Ferrara, where Eugenius IV convoked a church council, provided a focal point for their friendship. It was to the Ferrarese canon Francesco Marescalchi that Poggio dedicated Book 1 of his Latin epistles (1436), and Alberti his Hundred Apologues (1437). Both men were inspired to critiques of contemporary society by the Greek satirist Lucian, and both indulged in composing brief witticisms that expose human vice: Poggio in his Facetiae (Jests) and Alberti in his Apologi (Fables) and Vita (Autobiography). From Lucian, they also learned to dramatize human foibles on the imagined stage of the theatrum mundi, or theater of the world: Poggio in his dialogues, and Alberti in both the Intercenales and Momus. Despite such literary affinities, their approach to ethical questions differed, especially concerning the validity of allegory, which Poggio rejected but Alberti embraced. As a tribute to his colleague, Alberti dedicated Book 4 of his Intercenales to Poggio; he prefaced the work with an ironic Aesopic fable that asserts the superiority of recondite scientific research over commonplace humanistic studies. Eventually, Alberti’s status as an outsider in Florence was reflected in the deterioration in his relations with Poggio. The rift was widened in 1441, when Alberti organized the Italian poetic competition called the Certame Coronario that was held in the Florence cathedral on October 22. Poggio was a member of the jury that, to Alberti’s chagrin, refused to declare a winner.
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Čale, Morana. "Mediazioni e contaminazioni del modello dantesco nelle Montagne di Petar Zoranić (1508-1569?)." In Biblioteca di Studi di Filologia Moderna. Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.04.
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The present paper is dedicated to 16th-century Croatian author Petar Zoranić’s (Zadar / Zara, 1508 – 1569?) direct and mediated echoing of Dante’s oeuvre. Zoranić’s pastoral novel Planine (Mountains) belongs to the consistent tradition of reuse, quotation and translation that the Italian poet’s legacy has enjoyed in Croatia from the 14th century to the present day. Building on the work of the humanist writer Marko Marulić (Marcus Marulus Spalatensis, Split / Spalato, 1450-1524), who aspired to do for the Croatian vernacular what Dante did for the Italian volgare, Zoranić adapted Dante’s example to his own purposes not only in the promotion of the Croatian language and literature, but also in the celebration of the beauty, history and cultural heritage of his homeland. A true connoisseur of Dante’s original, the author from Zadar was also competent in the art of appropriation and creative reemployment of the Commedia’s various aspects, an exercise inaugurated by Boccaccio, and practiced by 15th and 16th-century men and women of letters. My contribution will focus on the modalities through which the text of Planine transforms the materials derived from Dante by mixing them with elements from other prestigious literary sources, in their turn heirs or precursors of Dante, such as works by Virgil, Ovid, the Church doctors, the Roman de la rose, Petrarch’s Trionfi, the Decameron and the early narrative production by Boccaccio, Arcadia by Sannazaro and, according to my hypothesis, the Hypnerotomachia Poliphili (Polifilo’s Dream) by Francesco Colonna.
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Ramachandran, Ayesha. "Spenser." In The Oxford History of Poetry in English. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198830696.003.0026.
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Providing an overview of Edmund Spenser’s ‘shorter poems’, this chapter places them in a dialogic relationship to The Faerie Queene and to each other, highlighting their revolutionary treatment of genre and poetic self-presentation. It highlights Spenser’s practices of generic innovation, imitation, multilingual intertextual allusion, translation, and his persistent interest in the appropriate place of poetry in the sociopolitical world. Focusing both on literary technique and the cultural politics of Elizabethan poetry, the chapter demonstrates how Spenser’s poetry reflects on the writing of epic, lyric, and court poetry. Most of all, it argues that the shorter poems are where Spenser gleefully flaunts his learning, his humanistic commitments, and the pleasure of poetic play—characteristics that locate him amongst the foremost European poets of his generation.
Actas de conferencias sobre el tema "Humanistic poetry"
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Jaffari, Sayed Ibne Ali. "Historical Poetry For Humanistic Education." In 9th ICEEPSY - International Conference on Education and Educational Psychology. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.01.79.
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Yu, Wenjing, and Changlin Wu. "Reading Classical Poetry and Humanistic Quality Education for College Students." In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.128.
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Ngo Thi Thanh, Quy, and Minh Nguyen Thi Hong. "Vietnamese Proverbs: Values Preserved in Modern Society." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-4.
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Vietnamese proverbs has created long-lasting values which are being passed on to the modern society with numerous passions. These values include humanistic values confirming the human position in life. They also comprise social values and human philosophy as well as aesthetic values. Therefore, typical proverbs of the Viet people which have beem transferred to the younger generations via literary works such as Việt điện u linh (A collection of Vietnamese misteries) in the 14th century, Lĩnh Nam chích quái (A selection of the Viet extraordinary stories) in the 15th century are still being passed on until the present days. With the foundation of traditional Vietnamese proverbs, modern proverbs have undergone profound changes as seen in modern life through different forms of media including printed and audiovisual media as well as internet. It is obvious that traditional proverbs has regenerated in the new appearance. Proverbs are reproduced in modern literary works. Proverbs are also recreated and transformed in prose, poetry and drama. The movement and development of proverbs in our modern society confirm their deep values of the traditional culture. Writers, journalists and artists of other art forms have not only received the art tradition of word use of the ancestors but more importantly they have inherited the culural environment, humanistic values and life philosophies in order to transfer to the next generations. Henceforth, in the modern society Vietnamese proverbs are not obliterated but remain their vitality with different forms and have been of the Vietnamese people’s favourite.
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Marculescu, Corina. "INSPIRE, CONNECT, PERSUADE: MIX TECHNOLOGY AND ART IN TEACHING PRESENTATION SKILLS." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-011.
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Do what you love. Inspire your audience. Have fun. These are some of the secrets behind the power and the success of Steve Jobs's presentations. As Communication Coach Carmine Gallo points out, while most presenters simply convey information, Jobs inspires; his presentations inform, engage, astound and electrify the audiences. My paper, too, was inspired by Steve Jobs, one of the most extraordinary speakers of our time, as were my EFL seminars and my students (Business and Engineering majors) when watching his videotaped 2007 speech unveiling the iPhone and his famous, memorable Commencement Speech at Stanford in 2005 (one of the greatest reflections on life we have ever heard). Using Steve Jobs's 2007 iPhone launch as a case study, the present paper proposes a humanistic approach of the technology-enhanced teaching of presentation skills, a more humanistic philosophy of teaching in general. Steve Jobs himself strongly believed that the best ideas emerge from the intersection of technology and the humanities. In fact, in today's postmodern world, the boundaries between technology and art are no longer clearly defined. In other words I will show that technology allows a humanistic approach to teaching and that the success of a presentation resides first of all in the human element. It is the passion of the teacher/speaker about the subject, their own personality and naturalness infused into the presentation that inspires the audience. It is the presenter's capacity to make it simple for the audience and to give them a show instead of simply delivering information that engages the audience. Moreover, inspiring presenters like Steve Jobs do not sell a product; they sell an experience, something to enrich people's life. All these are ways of emotionally connecting with the audience; winning the audience over ensures the success of the presentation. Multimedia and Internet technologies allow the teacher to present more information more effectively; students can see and hear things, events, demonstrations, etc. that otherwise would only have been described or explained in a lecture or textbook. However, as shown above, good teaching involves much more than the simple transfer of material or specific skills. In teaching, the major challenge is to convey excitement, to incite curiosity and to provide the students with the psychological incentives they need to work hard. The paper also highlights another significant aspect, namely the analogy between Steve Jobs's technology-aided presentations, building up to a memorable moment, and the art of story-telling. Like Steve Jobs who treats every slide as if it were a piece of poetry, American writer and graphic designer Nancy Duarte knows that it is not about the slides, but about the power of the story. In her book Resonate: Present Visual Stories that Transform Audiences (2010), Duarte assimilates the presentation with a screenplay, using tension, conflict and resolution to connect with the audience, creating, like Steve Jobs, what she calls a STAR moment: "Something They'll Always Remember".
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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.
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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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Cohen, Tzachi. "POETRY FOR THE DOCTORS A PHENOMENOLOGICAL DESCRIPTION OF A HUMANISTICS' BASED STUDYING PROCESS AS A NECESSARY AND BASIC STEP IN DEVELOPING AN ADVANCED PROFESSIONAL TRAINING PROGRAM." In 16th International Technology, Education and Development Conference. IATED, 2022. http://dx.doi.org/10.21125/inted.2022.0414.
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