Bibliographies thématiques / Poetry - literary criticism

Littérature scientifique sur le sujet « Poetry - literary criticism »

Auteur : Grafiati
Publié le 25 juillet 2024
Mis à jour le 26 juillet 2024

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Articles de revues sur le sujet "Poetry - literary criticism"

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Mahyudi, Johan, et Ahmad Sirulhaq. « Modernist Literary-Criticism in Indonesia : A Study on the Practices of Millenial Digital Literacy on the Youtube Comments ». Lingua Cultura 17, no 1 (16 juin 2023) : 67–75. http://dx.doi.org/10.21512/lc.v17i1.9045.

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The research was focused on investigating the tradition of modernist literary criticism, which could be found in the audience’s comments under the video on the YouTube website. As the center of the digital literary paradigm, digital poetry in videography has become an object of criticism for the Indonesian millennial generation. As was known, one of the markers of digital literacy was proficiency in using digital media. One of these media was used to produce criticism by voicing non-text semiotics. Because of that, in the research, thousands of criticisms that appeared on the poetry websites “Aksara Betha” and “Rotasi” were analyzed by reviewing examples of the critics’ expressions of non-text elements that could be found in the constructs of the two digital poetry. The results show that Indonesian millennials are digitally literate, and many explicitly mention digital art features that have attracted their interest. Some critics even express their subjective feelings about the show’s duration which is considered too short. Such practice explains that the Indonesian millennial generation has felt the effect of one of the morphological elements of digital poetry, namely space and time. Furthermore, suppose it can be called a tradition; in that case, the honesty of the critics in collecting criticism of the work they prepare is the milestone of the new tradition in literary criticism. This tradition is rarely, if not never, to be found in the tradition of printed literary criticism.
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Alfadlilah, Muna. « The Social Criticisms of Rah(i)m Poetry by Kedung Darma Romansha ». LITE 19, no 1 (31 mars 2023) : 65–75. http://dx.doi.org/10.33633/lite.v19i1.7884.

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An expressing media with literature work could indirectly convey various social criticisms toward a certain phenomenon. The most frequently occurring social criticism is the social reality portrayal of a community. This study aims to describe the form of social criticism contained in the poetry entitled Rahi(i)m by Kedung Darma Romansha. Using qualitative methods and a literary sociology approach, especially social criticism, this study reveals the author's worldview of phenomena that occur in society. The study results show that the author of poetry criticises social situations, namely: the author's criticism of poverty, crime, family disharmony, juvenile delinquency, violation of norms, and environmental problems. Social criticism also reveals the author's disappointment, annoyance, anger, and regret towards the arrogant and unfair performance of government officials in responding to socio-cultural problems that occur in society.
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Orr, Leonard. « Thinking and poetry : Heidegger and literary criticism ». Studia Neophilologica 60, no 2 (janvier 1988) : 207–14. http://dx.doi.org/10.1080/00393278808588002.

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Yang, Yiting. « Reading Western Visual Poetry from the Perspective of Reader-Response Criticism ». Journal of Education and Educational Research 1, no 2 (18 décembre 2022) : 123–26. http://dx.doi.org/10.54097/jeer.v1i2.3681.

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The Reader-Response Criticism theory holds that the major objective of literary criticism is to study readers' reading experience and attach importance to readers' subjective initiative in the reading process. When interpreting Western visual poetry, Peter Barry gives full play to his subjective initiative, divides visual poetry into three types, and expounds the connotation of visual poetry and the generating of poetic text meaning. This paper aims to comment on Peter Barry's interpretation and comments on visual poetry in "Concrete Canticles", and to reveal the connotation of poetic criticism combined with reader-response criticism theory.
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Šeškauskienė, Inesa, et Oksana Valentjeva. « Poetic journeys and other metaphors underlying literary criticism of poetry in English and Russian ». Revista Brasileira de Linguística Aplicada 15, no 2 (juin 2015) : 421–52. http://dx.doi.org/10.1590/1984-639820156067.

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The paper sets out to examine the metaphoricity of the discourse of literary criticism dealing with poetry. The research carried out in the framework of contemporary metaphor studies relying, first of all, on the Conceptual Metaphor Theory and its followers, attempts to uncover metaphors structuring the discourse of literary criticism in two distinct cultures - English and Russian. The methodology of the investigation is based on the key principles of the metaphor identification procedure (STEEN et al., 2010) and metaphorical patterns (STEFANOWITSCH, 2006). The results suggest that the main source domain for conceptualizing poetry in literary criticism in both languages is a person. However, this domain features much more prominently in English, whereas the domains of sound and music, painting and journey are more relevant in Russian. Many metaphors are inevitably evaluative - employed to express the writer's positive or negative attitude.
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Burt, Sean. « Alicia Suskin Ostriker’s Feminist Poetics : Reading Biblical Poetry as Countertheology ». Prooftexts 40, no 1 (2023) : 227–47. http://dx.doi.org/10.2979/ptx.2023.a899254.

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Abstract: Alicia Suskin Ostriker is the author of a wide range of literary and critical works, including several books of poetry and criticism of English-language poetry. This article argues that Ostriker’s work as a poet and literary scholar informs her engagement with biblical literature, particularly biblical poetry. In her formative work on twentieth-century English-language women’s poetry, she articulates how women’s poetry voices embodied identities and creates spaces of intimacy that can break down ideologically constructed barriers. Her creative, poetic biblical criticism mutually informs her interest in the ability of women’s poetry to transform and revise male-dominated mythologies. For Ostriker, the poetry of the Bible provides a resource located within Jewish tradition that can transform it from the inside. As a reader and creative inheritor of the literary heritage of the Bible who is carefully attuned to its literary power, Ostriker’s work reading and revisioning the Bible creates a feminist countertheology grounded in the aesthetic, material possibilities of poetic language.
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Qurrota Ayun, Hafizh. « Kritik Sastra Arab Pada Masa Jahilyah ». `A Jamiy : Jurnal Bahasa dan Sastra Arab 11, no 2 (18 septembre 2022) : 434. http://dx.doi.org/10.31314/ajamiy.11.2.434-444.2022.

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This study discusses the phenomenon of Arabic literary criticism that occurred during the period of ignorance. By knowing the critical phenomena that existed during the jahiliyyah period, it will be known how the character of Arabic literary criticism at that time was. Literary criticism during the jahiliyyah period was still very simple, namely by determining good and bad or comparing works with one another based on their natural literary taste. The result can be seen in the phenomenon of Muallaqa>t in which some of the best poems from various tribes are placed. The forms of literary criticism during the jahiliyyah period were generally in four forms, namely linguistic criticism, meaning criticism, musical criticism, and poet strata criticism. Linguistic criticism is criticism of the misuse of language. Meaning criticism is a criticism that judges the merits of a poem in terms of meaning. There are three basics in the critique of its meaning, namely its relevance to the life of the Arab community, the compatibility between the word and the meaning that shows it, and the aesthetic value or beauty of the meaning contained in the poem. Musical criticism is literary criticism seen from the good or bad standards of arud that exist in poetry. Criticism of the poet's strata is criticism based on the level of the poet during the jahiliyyah period.
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Onuoha, Onyekachi Peter. « Literary Heredity and Variation in Selected Facebook Poems of Veralyn Chinenye And Her Collaborative Authors ». International Journal of Pedagogy, Innovation and New Technologies 5, no 1 (30 juin 2018) : 58–68. http://dx.doi.org/10.5604/01.3001.0012.2140.

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Facebook has become one of the mediums of creativity and criticism of works of art as a result of the nature of its blended writing. At the “completion” of a composition, Facebook poems maintain a certain degree of the static form, which is a characteristic of print literature. Facebook poetry coalesces the oral and print into a “new” form of poetry and extends the boundaries of oral and print literature. Using Bolter and Grusin concept of Remediation as a theoretical framework, this paper examines literary heredity and variation in selected Facebook poems of Veralyn Chinenye and her collaborative authors and participants. The paper further examines the characteristics and criticism of Facebook poetry and explicates the functionality of “Emoji”, “Comments”, “Share”, and intertextuality in the on-going creation and criticism of Facebook poetry that is different from the conventional perception and practice of literary creativity and criticism. Through the examples of poetry analysed in this paper, our findings show that digital literature is, to an extent, fluid and shares identical characteristics with oral literature in terms of artist and audience participation, occasion of performance
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Smirnov, A. E. « Why modern poetry could use more ‘red ink’ ». Voprosy literatury, no 3 (22 juin 2021) : 77–88. http://dx.doi.org/10.31425/0042-8795-2021-3-77-88.

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The article offers to look at contemporary poetry from the viewpoint of an ‘ordinary reader,’ uninvolved in the literary process and unaffiliated with the notional ‘establishment.’ The author uses his position as a bystander, on the one hand, and a training that enables expert assessment (the author teaches Russian language and literature and holds a master’s degree in cognitive research), on the other, to examine the processes behind presentday literary awards and criticism of poetry. According to Smirnov, modern poetry and modern criticism both have disintegrated into separate segments within a common literary field. The continuous erosion of language norms and dilution of criteria have pushed contemporary art, and poetry in particular, away from the rules of the classical ontology. Thus, a text cannot be identified as pertaining to ‘poetry’ by such key characteristics as rhyme, rhythm, or use of figurative language. In this situation, the author pins his hopes on the institution of criticism: unless it engages in self-reflection in order to recognise the circumstances and phenomena behind its failures, constructive changes remain unlikely.
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Muir, James. « Poetry and Philosophy : Plato’s Spirit and Literary Criticism ». European Legacy 19, no 3 (16 avril 2014) : 403–6. http://dx.doi.org/10.1080/10848770.2014.898954.

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Thèses sur le sujet "Poetry - literary criticism"

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Nixon, Scott Michael. « A reading of Thomas Carew in manuscript ». Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319053.

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Paleou, Matrona. « Literary criticism, poetry and ideological commitment : C.P. Cavafy and the Greek Left ( 1950-1974) ». Thesis, University of Birmingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529793.

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Capp, Laura. « Poetry by post ». Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4951.

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Poetry by Post is a four-month poetry subscription service that will run from November of 2013 to February of 2014. I will produce one mailing per month that will include a letterpress-printed broadside that features a poem of my choosing and an accompanying literary analysis and reply postcard, also letterpress-printed, all contained within calligraphed envelopes and posted with vintage stamps. Subscriptions are available at $150 for the series or $50 for an individual mailing and will not exceed 50 in number. The inaugural Poetry by Post will feature Midwestern poets Jennie Kinneberg Wrisley, Eric McHenry, Catherine Tufariello, and Ted Kooser. I have taken "Midwestern" to mean anyone who has simply spent a good bit of time in the large swath of land in the middle of the U.S. And much like the Midwest, the poetry featured will be plainspoken but no less profound for that.
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Atanassova, Rossitza I. « Doctrine, polemic and literary tradition in some hexameter poems of Prudentius ». Thesis, University of Oxford, 2001. http://ora.ox.ac.uk/objects/uuid:f74b5c1a-7b1d-42ae-afe7-bebd9aa7caf7.

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The thesis, the topic of which is restricted to the polemical didactic poems, Apotheosis, Hamartigenia and Contra Symmachum 1-2, aims to establish the attitudes of Prudentius to the literary tradition and argues for his relationship with the Latin classical poets. Its main argument is that the hexameter poems as a group can be profitably studied from a stylistic angle, since they show how Prudentius combined, and used with innovation, the styles of several poets, namely Lucretius, Virgil and Juvenal, and in many cases engaged with the literary tradition as a whole. Chapter I surveys, as reflected in the poems, Prudentius' awareness of the political, religious and literary milieu in the Christian Empire of the West in his day. Chapter II examines how Prudentius employed the style of argument and imagery in the D.R.N. to present Christian doctrines on the body and the soul, and to reject pagan superstition. Chapter III shows how with much imagination and respect Prudentius adapted Virgil's phraseology and techniques to give new Christian interpretations of some mythical and historical themes in the Aen., such as the 'Golden Age' and the battle of Actium, and of topics on agriculture from the Georg. Chapter IV argues that, like other fourth century Christian writers, the poet entered into the spirit of Satire and alluded to Juvenal's themes and language in his treatment of the topics of sin and sexuality. Finally, in Chapter V Prudentius' adaptations of the biblical accounts in Gen. 19 and of Ps. 136 are used to demonstrate how allegory, which is a main feature of his poetry, was combined successfully with different classical techniques. In conclusion, the hexameter poems demonstrate that Prudentius did not reject classical poetry on the basis of its content, but used both its themes and poetic techniques in order to merge the ancient with the Christian literary tradition.
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Paulsen, Timothy David. « Exploring literary perspectives of poetry though an interactive, multimedia, learning environment ». Diss., This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-10032007-172058/.

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Louw, Denise Elizabeth Laurence. « A literary study of paranormal experience in Tennyson's poetry ». Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.

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My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
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Moore, Lindsay Emory. « The Laureates’ Lens : Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap ». Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.

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In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
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Mark, Alison Katherine Marshall. « Reading between the lines : language, experience and identity in the work of Veronica Forrest-Thomson ». Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362716.

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Cremin, Kathleen Mary. « Women, domesticity and Irish writing : foundations for a new kitchen ? » Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313905.

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Kelly, Catriona. « Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays ». Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.

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Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.
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Livres sur le sujet "Poetry - literary criticism"

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Wordsworth, William. Wordsworth's literary criticism. Bristol : Bristol Classics Press, 1988.

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Hunter, Jeffrey W. Contemporary literary criticism. Detroit, Mich : Gale, 2010.

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Contemporary literary criticism. Detroit, Mich : Gale, 2009.

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Draper, James P., et Jennifer Allison Brostrom. Contemporary literary criticism. Detroit, Mich : Gale Research, 1994.

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Contemporary literary criticism. Detroit, Mich : Gale, 2009.

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Contemporary Literary Criticism. Farmington Hills : Cengage Gale, 2010.

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Group, Gale, dir. Contemporary literary criticism. Detroit, Mich : Gale Group, 2001.

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Academy, Osmania University Sanskrit, dir. Introduction to Sanskrit literary criticism. Hyderabad : Sanskrit Academy, Osmania University, 2010.

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Mediating criticism : Literary education humanized. Amsterdam : J. Benjamins Pub. Co., 2001.

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Poetic configurations : Essays in literary history and criticism. University Park, Pa : Pennsylvania State University Press, 1992.

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Chapitres de livres sur le sujet "Poetry - literary criticism"

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Peck, John, et Martin Coyle. « Poetry ». Dans Literary Terms and Criticism, 12–77. London : Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-13155-6_2.

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Buchbinder, David. « New Criticism ». Dans Contemporary Literary Theory and the Reading of Poetry, 12–35. London : Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12843-3_2.

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Aherne, Philip. « The Power of Criticism : Poetry, Aestheticism, and Literary Criticism ». Dans The Coleridge Legacy, 89–126. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95858-3_4.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey et Valerie Sanders. « ‘Mrs Browning's Poetry’ ». Dans Literary and Cultural Criticism from the Nineteenth Century, 189–201. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003199922-27.

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Zhenzhao, Nie. « The Transformation of Ethics in China's May Fourth Poetry ». Dans Introduction to Ethical Literary Criticism, 147–62. London : Routledge, 2023. http://dx.doi.org/10.4324/9781003231899-16.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey et Valerie Sanders. « ‘The Poetry of Christina Rossetti’ ». Dans Literary and Cultural Criticism from the Nineteenth Century, 393–99. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003199922-54.

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Hauge, Hans. « The Sin of Reading : Austin Farrer, Helen Gardner and Frank Kermode on the Poetry of St Mark ». Dans Hermeneutics, the Bible and Literary Criticism, 113–28. London : Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21986-5_6.

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Wells, Marion A. « The Tears of Rachel : Lament and Affective Improvisation in Mary Carey’s Life Narrative and Poetry ». Dans Palgrave Studies in Affect Theory and Literary Criticism, 241–75. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-27721-4_7.

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Richards, I. A. « Poetry for Poetry's Sake ». Dans Principles of Literary Criticism, 64–72. Routledge, 2017. http://dx.doi.org/10.4324/9781351223508-10.

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« Poetry for Poetry’s Sake ». Dans Princ Literary Criticism V3, 117–24. Routledge, 2013. http://dx.doi.org/10.4324/9781315010854-17.

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Actes de conférences sur le sujet "Poetry - literary criticism"

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Liu, Chongxi. « “POETRY CARVED IN STONE” : DOCUMENTARY, LITERARY AND CULTURAL CONNOTATION IN BAI JUYI’S POETRY INSCRIPTION ». Dans 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.04.

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The poetry inscription, with Bai Juyi in the Middle Tang Era as its representative, began to express purely personal emotions in terms of content, which reflects the poet’s creative individuality. Bai takes stone as his friend, loves it, chants it, and inscribes poems on it, endowing it natural and personal qualities. Bai was the first poet to consciously combine “poetry” and “stone” with nearly 20 kinds of poetry inscriptions. Compared with book documents, Bai’s poetry inscriptions not only have the philological value of text criticism, but also have multiple functions, i. e., reproducing the historical context of poetry creation and transmitting as a “linguistic landscape”. Such humanistic connotation determines the significance of Bai’s poetry inscription in the history of Chinese literature and culture.
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Cogut, Sergiu. « An Exponential Work of Literary Modernism Reaching its Centenary ». Dans Conferinta stiintifica nationala "Lecturi în memoriam acad. Silviu Berejan", Ediția 6. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/lecturi.2023.06.17.

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2022 was marked by the 100th anniversary of the publication of two literary creations that over time were appreciated as emblematic works of modernism. They are James Joyce’s famous novel Ulysses and Thomas Stearns Eliot’s poem The Waste Land. The latter had an overwhelming impact on subsequent poetry, propelling the author to the top of the hierarchy of poets of the 20th century, although in that era it was perceived as an obscure poetic creation, thus contradicting the literary criticism of the time. In the process of elaboration of his innovative work in both message and form, T. S. Eliot was deeply influenced by the suggestions of his friend, the great American poet Ezra Pound who had the role of mentor for the English author also born in the United States, as he was actively involved in the drafting of the outstanding poem The Waste Land. Through this creation of his, T. S. Eliot asserted himself as a voice of special resonance that highlighted the disintegration, being thus considered an apostle of postmodernism. It is welcome to mention that for an adequate interpretation of this far-reaching work of the last century, it is necessary to clarify and apply the concept of „objective correlative” which was theorized by the same T. S. Eliot in his essay concerning Hamlet.
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BILGI, Levent. « ONTOLOGICAL THEORY IN LITERATURE ». Dans 3. International Congress of Language and Literature. Rimar Academy, 2021. http://dx.doi.org/10.47832/lan.con3-3.

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Ontological theory has developed with unnamed ideas since Aristotle. Roman Ingarden talked about the layers of being in his works of art. Ontology has come to the fore especially when analyzing the texts of poetry. Ontological theory works by not paying attention to extra-textual elements in the analysis of a text. It focuses on the text itself. It tries to understand the layers of literary text. Ontological Theory in Turkish Literature came to the forefront with Takyettin Mengüşoğlu and İsmail Tunalı's work called Art Ontology. İsmail Tunalı's work named Art Ontology has been published. After the publication of Art Ontology, it is seen that the publications on ontology have increased. Later, Ontological Theory gradually became one of the criteria for evaluating the work of art in our literature. Key words: Ontology, Theory, Art, Work, Criticism.
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Grominová, Andrea. « Может ли стать метареалистский текст привлекательным для студентов вуза ? » Dans Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.6.

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The poetry of metarealism is considered the poetry of the complexity of perception, interpretation, understanding, not only for students, but also for the researchers and literary critics themselves. The rich use of metametaphors, or the metabol, and their sequential accumulation makes it difficult to decode individual images and the meaning of the whole poem. Poetic texts of this kind, in addition, require their readers to have a general outlook on knowledge of history, culture, literature, technology, etc. Deciphering the meaning often resembles solving crosswords. To motivate university students studying Russian as a foreign language to read and understand the poetry of metarealism, one needs to arouse interest among them. Therefore, the purpose of this paper is to show the diverse use of information technology in the classroom on Russian literature, and more specifically in seminars on modern Russian literature to draw attention to metarealist poetry.
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Dima, Gabriela E. « THE LIBRETTO OF CAVALLERIA RUSTICANA, POETIC RENDITION OF GIOVANNI VEGA�S STORY ». Dans 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs10.18.

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The libretto of Cavalleria rusticana, the well-known opera by Pietro Mascagni, was written by Giovanni Targioni-Tozzetti and Guido Menasci, who reduced to melodrama a play by Giovanni Verga, in its turn a dramatization of a short-story with the same title he had previously written. Our investigation focuses on the libretto as a literary text to be analysed in comparison with its prose sources. We propose an in-depth analysis of the similarities and differences between the libretto and the play, in an attempt to understand the reasons for the changes operated by the two librettists. The necessities of the melodramatic genre and their non-Sicilian origin lead to a diverse comprehension and interpretation of Verga�s ideas, freely transposed into the libretto. The achievements of the two librettists are not to be ignored, especially if taking into account they were the first in Italy to propose an unconventional subject inspired from the real life of the petty people. Despite the criticism against some of their solutions, we could notice that their choices concerning the literary style, the language, the construction of the characters led to a new perspective and convey a more universal meaning that has assured the success of the opera in time.
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Aleksić, Jana. « UMETNIČKA EPOHA KRALjA MILUTINA U KULTURNOISTORIJSKOJ I ESTETIČKOJ OPTICI MILANA KAŠANINA ». Dans Kralj Milutin i doba Paleologa : istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.817a.

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Milan Kašanin (1895–1981) in his integral study of medieval Serbian culture pays significant attention to the works and authors who created in the time of King Stefan Uroš II Milutin Nemanjića (1282–1321). Kašanin’s analysis also includes medieval literary and artistic achievements whose central theme is the King's personality and symbols of rule, as well as the spiritual and socio-histor- ical characteristics of the era the era of this important founder and great artistic patron. The author of the monographs Serbian Literature in the Middle Ages (1975) and Stone Discoveries (1978) seeks to systematize knowledge of the cul- tural past, to explain the spiritual and historical forces of the time, to understand Byzantine influences on art forms and meanings, to find elements of original art within medieval Serbian culture and to establish the most reliable periodization of literary and artistic styles. Methodologically, in examining the key focuses of a historically limited period, such as the Middle Ages, Kašanin insists on mutual “illumination of art”. He also connects the poetic and spiritual-aesthetic features of specific literary achievements with medieval church and secular architecture, fresco painting or icon painting, but also with socio-political factors. Therefore, we tried to outline the analytical and methodological framework of Kašanin’s spiritual, historical, and aesthetic thought from the point of view of the history of literary criticism, concerning the way in which he had perceived and named the artistic forms of Milutin’s epoch, art forms in which Milutin’s age and literary achievements of monk Theodosius and archbishop Danilo II.
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Kazanskaya, Maria N. « THE TERM DIASYRTICUS IN SERVIUS’ COMMENTARY ON THE AENEID (SERV. IN AEN. 2, 80–193) ». Dans 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.09.

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The article examines a fairly rare term of Greek origin, diasyrticus, that is used four times in Servius’ commentary on Sinon’s speech in the second book of Vergil’s Aeneis (Serv. in Aen. 2, 80–193). Although this term does sporadically appear in scholia to other Roman poets, Servius’ use of it four times over a limited stretch of his commentary, as well as the fact that he does not use either diasyrticus or the adverb diasyrtice in any other passage of his commentary, is remarkable. The article seeks to determine the exact meaning of the term diasyrticus, as well as to describe its usage in works of Roman scholars and critics, to trace its origins and estimate at what point the Greek term might have entered the terminological apparatus of Roman literary criticism; finally, a possible source for Servius’ use of diasyrticus is suggested. It is shown that the semantics of the Greek adjective διασυρ- τικóς, which derives from the noun διασύρτης ‘malicious liar, detractor’, combines two aspects, designating the speech of one who seeks to fool his listeners or to slander someone or something before their eyes, but also does this with malicious intent, taking a mean delight in their gullibility. It appears that the term διασυρτικóς began to be used by Roman scholars and critics at the end of the first century BCE (cf. the use of διασυρτικός in Περὶ τρόπων of the Alexandrian grammarian Trypho who, according to the tradition, taught in Rome at that time). Among the occurrences of diasyrticus in Roman scholarship, Aelius Donatus’ use of it in his commentary on Terence is particularly significant. Donatus was also the author of an important commentary on Vergil (now largely lost), and an important source for Servius as he was composing his own commentary. It is therefore highly probable that it was ultimately from Donatus’ work that Servius adopted the term diasyrticus, limiting its application, however, only to Sinon’s speech. Refs 13.
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Rapports d'organisations sur le sujet "Poetry - literary criticism"

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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina et Ekaterina O. Shmeltser. Technology of presentation of literature on the Emoji Maker platform : pedagogical function of graphic mimesis. [б. в.], juillet 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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