Artykuły w czasopismach na temat „Poetries of place”

This research presented the comparative study about the structure in two poetries; they are Night and She Walks in Beauty. It focused the theme, the figure of speech and the imagery. It used the qualitative research. It is analyzed the structure by reading the poetry carefully and giving the note for each line that contains theme, figure of speech and imagery. It used the theory of comparative study and structural approach.The result of this research shows that the poet of those poetries use theme, figure of speech and imagery. There are many kinds of figure of speech and imagery in the poetry. In Night, there are only four figure of speeches namely (a) Simile, (b) Personification, (c) Metaphor and (d) Hyperbole and uses (1) Visual, (2) Auditory, (3) Tactile and (4) Kinesthetic as the imagery. In She Walks in Beauty, Byron uses (a) simile, (b) personification and (c) litotes as figure of speech and its imagery are (1) Visual and (2) Kinesthetic.The poetry Night and She Walks in Beauty appear both differences and similarities with regard to its poet’s writing style. Blake is subjective whereas Byron is objective in writing. Both poets use the nature in different ways to build the theme, the figure of speech and the imagery. Blake uses the nature to describe two contrast place and Byron used the nature to describe a woman character. AbstrakPenelitian ini membahas studi perbandingan tentang struktur dalam dua puisi, yaitu Night dan She Walks in Beauty. Penelitian ini berfokus pada Theme, Figure of Speech dan Imagery. Penelitian ini menggunakan penelitian kualitatif. Pada penelitian ini, struktur dianalisa dengan membaca puisi dengan seksama dan memberikan catatan untuk setiap baris yang berisi Tema, Majas dan Pencitraan. Penelitian ini mengunakan teori Comparative Study dan pendekatan Structural.Hasil penelitian ini menunjukkan bahwa penyair pada kedua puisi ini menggunakan Tema, Majas dan Pencitraan. Ada banyak jenis majas dan pencitraan dalam puisi tersebut. Pada puisi Night, Majas hanya ada empat yaitu (a) Simile, (b) Personification, (c) Metaphor dan (d) Hiperbole dan menggunakan (1) Visual, (2) Auditory, (3) Tictile dan (4) Kinestethic sebagai pencitraan. Pada puisi She Walks in Beauty, Byron menggunakan (a) Simile, (b) Personification dan (c) Litotes sebagai majas dan pencitraannya adalah (1) Visual dan (2) Kinestethic.Puisi Night dan She Walks in Beauty tampak perbedaan dan persamaan yang berkaitan dengan gaya penulisan penyairnya. Blake adalah penyair yang subjektif sedangkan Byron adalah penyair yang objectif dalam menulis. Kedua penyair tersebut menggunakan alam dengan cara yang berbeda untuk membangun Tema, Majas dan Pencitraan. Blake menggunakan alam untuk menggambarkan dua tempat yang dan Byron menggunakan alam untuk menggambarkan karakter wanita.

At the centre of this essay lies a reconsideration of an elusive spirit lurking amid the conventional classical, medieval, and Renaissance gestures of Sir Philip Sidney's Apologie for Poetrie . This underlying principle in the Sidneyan strategy seems also to animate other "defensive" interventions in the history of English poetics, and the mostly unspoken or unspeakable grounds for poetry's traditionally privileged place at the centre of a liberal education. It may accordingly have implications for our ambivalence today about the "uses" of literature in a world (and an academic profession) renewing—yet again—the same pattern of impatient suspicion and adroitly evasive apologia.

The relationship between nursing and poetry is not necessarily obvious and may often be seen as marginal to mainstream nursing activities. This review paper seeks to examine this relationship by taking primarily an historical perspective, starting from Nightingale and the development of mainstream professional nursing. Through an indicative rather than exhaustive literature review, the ebb and flow of this relationship is traced. This provides both an overview and specific insights into the ways that poetry can manifest within nursing, highlighting some recent developments and the potential for further applications. As such the paper argues that poetry in its various forms should have more central consideration within nursing practice, education and research.

<pre><strong>The Prophet Moses In Divan Poetry</strong></pre><p><strong>Abstract</strong></p><p>Divan poetry is a conglomerate formed under the influence of eastern societies' common culture and geographical advantages shared by various communities which is shaped by Islamic civilization and the sense of art. Prophet Moses is known by his place in Abrahamic religions. According to Islam, as a baby he was found in the Nile River, adopted by the Egyptian royal family, and grew up in the palace of the Pharaoh although in that time the Pharaoh ordered all newborn male Hebrew boys to be killed. Moses was forced to leave Egypt when he was young. Eventually, he became a prophet. He showed great patience against deeds of his folk. Divan poets mentioned Prophet Moses in their poetries with his standing against to Pharaoh, miracles like conversation with God in the Mount Sinai, Shacar al-Tur (the tree in the Mount Sinai), magic rod, and white hand. Prophet Moses became a source of inspiration for expression of sufi feelings and thoughts for Classic Turkish Literature poets. This article examines how Divan poetry depicts Prophet Moses and his miracles.</p><p align="center"><strong><br /></strong></p><p align="center"><strong>Divan Şiirinde Hz. Musa</strong></p><pre><strong>Öz</strong><strong></strong></pre><p>Divan Şiiri, İslam Medeniyetinin şekillendirdiği Müslüman Doğu toplumlarının ortak kültüründen ve çeşitli milletlerle paylaştığı coğrafyanın değerlerinden etkilenerek oluşan, devrin sanat anlayışıyla yoğrulmuş bir birikimdir. </p><p>Hz. Musa, Firavun tarafından yeni doğan bütün erkek çocukların öldürüldüğü bir dönemde dünyaya gelmesi, İsrail oğullarına zulmeden ve tanrılık iddiasında bulunan Firavun’un sarayında yetişmesi, gençliğinde yaşadığı olaylar nedeniyle Mısır’ı terketmek zorunda kalması, peygamber oluşu, mücadelesi ve halkına karşı gösterdiği sabır gibi özelliklerinin yanında başta Yahudilik olmak üzere bütün semavi dinlerde en önemli peygamberler arasında yer alması gibi nitelikleriyle İslam Dini ve diğer ilahi dinlerin inanç ve kültür değerlerinde önemli bir yer tutmaktadır. Divan şairleri Hz. Musa’yı, Firavun’a karşı duruşu, Tûr Dağı’nda Allah ile tekellümü, Şecer-i Tûr, mucizevi asası, yed-i beyza sahibi oluşu gibi yönleri ve göstermiş olduğu mucizeleriyle şiirlerine konu etmişlerdir.</p><p>Hz. Musa, Klasik Türk edebiyatı şairleri için tasavvufî duygu, düşünce ve heyecanların ifadesinde ilham kaynağı olmuştur. Bu makalede, Hz. Musa ve onun mucizeleri ile ilgili Divan şiirinde yer alan ifade ve anlatımlar incelenmiştir.</p><p align="center"><strong><br /></strong></p><p> </p>

Purpose – The purpose of this paper is to apply Geographic Information System (GIS) in the development and utilization of Chinese ancient local chronicles to achieve the mining and visualization of historical data about products distribution and dispersal in Products in Local Chronicles of Guangdong. Design/methodology/approach – Using 1,756 records of product-related location names in Products in Local Chronicles of Guangdong of the Qing dynasty, which are recognized by a name recognition system, as attribute data; taking the spatial data of Chinese administrative geography of the Qing dynasty in 1820 and the Historical Atlas of China as spatial data; connect the attribute data with relevant spatial data based on the table connection function of Arcmap in Arcgis 8.3 to implement the data management, cartography and analysis. Findings – The application of GIS in the development and utilization of ancient local chronicles was quite successful. With some thematic maps, knowledge about products distribution and dispersal in ancient books was vividly displayed so as to facilitate relevant researches. Research limitations/implications – Only product-related location names inside China were analyzed, not other named entities in local chronicles; and only static visual display was achieved, not dynamic visual display. Historical maps of the world can be used to carry out the visualization of the products distribution and dispersal in the world, and even the visualization of other knowledge, such as poetries and songs scattered over many places in China. The process of products dispersal and the distribution of poetries and songs can be dynamically and visually displayed by pictures, audios, videos, multimedia, etc. Practical implications – By using GIS in the development and utilization of Chinese ancient local chronicles, this paper explores a new way for the collation of ancient books and open up a new area for the research of digital humanities. Originality/value – This is the first try about the application of GIS in the development and utilization of ancient local chronicles, and also the same of digital humanities research in the field of agricultural history.

How are we to conceive poetry if, as Derrida maintains, it is not a mode of literary representation? How are we to conceive poetry's place if, as he observes, literature emerges in a cultural location which is not that of poetry? Reading Derrida's comments on the genealogical separation of poetry and literature, as well as his remarks on Europe's departure from Greece and Rome, suggests that European literature has not successfully overcome or renounced poetry, but has incorporated it as a secret responsibility. Rather than a linguistic or textual legacy, the secret that literature inherits from poetry is of a cultural inhabitation that cannot, strictly speaking, be defined in terms of European territorial limits.

Taking up the persistent question of poetry’s sociopolitical capacities by considering how Harrison’s poems depend on the power of local speech, this article examines how they cast his working-class northern English dialect in meter and rhyme as a way to scrutinize social hierarchies. Marshaling various forms of speech, including his own vernacular, into traditional patterns of poetry, Harrison interrogates classist notions about nonstandard speech and its relation to that tradition while exploring the disturbances produced by class separation. Where poetry scholarship in general and Harrison scholarship in particular often place demotic registers in opposition to traditional verse forms, this article argues that it is precisely the working relationships Harrison finds between verse forms and speech forms that upend hierarchies in his poetry, making new music out of local parlance.

Kekova’s new interview recorded by E. Konstantinova shows a combined portrait of Kekova as a poet adhering to the ‘neoclassical’ tradition of 20th-c. metaphysical poetry as well as a scholar specialising in works by A. Tarkovsky and N. Zabolotsky and their intertextual relations. The interview raises the issues of contemporary philological research, the tradition of Christian poetics, of ‘sermon’ in literature, and the legacies of the Silver and Golden Ages. According to Kekova, Tarkovsky’s and Zabolotsky’s poetic oeuvres have more in common with the Golden rather than Silver Age, hence their rejection of the delusions of Symbolism and the yearning for philosophical comprehension of their place in the world; she admits to sharing this pursuit as a poet. Kekova’s on point comments to poems by her beloved authors ensure better understanding of her own poetics, and Konstantinova’s questions reveal their semantic and stylistic interconnectedness.

The present article utilizes the Nietzschean “poetics” distilled from Nietzsche’s Gay Science as an interpretive strategy for considering Deleuze’s essay “Literature and Life” in Essays Critical and Clinical. The first section considers Deleuze’s overarching project in that essay, and then repositions his thought from literature in general to “poetry” (in Nietzsche’s sense) in particular, indicating both resonances between Deleuze’s understanding of “literature” and Nietzsche’s understanding of “poetry” as well as their dissonances. The second section focuses on the places in Deleuze’s analyses where he excludes poetry, and suggests that this exclusion is related to Nietzsche’s claim that lyric poetry is the birthplace of philosophy. Put differently, the being of lyric poetry threatens to disrupt Deleuze’s distinction between the respective roles and powers of philosophy and art, and thereby to disclose poets as, at least potentially (or “virtually”), philosophers, and vice versa. And the final section offers one of Rainer Maria Rilke’s Sonnets to Orpheus as an exemplar of poetry’s philosophical potential, before concluding that a Nietzschean conception of poetry constitutes the “dark precursor” of “Literature in Life,” Essays Critical and Clinical, and Deleuze’s work in general.

“Christ Would Break Your Tongue” is part of my on-going exploration of growing up as a United Church minister’s daughter in small-town Ontario. In the title poem, I inquire into the interstices of gender, voice, and authority. In “Dominion” I grapple with how the Christian underpinnings of Western culture place humans above other creatures and lifeforms to the detriment of all living beings. In “Billy Stewart’s Geography” I begin to explore the church’s role in political oppression, colonialism, and residential schools, building on my poetic interests in family dynamics and place (Stewart, 2003; 2012). I use poetic inquiry (Butler-Kisber, Guiney Yallop, Stewart, & Wiebe, 2017; Faulkner, 2009; Galvin & Prendergast, 2016; Prendergast, Leggo, & Sameshima, 2009; Thomas, Cole, & Stewart, 2012) as a research method to reflect on and through language, letting the poems be the plumb-line of the research process. Poetry’s use of the associative, the particular, and the unconscious allow me to explore terrain which may have been previously un-worded. This is needed to write through shame and grief. I believe with Orr (2002) that “the more of our own stories that we can tell, the richer and more complex our selves become. The richer a use we make of our past experience, the more open we are to present experience” (p. 102). This openness is crucial in the search for word and action. Educator Maxine Greene (1977) calls us to be open or “awake.” How can poets be awake to this complex social/political moment and use their craft to speak? Poetry works with stories and lyric which are once personal, ideological and often shaped by religion. As a white settler Canadian, I strive to uncover the complicity of my religious and Northern Irish background in hierarchical and oppressive relations. My hope is to provoke.

In this article, I examine three poems by Emily Dickinson. The poems are F372, ‘After great pain, a formal feeling comes’, F598, ‘The Brain - is wider than the Sky’, and F1381, ‘The Heart is the Capital of the Mind,’ from the Franklin edition. In particular, I study the figurative language in these poems, but rather than simply identify figures, I attempt to explain how they function persuasively in cognitive terms. This approach is meant to move rhetorical criticism beyond an exercise in figure identification and towards an exercise in the explanation of the persuasive function of figures. The emphasis on figures owes something to the prominence they play not only in Dickinson’s poetry but in all poetry. One implication of cognitive linguistic theories of figures is that they point towards what I envisage as a cognitive rhetoric of poetry. A cognitive rhetoric of poetry ought to be grounded in classical theories of rhetoric and poetics on the one hand, and in cognitive linguistic theories of figures on the other. Such scope would reveal continuity between the concerns of current critics and the concerns of classical rhetoricians. It would also place equal emphasis on the poet’s production of figurative language and the reader’s comprehensive processing of it. What Dickinson’s poems are meant to reveal, ultimately, is poetry’s profoundly rhetorical nature.

Corpus Platonicum is one of our primary evidence on the history of Greek magic in the classical period and with other sources it gives the knowledge on those who practiced magic-working (magoi, goetes, pharmakeis and epodoi). Plato is well known for his critics of magicians in the Republic and the Laws yet picturing Socrates as a magician and enchanter in other dialogues. I will address this apparent inconsistency by examining pharmakon (drug) and epode (incantation) as two magical terms that we know already from pre-platonic texts, while in the dialogues Plato uses them for depicting a variety of Socratic philosophical practices: in the Charmides Socrates presented as a follower of Thracian medical-magical practitioner, in the Theaetetus he appears as a midwife of the souls, in the Phaedo as a prophet and a servant of Apollo and in the Republic as a lover of poetry who places his own incantation in opposition to poetry’s mimetic charm. As it follows, the magic of Socrates is a counter-magic to the bewitchment and jugglery of a sophistry and mimetic poetry. By enchanting pharmakon with epode Socrates neutralizes the risk of pharmakon being dangerous drug: a model for a method that Socrates is famed for yet expressed in the words of magic.

Abstract This article examines Lancashire commentary on the American Civil War during the Cotton Famine of 1861–65 through poetry which has recently been recovered from local newspapers. The complexity and variety of the often labouring-class subjectivities figured in the texts works to further disrupt the conventional historical view of a region united in moral and political sympathy with the Union cause, as exemplified by discourses surrounding Lincoln’s letter to the region in 1863. Much of this poetry displays an acute awareness of its place in the world. Labouring-class Lancashire people were forced by economic circumstances to confront the nature of a Victorian globalization which had proved its instability, and many began to see themselves in terms of a global subjectivity for the first time. This poetic discourse may have been materially and culturally adjacent to journalistic comment on the crisis, but poetry’s imaginative freedom and ability to compress language and hence cultural meaning often represented an amplification, distortion, or even contradiction of implied editorial comment. Nowhere was this more apparent than in the sometimes febrile context of Lancashire commentary on the American Civil War and its domestic effects. Even when no particular resolution was offered as an option the ability of Lancashire poets to represent the voice of their fellow sufferers with some degree of authenticity served to reflect the ever more intimate relationship between the Victorian global and the local which the effects of the American war demonstrated in such stark terms.

The heart does hurt.And that's no metaphor.The feeling isthat ‘throbbing muscle’ you can't say—since that's ‘steel comic sex meat’.But it does hurttop-mid-leftunder my shirt with its atrocious beat.‘Didactic Poetryis poetry which is primrily intended to instruct. Most commonly, the label is used for poetry which teaches a moral. It can also refer to poetry which conveys factual information.’ Classicists will take issue with such a definition: that ‘also’ is provocative, and so are the priorities it signals; the wedge that is being driven between poetics as ‘moral’ as against poetics as ‘factual’, those terms—… Besides,whatweight is to be placed on the opposition ‘teaches’vs.‘conveys… information’? What concept of ‘teaching’ can there be that stands proud of ‘conveying… information’?This is the subject of the present essay. If we put this question—these questions—to theSatiresof Persius, we will find in them both: (1) a strategic manoeuvre within the developing construction of imperial subjectivity within Roman discourse that has been strangely overlooked in the recent burst of critical attention devoted to this area; and also (2) a paradigmatic response to repressive encroachment on individual and collective liberties from the ‘defensive’ writer who contrivesfromthe very constriction of the civic voice a vindication of the freedom tomean. Our freedom… to dissemble(,) dissent. Reflection of and on bur predicament: ‘meaning’ in the meaning-fullness ofemphasis, the protocol of reading that problematises the containment of reading this side of theDiktatof Power/Knowledge.Hoc ridere meum(1.122).

Belatedness is past its use-by date. As Susan Stephens observes at the beginning of The Poets of Alexandria, ‘all literature has some predecessor’ (1). Therefore coming after fails to define a difference. The difference on which Stephens focuses instead is the city of Alexandria: ‘the unique social and political demands of this new place’, and the creation of a literary culture that responded to those demands. This, then, is explicitly not a book about Hellenistic poetry (though the wider horizon is not ignored), but about four Alexandrian poets whose work is sufficiently non-fragmentary to be treated ‘with aesthetic coherence’ (18): Posidippus, Theocritus, Callimachus, and Apollonius. There is also an excellent and informative chapter on reception. Given these poets' diverse origins it is surprising how strong a sense of the poetry's rootedness in a specific time and place Stephens is able to give. Commendably, she approaches ‘areas of overlap’, not as ‘aesthetic differences, even literary quarrels’, but as ‘the by-product of an environment of intense experiment as these poets attempt to integrate a novel kingship into the experiences and value systems that they individually and as part of an immigrant collective strove to articulate’ (22). I'm on record as not being a great admirer of Apollonius as a narrator (though I concede that he is a very fine verbal craftsman). My lack of enthusiasm was reinforced (I assume contrary to her intention) by Stephens' discussion of the Argonautica. Consider, for example, this perfectly accurate statement: ‘Pindar's poem [Py. 4] stacks successive time-frames. Apollonius unfolds these layers so that events now occur chronologically’ (123). When the Odyssey is repackaged for children, the structure is usually unfolded so that events occur chronologically: that is not an aesthetic improvement. Stephens says that Longinus ‘grudgingly concedes the technical perfection of the Alexandrians’ (144); ‘condescendingly’ would be a better word, since Longinus ranks perfection as a second-rate excellence. More importantly, Longinian sublimity does not depend on ‘natural grandeur’, but on the greatness of an author's nature. Sublimity can be found in breathtakingly brilliant insights into a lover's experiences (Subl. 10.2–3), or in a figure (16.1–4), or in a subtle rhythmical effect (39.4): a pedestrian description of natural grandeur will not do the job. When I reviewed Stephens' edition of Callimachus' Hymns (G&R 63 [2016], 119), I expressed myself with unaccustomed enthusiasm. Her new book, written in concise but lucid prose, is a worthy successor.

(Title: The Poetry’s Potencies As Emotion Therapy Media in Society 5.0). This study aims to describe the function of poetry as a medium for emotional therapy in society 5.0. The data from this study are poetry texts written by students. Data were collected through test techniques (poetry writing) and non-tests (interviews, observations, and documentation). Based on the results of the study, it is said that aside from being a medium for brainstorming one's thoughts, feelings and experiences, poetry has the potential to become a medium for emotional therapy. Dictionaries, Enjambments, typography, and arrangement of lines can be said to represent the soul of the poet when angry, happy, in love, traumatized, experiencing sadness, and other emotions. The entire contents of the poem is a reflection of the emotions that the poet naturally experienced, saw, and felt in the packaging of words that were solid and full of meaning.Keywords: poetry, emotion therapy, therapy media, society 5.0(Title: Understanding The Motif of Midwifery With Earth Men as The Spirit of Feminism in the Indonesian Folklore). Folklore is one of the intellectual works that was born as an expression of the world view of the supporting community. One of the folklore motifs found in a number of ethnic groups in Indonesia is that which tells about the marriage between earth men and angels from heaven. Among these folklore are Jaka Tarub (Java), Putri Surga (Papua), Cerita Air Tukang (Maluku), Betawol (Miraculous North Kalimantan), Malim Deman and Puti Bungsu (Riau), Tomanurun (Toraja), and Si Lanang and Punai (South Kalimantan). This study tries to compare and understand the motif of marriage between men of the earth and deities by using the perspective of feminism. The results showed that the deities had higher positions and abilities than men of the earth who married him. This means that the upper world (heaven or heaven) the place of origin of the deities in social stratification is considered higher than the underworld, even though the two complement each other. The existence of the motif of marriage between men of the earth and desities found in a number of ethnic groups in Indonesia shows a high appreciation for the figure of the mother as an ancestor who inherited certain ethnicities, which is a manifestation of the spirit of feminism in a number of folklores in Indonesia.Keywords: deities, world above, world below, feminism

Among multiple genres of Sanskrit poetry, the sandeśa or dūtakāvyas1 (messenger poems) have inspired curiosity among litterateur aficionados of the classics. Albeit such communications often involved exchanges of confidential messages among remote lovers, these poetries equally served as travelogues. Among the sandeśakāvyas composed in Kerala2 , Śukasandeśa of Lakṣmīdāsa, of the 14th century, is a remarkable literary work. Lakṣmīdāsa conveys his heartfelt feelings to Raṅgalakṣmī, his sweetheart, through a śuka (parrot). The messenger parrot travels from Rameswaram3 , where the separated lover resides, to Guṇapuram, in North Kerala. The route covers various places of cultural and historic significance. Appending aesthetic elements, Lakṣmīdāsa maps all the major temples and sacred rivers, en route to Guṇapuram. The current paper proposes to educate and promote awareness among the current generation through promulgation of ancient cultural heritage. The ornamental presentation of prominent temples, portrayal of deities, sacred rivers, groves etc. mentioned in the Śukasandeśa could ignite minds of culturally inquisitive groups. It associates various ancient nomenclatures of places with modern locations, acting as a quick reference for classical researchers. The description of locations in the Śukasandeśa could serve as a route map, providing location sketch and ease expeditions.

Penelitian ini bertujuan untuk memahami isi teks dan mendeskripsikan nilai-nilai agama dalam wawacan untuk dijadikan bahan ajar membaca di SMA kelas XII. Untuk mencapai hal itu, digunakan metode deskriptif dan metode edisi teks standar yang diharapkan bisa mendapatkan gambaran secara obyektif. Hasil penelitian ini menyimpulkan bahwa wawacan Hikayat Hasan Shoig Bashri merupakan sebuah naskah yang ditulis menggunakan huruf Arab Pegon dan ditransliterasi ke dalam huruf Latin. Wawacan ini dibagi ke dalam dua jilid, terdiri atas 128 halaman dan delapan pupuh yang bercerita mengenai kehidupan sosial seorang pemuda yang sangat taat pada ajaran agama yang dianutnya. Alur dari cerita wawacan ini adalah maju dan tokoh utamanya adalah Hasan Shoig Bashri. Secara umum, latar tempat yang digunakan adalah tempat-tempat yang erat hubungannya dengan agama Islam. Dalam penulisannya, pengarang menggunakan sudut pandang orang ketiga karena pengarang berada di luar cerita, selain itu pengarang juga menggunakan beberapa gaya bahasa, peribahasa Sunda, dan syair-syair Arab. Nilai agama yang terkandung dalam wawacan ini terdiri atas aqidah, akhlak, dan fiqih. Hasil temuan ini direkomendasikan untuk dijadikan bahan ajar sesuai SKKD mata pelajaran bahasa dan sastra Sunda. This study aims to comprehend contents of the text and unearth the religious values in the text used as reading material in Grade XII of Senior High School. To meet the goal, this study used a descriptive method and a standard text method in hope to get an objective view. This study concludes that Hikayat Hasan Shoig Bashri is a text that was written through Arab Pegon and was transliterated into Latin alphabets. The text consists of two chapters, 128 pages and 8 pupuh. It tells a story of a moslem young man who obeyed his religion rules. Plot of the text is forward and the main actor is Hasan Shoig Bashri. Generally, the settings of the text are some places related with Islamic religion. The author of the text uses a third person viewpoint and uses a number of figurative speeches, Sundanese idioms, and even Arabic poetries. The religious values embedded in the text constitute Akidah, Akhlaq, and Fikih. The text is recommended to be a learning material suited with the standard competencies and basic competencies of Sundanese language and literature.

Este ensaio tem por objetivo levantar as possíveis contribuições da Antropologia Visual para os pesquisadores de Letras que se dedicam à literatura oral e popular. Para isso, o artigo foi dividido em três partes. A primeira faz uma reflexão acerca do lugar da poesia popular no campo das Letras, propondo uma inclusão das poéticas populares na historiografia literária. A segunda volta-se para a investigação da cantoria e do repente como performances. A terceira, por fim, tem por premissa ver como a Antropologia Visual pode contribuir para a composição de um corpus de manifestações literárias populares, bem como de coleção de imagens e de narrativas etnográficas. Entre os autores que dão suporte à reflexão, destacam-se Matos (1994; 1999), Zumthor (2010), Schafer (2001), Rocha e Eckert (2013a, 2013b) e Devos e Rocha (2009).Palavras-chave: Literatura popular. Antropologia Visual. Performance. Repente. Composição de corpus.Interfaces between popular literature and visual anthropology: ethnographics and epistemologicals challenges the researcher in lettersAbstractThis article aims to find the possible contributions of Visual Anthropology for researchers engaged in oral and popular literature. For this, the work was divided into three parts. The first one makes a reflection about the popular poetry’s place in the field of Literature, proposing an inclusion of popular poetry in literary historiography. The second one turns itself to the investigation of singing and “repente” as performances. The third, finally, aims to see how the Visual anthropology can contribute for the corpus composition of literature popular events, as well as images and ethnographic narratives collections. Among the authors who support the reflection, stand out Matos (1994; 1999), Zumthor (2010), Schafer (2001), Rock and Eckert (2013th, 2013b) and Devos and Rocha (2009). Key words: Popular Literature. Visual Antropology. Performing. Repente. Corpus Composition.

Diaspora This article looks at diaspora through the transformations of an established public service broadcaster, the BBC World Service, by considering some of the findings of the AHRC-funded Tuning In: Contact Zones at the BBC World Service, which is part of the Diasporas, Migration and Identities program. Tuning In has six themes, each of which focuses upon the role of the BBC WS: The Politics of Translation, Diasporic Nationhood, Religious Transnationalism, Sport across Diasporas, Migrating Music and Drama for Development. The World Service, which was until 2011 funded by the Foreign Office, was set up to cater for the British diaspora and had the specific remit of transmitting ideas about Britishness to its audiences overseas. Tuning In demonstrates interrelationships between the global and the local in the diasporic contact zone of the BBC World Service, which has provided a mediated home for the worldwide British diaspora since its inception in 1932. The local and the global have merged, elided, and separated at different times and in different spaces in the changing story of the BBC (Briggs). The BBC WS is both local and global with activities that present Britishness both at home and abroad. The service has, however, come a long way since its early days as the Empire Service. Audiences for the World Service’s 31 foreign language services, radio, television, and Internet facilities include substantive non-British/English-speaking constituencies, rendering it a contact zone for the exploration of ideas and political opportunities on a truly transnational scale. This heterogeneous body of exilic, refugee intellectuals, writers, and artists now operates alongside an ongoing expression of Britishness in all its diverse reconfiguration. This includes the residual voice of empire and its patriarchal paternalism, the embrace of more recent expressions of neoliberalism as well as traditional values of impartiality and objectivism and, in the case of the arts, elements of bohemianism and creative innovation. The World Service might have begun as a communication system for the British ex-pat diaspora, but its role has changed along with the changing relationship between Britain and its colonial past. In the terrain of sport, for example, cricket, the “game of empire,” has shifted from Britain to the Indian subcontinent (Guha) with the rise of “Twenty 20” and the Indian Premier League (IPL); summed up in Ashis Nandy’s claim that “cricket is an Indian game accidentally discovered by the English” (Nandy viii). English county cricket dominated the airways of the World Service well into the latter half of the twentieth century, but the audiences of the service have demanded a response to social and cultural change and the service has responded. Sport can thus be seen to have offered a democratic space in which new diasporic relations can be forged as well as one in which colonial and patriarchal values are maintained. The BBC WS today is part of a network through which non-British diasporic peoples can reconnect with their home countries via the service, as well as an online forum for debate across the globe. In many regions of the world, it continues to be the single most trusted source of information at times of crisis and disaster because of its traditions of impartiality and objectivity, even though (as noted in the article on Al-Jazeera in this special issue) this view is hotly contested. The principles of objectivity and impartiality are central to the BBC WS, which may seem paradoxical since it is funded by the Commonwealth and Foreign office, and its origins lie in empire and colonial discourse. Archive material researched by our project demonstrates the specifically ideological role of what was first called the Empire Service. The language of empire was deployed in this early programming, and there is an explicit expression of an ideological purpose (Hill). For example, at the Imperial Conference in 1930, the service was supported in terms of its political powers of “strengthening ties” between parts of the empire. This view comes from a speech by John Reith, the BBC’s first Director General, which was broadcast when the service opened. In this speech, broadcasting is identified as having come to involve a “connecting and co-ordinating link between the scattered parts of the British Empire” (Reith). Local British values are transmitted across the globe. Through the service, empire and nation are reinstated through the routine broadcasting of cyclical events, the importance of which Scannell and Cardiff describe as follows: Nothing so well illustrates the noiseless manner in which the BBC became perhaps the central agent of national culture as its cyclical role; the cyclical production year in year out, of an orderly, regular progression of festivities, rituals and celebrations—major and minor, civic and sacred—that mark the unfolding of the broadcast year. (278; italics in the original) State occasions and big moments, including those directly concerned with governance and affairs of state, and those which focused upon sport and religion, were a big part in these “noiseless” cycles, and became key elements in the making of Britishness across the globe. The BBC is “noiseless” because the timetable is assumed and taken for granted as not only what is but what should be. However, the BBC WS has been and has had to be responsive to major shifts in global and local—and, indeed, glocal—power geometries that have led to spatial transformations, notably in the reconfiguration of the service in the era of postcolonialism. Some of these massive changes have involved the large-scale movement of people and a concomitant rethinking of diaspora as a concept. Empire, like nation, operates as an “imagined community,” too big to be grasped by individuals (Anderson), as well as a material actuality. The dynamics of identification are rarely linear and there are inconsistencies and disruptions: even when the voice is officially that of empire, the practice of the World Service is much more diverse, nuanced, and dialogical. The BBC WS challenges boundaries through the connectivities of communication and through different ways of belonging and, similarly, through a problematisation of concepts like attachment and detachment; this is most notable in the way in which programming has adapted to new diasporic audiences and in the reworkings of spatiality in the shift from empire to diversity via multiculturalism. There are tensions between diaspora and multiculturalism that are apparent in a discussion of broadcasting and communication networks. Diaspora has been distinguished by mobility and hybridity (Clifford, Hall, Bhaba, Gilroy) and it has been argued that the adjectival use of diasporic offers more opportunity for fluidity and transformation (Clifford). The concept of diaspora, as it has been used to explain the fluidity and mobility of diasporic identifications, can challenge more stabilised, “classic” understandings of diaspora (Chivallon). A hybrid version of diaspora might sit uneasily with a strong sense of belonging and with the idea that the broadcast media offer a multicultural space in which each voice can be heard and a wide range of cultures are present. Tuning In engaged with ways of rethinking the BBC’s relationship to diaspora in the twenty-first century in a number of ways: for example, in the intersection of discursive regimes of representation; in the status of public service broadcasting; vis-à-vis the consequences of diverse diasporic audiences; through the role of cultural intermediaries such as journalists and writers; and via global economic and political materialities (Gillespie, Webb and Baumann). Tuning In thus provided a multi-themed and methodologically diverse exploration of how the BBC WS is itself a series of spaces which are constitutive of the transformation of diasporic identifications. Exploring the part played by the BBC WS in changing and continuing social flows and networks involves, first, reconfiguring what is understood by transnationalism, diaspora, and postcolonial relationalities: in particular, attending to how these transform as well as sometimes reinstate colonial and patriarchal discourses and practices, thus bringing together different dimensions of the local and the global. Tuning In ranges across different fields, embracing cultural, social, and political areas of experience as represented in broadcasting coverage. These fields illustrate the educative role of the BBC and the World Service that is also linked to its particular version of impartiality; just as The Archers was set up to provide information and guidance through a narrative of everyday life to rural communities and farmers after the Second World War, so the Afghan version plays an “edutainment” role (Skuse) where entertainment also serves an educational, public service information role. Indeed, the use of soap opera genre such as The Archers as a vehicle for humanitarian and health information has been very successful over the past decade, with the “edutainment” genre becoming a feature of the World Service’s broadcasting in places such as Rwanda, Somalia, Nigeria, India, Nepal, Burma, Afghanistan, and Cambodia. In a genre that has been promoted by the World Service Trust, the charitable arm of the BBC WS uses drama formats to build transnational production relationships with media professionals and to strengthen creative capacities to undertake behaviour change through communication work. Such programming, which is in the tradition of the BBC WS, draws upon the service’s expertise and exhibits both an ideological commitment to progressive social intervention and a paternalist approach drawing upon colonialist legacies. Nowadays, however, the BBC WS can be considered a diasporic contact zone, providing sites of transnational intra-diasporic contact as well as cross-cultural encounters, spaces for cross-diasporic creativity and representation, and a forum for cross-cultural dialogue and potentially cosmopolitan translations (Pratt, Clifford). These activities are, however, still marked by historically forged asymmetric power relations, notably of colonialism, imperialism, and globalisation, as well as still being dominated by hegemonic masculinity in many parts of the service, which thus represent sites of contestation, conflict, and transgression. Conversely, diasporic identities are themselves co-shaped by media representations (Sreberny). The diasporic contact zone is a relational space in which diasporic identities are made and remade and contested. Tuning In employed a diverse range of methods to analyse the part played by the BBC WS in changing and continuing social and cultural flows, networks, and reconfigurations of transnationalisms and diaspora, as well as reinstating colonial, patriarchal practices. The research deconstructed some assumptions and conditions of class-based elitism, colonialism, and patriarchy through a range of strategies. Texts are, of course, central to this work, with the BBC Archives at Caversham (near Reading) representing the starting point for many researchers. The archive is a rich source of material for researchers which carries a vast range of data including fragile memos written on scraps of paper: a very local source of global communications. Other textual material occupies the less locatable cyberspace, for example in the case of Have Your Say exchanges on the Web. People also featured in the project, through the media, in cyberspace, and physical encounters, all of which demonstrate the diverse modes of connection that have been established. Researchers worked with the BBC WS in a variety of ways, not only through interviews and ethnographic approaches, such as participant observation and witness seminars, but also through exchanges between the service, its practitioners, and the researchers (for example, through broadcasts where the project provided the content and the ideas and researchers have been part of programs that have gone out on the BBC WS (Goldblatt, Webb), bringing together people who work for the BBC and Tuning In researchers). On this point, it should be remembered that Bush House is, itself, a diasporic space which, from its geographical location in the Strand in London, has brought together diasporic people from around the globe to establish international communication networks, and has thus become the focus and locus of some of our research. What we have understood by the term “diasporic space” in this context includes both the materialities of architecture and cyberspace which is the site of digital diasporas (Anderssen) and, indeed, the virtual exchanges featured on “Have Your Say,” the online feedback site (Tuning In). Living the Glocal The BBC WS offers a mode of communication and a series of networks that are spatially located both in the UK, through the material presence of Bush House, and abroad, through the diasporic communities constituting contemporary audiences. The service may have been set up to provide news and entertainment for the British diaspora abroad, but the transformation of the UK into a multi-ethnic society “at home,” alongside its commitment to, and the servicing of, no less than 32 countries abroad, demonstrates a new mission and a new balance of power. Different diasporic communities, such as multi-ethnic Londoners, and local and British Muslims in the north of England, demonstrate the dynamics and ambivalences of what is meant by “diaspora” today. For example, the BBC and the WS play an ambiguous role in the lives of UK Muslim communities with Pakistani connections, where consumers of the international news can feel that the BBC is complicit in the conflation of Muslims with terrorists. Engaging Diaspora Audiences demonstrated the diversity of audience reception in a climate of marginalisation, often bordering on moral panic, and showed how diasporic audiences often use Al-Jazeera or Pakistani and Urdu channels, which are seen to take up more sympathetic political positions. It seems, however, that more egalitarian conversations are becoming possible through the channels of the WS. The participation of local people in the BBC WS global project is seen, for example, as in the popular “Witness Seminars” that have both a current focus and one that is projected into the future, as in the case of the “2012 Generation” (that is, the young people who come of age in 2012, the year of the London Olympics). The Witness Seminars demonstrate the recuperation of past political and social events such as “Bangladesh in 1971” (Tuning In), “The Cold War seminar” (Tuning In) and “Diasporic Nationhood” (the cultural movements reiterated and recovered in the “Literary Lives” project (Gillespie, Baumann and Zinik). Indeed, the WS’s current focus on the “2012 Generation,” including an event in which 27 young people (each of whom speaks one of the WS languages) were invited to an open day at Bush House in 2009, vividly illustrates how things have changed. Whereas in 1948 (the last occasion when the Olympic Games were held in London), the world came to London, it is arguable that, in 2012, in contemporary multi-ethnic Britain, the world is already here (Webb). This enterprise has the advantage of giving voice to the present rather than filtering the present through the legacies of colonialism that remain a problem for the Witness Seminars more generally. The democratising possibilities of sport, as well as the restrictions of its globalising elements, are well represented by Tuning In (Woodward). Sport has, of course become more globalised, especially through the development of Internet and satellite technologies (Giulianotti) but it retains powerful local affiliations and identifications. At all levels and in diverse places, there are strong attachments to local and national teams that are constitutive of communities, including diasporic and multi-ethnic communities. Sport is both typical and distinctive of the BBC World Service; something that is part of a wider picture but also an area of experience with a life of its own. Our “Sport across Diasporas” project has thus explored some of the routes the World Service has travelled in its engagement with sport in order to provide some understanding of the legacy of empire and patriarchy, as well as engaging with the multiplicities of change in the reconstruction of Britishness. Here, it is important to recognise that what began as “BBC Sport” evolved into “World Service Sport.” Coverage of the world’s biggest sporting events was established through the 1930s to the 1960s in the development of the BBC WS. However, it is not only the global dimensions of sporting events that have been assumed; so too are national identifications. There is no question that the superiority of British/English sport is naturalised through its dominance of the BBC WS airways, but the possibilities of reinterpretation and re-accommodation have also been made possible. There has, indeed, been a changing place of sport in the BBC WS, which can only be understood with reference to wider changes in the relationship between broadcasting and sport, and demonstrates the powerful synchronies between social, political, technological, economic, and cultural factors, notably those that make up the media–sport–commerce nexus that drives so much of the trajectory of contemporary sport. Diasporic audiences shape the schedule as much as what is broadcast. There is no single voice of the BBC in sport. The BBC archive demonstrates a variety of narratives through the development and transformation of the World Service’s sports broadcasting. There are, however, silences: notably those involving women. Sport is still a patriarchal field. However, the imperial genealogies of sport are inextricably entwined with the social, political, and cultural changes taking place in the wider world. There is no detectable linear narrative but rather a series of tensions and contradictions that are reflected and reconfigured in the texts in which deliberations are made. In sport broadcasting, the relationship of the BBC WS with its listeners is, in many instances, genuinely dialogic: for example, through “Have Your Say” websites and internet forums, and some of the actors in these dialogic exchanges are the broadcasters themselves. The history of the BBC and the World Service is one which manifests a degree of autonomy and some spontaneity on the part of journalists and broadcasters. For example, in the case of the BBC WS African sports program, Fast Track (2009), many of the broadcasters interviewed report being able to cover material not technically within their brief; news journalists are able to engage with sporting events and sports journalists have covered social and political news (Woodward). Sometimes this is a matter of taking the initiative or simply of being in the right place at the right time, although this affords an agency to journalists which is increasingly unlikely in the twenty-first century. The Politics of Translation: Words and Music The World Service has played a key role as a cultural broker in the political arena through what could be construed as “educational broadcasting” via the wider terrain of the arts: for example, literature, drama, poetry, and music. Over the years, Bush House has been a home-from-home for poets: internationalists, translators from classical and modern languages, and bohemians; a constituency that, for all its cosmopolitanism, was predominantly white and male in the early days. For example, in the 1930s and 1940s, Louis MacNeice was commissioning editor and surrounded by a friendship network of salaried poets, such as W. H. Auden, Dylan Thomas, C. Day Lewis, and Stephen Spender, who wrote and performed their work for the WS. The foreign language departments of the BBC WS, meanwhile, hired émigrés and exiles from their countries’ educated elites to do similar work. The biannual, book-format journal Modern Poetry in Translation (MPT), which was founded in 1965 by Daniel Weissbort and Ted Hughes, included a dedication in Weissbort’s final issue (MPT 22, 2003) to “Poets at Bush House.” This volume amounts to a celebration of the BBC WS and its creative culture, which extended beyond the confines of broadcasting spaces. The reminiscences in “Poets at Bush House” suggest an institutional culture of informal connections and a fluidity of local exchanges that is resonant of the fluidity of the flows and networks of diaspora (Cheesman). Music, too, has distinctive characteristics that mark out this terrain on the broadcast schedule and in the culture of the BBC WS. Music is differentiated from language-centred genres, making it a particularly powerful medium of cross-cultural exchange. Music is portable and yet is marked by a cultural rootedness that may impede translation and interpretation. Music also carries ambiguities as a marker of status across borders, and it combines aesthetic intensity and diffuseness. The Migrating Music project demonstrated BBC WS mediation of music and identity flows (Toynbee). In the production and scheduling notes, issues of migration and diaspora are often addressed directly in the programming of music, while the movement of peoples is a leitmotif in all programs in which music is played and discussed. Music genres are mobile, diasporic, and can be constitutive of Paul Gilroy’s “Black Atlantic” (Gilroy), which foregrounds the itinerary of West African music to the Caribbean via the Middle Passage, cross-fertilising with European traditions in the Americas to produce blues and other hybrid forms, and the journey of these forms to Europe. The Migrating Music project focused upon the role of the BBC WS as narrator of the Black Atlantic story and of South Asian cross-over music, from bhangra to filmi, which can be situated among the South Asian diaspora in east and south Africa as well as the Caribbean where they now interact with reggae, calypso, Rapso, and Popso. The transversal flows of music and lyrics encompasses the lived experience of the different diasporas that are accommodated in the BBC WS schedules: for example, they keep alive the connection between the Irish “at home” and in the diaspora through programs featuring traditional music, further demonstrating the interconnections between local and global attachments as well as points of disconnection and contradiction. Textual analysis—including discourse analysis of presenters’ speech, program trailers and dialogue and the BBC’s own construction of “world music”—has revealed that the BBC WS itself performs a constitutive role in keeping alive these traditions. Music, too, has a range of emotional affects which are manifest in the semiotic analyses that have been conducted of recordings and performances. Further, the creative personnel who are involved in music programming, including musicians, play their own role in this ongoing process of musical migration. Once again, the networks of people involved as practitioners become central to the processes and systems through which diasporic audiences are re-produced and engaged. Conclusion The BBC WS can claim to be a global and local cultural intermediary not only because the service was set up to engage with the British diaspora in an international context but because the service, today, is demonstrably a voice that is continually negotiating multi-ethnic audiences both in the UK and across the world. At best, the World Service is a dynamic facilitator of conversations within and across diasporas: ideas are relocated, translated, and travel in different directions. The “local” of a British broadcasting service, established to promote British values across the globe, has been transformed, both through its engagements with an increasingly diverse set of diasporic audiences and through the transformations in how diasporas themselves self-define and operate. On the BBC WS, demographic, social, and cultural changes mean that the global is now to be found in the local of the UK and any simplistic separation of local and global is no longer tenable. The educative role once adopted by the BBC, and then the World Service, nevertheless still persists in other contexts (“from Ambridge to Afghanistan”), and clearly the WS still treads a dangerous path between the paternalism and patriarchy of its colonial past and its responsiveness to change. In spite of competition from television, satellite, and Internet technologies which challenge the BBC’s former hegemony, the BBC World Service continues to be a dynamic space for (re)creating and (re)instating diasporic audiences: audiences, texts, and broadcasters intersect with social, economic, political, and cultural forces. The monologic “voice of empire” has been countered and translated into the language of diversity and while, at times, the relationship between continuity and change may be seen to exist in awkward tension, it is clear that the Corporation is adapting to the needs of its twenty-first century audience. ReferencesAnderson, Benedict. Imagined Communities, Reflections of the Origin and Spread of Nationalism. London: Verso, 1983. Anderssen, Matilda. “Digital Diasporas.” 2010. 30 Nov. 2010 ‹http://www8.open.ac.uk/researchprojects/diasporas/cross-research/digital-diasporas›. Bhabha, Homi. The Location of Culture. London: Routledge, 1994. Briggs, Asa. 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