Bibliografias temáticas / Afar poetry

Literatura científica selecionada sobre o tema "Afar poetry"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 26 de julho de 2024

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Artigos de revistas sobre o assunto "Afar poetry"

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Sogues Marco, Marc. "«Fent una reixa ofici de vicari». La paradoxa de la reixa en la poesia de Vicent Garcia i Francesc Fontanella". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 21, n.º 21 (22 de junho de 2023): 517. http://dx.doi.org/10.7203/scripta.21.26848.

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Resum: El present article parteix de la comparació entre el tòpic de l’amor de lluny (o amor absent), referit a aquella mena de textos en què el jo poètic es troba separat de la dama que estima, i el que es proposa d’anomenar ‘amor de reixa’, que s’esdevé en la poesia d’amors mongívols quan una monja i el seu pretendent es troben separats únicament per la distància mínima però insalvable de la reixa d’un locutori. El treball analitza els paral·lelismes i les divergències entre els dos tòpics i els il·lustra amb l’anàlisi d’un romanç de Francesc Fontanella i tres sonets de Francesc Vicent Garcia, Rector de Vallfogona. També s’identifica un cas de relació intertextual entre els dos autors que no havia estat detectat fins ara.Paraules clau: poesia barroca, literatura satírica, Francesc Fontanella, Francesc Vicent Garcia, amor de lluny.Abstract: The present article starts from the comparison between the cliché of love from afar (or absent love), referred to that kind of texts in which the poetic self is separated from the lady he loves, and what is proposed to be called ‘grilled love’, which happens in the poetry of monastic love when a nun and her suitor are separated only by the minimal but insurmountable distance of the grill of a locutory. The work analyzes the parallels and divergences between the two clichés and illustrates them with the analysis of a romance by Francesc Fontanella and three sonnets by Francesc Vicent Garcia, Rector of Vallfogona. Also, it is pointed out a case of intertextual relationship between the two authors that had not been detected until now.Keywords: baroque poetry, satirical literature, Francesc Fontanella, Francesc Vicent Garcia, love from afar.
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Balehegn, Mulubrhan. "Ecological and Social Wisdom in Camel Praise Poetry Sung by Afar Nomads of Ethiopia". Journal of Ethnobiology 36, n.º 2 (julho de 2016): 457–72. http://dx.doi.org/10.2993/0278-0771-36.2.457.

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Zhou, Huiyin. "As We Sit in a Circle on the Grass, and: 环 Circle, and: Untamed Tongue 母语". Massachusetts Review 64, n.º 4 (dezembro de 2023): 50–54. http://dx.doi.org/10.1353/mar.2023.a914899.

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Abstract: "Circle" and "untamed tongue" are from 离离草 Chinese Artists and Organizers (CAO) Collective's poetry writing workshops in 2022. The poems were originally written in Chinese using the Exquisite Corpse method, where workshop participants continued after each other's lines under a tight time limit to co-author collective languages and narratives. They were translated into English by CAO Collective members fran yu 嚼嚼 and huiyin zhou 徽音 in collaboration. These poems and their translations engage with the affective experiences of Chinese queer feminists in the diaspora. These collaborative processes, whether as a group or as a duet, rebuild our own lifeworlds that traverse national, geographic, and generational borders. As we call and respond to one another, and murmur tTHERE IS A HOUSEo queer/feminist ancestors and family members who seem out of reach, we reimagine what it means to be with each other, to stand with arrested feminist activists and victims of lockdowns from afar.
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Kemmerer, Alexandra. "Like Ancient Beacons: The European Union and the International Criminal Court – Reflections from afar on a Chapter of European Foreign Policy". German Law Journal 5, n.º 12 (1 de dezembro de 2004): 1449–67. http://dx.doi.org/10.1017/s2071832200013341.

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That the Law is never frozen in time and space is quite a trivial insight – but one, however, that is nonetheless particularly true for the area of international human rights law and the jurisdiction to see human rights norms respected and enforced. No less is it true for international criminal law and European law. It is, of course, true at the intersection of these three fields of the law as well, exactly the place I intend to explore in this paper. And, as we shall see, poetry, that rarely unveiled subtext of the law, is never steady in its foundations.
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Perevalova, S. V. "‘ Winds from afar did bring hints of a song of a spring…’. Aleksandr Blok’s poetic traditions in the Russian ‘lieutenant prose’". Voprosy literatury, n.º 3 (12 de setembro de 2022): 45–61. http://dx.doi.org/10.31425/0042-8795-2022-3-45-61.

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The article considers the spiritual, moral, and poetic influence of A. Blok’s (himself enlisted during the First World War) patriotic poetic traditions on ‘lieutenant prose’ writers, who fought in the trenches of the Great Patriotic War in the lowly ranks of privates and junior officers. The author argues that it was to Blok that ‘lieutenant prose’ writers turned for a frame of reference to comprehend the situation and provide a universal standpoint — as, for example, in Blok’s poems ‘On the field of Kulikovo’ [‘Na pole Kulikovom’], ‘The Commander’s steps’ [‘Shagi komandora’], or ‘Those born in times of the decay…’ [‘Rozhdyonnye v goda glukhie…’]. That Blok’s poetry was relevant to them was confirmed by several ‘lieutenant prose’ authors, including B. Vasiliev, V. Nekrasov, and V. Tendryakov (whose entire short story ‘Donna Anna’ is constructed on the reminiscence of a Blok’s poem). According to Perevalova, Blok’s relevance to the aforementioned writers stems from the fact that, describing war, he never preached violence or the art of extermination but appealed instead to the eternal existential questions and values.
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حمد البياتي, ياسر رشيد. "Image manifestations in the poetic realism of Yahya bin al-Hakam al-Ghazal". JOURNAL OF LANGUAGE STUDIES 6, n.º 4, 2 (31 de julho de 2023): 226–38. http://dx.doi.org/10.25130/jls.6.4.2.19.

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In our research, we dealt with an important personality from Andalusia famous for its beauty and magic, and he is the poet (Yahya bin Hakam Al-Ghazal Al-Andalusi). The research relied primarily on (Divan of Yahya ibn al-Hakam al-Ghazal, collection and investigation by Dr. Muhammad Radwan al-Daya - Dar al-Fikr, Damascus, Syria) 1st edition, 1993 AD, as well as the book (Yahya ibn Hakam al-Ghazal, Prince of the Poets of Andalusia in the third century AH and ambassador of the Prince of Andalusia to the Emperor of Constantinople and King of the Normans 250 AH - 864 AH) authored by Muhammad Salih al-Bundaq, 1st Edition, Dar Al-Afaq Al-Jadidah (Beirut - 1979 AD). And other sources, and this study adopted an artistic approach based on attracting poetic texts and analyzing them to show the places of beauty in which the artistic image was evident, in addition to that other studies are presented in the folds of the pages. The poetic image he has, and the second topic, marked by (realism in the poetry of the deer), came to study the realism in the poet's poetry and the manifestations of the poetic image in the most important purposes for which he wrote the deer.
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Sargsyan, Mariana, e Evgeniia Zimina. "POETRY AS A COPING INSTRUMENT AND A TEACHING TOOL". Armenian Folia Anglistika 19, n.º 2 (28) (23 de dezembro de 2023): 109–23. http://dx.doi.org/10.46991/afa/2023.19.2.109.

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The paper seeks to revive the interest of teachers and learners in poetry reading and writing as a means to teach English at intermediate and advanced levels. The paper demonstrates the results of the authors’ classroom experience during the enforced lockdown of 2020 in integrating poetry into English language class. The paper looks at poetry as a teaching tool and a coping strategy for students facing the negative consequences of the pandemic. First, the authors analyse the COVID-related poetry in English and Russian. They identify the key emotions people had been experiencing during the pandemic by finding key words, symbols and stylistic devices. The inclusion of English and Russian pieces provides certain culture specific interpretations of the new reality. Further, the authors analyze poems written in English by their students and assess the creative activity in terms of a coping strategy. The authors conclude that, provided the students are given examples of various genres, the activity enables them to reconsider their attitude to the pandemic in a constructive way. In more general terms, the authors conclude that the regular inclusion of poetry practices in English language classes can create a healthy and dynamic atmosphere which in turn may contribute to enhancing the teaching efficiency.
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Yaghubyan, Marina. "INTERPRETATION OF OMITTED WORDS OR THE UNSAID INFORMATION IN EMILY DICKINSON’S POETRY". Armenian Folia Anglistika 17, n.º 2 (24) (8 de dezembro de 2021): 77–84. http://dx.doi.org/10.46991/afa/2021.17.2.077.

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The use of omissions by Emily Dickinson is one of the major characteristics of her poetry. She tried to reach maximum ellipsis and achieve the tightest structural compression. The unique feature in her use of omission is that most of the unsaid information in her poems is portrayed with the help of dashes. They indicate a missing word, phrase, emphasize a break, or they depict a sudden change in thought. Throughout the author's writing, the imagery and metaphors are drawn from her observations of nature and imagination. Emily’s use of specific words resulted in one - inability of comprehending her poetry with just one reading. The present article focuses on the examination of the omitted words in Emily Dickinson’s poetry. The analysis shows that she refined and removed inessential language and punctuation from her poetry. In many of her poems, abstract concepts and material things are used to describe one another, but the relationship between them remains elusive and uncertain.
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Asatryan, Karina. "Metrical Relations Between Siamanto’s Poetry and Medieval Armenian Verse". Armenian Folia Anglistika 6, n.º 1-2 (7) (15 de outubro de 2010): 169–75. http://dx.doi.org/10.46991/afa/2010.6.1-2.169.

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Siamanto’s poetry is closely connected with the metrical characteristics of medieval poetry. Writing in accordance with the basic structural standards of free verse he connected the poetic meters of Armenian medieval lyrical poetry with various stylistic elements of modern poetry of the start of the century. The article presents poetic meters which were used by both several medieval poets, and Siamanto. The structural changes carried out by Siamanto have also been partly addressed in the present article.
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Matevosyan, Armine, e Anna Melkonyan. "Repetition in Walt Whitman’s “A Passage to India”". Armenian Folia Anglistika 6, n.º 1-2 (7) (15 de outubro de 2010): 83–88. http://dx.doi.org/10.46991/afa/2010.6.1-2.083.

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The article investigates the stylistic device of repetition which plays an underlying role in Whitman’s poetry. It brings rhythm and harmony to the poetry and helps convey higher moral values – wisdom, morality, various human states of mind and moods. Repetition with its various manifestations is a unique feature in Whitman’s poetry and it is impossible to imagine the great poet without his grand individual language. Undoubtedly, his poetry is the height of the art of repetition.
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Teses / dissertações sobre o assunto "Afar poetry"

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Ravasio, Paola [Verfasser], Brigitte [Gutachter] Burrichter e Heike [Gutachter] Raphael-Hernandez. "Black Costa Rica. Pluricentrical Belonging in Afra-Costa Rican Poetry / Paola Ravasio ; Gutachter: Brigitte Burrichter, Heike Raphael-Hernandez". Würzburg : Würzburg University Press, 2020. http://d-nb.info/1216828288/34.

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Ravasio, Paola. "Black Costa Rica. Pluricentrical Belonging in Afra-Costa Rican Poetry". Doctoral thesis, 2020. https://doi.org/10.25972/WUP-978-3-95826-141-9.

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Black Costa Rica: Pluricentrical Belonging in Afra-Costa Rican Poetry engages the lyric of Eulalia Bernard (Limón, Costa Rica *1935), Shirley Campbell (San José, Costa Rica *1965), and Dlia McDonald (Colón, Panamá *1965) by a historically backwards-looking perspective that explores a pluricentrical sense of belonging. This concept refers mainly to plural centers of cultural and historical identifications along a glocal sociohistorical continuum stretched across the multifold aspects of the nation~diaspora dynamic/s. The literary analysis traces the coming of age of the Afro-Costa Rican community in these women’s poetry as a local manifestation of global phenomena concerning diaspora/s, the dialectics of race and nation, and processes of assimilation and of marginalization. The dissertation asks, fundamentally, how does their poetry reveal a historical imagination referring both to a national specificity while simultaneously expressing identification with socio-historical processes in the circum-Caribbean region? What are the poetic themes and which the lyrical forms that constitute a myriad of local and global aspects regarding the coming of age of the Afro-Costa Rican community? Departing from these premises, the dissertation tells a story of the past by addressing the ways in which the glocal is deployed through specific figures of speech. Based on the study of what I have termed a modernized-nature oxymoron in McDonald, a skin-history metonymy in Campbell, and code-switching in Bernard, spatial and racial configurations as well as linguistic identity are here addressed as features of a trifold historical imagination yielding pluricentrical belonging. The oxymoron tells of an outernational past (diasporic) while the metonymy declaims a supranational one (global); multilingualism instead points to an infranational historical imagination (‘non’-Costa Rican). By way of a close reading, the dissertation tells the recent story of the country’s past in the form of a three layered stor(y)ing of spatially–, meta-historically–, and multilingually-defined imaginings of Black Costa Rica
Die Dissertation betrachtet Lyrik von Eulalia Bernard (Limón, Costa Rica *1935), Shirley Campbell (San José, Costa Rica *1965) und Dlia McDonald (Colón, Panamá *1965) aus einer historisch rückblickenden Perspektive, die den plurizentrischen Aspekt von Zugehörigkeit ins Zentrum rückt. Dieser Terminus beschreibt metaphorisch die Pluralität diverser Zentren kultureller und historischer Identifikationsmöglichkeiten und ist als (g)lokales soziohistorisches Kontinuum zu verstehen, welches sich über die mannigfaltigen Aspekte der Nation/Diaspora-Dynamiken ausbreitet. Die folgende literaturwissenschaftliche Analyse hat es sich zum Ziel gesetzt, die Spuren der Coming-of-Age-Entwicklung der afro-costa-ricanischen Gemeinde in der Poesie jener Autorinnen ausfindig zu machen. Hierbei wird die Poesie als Spiegelung globaler Dimensionen im Hinblick auf die Diaspora/Nation-Dynamik, die Dialektik ethnischer Gruppen und Nationen, sowie Prozesse der Assimilation und der Marginalisierung ethnischer Minoritäten betrachtet. Im Fokus dieser Dissertation steht die grundlegende Frage nach den poetischen Themen und der jeweiligen Formen die eine Unmenge lokaler und globaler Fülle konstituieren. Gefragt wird also, Wie legen die Texte eine glokale historische Imagination offen, die auf eine nationale Einzigartigkeit verweist und gleichzeitig eine Identifizierung mit dem übergeordneten karibischen Raum ausdrückt? Die Dissertation zielt darauf ab, eine Geschichte des Vergangenen zu erzählen. Hierzu wird angestrebt, die Aspekte jenes plurizentrischen Zugehörigkeitssinnes, der durch bestimmte rhetorische Stilmittel zum Ausdruck gebracht wird, nachzuempfinden. Im Fokus stehen das, wie ich es benannt habe, Oxymoron der modernized-nature bei McDonald, der skin-history Metonymie bei Campbell und das Code-Switching-Phänomen im Falle von Bernard. Dabei werden sowohl räumliche und ethnische Variationen als auch sprachliche Identität als Elemente einer dreidimensionalen historischen Vorstellung betrachtet. Das Oxymoron beschreibt eine außernationale (diasporische) Vergangenheit, während die Metonymie im selben Moment eine supranationale (globale) proklamiert. Multilingualismus wiederum verweist auf eine infranationale historische Vorstellung (als ‚nicht-costa-ricanisch‘ bezeichnet). Diese Dissertation manifestiert letztlich – auf einer philologischen Analyse basierend – die Geschichte der Vergangenheit Costa Ricas in der Form einer dreidimensionalen Erzählung räumlich, metahistorisch und multilingual definierter Vorstellungen eines schwarzen Costa Ricas
The book you hold in your hands is an interdisciplinary study on diaspora literacy in Afro-Central America. An exploration through various imaginings of times past, this study is concerned with how oxymoron, metonymy, and multilingualism deploy pluricentrical belonging. By exploring the interlocking of multiple roots that have developed on account of routes, rhizomatic historical imaginations are unearthed here so as to imagine an other Costa Rica. A Black Costa Rica
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Livros sobre o assunto "Afar poetry"

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Johnston, Tony. Voice from afar: Poems of peace. New York: Holiday House, 2008.

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Didier, Morin. Poésie traditionelle des Afars. Paris: Peeters, 1997.

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3

Institut des langues de Djibouti. N'aydaadih geytu kee 30 tô liggidi gacu: Qadar askenta. Djibouti]: MCCPT, 2007.

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Parker, R. T. A. News from afar: Ezra Pound and some contemporary British poetries. Bristol: Shearsman Books, 2014.

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Raine, Kathleen. India seen afar. Bideford, Devon: Green Books, 1990.

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Raine, Kathleen. India seen afar. Bideford: Green Books, 1989.

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Raine, Kathleen. India seen afar. New York: G. Braziller, 1991.

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8

Kalkan, Emir. Mor feryatlar: Afşar ağıtları. İstanbul: Ötüken Neşriyat, 2012.

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Ḥasan, Maqṣūd. Ḥāmidullāh Afsar Meraṭhī, ḥayāt shak̲h̲ṣīyat aur kārnāme. Meraṭh: Maqṣūd Ḥasan, 1988.

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Ḥasan, Maqṣūd. Ḥāmidullāh Afsar Meraṭhī, ḥayāt shak̲h̲ṣīyat aur kārnāme. Meraṭh: Maqṣūd Ḥasan, 1988.

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Capítulos de livros sobre o assunto "Afar poetry"

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"Afar praise poetry: orowwaḥ". In Voice and Power, 291–97. Routledge, 2005. http://dx.doi.org/10.4324/9780203985397-25.

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Kinsella, John. "Agoras". In Polysituatedness. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526113344.003.0003.

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I have a poem in mind. A ‘late’ Jam Tree Gully poem. It will be entitled ‘Agora’ and I will get to writing its first lines shortly. Why late? I haven’t ceased being connected with Jam Tree Gully, nor have I ceased writing it. Maybe because I am thinking about its spaces in different ways now, from afar. I often write from ‘afar’, and as Thomas Bristow has highlighted, I write poetry ‘...
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"Appendix: Giuseppe Pontiggia, An Evening of Erotic Poetry". In Those Who from Afar Look Like Flies, editado por Luigi Ballerini e Giuseppe Cavatorta, 1917–26. Toronto: University of Toronto Press, 2017. http://dx.doi.org/10.3138/9781442625143-061.

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Graham, Maryemma. "As Low Down as the Blues Will Let You Be". In The House Where My Soul Lives, 201–13. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780195341232.003.0012.

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Abstract This chapter examines how, despite what Margaret Walker thought about herself in 1939 after she returned to Chicago, the literary world had opened its doors to her. “For My People” continued to attract major attention. She was no longer a struggling young poet, but one with a growing reputation, which no one could question after Poetry published two more of her poems, “The Struggle Staggers Us,” and “We Have Been Believers.” Their successful placement affirmed her poetic talent, making the fiction she thought she needed to write much less important. Despite her interest in women’s writing, Walker was not prepared at this point to identify more closely with women artists and writers, preferring to admire them from afar. After the three poems had appeared in Poetry, she began to feel a stronger connection with, if not comparison to, some of the more popular women poets. The chapter then looks at the infighting in the Writers’ Project, which brought on by the growing resistance to WPA reformism and Democratic control in Congress, as well as Walker’s visit to New Orleans.
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Powell, Jim. "The Poetry of Sappho". In The Poetry of Sappho, 1–42. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195326710.003.0001.

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Abstract Artfully adorned Aphrodite, deathless child of Zeus and weaver of wiles I beg you please don’t hurt me, don’t overcome my spirit, goddess, with longing, but come here, if ever at other moments hearing these my words from afar you listened and responded: leaving your father’s house, all golden, you came then, hitching up your chariot: lovely sparrows drew you quickly over the dark earth, whirling on fine beating wings from the heights of heaven down through the sky and instantly arrived—and then O my blessed goddess with a smile on your deathless face you asked me what the matter was this time, what I called you for this time, what I now most wanted to happen in my raving heart: “Whom this time should I persuade to lead you back again to her love? Who now, oh Sappho, who wrongs you? If she flees you now, she will soon pursue you; if she won’t accept what you give, she’ll give it; if she doesn’t love you, she’ll love you soon now, even unwilling”.
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Chanlatte, Juste. "Au loin, qui brille à nos yeux étonnés? / What looms there, shining afar before our startled eyes?" In Poetry of Haitian Independence, 112–15. Yale University Press, 2020. http://dx.doi.org/10.12987/9780300213782-027.

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Harrison, Stephen, e Fiona Macintosh. "Introduction". In Seamus Heaney and the Classics, 1–13. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0001.

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The recent death of Seamus Heaney is an appropriate point to honour the great Irish poet’s major contribution to classical reception in modern poetry in English; this is the first volume to be dedicated to that subject, though occasional essays have appeared in the past. The volume comprises literary criticism by scholars of classical reception and literature in English, from both Classics and English, and has some input from critics who are also poets and from theatre practitioners on their interpretations and productions of Heaney’s versions of Greek drama; it combines well-known names with some early-career contributors, and friends and collaborators of Heaney with those who admired him from afar. The papers focus on two main areas: Heaney’s fascination with Greek drama and myth, shown primarily in his two Sophoclean versions but also in his engagement in other poems with Hesiod, with Aeschylus’ Agamemnon and with myths such as that of Antaeus, and his interest in Latin poetry, primarily in Virgil but also in Horace; a version of an Horatian ode was famously the vehicle of Heaney’s comment on 11 September 2001 in ‘Anything Can Happen’ (District and Circle, 2006).
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Samuels, Shirley. "Wieland: Alien And Infidel". In Romances Of The Republic, 44–56. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195079883.003.0003.

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Abstract The Alien and Sedition Acts were a major late-eighteenth-century American attempt to maintain national insularity by promoting a sense of threat. Shortly before Congress was to vote on the measures, Senator Humphrey Marshall, who supported the Alien Act, turned t poetry to explain its necessity. Marshall begins “The Aliens, A Patriotic Poem,” by praising the qualities of the United States that attract aliens. But the wrong aliens are attracted. A troop of “venal wretches,” the French, have come to the United States because they were “At home involv’d in horrid war, / And all the vices, that curse the mind.” The proper recourse: Not surprisingly, the poem cordons off the “safe” alien from the potentially contagious one, but the paradox of America, epitomized by Philadelphia as the center of both government and aliens, is that its very order, especially its “laws, like those divine, / Calleth the Alien, from afar.” Attracting those “Aliens” it wishes to repel, America must act to contain the threat of the Alien, perversely drawn by the order that his coming threatens to disrupt. Invoking the same model of attracting and even promoting disorder while producing a desire for familial and social order, Charles Brockden Brown’s Wieland, or The Transformation, published the year the Alien and Sedition Acts were passed, might be read as their novelistic response, but also counterpart.
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"AFRA, Kwesi". In International Who's Who in Poetry 2005, 46–47. Routledge, 2004. http://dx.doi.org/10.4324/9780203325803-10.

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Ajura, Alhaj Yūsuf Ṣāliḥ. "Afanim Tola Ayirmo (The Clerics Have Gone Wild)". In Islamic Thought in Africa, traduzido por Zakyi Ibrahim, 181–84. Yale University Press, 2021. http://dx.doi.org/10.12987/yale/9780300207118.003.0017.

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This chapter discusses the poem “Afanim Tola Ayirmo,” which was meant as a response to Alhaj Muntaqa, one of the Tijaniyyah scholars that composed a polemical poem insulting Afa Ajura and Munchiris. It delves into the tone of Afa Ajura's response and the graphic nature of his language in the poem. It also refers to Saani Ibrahim, a Tijaniyyah-inclined researcher, who openly identified Alhaj Muntaqa and cited a couple of his direct insults of Afa Ajura in his Ph.D. dissertation. The chapter narrates how Alhaj Muntaqa decided to use the title “Catapilla” or “The Caterpillar” on his poem against Afa Ajura, which originated from Mallam Sani, an ardent fan of Afa Ajura that often interrupted his preaching sessions with praises. It observes that “The Caterpillar” mirrors in melody, intonation, and poetic meter Afa Ajura's first poem, “Damba Digoli.”
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Trabalhos de conferências sobre o assunto "Afar poetry"

1

MEHMETALI, Bekir. "The Woman in Diwan (The Brunette Said to Me) by Nizar Qabbani". In I.International Congress ofWoman's Studies. Rimar Academy, 2023. http://dx.doi.org/10.47832/lady.con1-1.

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The woman, since God created her, was equal to the man, and a foundation on which life, the family, and society rest. Girlfriend, lover, dancer, singer, wife. Arab poetry immortalized many women, such as Abla Bint Malik Al-Absi, Habiba Antarah Bin Shaddad, Laila Habiba Majnoon Bani Amer, Buthaina Habiba Jamil, Afra Habiba Urwa, and the birth of Habiba Ibn Zaydun. In the modern era, poets emerged who had the upper hand in dealing with the issue of women, and talking about them in their poems. He describes her, flirts with her, praises her charms, or attacks and criticizes her. In this research, I wanted to address the image of the woman in the poetry collection (The Brunette Said to Me) by Nizar Qabbani, in an attempt to clarify his position towards her as it was revealed in this collection that we chose. Because it is his first collection of poetry. The aim of the study is to clarify the true image of women in this collection of poetry from the poet's perspective, his attitude towards her, and his view of her, while he was in the prime of his life and in the prime of his youth. The researcher uses the descriptive and analytical approaches, presenting and analyzing Nizar Qabbani's poems related to this topic as contained in his poetry collection (The Brunette Said to Me). To deduce, clarify, and extrapolate her image or images from the poet's perspective.
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Suryaningsih, Iin. "Manuscript of Pedagogy by Mirat Afkar Rijal: Anthropology-history correlation in the text of the Nusantara Arab’s poetry". In Proceedings of the International Symposium on Social Sciences, Education, and Humanities (ISSEH 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/isseh-18.2019.28.

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