Bibliografias temáticas / Malian poetry

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Literatura científica selecionada sobre o tema "Malian poetry"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Malian poetry"

1

Gargallo Celentani, Francesca Gargallo. "Mahmud Darwish en el espejo de las lenguas que resisten". Interpretatio. Revista de hermenéutica 2, n.º 2 (11 de setembro de 2017): 19. http://dx.doi.org/10.19130/irh.2.2.2017.48.

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La construcción de una lírica con finalidades épicas y de resistencia cultural activa, propuesta en Doce Astros por Mahmud Darwish, tiene similitudes con las propuestas poéticas de Irma Pineda, Hubert Malina, Ruperta Bautista y otras y otros poetas en lenguas originarias del continente americano
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Škrgić, Mersiha. "Heimatlosigkeit in den Erzählungen von Ingeborg Bachmann / Loss of Homeland in Ingeborg Bachmann’s Short Stories". Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, n.º 25 (23 de dezembro de 2022): 155–70. http://dx.doi.org/10.46352/23036990.2022.155.

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Ingeborg Bachmann’s works deal with the topic of losing homeland through the metaphor of the house of Austria, which the author presents as the true homeland or rather the dream homeland of her protagonists. Her idea of the House of Austria is linked to the Habsburg Empire and developed partly as a result of its fall and partly as a result of a lack of identification with post-war Austria. In the novels Malina and Der Fall Franza, for example, we see a longing for the former connection between Austria and Hungary as the answer to the discontent with the post-war country. Similar wishful thinking can be found in Bachmann’s short stories and poetry, which is the reason to examine why Bachmann’s characters feel at loss regarding their homeland and mother tongue in two short stories from Simultaneous.
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Natarajan, Kanchana. "Virgin Creatrix / Bountiful Womb". Asian Medicine 17, n.º 1 (14 de março de 2022): 37–59. http://dx.doi.org/10.1163/15734218-12341506.

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Abstract This article explores the ambivalent view of women that is frequently found in siddha thought and poetry. The first section describes the Siddhars’ attitude toward women in various sources, some of which explicate the notion of the gendered “ghost” and warn of corrupting or malign influences. This attitude contrasts sharply with the “virgin” goddess Vālai, who is seen as a generative force and goddess of learning and knowledge. The second section explores the siddha cosmology of Vālai and the linkage with vālai (mercury) in siddha alchemy. The third section focuses on the objectification of the female body present in some Siddhars’ views. It concludes that the anticaste and anti-Brahminical perspective prominent in some siddha writings does not permit an egalitarian view of gender: women in general are often presented as limited and primarily reproductive beings, inscribed in reductive terms that are a glaring contrast to the exaltation of Vālai.
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IBRAHIM, ROSNANI, MUAMMAR GHADDAFI HANAFIAH e SHAIFU BAHRI MD RADZI. "SYAIR DIRAJA MELAYU PERAK-JOHOR ERA KONTEMPORARI: SATU PERBANDINGAN KEPENGARANGAN (Royal Syair in the Contemporary Era of Perak-Johor: Comparison of Authorship)". MALIM: JURNAL PENGAJIAN UMUM ASIA TENGGARA (SEA JOURNAL OF GENERAL STUDIES) 22, n.º 1 (20 de novembro de 2021): 290–307. http://dx.doi.org/10.17576/malim-2021-2201-22.

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The 16th century to the end of the 19th century, storytelling and praise of the sultan became the idea of authorship. This storytelling and praise are conveyed by making poetry his platform. The last poem to record the history of this Royal group was the Syair Riwayat Yang Amat Mulia Tengku Ampuan Besar Pahang (1953). However, such influence is less used when modern literature develops. Western powers bring a new diversity of forms and genres in creation. After 56 years, two works have emerged, Syair Sultan Azlan Shah Berjiwa Rakyat (2009), Mohd Ibrahim bin Said and Syair DYMM Sultan Ibrahim Ibni Almarhum Sultan Iskandar (2018) by Maskiah binti Masrom in this contemporary era. Kings and sultans became objects of storytelling in both works. The question is, what are the scopes or criteria that are the ideas of their authorship? The scope or criterion that became the idea of authorship used by both authors in presenting storytelling about their rulers. Both texts of the Royal poetry were sampled. Comparative methods are applied to examine their influence in presenting the idea of Royal history recordings in the contemporary era. Intrinsically research methods on study samples were also used. The findings found that the king's biography became the scope or criterion that became the idea of authorship for both authors in praise and upholding his king. Keywords: Literary criticism; Peering; Authorship; Royal syair; Contemporary syair
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AHMAD, AZLAN, AMIRUL MUKMININ MOHAMAD e NOORHAZILA MOHD HAMID. "KAJIAN PERSEPSI PELAJAR TERHADAP PENGAJARAN DAN PEMBELAJARAN (PdP) ATAS TALIAN BAGI KURSUS PENULISAN PANTUN KREATIF (Student Perception Study on Online Teaching and Learning for Creative Poem Writing Course)". MALIM: JURNAL PENGAJIAN UMUM ASIA TENGGARA (SEA JOURNAL OF GENERAL STUDIES) 22, n.º 1 (20 de novembro de 2021): 278–89. http://dx.doi.org/10.17576/malim-2021-2201-21.

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Online teaching and learning (PdP) is a new trend that is happening everywhere, including in Malaysia. The process of seeking knowledge that was previously face to face with teachers or lecturers is now only on the computer screen or smatrphone respectively. This change occurred due to the Covid-19 epidemic that hit the whole world at this time it is certain that this sudden change is affecting the ongoing PdP process. This study is to look at students' perceptions on the effectiveness of the online PdP process for creative poem writing courses. The study will involve approximately 60 students who registered for this course in semester 2, academic session 2020-2021. This study will use a questionnaire to obtain research data which is also the main instrument of the study. The focus of this study is to see the effectiveness of the PdP process of this course is conducted online, especially in terms of input achieved by students after attending this skills-shaped course. This study is important to see if there are any KAJIAN PERSEPSI PELAJAR TERHADAP PENGAJARAN DAN PEMBELAJARAN (PdP) ATAS TALIAN BAGI KURSUS PENULISAN PANTUN KREATIF (Student Perception Study on Online Teaching and Learning for Creative Poem Writing Course) weaknesses in the implementation of the PdP of the online Creative Poetry Writing course and follow -up steps that need to be taken to improve the weaknesses that occur. The results of this study are also important to be used as a guide in sustaining the skills course in the future if the PdP process is still happening online. Keywords: Online teaching and learning; Covid-19 pandemic; Poetry writing
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Suyitno e Dipa Nugraha. "Asmaradana in an Indonesian Modern Poetry and a Malayan Pop Song: mimetic representations of rooted culture or production of new interpretations?" Journal of Language and Literature 5, n.º 2 (30 de maio de 2014): 17–26. http://dx.doi.org/10.7813/jll.2014/5-2/3.

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Walczak-Delanois, Dorota. "Poems by Polish Female Poets and the Burning Issue of Religion". Religions 12, n.º 8 (9 de agosto de 2021): 618. http://dx.doi.org/10.3390/rel12080618.

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The aim of this paper is to show the presence of religion and the particular evolution of lyrical matrixes connected to religion in the Polish poems of female poets. There is a particular presence of women in the roots of the Polish literary and lyrical traditions. For centuries, the image of a woman with a pen in her hand was one of the most important imponderabilia. Until the 19th century, Polish female poets continued to be rare. Where female poets do appear in the historical record, they are linked to institutions such as monasteries, where female intellectuals were able to find relative liberty and a refuge. Many of the poetic forms they used in the 16th, late 17th, and 18th centuries were typically male in origin and followed established models. In the 19th century, the specific image of the mother as a link to the religious portrait of the Madonna and the Mother of God (the first Polish poem presents Bogurodzica, the Virgin Mary, the Mother of Jesus) reinforces women’s new presence. From Adam Mickiewicz’s poem Do matki Polki (To Polish Mother), the term “Polish mother” becomes a separate literary, epistemological, and sociological category. Throughout the 20th century (with some exceptions), the impact of Romanticism and its poetical and religious models remained alive, even if they underwent some modifications. The period of communism, as during the Period of Partitions and the Second World War, privileged established models of lyric, where the image of women reproduced Romantic schema in poetics from the 19th-century canons, which are linked to religion. Religious poetry is the domain of few female author-poets who look for inner freedom and religious engagement (Anna Kamieńska) or for whom religion becomes a form of therapy in a bodily illness (Joanna Pollakówna). This, however, does not constitute an otherness or specificity of the “feminine” in relation to male models. Poets not interested in reproducing the established roles reach for the second type of lyrical expression: replacing the “mother” with the “lover” and “the priestess of love” (the Sappho model) present in the poetry of Maria Pawlikowska-Jasnorzewska. In the 20th century, the “religion” of love in women’s work distances them from the problems of the poetry engaged in social and religious disputes and constitutes a return to pagan rituals (Hymn idolatrous of Halina Poświatowska) or to the carnality of the body, not necessarily overcoming previous aesthetic ideals (Anna Świrszczyńska). It is only since the 21st century that the lyrical forms of Polish female poets have significantly changed. They are linked to the new place of the Catholic Church in Poland and the new roles of Polish women in society. Four particular models are analysed in this study, which are shown through examples of the poetry of Genowefa Jakubowska-Fijałkowska, Justyna Bargielska, Anna Augustyniak, and Malina Prześluga with the Witches’ Choir.
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Maiga, Mohamadou Aboubacar. "Social Issues in the Poems of Twentieth-Century West African Writers". TSBS Bildiriler Dergisi, n.º 2 (14 de agosto de 2022). http://dx.doi.org/10.55709/tsbsbildirilerdergisi.2.103.

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West African poetry has depicted many aspects of the life of the community, and this is reflected in the odes of many West African poets. Because his poems are directly related to their own lives and the lives of people in society. West African Arabic poetry gave great importance to this aspect, and poets discussed it in their divans. Social poetry is to convey the life of society in all its forms and aspects, and to touch on the lives of people in various fields and the issues that concern them. From this point of view, this research -by using the socio-historical method - aims to examine the details of the social life of West African society and to reveal the social relations and traditions between individuals by examining poetic texts on social life. The importance of this work is due to the fact that it contributes to the recognition of some aspects and different manifestations of social life in West Africa by examining the poems of poets who touch on social aspects. This research answers two questions: What are the most important social issues addressed by the regional writers? Does social poetry reflect the reality of African society as it is? In the research, many social issues, including the positive and negative phenomena that the local poets dealt with in their poetry divans, were mentioned. Among the most important positive themes, there are behaviors that are appreciated in society, such as benevolence to parents, respect for science and teachers, fraternity and social solidarity, justice, and social assistance. As for the negative issues and problems that social poetry struggles with, these include poverty, unemployment, bribery, injustice, corruption, drug abuse, and betrayal. The research is limited to Senegal, Mali, Niger, Burkina Faso, Ghana, and Benin from 16 countries in the West African region. Because the Arabic poems written in these countries differ from those written in the rest of the region in terms of quantity, quality, and style. It contains poems of prominent poets from these countries. These include Malian poets Yacob Doucoure and Amr Abdulatif Sacko, Senegalese poets Tijan Gay, Davud Adekeleken, and Tijan al-Hac Mansur Sy, Burkina Faso poet Ghanami, Ghanaian poet Mohamad Rashad, Benin poets Sulaiman Maysuna and Musa Babatandi, and Niger poet Ali al-Ashly. There are many distinguished poets as for the reasons for the preference of these poets; they gave more importance to social issues compared to other poets in the region and frequently mentioned these issues. However, his poems were written in very plain language and syllabic meter.
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ADİLOĞLU, Adilhan. "LITERARY ACTIVITIES OF KARACHAY-BALKAR TURKS IN THE PERIOD OF DEPORTATION". Selçuk Üniversitesi Türkiyat Araştırmaları Dergisi, 17 de agosto de 2022, 21–45. http://dx.doi.org/10.21563/sutad.1163207.

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In this article, the literary activities of the Karachay-Balkar Turks during the last two years of the 14-year long deportation period are discussed. The Soviet administration wrongly accused them of helping the Germans during World War II and deported the Karachay-Balkar Turks from their homeland of the Caucasus to various parts of Central Asia on November 2, 1943, and March 8, 1944. Karachay-Balkar Turks lived in deportation for about 14 years. Only five poetry anthologies and four private poetry books could be published in Karachay-Balkar Turkish in the last two years of the deportation period. In our study, since these literary works are few, they have been dealt with in detail and one by one. Brief information about the lives of poets and writers in literary works is presented, and examples of their poems that attract attention in terms of content are given. In the conclusion part of our study, a thematic evaluation was made to cover all the works. Until now, this issue has not been given much attention. This is the first time that such a comprehensive study is presented here. The content of these literary works in question is significant in reflecting the mood of the Karachay-Balkar Turks, who had great troubles at that time.
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Teses / dissertações sobre o assunto "Malian poetry"

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Roberti, Glauco Micsik. "A batalha de Maldon: tradução e aliteração". Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-08082007-144147/.

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Este trabalho consiste de uma tradução versificada de A Batalha de Maldon, poema anglo-saxão no metro tradicional, composto no século X-XI a respeito da batalha homônima entre dinamarqueses e anglo-saxões. Seu pressuposto fundamental é um estudo das abordagens de tradução aplicáveis à poesia germânica antiga para a produção de uma versão anotada em português, com a qual se procura reconstituir as características do poema antigo. Esta abordagem leva aos argumentos finais acerca desta possibilidade, em especial no que diz respeito à aliteração em português.
This work consists in a verse translation from the Anglo-saxon of The Battle of Maldon, old English poem written between the 10th and 11th centuries about the battle between Danes and Saxons. The main goal is the study of different translation theories which are related to the old Germanic poetic tradition as a mean to provide a Portuguese language annotated version where the poem\'s traits are reconstructed. This procedure leads to the final argument, on the possibility of achieving alliteration in Portuguese.
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Timmerer-Maier, Verena. "Wohnen 'in Goyas letztem Raum' : Eine intermediale Poetik des Entsetzens : Die Zitierung von Goyas Pinturas Negras in Ingeborg Bachmanns Roman Malina". Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4117.

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Ingeborg Bachmann’s recurrent references to the Spanish painter Francisco de Goya have frequently been noted, but have so far never been investigated. After outlining, in chapter one, Bachmann’s references to Goya in her thesis on Wittgenstein as well as in the Franza-Fragment and in her only novel Malina, this thesis sets out to highlight the text-image relation between Bachmann’s novel Malina and Goya’s series of murals which are known as the so called „Black Paintings“. Chapter two focuses on the importance of intertextuality and intermediality in Bachmann’s novel and the importance of quotation for the female narrator, who relies on intertextual and intermedial references to express her traumatic experiences. After an introduction into the aesthetics of Goya, in chapter three, chapters four and five examine the text-image relation between Goya’s painting El Perro Semihundido and the first chapter in Bachmann’s novel. The double perspective contained in El Perro, of the subjective expression of the dog’s longing for rescue and the objective futility of this hope as expressed by the dog’s positioning against the abstract background setting, is transferred onto the female narrator and her longing to be rescued through love. Chapter five especially focuses on the (problematic) semantic shifts which occur in the course of this transformation from an abstract representation in the painting to the depiction of concrete and personalized experiences in the text. Chapter six investigates the correlations between Bachmann’s dream chapter and the aesthetics of Goya’s murals, and asks to what extent Bachmann succeeds in transferring the main motifs in Goya’s images into literary form. Chapter seven explores the similarities and media-specific differences in the strategies deployed for depicting madness, violence and destruction in Bachmann’s text and in Goya’s murals and his series of prints on the Desasters of War. Bachmann’s novel Malina shows an extraordinary richness in intertextual and intermedial references. Analysing the explicit as well as implicit references to Goya’s late works in the novel this thesis addresses one area on Ingeborg Bachmann which has not been researched in detail so far.
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Gosselin-G, Geneviève. "La poésie cinématographique Terrence Malick et la sensation". Thèse, 2015. http://hdl.handle.net/1866/12500.

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Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal
Qu’est-ce que la poésie cinématographique? Telle est la question primordiale de ce mémoire de maitrise, qui tentera d’y répondre en analysant les oeuvres du cinéaste américain Terrence Malick. Inscrivant par divers moyens cette question dans les réalités de son cinéma, nous déboucherons forcément sur la réponse suivante : il y a poésie cinématographique chaque fois que les formes de la représentation sont ouvertes par une modalité de l’expression ; il y a poésie cinématographique chaque fois que le sensible n’est plus manifestation de l’intelligible, mais la matière et le mode de sa production dans le temps ou plutôt dans le devenir. Décrire cette poésie, ce ne sera possible qu’en décrivant l’expérience que nous avons du régime de sensations des images et des figures propres au cinéma de Malick. Il s’agit de faire venir le monde en présence en rendant justice aux noyaux de sens enfouis dans le visible, justice rendue par le partage d’une description du sensible. Nous verrons alors que, chez Malick, cette poésie se manifeste par une phénoménologie de la lumière et de la gravitation. Nous verrons également l’importance du sonore dans l’apparaitre de ce monde sensible qui, à travers les voix ouvertes, la matérialisation des bruits et la musique, forme une partition musicale totale faite de métamorphoses et de devenirs. Encore, cette poésie s’approche de la sensibilité des premiers romantiques allemands qui, par leur résistance au langage et à la raison absolue, déhiérarchisent le monde pour le redéfinir. Seront ainsi définis les éléments constitutifs du cinéma de poésie de Malick, soit la manifestation de la lumière et du mouvement, l’invisible habitant le visible (comme un ailleurs qui l’excède), la réinvention du langage, le système chaotique liant l’homme et la nature, ainsi que le monde duel (de l’ombre à la lumière et de la lumière à l’ombre). Ce mémoire propose donc une approche d’inspiration phénoménologique du cinéma de Malick, qui le présente comme « toujours en train de se faire », dans une immédiateté cherchant à penser dans, à travers, mais aussi au-delà du cinéma.
What is cinematic poetry? This is the fundamental question that this master’s thesis will attempt to answer by analyzing the works of American film-director Terrence Malick. By positing this question in different ways within the realities of his films, one will inevitably reach the following conclusions: cinematic poetry occurs where the forms of representation are opened by a modality of expression; cinematic poetry occurs when the sentient is no longer a sign of the intelligible, but of the matter and of the mode of its production over time, that is, in its evolution. Describing this poetry will only be possible by describing one’s experience of the sensation-cluster of images and of figures proper to Malick’s films. This involves making the world come into existence by doing justice to the core of meanings buried in the visible, a justice rendered by the sharing of a description of the sentient. It will be argued that, in Malick, this poetry manifests itself through a phenomenology of light and gravitation. Also shown, the importance of sound in the emergence of the sentient world, which, through open voices, through materialization of noises, and through music, develops into a total musical score consisting of metamorphoses and destinies. Furthermore, this poetry resembles the sensibility of early German romantics who, through their resistance to language and to absolute reason, destroy the hierarchy of the world in order to redefine it. The constituents of Malick’s cinema of poetry, namely the expression of light and movement, the invisible inhabiting the visible (like an elsewhere that exceeds it), the reinvention of language, the chaotic system linking mankind and nature, as well as the dual world (from darkness to light and from light to darkness) will thus be defined. This master’s thesis therefore suggests an approach of Malick’s cinema inspired by phenomenology, which presents it as being “always underway”, in an immediacy seeking to think within, through, but also beyond cinema.
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Leclerc, Philippe. "Le traitement de l’espace dans Badlands et Days of Heaven, de Terrence Malick". Thèse, 2011. http://hdl.handle.net/1866/5338.

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Ce mémoire de maîtrise étudie le traitement de l’espace dans les films Badlands (1973) et Days of Heaven (1978), du cinéaste américain Terrence Malick. Je m’intéresse dans un premier temps à montrer comment le traitement spatial de ces œuvres se démarque des conventions cinématographiques classiques en développant autour de la multitude de procédés et stratégies mis en œuvre par Malick pour rendre sensible et réflexif l’espace - sonore et visuel – des deux films, lequel est conçu pour être littéralement «habité» par les personnages mais également par les spectateurs. J’observe ensuite les implications (esthétiques, narratives, iconologiques, philosophiques, poétiques, etc.) de ce traitement singulier de l’espace filmique en montrant comment le cinéaste parvient à créer différents types de sensations et construire son discours par et à travers l’espace de ses œuvres. Le mémoire porte une attention particulière à la notion de «paysage filmique» et se structure en trois chapitres, lesquels étudient respectivement l’espace chez Malick en termes de «sensations» (sensibilité de l’espace, «mise en vue» du paysage au sein des deux films), de «relations» (relations entre les différents espaces et relations entre les personnages et l’espace) et de «mémoire» (densité «iconologique» du paysage). Aussi, j’aborde d’autres questions importantes au cours du projet et je reviens à plusieurs endroits sur la dimension «poétique» du cinéma de Malick et sur la «réflexivité spatiale» de ses films (réflexivité et aspect «attractionnel» du paysage, réflexivité de la voix-off, réflexivité de l’organisation et de la structure spatiales du récit, réflexivité du «tissage spectral»). Enfin, il est question de montrer au fil du mémoire que Malick parvient à édifier avec le cinéma, et par là avec l’espace et le paysage, un véritable espace de pensée qui «déborde» du cadre filmique.
This Master’s thesis studies the treatment of space in Terrence Malick’s films Badlands (1973) and Days of Heaven (1978). First I apply myself to show how the treatment of space in these films distinguishes itself from classical cinematographic conventions, developing on the multitude of strategies used by Malick to make space (both visual and sound) sensitive and reflexive in the two films. Space here is created to be literally «inhabited» by the characters as well as the spectators. I then observe and comment on the implications (esthetical, narrative, iconological, philosophical, poetical, etc.) of this peculiar treatment of film space by showing how the filmmaker creates different types of sensations and constructs his discourse with and through space of his films. The thesis pays special attention to the concept of «film landscape» and structures itself in three chapters, which respectively study space in Malick’s work in terms of «sensation» (space sensitivity, «mise en vue» of the landscape in both films studied), of «relationship» (relationships between the different spaces and relationships between characters and space), and of «memory» («iconological» density of the landscape). In the project I also touch other important questions, coming back several times on the «poetical» dimension of Malick’s cinema and on the «space reflexivity» of his films (reflexivity and «attractional» aspect of the landscape, reflexivity of the voice-over, reflexivity of the organization and space structure of the story, iconological reflexivity). Finally, throughout the thesis I try to show that through filmmaking, and therefore through space and landscape, Malick creates a true space of thoughts that goes «beyond» his films.
Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
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Livros sobre o assunto "Malian poetry"

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Mohamed, Diarra. Terre d'espérance. Bamako, Mali: La Sahelienne, 2018.

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Traoré, Marcellin Issiaka. Raie d'espoir comme saveur de liberté: Suivi de Clair-obscur de notre conscience : recueil de poèmes. Bamako, Mali: Figuira Editions, 2020.

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3

'K, Aziz Siten, e Oumar Sissoko. Anthologie Malienne de slam poésie. Bamako, Mali: La Sahélienne, 2013.

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4

Dia, Mamadou. Coup de foudre. Bamako: Jamana, 2009.

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5

Ba, Safiatou. Voix intérieure: Recueil de poèmes. Bamako, Mali: Figuira Editions, 2020.

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6

Traoré, Ismaïla Samba. Anthologie de la poésie Malienne. Bamako, Mali: La Sahélienne, 2013.

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7

Kone, Bourama. Amour et espoir: Poésie. Bamako, Mali: Prostyle Editions, 2020.

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8

Siten'K, Aziz. Dungaré (Miroir): Slam. Bamako (Mali): La Sahélienne, 2021.

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Kone, Abdoul Aziz, Aichata Diarra, Aminata Bamby Konate e Marie Thérèse Landry Landry. Anthologie des slameuses du Mali et d'ailleurs. Bamako, Mali: La Sahelienne, 2022.

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Traore, Idrissa Eddie. Lueur des abysses: La recollection de l'autre enfant : (poésie). Bamako, Mali: Prostyle Editions, 2019.

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Capítulos de livros sobre o assunto "Malian poetry"

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Jorgensen, Alice. "Power, Poetry, and Violence: The Battle of Maldon". In International Medieval Research, 235–49. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.imr-eb.3.3426.

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Nazombe, Anthony J. M. "Malawian Poetry of the Transition:". In Church, Law and Political Transition in Malawi 1992-1994, 147–65. Luviri Press, 2020. http://dx.doi.org/10.2307/j.ctv17vf5ch.15.

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Bollig, Ben. "Eyes Already Open: Gustavo Fontán’s El limonero real and La deuda". In Moving Verses, 155–82. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859784.003.0006.

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Chapter Five addresses a question posed by Gustavo Fontán’s film El limonero real (2016): how can a film adapted from a novel be almost universally considered “poetic”? What does such a classification tell us about generic constraints in different art forms, and about the process of adaptation itself? To do so, reference shall be made both to critical assessments of Fontán’s work and to other artists and thinkers of the poetic film, including Brakhage, Malick, and Pasolini. We can then see how Fontán’s aesthetic continues into his most mainstream film to date, La deuda (2019), within a radical political critique of contemporary neoliberalism, but one that also promotes, subtly, an aesthetic of respect for the other that informs Fontán’s (implicit) conception of intermediality. A key figure in this chapter is the Entre Ríos poet, Juan L. Ortiz (1896-1978), for both his epic, fluvial poetry and his ethics of encounter with the other.
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Braginsky, Vladimir. "Poetry of the Classical Period". In The Heritage of Traditional Malay Literature, 491–598. BRILL, 2005. http://dx.doi.org/10.1163/9789004489875_013.

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Sacks, Susanna. "7 Networked Poetics: WhatsApp Poetry Groups and Malawian Aesthetic Networks". In Rethinking Language Use in Digital Africa, 137–54. Multilingual Matters, 2021. http://dx.doi.org/10.21832/9781800412316-009.

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Viroli, Maurizio. "A Religion to Live Free". In As If God Existed, traduzido por Alberto Nones. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691142357.003.0008.

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This chapter focuses on political writer Machiavelli, who elaborated on both republican religion and the need for a religious reform better than anybody else. In the last pages of The Art of War, which he wrote in order to revive the ancient orders and ancient Italian military virtue, he reveals his conviction that Italy “seems to be born to resurrect dead things, as one could see in poetry, painting, and sculpture.” He harshly criticizes the corruption of the church, accusing the church of Rome of keeping Italy divided, bringing about the death of “all devotion and all religion,” and instilling in the minds of the Italians the especially malign wickedness of those who have no religion.
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Wickham-Crowley, Kelley M. "Fens and Frontiers". In Water and the Environment in the Anglo-Saxon World. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940285.003.0004.

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When the Germanic tribes arrived in Britain, a long history of fen use by native Britons preceded their advent and would have modeled some uses of the environment, as evidenced by a site such as Flag Fen with its wooden roadways. With water levels rising and likely contributing to the movements of Germanic peoples from their homelands, fen and marshland would have increased and so become a more pervasive landscape and resource, especially for seagoing peoples. If we understand fens as both a challenge and a defining edge, we can consider how that manifests in Anglo-Saxon thought. Poetry such as elegies, Andreas and even "The Battle of Maldon" draw on fen landscapes to evoke particular cultural resonances in service of poetic effect. Famous secular and religious figures use fens as key strategic sites in defining themselves, whether it be Alfred's retreat to the fens before negotiating the survival of England against the Danelaw or monastics and hermits who cultivate the spiritual isolation of fenland. For a people identified with their very landscape, the ecological richness of such environments drew interest in plant use and fishing, part of Anglo-Saxon medical knowledge and supply.
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"10. Poetic Forms: Pantun and Syair". In A History of Classical Malay Literature, 442–90. ISEAS Publishing, 2013. http://dx.doi.org/10.1355/9789814459891-012.

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Fludernik, Monika. "The Cancer of Punitivity". In Metaphors of Confinement, 344–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840909.003.0006.

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Chapter 6 raises crucial ethical and political questions about the practice of punishment by means of the prison. It discusses the central importance of power in the carceral environment and its potential for humanitarian abuse. After a reading of Oscar Wilde’s ‘Ballad of Reading Gaol’ the chapter outlines G. B. Shaw’s and Karl Menninger’s metaphoric thesis of imprisonment as crime and goes on to present an analysis of punitivity in current penal policy and public polemic. The second half of the chapter turns to a delineation of the close affinities between penal punitivity and colonial oppression, analysing memoirs by Robben Island inmates and the Malawian Sam Mpasu, as well as poetry by Dennis Brutus and Jack Mapanje.
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Cruz, Gabriela. "Opera and Beauty". In Grand Illusion, 14–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915056.003.0002.

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Chapter 1 considers the emergence of a spectacular sensibility for song and singing in Paris after the 1820s. Parisian mélomanes wrote imaginatively and at length about opera, leaving for posterity a treasure trove of “souvenirs.” When contemplating the idea of beauty in the contemporary opera stage, these recollections often revisited a single musical event led by Henriette Sontag and Maria Malibran in 1829, which, they claimed, bequeathed to them something extraordinary: a new lyrical mood, at once blissful and discontented, which ushered into opera the divided affect of modernity. Théophile Gautier elaborated on this divided affect a few times in his poetry and in the process, he invented the figure of the diva, the allegory of beauty.
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Trabalhos de conferências sobre o assunto "Malian poetry"

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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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Ahmed SHAKIR, Mahmood. "THE ROLE OF DR. SAMY MAKY AL_A'ANY IN TERMS OF THE ISLAMIC POETRY". In I V . I N T E R N A T I O N A L C O N G R E S S O F L A N G U A G E A N D L I T E R A T U R E. Rimar Academy, 2022. http://dx.doi.org/10.47832/lan.con4-15.

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Samy Maki Al_A' ni, the Academic, Iraqi researcher, who had studied in the University of Harvard 1956-1957 A.C. He had participated in establishing the British Encyclopedia and Al_Ma'arif Department. He contributed in publishing many books such as (Dumiet Al_Qasr Wa Ussrat A'hl Al_A'ssr), (Asha'r Al_Nisa' Lil Mizrbany), (Ka'ab bin Malik Al_A'nsary (the poet of Islamic faith)), (Dirasaat fi Al_A'dab Al_Islamy), (Islam and the poetry) and (Nadhrat fi sha'r Sadr Al_Islam). The professor had gained the king Faisal's reward in 1989 A.C. He made a documentary study of the Islamic stanzas poems. With respect to his studies which are mentioned above. Throughout his focusing on the Islamic poetry, he had shed light on many new Islamic purposes such the new images that had been crystalized within the Islamic war poem. And also, the evaluation of the Islamic poem due to the introductions, meanings and purposes which will be standed on and discussed in this study.
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Ulya, C., e N. Wardani. "The Islamic Symbols in Indonesian Anti-Corruption Poetry". In First International Conference on Advances in Education, Humanities, and Language, ICEL 2019, Malang, Indonesia, 23-24 March 2019. EAI, 2019. http://dx.doi.org/10.4108/eai.23-3-2019.2284911.

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Yanda, D., D. Ramadhanti, P. Afrinda, I. Bahardur e M. Ihsan. "The Potential of Circ’s Model in Poetry Learning at Higher Education". In First International Conference on Advances in Education, Humanities, and Language, ICEL 2019, Malang, Indonesia, 23-24 March 2019. EAI, 2019. http://dx.doi.org/10.4108/eai.23-3-2019.2284977.

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Ramadini, Febyasti, e Exti Budihastuti. "Teaching Materials Reinforcement of BIPA Advanced Level Through Chairil Anwar's Poetry". In Proceedings of the 2nd International Conference on Language, Literature, Education, and Culture, ICOLLEC 2022, 11–12 November 2022, Malang, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.11-11-2022.2329799.

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Firdaus, Elvin, Alfanul Ulum Syahit e Sony Sukmawan. "Poetry Writing Method Innovation Using “Atafora” Technique in Indonesian Language Learning". In Proceedings of the 2nd International Conference on Advances in Humanities, Education and Language, ICEL 2022, 07–08 November 2022, Malang, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.7-11-2022.2329268.

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Fuad, Khairul, e Irmayani Irmayani. "Malay Poetry as Media of Zodiac Explaination and Its Relation in Manuscript ’Abi@ Ma‘syari al-Falakiyyi al-Kabi@r". In 9th Asbam International Conference (Archeology, History, & Culture In The Nature of Malay) (ASBAM 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220408.071.

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