Siga este link para ver outros tipos de publicações sobre o tema: Poet.
Artigos de revistas sobre o tema "Poet"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Poet".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Sandler, Stephanie. "Scared into Selfhood: The Poetry of Inna Lisnianskaia, Elena Shvarts, Ol´ga Sedakova". Slavic Review 60, n.º 3 (2001): 473–90. http://dx.doi.org/10.2307/2696811.
Texto completo da fonteResumo:
Sandler analyzes the poetry of three contemporary Russian women poets, focusing on one poem by each poet from the late Soviet period. Using psychoanalytical theory and philosophical theories of the sublime, she assesses how fear creates a sense of self for each poet. In all the texts examined, the poet's self is shattered in order to be built up again. Poetic identity means a writer's identity, particularly to Sedakova and Lisnianskaia, and all three poets find a sense of self by resisting some conventional notions of the woman poet.
2
З. Арва, Сара. "ФИГУРА ПЕСНИКА У ЦИКЛУСУ „КРИТИКА ПОЕЗИЈЕ” БРАНКА МИЉКОВИЋА". PHILOLOGIA MEDIANA 15, n.º 1 (16 de maio de 2023): 63–73. http://dx.doi.org/10.46630/phm.15.2023.04.
Texto completo da fonteResumo:
The aim of this research was to analyse the figure of the poet within the cycle „The Criticism of Poetry” from Miljković’s book of poetry Origin of Hope (1960). By interpreting several poems from the presented cycle, this paper questions the position of the lyrical subject, while seeking out the possibilities of the lyrical self being identified with poets and thus interpreted as a poetic subject – a poet within the poem or a poet who possibly leads metapoetic dialogues with other poets. The figure of the poet is also considered through Nietzsche’s and Hegel’s philosophical approach to the ambivalent knowledge that is inherent to contemplatives and creators, but which conditions their destruction as well. Through the end of the cycle, this research also problematizes the social position of the poet and the possibility of interpreting the cycle through the title inversion – as poetry of criticism – criticism of future poetics, the disappearance of poetic language, poems and poets in general.
3
Jones, Thomas. "Poem: Capitalist Poet". Critical Perspectives on Accounting 7, n.º 5 (outubro de 1996): 585. http://dx.doi.org/10.1006/cpac.1996.0059.
Texto completo da fonte
4
Shahnawaz, Mohammad Sharique. "ROBERT FROST AS A NATURE POET : AN ECOCRITICAL VIEW". Journal of English Language and Literature 09, n.º 04 (2022): 35–39. http://dx.doi.org/10.54513/joell.2022.9406.
Texto completo da fonteResumo:
Robert Frost is arguably the greatest American poet of 20th Century and if there is any truth to Emerson’s maxim “to be great is to be misunderstood,” then definitely Robert Frost is great as he is one of the most misunderstood poets. Critics have hotly debated whether or not he is a Nature-poet. This paper intends to examine the claim of Frost being a Nature-poet with an ecocritical perspective. We will review The Tuft of Flowers to understand whether or not he can be called Nature-poet. Humans have been writing poems about Nature for centuries and Frost has also described hills, mountains, valleys, rivers, forests, woods, flowers, animals, seasons, and seasonal changes in his poems in a beautiful way, but does description of flora and fauna in the poem makes the poet a Nature-poet has been studied in this paper.
5
Botelho, Alice Vieira. "O mito de Byron no decembrismo russo: algumas considerações sobre a obra de Wilhelm Küchelbecker". RUS (São Paulo) 15, n.º 26 (31 de maio de 2024): 252–68. http://dx.doi.org/10.11606/issn.2317-4765.rus.2024.222350.
Texto completo da fonteResumo:
This paper analyzes the relationship between Russian Decembrist revolutionary poets and Byron’s myth. Our point of departure is the historical context of the emergence of Byronism in Russia’s 19th century and the connection between Byron’s myth and the poet-prophet in Decembrist’s civic discourse. We expose the possibilities and obstacles that challenge the construction of a lyrical subjectivity rooted in Romantic individualism in Russia’s first decades of the 19th century. Finally, we build a close-reading of Küchelbecker’s poem “Byron’s death”, in order to identify how the poet resignifies Byron’s myth aiming to defend the poet-prophet’s sovereignty and political emancipation.
6
Reznichenko, N. A. "A day that spanned years… David Samoylov’s sketch ‘A Day with Zabolotsky’ [‘Den s Zabolotskim’]: Semantic counterpoints". Voprosy literatury, n.º 5 (30 de outubro de 2022): 99–124. http://dx.doi.org/10.31425/0042-8795-2022-5-99-124.
Texto completo da fonteResumo:
The article discusses the history and context of D. Samoylov’s poem ‘Zabolotsky in Tarusa’ [‘Zabolotsky v Taruse’] (1958–1961), inspired by Samoylov’s personal memories of the meeting with the poet, as well as the sketch ‘A Day with Zabolotsky’ [‘Den s Zabolotskim’]. Samoylov’s poem and sketch offer two different portrayals of the older-generation poet, both using various associations and allusions to Zabolotsky’s lyrical works and biography. Reznichenko’s choice of the two works was primarily guided by the fact that Zabolotsky was an artistic as well as moral influence on Samoylov, who appreciated the other poet’s fascinating and unconventional personality and moral code that distinguished him from fellow poets. In Samoylov’s depictions, the single day spent in Zabolotsky’s company translates into the last day in the life of the poet, who senses the approaching end; in some mystical way, his premonition begins to affect the narrator. Through comparison of Samoylov’s journal entries with the sketch and the poem, the researcher finds that Zabolotsky’s image as a hero watching his ‘last sunset’ becomes more nuanced, prompting Samoylov to develop the reminiscence into a tribute to the poet in its classical sense of a monument.
7
Mestre, Juan Carlos, e Mark Aldrich. "El poeta / The Poet". Sirena: poesia, arte y critica 2006, n.º 2 (2006): 108–15. http://dx.doi.org/10.1353/sir.2006.0158.
Texto completo da fonte
8
Abbas, Assistant Professor Dr Falah Hassan. "Modernity in the Poetry of Nima Yoshij and Baland Al-Haidari A comparative study". Thi Qar Arts Journal 1, n.º 40 (27 de dezembro de 2022): 1–16. http://dx.doi.org/10.32792/tqartj.v1i40.359.
Texto completo da fonteResumo:
This research discusses the issue of modernity in contemporary Persian and Arabic poetry. The researcher chose the Iranian poet Nima Yoshij, who is considered one of the pioneers of modernity in contemporary Iranian poetry, and the Iraqi poet Baland Al-Haidari, who is also one of the pioneers of modernity in contemporary Iraqi poetry.
Through their poetry, the two poets expressed the themes of modernity that entered the world of poetry and literature, and that are based on modernist concepts with a new and contemporary vision in harmony with their time; The two poets explained their aspirations and hopes, and the hopes and issues of society. The poet is a member of the community who feels his suffering, his concerns and his ambitions and expresses them in the most sincere way. It seems that the poets have benefited from their experiences and their culture of roses in updating the poem in form and content.
The researcher also chose models from the poems of the two poets (Nima Yoshij and Baland Al-Haidari) that included modern themes through which the two poets dealt with various (new) individual and societal issues and other human issues.
9
Amin, Prof Dr Waria Omar. "Al-Jawahiri In A Statistic Research". ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 212, n.º 1 (12 de novembro de 2018): 185–210. http://dx.doi.org/10.36473/ujhss.v212i1.659.
Texto completo da fonteResumo:
Muhammad Mahdi Al-Jawahiri (1898 – 1997) was born in Najaf city of Iraq, to a family of poets and traditional learning. His father, his two brothers, and many other members of his family were poets. He is considered the greatest poet in the history of Arab literature, and said to be the last Neoclassic Arab.This paper is a statistical study of Al- Jawahiri’s poetry. It shows the number of lines of each poem, the meters on which he composed them, and their percentage. It is the first statistic research ever conducted about an Arab poet. The conclusions are shown in a table in the end.
10
Deudney-Theron, E. "Metapoëtiese raakpunte in die poësie van Gerrit Kouwenaar en Breyten Breytenbach". Literator 12, n.º 2 (6 de maio de 1991): 49–58. http://dx.doi.org/10.4102/lit.v12i2.758.
Texto completo da fonteResumo:
Prompted by the poem "brief in een fles voor breyten" in which a certain poetic relationship between the Dutch poet Gerrit Kouwenaar and the Afrikaans poet Breyten Breytenbach is implied, the author of this article traces the outlines of a meta-poetics common to both poets and through which their poetry has intertextual links with the poetics of among others Poe, Mallarme and Wallace Stevens. The following common denominators are found in Kouwenaars’s body of works and Breytenbach’s ("yk") and Lewendood: the proliferation of the subject, the ‘killing’ of life in language, the extended metaphor of food, eating and excretion and the living poem as a present absence.
11
Mohammed, Ayoub Haji. "Aesthetic Composition in "The Evening" Poem by The Poet Khalil Mutran". Journal of AlMaarif University College 34, n.º 2 (13 de junho de 2023): 217–33. http://dx.doi.org/10.51345/.v34i2.676.g363.
Texto completo da fonteResumo:
The poet Khalil Mutran was distinguished by his creativity in writing poetry. He also wrote many poems and left behind him a treasure of masterpieces and poems. His poetic style was distinctive; as he was distinguished by emotional honesty, sweet musical tone, and originality. In addition, the poet Khalil Mutran is considered one of the most innovative poets in modern Arabic poetry, and one of the most beautiful and well-known poems in all parts of the Arab world is the poem "Al-Masaa", which was included in some educational curricula. Through this study, we will shed light on the aesthetic aspects through which the poem "Evening" was formed.
12
Fatma Abdullah Bellal. "Ecological Elements in Maqaleh's ‘Village Book’ and Wordsworth's ‘Daffodils’: A Comparative Study". Albaydha University Journal 2, n.º 2 (29 de setembro de 2020): 254–70. http://dx.doi.org/10.56807/buj.v2i2.68.
Texto completo da fonteResumo:
The aim of this study is to explore a side of two poets’ works from different centuries and cultures: Abdalaziz Al–Maqaleh in the first stanza of his work "Village Book" and William Wordsworth in his poem "Daffodils". Al–Maqaleh is regarded as the greatest and the most famous contemporary Yemeni poet. Wordsworth is considered as "the father of nature" and one of the most well-known romantic poets.Regarding the comparative study, the most connected feature between the two poets is fighting and being disappointed by the adverse impacts of urban and industrial life on nature and man. Therefore, the reader of the two poets can easily notice that most of their works have a great focus on ecological and environmental worries. The researcher attempts to throw light on the rhetorical styles of each work and how each poet prompts to portray wondrously nature in general and countryside in particular. Each poet has his own way to interconnect and signify simply and in depth the equality and the relationship between nature and human beings.
13
Zarodova, Yu P., N. O. Laskina e I. E. Loshchilov. "Yuri Sopov’s Poem “Arthur Rimbaud” (1919): Text and Contexts". Studies in Theory of Literary Plot and Narratology 17, n.º 1 (2021): 228–63. http://dx.doi.org/10.25205/2410-7883-2021-1-228-263.
Texto completo da fonteResumo:
The article introduces publication of the full text of the narrative poem “Arthur Rimbaud” by the Omsk poet Yuri (Pyotr Ivanovich) Sopov (1897–1919), written shortly before his tragic death in the explosion at A.V. Kolchak’s residence on August 25 (or 26), 1919. The text previously had been known by fragments only, by virtue of quotations included in the newspaper obituary by the poet Georgy Maslov, who briefly survived Sopov. A number of details allow us to conclude that Sopov is fairly accurate when rendering facts of Rimbaud’s life and must have been familiar with the French poet’s biography, not just with echoes of the legend. Therefore, the numerous occasions in the poem, where he prefers fiction over fact, should be considered as the result of a deliberate choice. In the perception of contemporaries, the image of the author of the poem partially merged with the mythologized image of its hero. First of all, this concerns poets of the circle of the Omsk literary and artistic association “Chervonnaya Troika” and writers close to the group “Pamir” (“Siberian brigade”). The poet Leonid Martynov (1905–1980) repeatedly turned to the image of Rimbaud, translated his poems, compared his image, biography and character to his own, in poetry and in prose. The article shows that the perception of the French poet in Martynov’s creative laboratory during his long career was mediated by the memory of Yuri Sopov’s poem.
14
İÇLİ, Ahmet. "Traces Of The I And The Other In The Nazires (=Similar Poetry): The Journey Of I To We In The Example Of Mustafa Ali's Poetry And The Nazires written for his poetry With "We" Redıf (=Rhyme)". Akademik Dil ve Edebiyat Dergisi 6, n.º 3 (30 de outubro de 2022): 156–65. http://dx.doi.org/10.34083/akaded.1169198.
Texto completo da fonteResumo:
It is known that the same or similar poems/works were written within the scope of nazire tradition in classical Turkish poetry. Such poems are basically based on writing a similar or better example of a sample or model poem. It is also important that these poems, which are similar in many ways, show the same feelings, dreams, thoughts and goals. In one aspect, the model poem; It can be thought that it was a source of inspiration or an interpreter for other poets who tried to write a similar poetry. The content of the model poem is a guide for other poets trying to express themselves. In addition, defining and positioning oneself through this model poem is a reflection of different emotions and feelings. It is historically significant that the poems, are a mirror of the living world, can deal with similar subjects. It is important that a poet conveys information about himself, that others find traces of themselves around the same poem, and that they express themselves in this way, in terms of being a manifestation of the reality of the information and feelings given by the poets and the reactions they receive. In the context of nazire poetries, it is possible for each poet to describe her/his "I=self" with "we". In one sense, the " personalities" united around the model poem, form the we-consciousness. While this situation establishes a network of relations in terms of togetherness, they actually convey/describe the others around them There are many signs and indications in the poems in terms of containing the information about the poet. The expressions in which the words "I" and "we" are used are at the forefront of the issues that explain the characteristics of the poets, Gelibolulu Mustafa Ali's poem with "we" redif (rhyme, repeated voices), can be evaluated in this context and can be supported by historical data. This poem also carries clues about Ali's personal attitudes and behaviors, worldview, dreams and emotions. The poems written similar to this poem of Ali are important in that both carry traces of their poets and contain the elements of "I" and "other" around the "we" redif. In this article, the poem of Gelibolulu Mustafa Ali from and the nazires written to his poem will be evaluated in terms of conveying the self/I and other elements within the framework of the nazire tradition and then the content analysis.
15
Suleimanova, Maryam Saidovna, e Mariza Magomedova. "On the adequacy of translation of the lyrics by Fazu Aliyeva into the Russian language". Филология: научные исследования, n.º 12 (dezembro de 2021): 21–29. http://dx.doi.org/10.7256/2454-0749.2021.12.37085.
Texto completo da fonteResumo:
The subject of this research is the adequacy of translation of Avar poetry into the Russian language on the example of the poem “If They Will Draw My Portrait” by the National Poet of Dagestan Fazu Gamzatovna Aliyeva. The object of this research is the lyrical works of Fazu Aliyeva and other Dagestan poets. Using the method of comparative analysis, the authors draw parallel between the Avar and Russian versions of F. Aliyeva’s poem, which has been translated by the Russian poet-translator Vladimir Turkin. The goal of this article lies in the comparative study of the lyrical poem by the Avar poet and its literary translation into the Russian language. The question of the literary translations of poetic texts from the native languages into the Russian language remains relevant at all times. The degree of accuracy and adequacy of the translation of modern or classic Dagestan poetic texts into the Russian language is yet to be fully researched. The novelty of this work consists in comprehensive analysis of the adequacy of translation of the lyrical texts of the Avar poet Fazu Aliyeva into the Russian language. The adequate professional translation into the Russian language is invaluable for the development of literature of the Caucasian peoples (and all national literatures of the peoples that are part of the Russian Federation). This helps them reach a wider readership. Juxtaposition of the original poetic text and its translation into the Russian language proves that Vladimir Turkin has achieved full adequacy of conveying the Avar text, despite the discrepancy in translating spatial details, which not in the slightest distorts the stylistic and emotional-expressive peculiarities inherent to the poem by the Dagestan poet Fazu Aliyeva.
16
Aliphan, G. K. "Continuity in the work of Abai and Lermontov". Turkology 6, n.º 104 (12 de janeiro de 2020): 78–90. http://dx.doi.org/10.47526/2020/2664-3162.020.
Texto completo da fonteResumo:
The content of the article is based on the poem "Duma" by M.Y. Lermontov. It occupies a special place in the poet's work. "Duma" is a work with a deep and rich content, reflecting the thoughts of the poet, concerned about the future of his generation. Abai translated this poem into the Kazakh language. This article examines the problem of the creative continuity of the two poets, associated with the translation of the "Duma" into the Kazakh language and its ideological and thematic content. M.Y. Lermontov was never satisfied with the current social situation and the people he was surrounded with. He was too sophisticated and innovative poet for his time. He was deeply anxious about present and future of the Russian society. “The thought” is a work with profound meaning as a result of his criticism. Just as M.Y. Lermontov Abay mercilessly criticized inadequacies of his living time. Abay tried to remedy people and their morality with his humanistic philosophy. The article depicts common ideas and philosophy of the both poets on the basis of contents and translation of one poem.
17
Aliphan, G. K. "Continuity in the work of Abai and Lermontov". Turkology 6, n.º 104 (12 de janeiro de 2020): 78–90. http://dx.doi.org/10.47526/2020/2664-3162.020.
Texto completo da fonteResumo:
The content of the article is based on the poem "Duma" by M.Y. Lermontov. It occupies a special place in the poet's work. "Duma" is a work with a deep and rich content, reflecting the thoughts of the poet, concerned about the future of his generation. Abai translated this poem into the Kazakh language. This article examines the problem of the creative continuity of the two poets, associated with the translation of the "Duma" into the Kazakh language and its ideological and thematic content. M.Y. Lermontov was never satisfied with the current social situation and the people he was surrounded with. He was too sophisticated and innovative poet for his time. He was deeply anxious about present and future of the Russian society. “The thought” is a work with profound meaning as a result of his criticism. Just as M.Y. Lermontov Abay mercilessly criticized inadequacies of his living time. Abay tried to remedy people and their morality with his humanistic philosophy. The article depicts common ideas and philosophy of the both poets on the basis of contents and translation of one poem.
18
Gutiérrez, Rosa García. "Emily Dickinson, Poets' Poet: First Versions in Spanish (Juan Ramón Jiménez, Gilberto Owen, Ernestina de Champourcin)". Emily Dickinson Journal 32, n.º 1 (2023): 36–63. http://dx.doi.org/10.1353/edj.2023.a902810.
Texto completo da fonteResumo:
Abstract: This paper focuses on the first three Spanish versions of Dickinson's poetry. They were linked from the start, as the cult of the poet was passed on by word of mouth in the Spanish-speaking world, like a secret sap that brought together those who fed on it. Dickinson's first translator was the Spanish poet Juan Ramón Jiménez, who included versions of three of her poems in his Diario de un poeta recién casado ( Diary of a Newlywed Poet , 1917). It was through Jiménez that Dickinson became known to the Mexican poet Gilberto Owen, who would publish his own translations in 1934 in the cultural supplement of the newspaper El Tiempo in Bogotá, and to the Spanish poet Ernestina de Champourcin, the author of the first selection of Dickinson's poems published as an independent volume ( Obra escogida [ Selected Work s], 1945), in collaboration with Juan José Domenchina. These translations are marked by the fact that their three authors are poets; rather than being a professional exercise, they are the result of an intimate dialogue, an homage, or even a strategy by means of which Jiménez, Owen, and Champourcin attempted to revive in their own voices the singular emotion aroused by such a different poet.
19
Mahmud, Ali Mahmud Ashma'i. "Aspects of renewal in the rhymed poem In the collection of "Jarrar al-Nour" For the poet "Abdel Nasser Abdel Mawla"". International Journal of Language and Teaching 1, n.º 1 (31 de março de 2023): 9–18. http://dx.doi.org/10.61231/ijlt.v1i1.42.
Texto completo da fonteResumo:
This study aims to know the concept of renewal in the rhymed poem, and the changes that occurred in the modern poem, and the distinction between the value of the rhymed and its current position, then talk about rhymed poetry, and define it and its controls to evoke a poetic state in the collection of "Jarrar al-Nur" by the poet "Abdul Nasser Abdel Mawla And an indication of the features of renewal in this diwan, and in the folds of this research we include the concept of renewal in the Arabic poem, and the manifestations of this renewal, and the definition of the poet as one of the poets who called for preserving the rhymed poem, and the most prominent new templates that are more free and diverse, in order to make it clear to connoisseurs of literature the general picture For rhymed poetry, and the importance of the vertical poem.
20
Rashid, Jihad Shukri. "مضامين و انديشههاى شعرى فقى قادر ههمهوند". Twejer 3, n.º 3 (dezembro de 2020): 779–820. http://dx.doi.org/10.31918/twejer.2033.21.
Texto completo da fonteResumo:
Abdul Qadir Rasool was one of the poets of the nineteenth century. He is known as Faqe. He was a talented poet but his works are still being disregarded and unknown to others. Searching and understanding his poems will clarify his new innovations in poetry. By analyzing the collected works and poems of Persian poets and Quranic verses, he could utilize conceptual semantics in his poetical works. His poems are the symbol of desire, sympathy, using the persuasive of metaphors and dominating words to spread splendid compound literary works. He was able to combine the impacts of both his life experience and the complicated community issues of sultan Aziz Ottoman era in his works intelligently. In this research, the researcher attempted to indicate the notions of the poet to give the ability to understand his concepts and his views, and they are important to understand ingenuity he innovated in his poems. Key words: Faqe Qader, Elegy, Saki poem, Blaming poem, Prison poems.
21
Murtazaliev, Ahmed M., Marjanat N. Nabigulaeva e Rosa S. Bashirova. "ESENIN’S SUBJECT IN RASUL GAMZATOV’S WORKS". Proceedings of Southern Federal University. Philology 28, n.º 2 (23 de junho de 2024): 103–12. http://dx.doi.org/10.18522/1995-0640-2024-2-103-112.
Texto completo da fonteResumo:
The article deals with the reflection of the personality of Sergey Yesenin and the motives of his work in the poetry of Rasul Gamzatov. Back in the 1940s, Yesenin's lyrics attracted the attention of the Avar poet, who worshipped his talent, translated into his native language the pinnacle work of “the most Russian poet” – the poem “Anna Snegina”. Even though both of the poets represent different epochs, peoples, and poetic schools, they have a lot in common. Both of them glorified the motherland, its history, people, their spiritual world, moral values, a woman, her beauty and love in their works.
22
Khalifa, Avin Abdulqadir, e Diar Mardan Mhamad. "Anaalysis of the text of Sabris poem(Mercy that one breth), of Sabri according to the path of unity." JOURNAL OF LANGUAGE STUDIES 7, n.º 4 (31 de dezembro de 2023): 198–213. http://dx.doi.org/10.25130/lang.7.4.10.
Texto completo da fonteResumo:
This paper is an analysis of the text of the poem (Mercy which one breath) of (Sabri), which consists of two parts in the first part we highlighted a brief about ( Sabri) and the political and social conditions of the poets time, especially in the late nineteenth and early twentieth centuries (Sabri) is as a sufi poet, he has always sought divine love, he is considered the classical poet of Kirkuk. he followed the path of Nali and saleem for Kurdish,he chose the title (Sabri) in has poems, he was a poet who always tried to kill himself in order to attain divine love, in the second part, we will practice some of our analytical methods for the text of the poem of (Mercy that is one breath) of (Sabri) has presentend .
We have found that the poet in this poetic text he had a special mindset and a real experiment in addition, the poet used a mixture of Kurdish, Arabic and Parian.
He wrote his poems in the Sorani dialect ,his poetic images have been duties creative, they have a special rhythm and melody, in terms of weight and over head.he used more weights for adversity for example, a(15)point weight, we have tried to look at this poetic text critically the poet is at the end of his life in this poetic text he mixes the pain of Kurdistan’s situation at the hands of the in readers with a love that is addicted to the in fidelity or betrayal of the in readers, then he returns to a divine love. Finally, we have reached some conclusion of the study.
23
Doost, Roger. "Poem: “The Accountant; The Poet”". Critical Perspectives on Accounting 8, n.º 1-2 (fevereiro de 1997): 146–48. http://dx.doi.org/10.1006/cpac.1996.0102.
Texto completo da fonte
24
Harris, J. J. "Poem: The Land of Poet". Language Arts 67, n.º 2 (1 de fevereiro de 1990): 163. http://dx.doi.org/10.58680/la199025362.
Texto completo da fonte
25
Williams, John. "Wordsworth, Shelley, and the Riddle of Peter Bell". Romanticism 23, n.º 1 (abril de 2017): 75–87. http://dx.doi.org/10.3366/rom.2017.0308.
Texto completo da fonteResumo:
In 1819 Shelley was moved to anger and derision when Wordsworth published Peter Bell. His satirical response was predicated on an ironically autobiographical interpretation of the poem, and in this respect, Shelley's reading of the poem merits further study with respect to both poets. Hazlitt, Keats, Lamb, and others, were quick to note the egotistical drive that informed Wordsworth's writing, but in Peter Bell the Third Shelley claimed that Wordsworth went far beyond that. He insisted that Wordsworth had unintentionally satirised himself with devastating accuracy in the manner of Thomas Moore's satire on political apostasy, The Fudge Family in Paris. Shelley's reading of the poem casts a fresh light on the importance of Peter Bell for an appreciation of the complexity of Wordsworth's development as a poet at the time of writing Lyrical Ballads, a complexity that relates both to the controversial style of Peter Bell, and to the ambivalent relationships within the poem between poet, narrator, protagonist, and reader.
26
Thomson, David E. "Lifespan development in the academy of American poets". Scientific Study of Literature 5, n.º 1 (19 de novembro de 2015): 83–98. http://dx.doi.org/10.1075/ssol.5.1.04tho.
Texto completo da fonteResumo:
The present study investigated lifespan writing tendencies among members of the Academy of American Poets (N = 411). All original English language poems (N = 2,558) available on the Academy website during 2013 were included provided that each poet was represented by at least two poems. Correlations of the age in which each poet published each poem with established indicators of lifespan development were small to moderate (r’s from -.11 to .16). Contrary to lifespan development for expository and emotionally expressive writing, poets tended to employ past tense and use less emotionally valenced language as they aged. Multilevel analysis revealed no significant relationships between publishing age and maturation outcomes, although that process did indicate various curvilinear relations. I conclude by discussing the implications of automated text analysis on literary analysis of career development.
27
İsmailova, E. "PRAISE OF HUMAN FEELINGS IN M.SHAHRIYAR'S POEM “SAHANDIYA”". East European Scientific Journal 3, n.º 5(69) (15 de junho de 2021): 37–40. http://dx.doi.org/10.31618/essa.2782-1994.2021.3.69.60.
Texto completo da fonteResumo:
There is nothing that can affect the spirit and national consciousness of the people as an artistic word. Glorification, propagation and transmission of human feelings from generation to generation is the highest task of the art of speech and literature. In this sense, there is a greater task and responsibility before genius masters of a word. In keeping the people alive, instilling human feelings, and glorifying the highest human feelings such as patriotism, heroism, and bravery, the poets held a leading position in all periods of society. The works of the poet Mohammad Hussein Shahriyar (1906-1988), the most famous figure of both South and North Azerbaijani literature, and the pearls of art he created, especially the poem “Sahandiya” written in a modern style, are of great interest to many readers today. The main purpose of the article is to acquaint the modern reader with the valuable heritage of the poet, promote this heritage by demonstrating the artistic features and importance of the poem “Sahandiya”, which is considered one of the masterpieces among the poet's works written in the native language.
Although the poet does not speak in an open context in the poem, the city of M.A. Sabir, remembering Shamakha and Shirvan, actually reminds of the problem of divided Azerbaijan.
The last parts of the poem are dedicated to the problem of separation, one of the most painful issues of a divided Azerbaijan. The master described the enthusiasm of the poets of North Azerbaijan for his voice as the support of the mountains, the clear dawn of the waters of the Araz, holding the lamp in the darkness, "the sturgeon of that foal." Due to these features - the high appreciation of national and spiritual interests, the poem "Sahandiya" remains relevant at all times.
28
Πασχάλης, Μιχαήλ. "Η τεθλασμένη πρόσληψη της αρχαιοελληνικής ποίησης και το ποίημα «Πάνω σ’ ένα ξένο στίχο» του Γ. Σεφέρη". Σύγκριση 30 (30 de outubro de 2021): 24–34. http://dx.doi.org/10.12681/comparison.25293.
Texto completo da fonteResumo:
Refracted Modern Greek reception of Ancient Greek poetry and George Seferis’ poem ‘Upon a Line of Foreign Verse’The term ‘refracted’ describes instances where Modern Greek reception of Ancient Greek poetry is mediated through one or more intertexts, like Italian-Latin or French-Latin. After treating briefly Dionysios Solomos’ poem ‘The Shade of Homer’ (1821-1822) the paper focuses on George Seferis’ ‘Reflections on a Foreign Line of Verse’ (1931). Each of the two poets claims the Homeric heritage for himself as a Greek poet through a poem that constitutes a refracted reception of Homer. The former opens a chain of three literary windows one after the other: first the appearance of Homer to the character Ennius in Petrarch’s Latin epic Africa; next Cicero’s ‘Dream of Scipio’; and finally the appearance of Homer to the Latin poet Ennius, who in the proem of his Annals represented himself as a reincarnation of the Greek poet. In responding to Solomos about a hundred years later Seferis treated the subject of Homeric Odysseus’ sea wanderings by commenting on ‘Heureux qui, comme Ulysse, a fait un beau voyage’, the opening line of Joachim du Bellay’s famous sonnet XXXI of the collection Les regrets (1558). Most probably Bellay reached back to Homeric Odysseus through a passage of Ovid’s collection of elegies written in exile and entitled Ex ponto. Ovid conceived his banishment from Rome to a region of modern Romania as the analogue of Odysseus’ wanderings away from Ithaca and became a source of inspiration for Du Bellay and other poets.
29
Hasan, Mariwan. "Robert Herrick’s Daffodils, Percy Bysshe Shelley’s Flower and Abdulla Goran’s Ivy Flower: A Comparative Study". JOURNAL OF LANGUAGE STUDIES 6, n.º 4, 1 (15 de julho de 2023): 239–52. http://dx.doi.org/10.25130/jls.6.4.1.15.
Texto completo da fonteResumo:
This paper intends to highlight the similarities in three poems by three different poets coming from different times and places - Robert Herrick’s poem, “To Daffodils”, Percy Bysshe Shelly’s poem, “The flower that smiles today” (mutability), and Abdulla Goran’s poem, “To the Ivy Flowers”. It endeavours to depict the influence that Shelly and Herricks’ poems had on the Kurdish poet Goran in composing his poem. Herrick’s poem was first published in the 17th century in English Language, although Shelley’s Poem was published in the 19th century in England, yet its language is English, too. The influence of the English language and English writers generally and the influence of Shelly and Herrick, particularly is clearly seen in Goran’s poem. This study for the first time points out that there is the high possibility of the influence of two poems on Goran in composing his poem, “To the Ivy Flowers”, which shows the novelty of this study as no scholar so far has said two English Writers influenced him in writing this poem. This is a comparative study relying on the French school of comparative literature. The Kurdish poet, Goran was influenced by both Shelley and Herrick. The paper intends to see to which degree is Goran influenced by the two poems, and why particularly by those two English poets. The study relies on comparative, descriptive and textual analysis approaches to examine meaning, content and style of the three poems to demonstrate the aesthetics of the three poems
30
K, Sivamani. "Rural Cultural Elements Presented in the Poems of the Poet Sirpi". International Research Journal of Tamil 4, SPL 1 (28 de fevereiro de 2022): 259–65. http://dx.doi.org/10.34256/irjt22s136.
Texto completo da fonteResumo:
The earthy antiquity and culture of the writer can be speaking the strength of his writings. The culture can serve as a bridge between the people who followed the ethics to live the better life and their living environment. One of the most noteworthy poets and sculptors in the history of contemporary Tamil poetry. One of the most noteworthy poets and sculptors in the history of contemporary Tamil poetry. A village river on the banks of the poet-sculptor's poem is a unique rural story based on the lives of human beings who are realistically moving. As a Kongu vernacular poem, it is full of pro-speech and eloquent poetry. Thus, this article outlines some of the anthropological elements found in the poems of The Poet Sirpi, such as the cultural elements of the rural people of the Kongu region, such as the realistic mind of the rural people, the unpretentious way of life, the relationship, the harmony with nature, the cultural specialties, the friendship, the regional case.
31
Đurđevic, Đorđe. "HODOČAŠĆE KA POEZIJI". Lipar, n.º 71 (abril de 2020): 115–26. http://dx.doi.org/10.46793/lipar71.115dj.
Texto completo da fonteResumo:
The paper examines the angelological-poetic relations in the poetry of Vasko Popa, Branko Miljković and Vojislav Karanović. Beginning with the medial position between the poet and the poem, the angel, with the poet‘s intervention, becomes an active principle in discovering the poem as such. He simultaneously exists in the space of the poem itself, as well as in the space of its realization in language, and its role is doubly translational: it translates the poet into the space of poetry and brings poetry closer to the poet. The given process flows through the original approximation and depiction of the poet and the angelic being / body, and it ends in the creation of a poem, which is, in its characteristics, close to the angelological complex.
32
Ishtaih, Hifdi, e Saidah Aldomor. "The Image of a Brutal Bull in Three Pre-Islamic Poems Reality, or Legendary". Dirasat: Human and Social Sciences 49, n.º 6 (30 de novembro de 2022): 299–315. http://dx.doi.org/10.35516/hum.v49i6.3741.
Texto completo da fonteResumo:
This study aims to look into the significance of the image of a brutal bull in the pre-Islamic poem which did not find great attention among the ancient critics. In modern criticism, the study concluded that the legendary critical approach does not assist us in understanding the real significance of this image. Since he omits to link some semantics and legendary religious sediments, he gives an unsatisfied interpretation. The study supposed that it is more beneficial to look at that image realistically, and to monitor how the poet portrayed this reality as an artistic portrayal of his main idea, which is popular in all parts of the poem. To confirm this assumption, three poems’ pre-Islamic construction were applied, by three poets, and it appeared obvious that the scene of the brutal bull in each of them consisted of other scenes of it. The partial scene heals in the poem building, which expresses the objective of the poet and his central issue.
33
DRAGOMAN, Diana Alexandra. "Arte poetice în literatura română contemporană. Studii de caz". ANALELE UNIVERSITĂȚII DIN CRAIOVA SERIA ȘTIINȚE FILOLOGICE LIMBI STRĂINE APLICATE 2024, n.º 1 (19 de julho de 2024): 133–46. http://dx.doi.org/10.52744/aucsflsa.2024.01.15.
Texto completo da fonteResumo:
Poetic arts provide us with data that lead to an understanding of the changes in literature and the formulas that poets opt for. So far, no research has appeared to probe this type of Romanian poetry published in the third millennium. The purpose of the article is to signal some trends in current poetry by analyzing the literary motifs in the poetic arts selected by us and configuring a perspective on the relationship between the poet and the text. This allows us to make a synthesis about the literary beliefs of some poets. We turn to the case study, using stylistic analysis. During the research, we found that the figures of speech are the ones that encode the data about the writing of a poem. The text represents only a facet of reality, which the poet shapes according to his own mentality.
34
Nilofar, Naila. "Gaya Bahasa Kiasan dalam Wekwekwek Sajak-Sajak Bumilangit Karya K.H. A. Mustofa Bisri". ATAVISME 10, n.º 1 (29 de junho de 2007): 75–83. http://dx.doi.org/10.24257/atavisme.v10i1.232.75-83.
Texto completo da fonteResumo:
A poem can be studied from many aspects. It can be studied from structures and parts of it, as a poem is a structure set from many poetic facilities. A writer describes about the figure of speech in a collection of poem Wekwekwek created by K.H. A. Mustofa Bisri. A poet uses different language from the daily language. For daily language is not enough to describe what a poet feels. Expressing of meaning only in a poem is not enough. A poet wants a reader can feel and do what he feels and done.
35
Barbosa, Tereza Virgínia Ribeiro, Andréia Santos Marques, Andreza Júnia Ferreira, Marcelo Pimenta Marques e Tereza Pereira do Carmo. "Mito, literatura e filosofia". Revista do Centro de Estudos Portugueses 22, n.º 31 (31 de dezembro de 2002): 27. http://dx.doi.org/10.17851/2359-0076.22.31.27-37.
Texto completo da fonteResumo:
<p>A abordagem de <em>O Mito, </em>texto do poeta Carlos Drummond de Andrade, é um terreno fértil para reflexão teórico-filosófica. Para nossa análise utilizaremos aqui, várias definições de diferentes autores acerca do que vem a ser ‘mito’. O poema tem como eixo central a figura de Fulana. Em todo o poema podemos perceber uma busca para compreender esta Fulana misteriosa e multifacetada. Este caráter ambíguo e enigmático já é designado pela forma como o poeta a nomeia. O termo <em>fulana </em>significa: <em>uma idéia vaga de alguma pessoa, alguém que não se quer nomear ou depreciação de uma pessoa qualquer</em>. Tomada com letra maiúscula, como o poeta nos apresenta, esta palavra se transforma em um substantivo próprio, individualizando Fulana. Assim, Fulana para o poeta não é uma fulana qualquer, mas a Fulana. A nossa associação de Fulana com o título do poema é uma leitura de Fulana como metáfora de mito.</p> <p>The study of <em>O Mito </em>by Carlos Drummond de Andrade, is a fertile field for the theoretical and philosophic reflection. In our analyses we will use many definitions by different writers about what the “myth” is. The poem has the image of “Fulana” as its central point. Along the whole poem we can perceive an attempt to comprehend this mysterious and multifaceted “Fulana”. The form that the poet takes to name her designates this ambiguous and enigmatic characteristic. The term “Fulana” means: <em>a vague idea about a person, someone that we don’t want to name or the depreciation of any person</em>. Taken with the capital letter, as the poet presents, this word changes into a substantive, individualizing Fulana. Though, Fulana for the poet is not any Fulana, but the Fulana. The association of Fulana with the title of the poem is our reading of Fulana as a metaphor of the myth.</p>
36
ALDULAIMI, Ihsan Hadi Ahmed. "DEATH AND POST-DEATH IN THE POETRY OF AHMED ARIF". Rimak International Journal of Humanities and Social Sciences 4, n.º 1 (1 de janeiro de 2022): 320–28. http://dx.doi.org/10.47832/2717-8293.15.24.
Texto completo da fonteResumo:
The great Turkish poet Ahmed Arif is considered one of the important poets in Turkish literature in the 20th century. He was born in Diyar Bakr on 23rd of April 1923 and died on 2nd of June 1991 in Ankara. Through his life that lasted for 68 years, he published one book about poetry. It was considered the best book to be published in Turkey which makes him different from any other poet. Death as a fact and part of our nature is considered the end of life. The separation of the soul from the body is inevitable. It is impossible that a man can be born again after his death. Hence, there was a great discussion about the nature of our life and the existence of death throughout the whole history of human beings. Specifically, the scientists, philosophers, and thinkers, made scientific activities over humanity and death and what would happen after it. The poets are among the groups who express their opinion concerning this subject arousing different new point of views in their comments and thoughts. The nature of the poem is to think differently and explain it differently too resorting to symbolic language. Hence, the exposition of the beliefs difficult to be understood through poetry and literature create a genuine overflow of thoughts. Ahmed Arif is one of the well-known poets by his valuable thoughts in this subject. I decide to introduce a detailed explanation about life of the great Turkish poet Ahmed Arif as well as his literary orientation and poem. Among his poems, we introduce some information about death and life after death through which I browse all the poems by Ahmed Arif who is considered one of the important poets in Turkish literature in the 20th century. Key words: Ahmed Arif, Turkish Literature, Death, Death and Beyond.
37
Fahmawi Watad, Aida. "“A Whiff Like the Effect of Butterflies at the End of the Earth”1 : Esthetics of Linguistic Discourse in the Poems of Arab Poetesses as Mirrors of Liberation and Influence". Feminist Research 6, n.º 1 (12 de junho de 2022): 30–38. http://dx.doi.org/10.21523/gcj2.22060104.
Texto completo da fonteResumo:
Many female Arab writers have chosen poetry as the most efficient and esthetically most gratifying medium for expressing the discourse of liberation and influence that they are leading. The present paper discusses the new poetic devices adopted by various women poets, from the use of shocking titles to the creation of unusual devices for communication between reader and poem. In this study, we focus on three poems by three women poets and compare the role that verbal esthetics play in promoting the concept of liberation and influence in them. The first poem is ‘Taḥaddin’ (Challenge) by the Algerian poet Aḥlām Mustaghāminī (b. 1942). In it, language appears as an instrument for a discourse of liberation in face of great challenges: politics, society, the writer herself. The poet uses such traditional devices as harmonizing intertexuality and functional rhyme to construct her vision. The Iraqi poet Wafā Abd al-Razzāq (b. 1952) in her ‘Waqfāt’ (Pauses) takes symbols out of their usual context and deprives them of their evocative power in the reader’s mind, enabling her to use them to create images of her own vision of women composers of poetry. Maysūn Ṣaqr (b. 1958) of the United Arab Emirates expresses redemption through the act of writing by using meta-linguistic esthetic constructions such as écart, contrasting intertextuality and enjambement that shatter the meaning. All three poems use devices that are similar to those used by male Arab poets in modern times, the poetesses have succeeded in giving these devices a feminine coat unique to them. The difference lies in the mode of their use: 1) clearly hearing the feminine first person, 2) allusions to children’s voices, masks and stories, and 3) biographical tales whose protagonists are women, all of which are rarely to be found in the writings of male poets.
38
Haft, Adele J. "Imagining Space and Time in Kenneth Slessor’s “Dutch Seacoast” and Joan Blaeu’s Town Atlas of The Netherlands: Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas, Part Three". Cartographic Perspectives, n.º 74 (3 de janeiro de 2014): 29–54. http://dx.doi.org/10.14714/cp74.1199.
Texto completo da fonteResumo:
“Dutch Seacoast” by the acclaimed Australian poet Kenneth Slessor (1901–1971) is thecenterpiece of The Atlas the five-poem sequence opening his 1932 collection Cuckooz Contrey. Like the other four poems, “Dutch Seacoast” pays tribute to cartography’s “Golden Age,” Toonneel der Steden van de vereenighde Nederlanden being the poem’s epigraph and the title that Joan Blaeu gave to one of two volumes comprising his Town Atlas of the Netherlands (1649). While focusing on Blaeu’s exquisitely ordered map of Amsterdam, Slessor suggests that he is gazing at the map described by his poem and invites us to consider how poets and cartographers represent space and time.An intensely visual poet, Slessor was also attracted to lyrical descriptions of objects: his inspiration for “Dutch Seacoast” was a particularly poetic, but sparsely illustrated, catalogue of maps and atlases. After reprinting the poem and describing its reception, my paper traces the birth of “Dutch Seacoast” (and The Atlas generally) in Slessor’s poetry notebook, the evolution of the poem’s placement within the sequence, and the complex relationships between the poem, the catalogue, and Blaeu’s spectacular atlas. Comparing Blaeu’s idealistic view of Amsterdam with that city’s dominance during the Dutch“Golden Century,” Slessor’s darker obsessions with the poem’s ending, and his “other countries of the mind” with his native Australia, we come to understand why “Dutch Seacoast” remained for the self-deprecating poet one of his eight “least unsuccessful” poems.
39
Purwanto, Sugeng, e Idha Nurhamidah. "First love simplicity: A systemic-functional perspective study of Karina Del Campo�s Do You Remember Our Love?" EduLite: Journal of English Education, Literature and Culture 3, n.º 2 (2 de setembro de 2018): 161. http://dx.doi.org/10.30659/e.3.2.161-172.
Texto completo da fonteResumo:
The current study aims at exploring the intended meaning and structure of a poem entitled �Do You Remember Our Love?� written by a poet, ��Karina Del Campo (2009) in both interpretational and systemic functional perspectives. In the former, the poem was examined interpretatively in order to find out the possible stance of the poet; meanwhile the later was an analytical representation of systemic functional grammar in the framework of construing the three domains of meanings: ideational, interpersonal and textual in order to arrive at the field, the tenor and the mode of the discourse.� It turns out that the poem is �a reflection of a woman�s feeling (the poet�s) toward her ex-boyfriend�finely described in a repeated style of the major clause, supported and elaborated in several minor clauses. The poet tries very hard to ignite her ex-boyfriend�s love memories with her and to possibly invite him to reunite even though it seems to be a mission impossible. The poem has both social and psychological impacts on the poet herself and the readers in a wider scope.
40
Adkoli, Bharati N. "Nature in the Poetry of William Wordsworth and Kuvempu (A Study)". Shanlax International Journal of English 11, n.º 4 (1 de setembro de 2023): 8–14. http://dx.doi.org/10.34293/english.v11i4.6528.
Texto completo da fonteResumo:
In the light of what we owe to Nature , with lot of regards and gratitude, the paper makes an attempt to explore and examine how Nature has been treated, described and presented in all its entirety by two great poets of two different periods of time- One is William Wordsworth, an English poet, a Romantic poet of the Nineteenth century, ever remembered as a poet of nature, and another one is a 20th century Kannada poet, revered with an honour ‘Rashtrakavi’(National Poet) popularly known as Kuvempu, Kuppalli Venkatappa Puttappa. Based on the secondary data collected through books, related review of articles, magazines, Internet and Govt. websites, the paper highlights with illustration how nature is seen and described in the select poems of these respective poets.
41
صالح, حسين خلف. "Using Numbers in the poetry of Al-Mutanabbi and Al-Maarri". JOURNAL OF LANGUAGE STUDIES 6, n.º 4, 2 (31 de julho de 2023): 239–50. http://dx.doi.org/10.25130/jls.6.4.2.20.
Texto completo da fonteResumo:
The poetic Signals to the figures are of an important issue , the poetic use of the figure is intentional ,the poet occasionally resort to insert hyperbole and complexity according to events in his life which Sometimes go in this direction , or there are motives behind them, may be intentional or not intentional, these made the poets to make figures as a complement to the poem elements and as the figure adds a grace fullness and influence to the poem ( AL _ Mutanabbi and AL_ Muaary )are two poets used figures conssiously to indicate to a poetic ability and creative movement, because it came as a deliberate move and awareness, but not as an improvisation or a coincidence according to this, the research tries to unveil the figure motivation and discover the poetical equations and their roles in motivating the poetical meaning . The method that the researcher depends on is build on gathering the poetic verses that indicate to the figure which linked to its poetic context this needs to look at the figure and questioning it, this means that I moved from the figure to the Poem and then to the Poet , all of that is to know the progress of the figure .
42
Harrison, S. J. "Drink, suspicion and comedy in Propertius 1.3". Proceedings of the Cambridge Philological Society 40 (1994): 18–26. http://dx.doi.org/10.1017/s0068673500001802.
Texto completo da fonteResumo:
Propertius 1.3 famously begins with the drunken poet returning from a night out to find his puella Cynthia asleep. The sleeping Cynthia is then apparently idealised by the poet through a series of comparisons with mythological heroines, until she wakes up and shows her true and less elevated character, shrewishly nagging the poet for staying out late with another woman, and thereby destroying his illusions. Some of the wit and irony of the situation has been pointed out in previous accounts of the poem; this treatment takes a closer look at the text, especially at the mythical analogues for Cynthia applied at the beginning of the poem, and argues that part of the wit and amusement of the poem derives from its articulation of the poet's suspicions of Cynthia's infidelity. This is not a tragic or dramatic effect, but rather a clever and amusing comedy; the amusing self-characterisation of the poet as a drunken bumbler racked with lust and suspicion is fully consistent with the kind of elegist envisaged by Paul Veyne, who rightly stresses that Roman love-elegy has much more to do with literary entertainment than with the intense analysis of passion. The scene is being narrated by the poet with retrospective wit and irony against himself; to use the convenient terms employed by Winkler in his book on Apuleius, the poet as auctor (writer of the poem) provides an entertaining view of the poet as actor (character in the poem's story).
43
Chavarría Alfaro, Gabriela. "El viento como máscara poética, análisis de un poema de Roberto Sosa". Revista de Filología y Lingüística de la Universidad de Costa Rica 23, n.º 1 (30 de agosto de 2015): 35. http://dx.doi.org/10.15517/rfl.v23i1.20389.
Texto completo da fonteResumo:
En este artículo se trata la construcción de la voz lírica en el poema "El viento" y el estudio de esta voz lírica como una representación de la subjetividad del poeta, la cual está basada en un concepto metafísico del poeta mismo.This article deals with the Iyrical voice construction of the poem "El viento" and the study of this lyrical voice as a representation of the poet's subjectivity, which is based on a metaphysical concept of the poet himself.
44
Barakhas, Widad Almas, e Sarab Khlil. "A Pragma-Stylistics Analysis of Lowell and Snodgrass’ Confessional Poems". International Journal of Linguistics, Literature and Translation 4, n.º 11 (29 de novembro de 2021): 170–81. http://dx.doi.org/10.32996/ijllt.2021.4.11.18.
Texto completo da fonteResumo:
Analyzing any text according to pragmatic principles means approaching the text's meaning and the writer's intention. This study investigates the role of pragmatics theories in interpreting and understanding poetic text and their impact on the poet's style. In other words, how the poets exploit pragmatics theories, such as Searle's speech acts, Grice's maxims, and deixis, in their style of writing to convey their intended meaning to the readers. Therefore, two confessional poems are selected to be analyzed pragma-stylistically: The Dolphin was written by Robert Lowell (1973), and Mementos 1 was written by W. D. Snodgrass (1960s). The current study aims to: 1) analyze the texts of selected poems by applying pragmatics theories to find out the style of each poet through which one can reach the right interpretation of the poem.2) find out the most dominant type of speech acts used by each poet. 3) investigate any flouting of Grice's maxims. 4) identify types of deixis and find out the most dominant types used in confessional poems. The present study concludes that 1) representative speech acts are performed more than other types.2) most of Grice's maxims are flouted, and the quantity maxim is the most dominant flouted by each poet. 3) Both poets use person deixis more than other types.
45
Mondol, Md Shamim, Mohammad Afzal Hossain Khan e Md Muniruzzaman. "Jibanananda Das’s “Aat Bochor Ager Ekdin” (“A Day Before Eight Years”): A Reportage on an Alienated Soul". International Journal of Social Science Research and Review 5, n.º 6 (11 de junho de 2022): 118–24. http://dx.doi.org/10.47814/ijssrr.v5i6.294.
Texto completo da fonteResumo:
Jibanananda Das is arguably the greatest modern poet and one of the leading poets of Bangla literature. His oeuvre of poetry ranges from documenting the diminishing nature to decadence and alienation emanating from modernist practices adopted from Europe. Despite being one of the greatest poets of Bangla literature he is not so well known in the academia as well as to the international arena as is supposed to be. His “Aat Bochor Ager Ekdin”, a representative poem, narrates the story of a man having no dearth and deficiency in life, still, he chooses to commit suicide. Following reportage style, the poet relates the story alternatively by inserting the voice of a reporter and converging his personality with that of the protagonist. This paper demonstrates how Jibanananda Das through reportage has portrayed a modern man and unveiled his personality making the poem an attempt at autobiographical exploration. The present paper is also intended to reveal his extraordinary contribution to Bangla literature in the international arena. Hopefully, through this paper, the academicians, especially those from a literature background, will be interested to know about his life and literary works.
46
Karlsson, Gunnar. "Drög að réttarsögu orðlistar á Íslandi". Lög og bókmenntir 18, n.º 1 (13 de junho de 2018): 11–37. http://dx.doi.org/10.33112/ritid.18.1.2.
Texto completo da fonteResumo:
Medieval Icelandic law contains no provisions about copyright. Authors used without hesitation narrative texts by others, but poets were paid for composing laudatory poems about kings and narrators for telling stories at their courts. The art of storytelling became a speciality of Icelanders, who were also hired to write biographies of Norwegian kings. It was considered reprehensible to use the poetry of others as one's own work. Two Norwegian poets may have got the cognomens skáldaspillir (Destroyer of poets?) and illskælda (Bad or Evil poet?) for plagiarism. An Icelandic poet composed a laudatory poem about a woman but changed it to fit another one, receiving a bitter revenge. In Icelandic sagas stanzas occur frequently and, unlike borrowings in prose, their authors are usually named. In the medieval law of Iceland it is forbidden to compose about people not only derogatory but also laudatory poetry. Conceivably it has been considered to give the author some kind of power over the person who was the subject of the poetry. Proper copyright, though, does not occur in Icelandic law until the beginning of the twentieth century.
47
هزاع, احلام عامل. "Patterns of Artistic Image in the Poetry of Salah Abdus-Sabour". JOURNAL OF LANGUAGE STUDIES 4, n.º 3 (13 de outubro de 2023): 260–77. http://dx.doi.org/10.25130/jls.4.3.17.
Texto completo da fonteResumo:
The artistic image in its multiple varied patterns is considered one of the most prominent elements of the poem in all ages. The poem cannot be composed without an artistic image that expresses its poetic essence because it will lose a pillar of its aesthetic composition. Every academic critical study that tackles a specific poet or a specific poem looks at the artistic image as an aesthetic dimension that is indispensable. The artistic image is usually of multiple shapes, formulas and signs regarding its relationship to poetic structure, language, and rhythm . Salah Abdus-Sabour is one of the pioneering Arab poets, as he is the most prominent poet of modernity in Egypt since the early fifties with Ahmed Abdul-Mu’ti Hujazi, Mohammad Afifi Matar, and others. However, Abdus-Sabour is distinguished by his transparent poetic pictorial language that depends on a new language in Expression and composition. That is why the researchers find it appropriate that the poems of Abdus-Sabour are a fertile topic for this research in the field of artistic image patterns in modern Arab poetry.
48
Yaseen, Ibrahim Namis. "The Sensual Image in the New Poem: A Study of Sa'ad Al-Hamideen's Poetry". JOURNAL OF LANGUAGE STUDIES 4, n.º 1 (3 de outubro de 2023): 138–47. http://dx.doi.org/10.25130/jls.4.1.8.
Texto completo da fonteResumo:
AbstractEmotion is considered the major basis of the poetic sensibility and it comes at the apex of the activities of pictorial formulation in the new poem. This sensibility is based on words and expressions which are the basic material of poem. These words and expressions are regarded as the essence of poetic act. Their significance, therefore, lies in the style of forming the poem using the suitable vocabulary and the ability to stimulate, form and activate properly and there is no role for the word without this artistic, aesthetic part it plays.This paper is a study of the poet sa'ad al Hamadain's experiment. Al Hamadain is one of the most prominent modernist poets in the Arabian peninsula and the Arab Gulf. His experience is unique and distinctive because it is a live image of an unrecorded human reality. It is a popular, cultural folkloric document of a human and cultural reality which was marginalized for a long time . In al Hamadain's poetry, the sensational image is reflected in its different forms since he is regarded a sensational poet of a sublime type
49
Nugroho, Henriono. "The Famous Poet in Harpur’s Poem". ATAVISME 12, n.º 1 (30 de junho de 2009): 23–30. http://dx.doi.org/10.24257/atavisme.v12i1.154.23-30.
Texto completo da fonteResumo:
This research aims to discuss literary work through stylistic analysis based on sistemic functional linguistics and literature semiotic system. The research methods used are the librarian study, descriptive method and objective intrinsic approach. The research result shows that the semantic analysis has produced the automatized linguistic meaning and foregrounded linguistic meaning. Next, the first meaning produces the subject matter and the secong meaning produces the literary meaning. Later, the literary meaning produces theme. Finally, it is proved that the subject matter tells about harmony; the literary meaning is about Shelley’s fame; and, the theme is about a famous poet.
Abstrak:
Penelitian ini bertujuan mengkaji karya sastra melalui analisis stilistika berdasarkan ilmu bahasa fungsional sistemik dan sistem semiotik karya sastra. Metode penelitian menggunakan studi pustaka, metode deskriptif, dan pendekatan intrinsik objektif. Hasil penelitian menunjukkan bahwa analisis semantik menghasilkan makna bahasa latar belakang (the automatized linguistic meaning) dan makna bahasa latar depan (the foregrounded linguistic meaning). Makna pertama menghasilkan masalah utama (subject matter) dan makna kedua menghasilkan makna sastra (literary meaning). Makna sastra menghasilkan tema. Masalah utama berkisah tentang harmoni, makna sastra tentang ketenaran Shelley, dan tema tentang seorang penyair terkenal.
Kata kunci: makna bahasa latar belakang, makna bahasa latar depan, makna sastra, tema.
50
Pérez Estrada, Rafael, e Mark Aldrich. "El poeta asesinado / The Murdered Poet". Sirena: poesia, arte y critica 2006, n.º 2 (2006): 94–95. http://dx.doi.org/10.1353/sir.2006.0147.
Texto completo da fonte