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1
HREĹ KOVĂ, Miroslava, and KristĂna MACHOVĂ. "Haiku Poetry Generation Using Interactive Evolution vs. Poem Models." Acta Electrotechnica et Informatica 17, no. 1 (March 1, 2017): 10–16. http://dx.doi.org/10.15546/aeei-2017-0002.
Повний текст джерела
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Ali Mohammed Saadon, Researcher. "Collective Memories, and Diasporic Experiences in Hala Alyan's Poetry." لارك 4, no. 47 (September 30, 2022): 1130–00. http://dx.doi.org/10.31185/lark.vol4.iss47.2652.
Повний текст джерелаАнотація:
The construction of the diasporic identity is inextricably linked to the collective memory of home culture: its geography, history, traumatic experiences, and achievements. This paper tackles the effect of trans-generational trauma, diaspora, and collective memories on the second generation of diasporic individuals as represented in selected poems by the Palestinian-American poet Hala Alyan. It traces the development of her exilic identity through the analysis of selected poems by her, written over different periods of time. The poems have been chosen from Alyan's volumes: Atrium (2012), Hijra (2016), the Twenty Ninth Year (2019), and an individual poem published in (2020). The paper examines some significant concepts such as: diaspora, trans-generational trauma, displacement, and home-seeking. The paper argues that trans-generational experiences and collective memories can affect the formation of the identity of second-generational immigrants. It contends that what happened in the past will affect the subsequent generations, and they will permanently be haunted by it.
3
O’Halloran, Kieran. "Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis." Language and Literature: International Journal of Stylistics 28, no. 2 (May 2019): 133–58. http://dx.doi.org/10.1177/0963947019828232.
Повний текст джерелаАнотація:
A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.
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LIN, HONG. "TOWARD AUTOMATED GENERATION OF CHINESE CLASSIC POETRY." New Mathematics and Natural Computation 09, no. 02 (July 2013): 153–81. http://dx.doi.org/10.1142/s1793005713400024.
Повний текст джерелаАнотація:
The forms of Chinese classic poetry have been developed through thousands of years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary to keep the classic poetry up to date in the new settings of modern Chinese language. To ease the transition process, computing technology is used to help the readers as well as poetry writers to check the compliance of poems in accordance with the forms and to compose poems without the effort to learn the old grouping of rhyming words. A piece of software has been developed in a faculty/student research project at the University of Houston-Downtown to verify this idea. This software, called Chinese classic poetry wizard, provides the functionality of checking metrical forms and rhyming schemes. It also allows users to edit rhyme dictionaries and metrical forms. The new rhyming scheme proposed in this paper should rationalize the composition rules of classic Chinese poetry in the modern society; and the poem composition wizard will provide a handy tool for poem composition. This work will help revive Chinese classic poetry in modern society and, in a sequel, contribute to the current campaign of advocating Chinese traditional teachings.
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De Wind, M. B. "Bevrijding en verzoening in ‘Libera nos, Domine’." Literator 15, no. 1 (May 2, 1994): 115–24. http://dx.doi.org/10.4102/lit.v15i1.654.
Повний текст джерелаАнотація:
The poem "Libera nos, Domine" appears in the Dutch poet Geerten Gossaert's only published volume of poetry. Experimenten (1911). This poet of the Generation of 1910 has lately drawn renewed interest. In my opinion this particular poem is important, especially in the current literary climate where emphasis is placed on intertextuality. In addition, liberation and reconciliation are topical issues in the current political and religious climate. Gossaert hid behind many disguises which also manifested themselves in his use of a pseudonym. Regarding this poem, it is commonly held that the poet used the disguise of the apostle going to Emmaus. In my opinion the poet also hid behind another figure, and made use of other intertexts. The prevailing view is that the title "Libera nos. Domine” can he traced back to the Lord's prayer as it appears in the Vulgate: it is believed to derive from "Libera nos a malo". In my view the title "Libera nos, Domine" refers to a different intertext, the Requiem, allowing for a different interpretation of this poem.
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Izenberg, Oren. "Poems Out of Our Heads." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 216–22. http://dx.doi.org/10.1632/pmla.2008.123.1.216.
Повний текст джерелаАнотація:
Let's start with the old new lyric studies. W. K. Wimsatt and Monroe Beardsley begin their classic essay “The Intentional Fallacy” with a few propositions, “abstracted to a degree where they seem to us axiomatic.” To elucidate the first of these (that although a poem is an intentional object, its author's intentions are not the standard by which artistic success is to be judged), the authors cite in passing Elmer Edgar Stoll's remark that “the words of a poem … come out of a head, not out of a hat.” Wimsatt and Beardsley do not linger long enough to provide a source for Stoll's aperçu; they move swiftly on from their initial metaphysical claim that the work of art is caused by the intentions of a “designing intellect” to the epistemological problem that the poem poses for the reader and critic: “How is he to find out what the poet tried to do?” (4). In answer, they famously declare that a poem, like a pudding or a machine, must “work”; that the evidence of its working is entirely “internal,” located in “the art of the poem itself” (4), its “semantics and syntax” and its “feats of style” (10, 4); and that these features, like puddings and machines or like the human beings that poems are about, are “object[s] of public knowledge” (5). Together, these propositions systematized for a second generation the program of reading—demanding, democratic—that had come to be known as the New Criticism.
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İsmailova, E. "PRAISE OF HUMAN FEELINGS IN M.SHAHRIYAR'S POEM “SAHANDIYA”." East European Scientific Journal 3, no. 5(69) (June 15, 2021): 37–40. http://dx.doi.org/10.31618/essa.2782-1994.2021.3.69.60.
Повний текст джерелаАнотація:
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.
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D-Vasilescu, Elena Ene. "Generation (γενεά) in Gregory Nazianzen’s poem On the Son". Akropolis: Journal of Hellenic Studies 1 (27 грудня 2017): 169–84. http://dx.doi.org/10.35296/jhs.v1i0.11.
Повний текст джерелаАнотація:
The article examines the nature of the dogmatics found in the poetry written by Gregory of Nazianzus (c. 329-390) through a particular case-study, the poem On the Son. It demonstrates that his lyric composition contains the same doctrine conveyed by the orations authored by him and exposes the manner in which he employs similar terminology in works belonging to both genres. In order to attain its objective my article compares the above-mentioned piece with Orations 29 and 30 that bear the same title.
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Serova, M. V., and A. M. Vakhnina. "OPTION OF OVERCOMING SYMBOLISM IN THE EARLY WORKS OF BORIS PASTERNAK." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 325–29. http://dx.doi.org/10.35634/2412-9534-2021-31-2-325-329.
Повний текст джерелаАнотація:
The article presents a comparative analysis of Annensky's poem “Black Spring” and Pasternak's poem “February”; it helps to show how symbolist attitude is overcome by recoding “set of images” of the first text in the second text. First, the topic of “transition” that is important for Pasternak is developed. The “transition” is rebirth of a person into a poet by writing poetry. Watching of the state of the world (especially nature) becomes important, the world is associated with the feelings and sensations of the poet, the process of rebirth is inscribed in the calendar cycle. Then the artistic systems of Pasternak and Annensky are compared. A prerequisite for this is the image of the “black spring” found in Pasternak's text and which is a direct reference to Annensky's text. We find the philosophical polemic of the two authors when we are comparing the two poems. If there is no creation in Annensky's world, all of images are endowed with the semantics of death, then Pasternak's world is formed and charged with poetry that is born in a continuous life cycle. In Pasternak's poetic system, Annensky's images are rebuilt and endowed with the semantics of birth, thereby expressing the author's life-affirming attitude. The poem "February" shows the overcoming of the drama of non-incarnation faced by the second generation Symbolists.
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Vranes, Branko. "Laza Kostic’s Santa Maria della Salute in the poetic scope of Branko Miljkovic and Borislav Radovic." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 88 (2022): 51–63. http://dx.doi.org/10.2298/pkjif2288051v.
Повний текст джерелаАнотація:
The poetry of Laza Kostic left a strong impression on several Serbian interwar modernists, but it was in the years after the Second World War that Kostic?s role in the forming of modern poetic expression became completely clear to poets and commentators. Various aspects of the reception of Kostic?s poetry, especially of his poem Santa Maria della Salute, in Serbian interwar and post-war literary-critical thought have been largely explored. In this paper, I focus on the way in which members of the second generation of post-war modernists reacted to Kostic?s late poem in their verses. In the poem Laza Kostic [Laza Kostic] from the cycle Seven Dead Poets [Sedam mrtvih pesnika], which was written in 1956, Branko Miljkovic emphasized the autopoetic dimension of Santa Maria della Salute. In the poem Before the Pharmacy of Our Lady of the Sea [Pred lekarnicom u Gospe od mora], which was published in Poems 1971-1982 [Pesme 1971-1982], Borislav Radovic elaborated on ecological problems raised in Kostic?s late poem.
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Reznichenko, N. A. "A day that spanned years… David Samoylov’s sketch ‘A Day with Zabolotsky’ [‘Den s Zabolotskim’]: Semantic counterpoints." Voprosy literatury, no. 5 (October 30, 2022): 99–124. http://dx.doi.org/10.31425/0042-8795-2022-5-99-124.
Повний текст джерелаАнотація:
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.
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Kim Yong Hee. "Problems in Poem Writing in Korean by Dual Language Generation." Korean Poetics Studies ll, no. 18 (April 2007): 121–48. http://dx.doi.org/10.15705/kopoet..18.200704.005.
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Aliphan, G. K. "Continuity in the work of Abai and Lermontov." Turkology 6, no. 104 (January 12, 2020): 78–90. http://dx.doi.org/10.47526/2020/2664-3162.020.
Повний текст джерелаАнотація:
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.
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Aliphan, G. K. "Continuity in the work of Abai and Lermontov." Turkology 6, no. 104 (January 12, 2020): 78–90. http://dx.doi.org/10.47526/2020/2664-3162.020.
Повний текст джерелаАнотація:
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.
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Sanjeev Kumar Vishwakarma. "A Critical Reading of Nabakanta Barua’s “Measurements”." Creative Launcher 5, no. 1 (April 30, 2020): 44–49. http://dx.doi.org/10.53032/tcl.2020.5.1.07.
Повний текст джерелаАнотація:
‘Measurements’ is a poem written by an Assamese poet, Nabakanta Barua. He belongs to the new generation of poets in Assamese Literature. He writes in the modernist tradition of Hopkins (using sprung rhythm), W. B. Yeats (conflict between the romantic and the modern) and T. S. Eliot (material and spiritual hollowness). He received the Sahitya Akademi Award for Assamese Literature in 1975. The poem has a good deal of influence of T. S. Eliot. It reminds the beginning of ‘Prufrock’ and depicts the purposelessness, hollowness and faithlessness of modern existence. It bears the influence of the European decadent culture which reveals the inner crisis of the human soul through doubts, apprehensions, boredom and frustration. In this poem Nabakanta Barua talks about city life in which man has to go through an endless process of ‘measurements’ resulting into nothingness. The poem seems to begin with talking about the stitching of clothing in a materialistic sense but, in its deeper meanings, it gives philosophical and spiritual perspectives. Different kinds of metaphors have been used to clarify the situations of nothingness and barrenness.
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Mitaitė, Donata. "Tomas Veclova‘s Poem as a Site of Memory." Colloquia 42 (June 1, 2019): 13–42. http://dx.doi.org/10.51554/col.2019.28652.
Повний текст джерелаАнотація:
The article employs Pierre Nora’s concept “a site of memory.” Using the term in the least strict sense, Nora’s metaphorical writing gives way to free interpretations. Tomas Venclova has realized that he lives in post-Auschwitz and post-Gulag time, and that totalitarianism has not yet been defeated. Therefore the poem must become a place to fight off the totalitarianism and a memory site of poet’s generation which disobeyed the system. The latest poetry by Venclova can be characterized by a diverse strategy of securing memory space. Anna Akhmatova, Joseph Brodsky, Osip Mandelstam, and Boris Pasternak are important because of their poetics and resistance to the totalitarian system. The untold events that took place in the Soviet Union, names and destinies, as well as poet’s personal history are important in Venclova’s poetry. Author’s comments enhance a poem as a site of memory. Located at the bottom of the poem, they provide more detailed context.In comments, epigraphs, and dedications, Venclova names true or fictitious people of his generation. The article emphasizes that the history in Venclova’s poetry is illuminated by metaphysical questions.
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Hayes, Michael Thomas. "The Poetic Generation of Place: Ethnography for a Better World." Ethnographic Edge 2, no. 1 (November 5, 2018): 119. http://dx.doi.org/10.15663/tee.v2i1.39.
Повний текст джерелаАнотація:
In this article, I employ the ethnographer poetic as a strategic provocation to rethink the foundation of contemporary ethnography. The root of the word poet or poem is the ancient Greek concept of poiesis. Poiesis is defined as making. While in the Greek tradition poiesis foregrounded an analysis of the arts or aesthetics, contemporary usages highlight the making of a social or political dimension. Drawing from the social and political dimensions of poiesis, I argue that the ethnographer does more than simply represent a social context, and, instead, calls the place into existence. The ethnographer poet transforms ethnography from a representational form of inquiry into a generative poetics of place. This allows for a new social mythos to emerge in which the field of ethnography is brought into the service of envisioning and working toward a society that is hopeful, abundant, vibrant, and just.
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Diak, T. P., and Yu I. Hrytsiuk. "Design of the system of automated generation of poetry works." Ukrainian Journal of Information Technology 3, no. 2 (November 23, 2021): 01–14. http://dx.doi.org/10.23939/ujit2021.02.001.
Повний текст джерелаАнотація:
Features of designing a system of automated generation of poetic works, which opens up new opportunities for artistic speech and show business, especially the preparation of poems and songs have been considered. Quite often lyrics without special content become successful due to the lack of complex plots, as well as due to the unobtrusiveness and ease of perception by listeners. Well-known literature sources and available software products that can generate poetic works by combining different methods and algorithms are analyzed. It has been established that none of them is able to ensure the content and uniqueness of the poetic work at the same time, especially in the Ukrainian language. The existing approaches to the generation of poetic works are analysed, among which the relevant is a method based on templates, generation and testing, evolutionary algorithms and the method based on specific cases. Peculiarities of generating poetical works, first of all rhyming rules, types of strophes, poetic rhythms and sizes have been investigated. An approach to automated generation of poetic works using evolutionary algorithms and a method based on specific cases have been developed. Their combination resembles a sequence of actions for creative personalities when creating poems or writing lyrics. Peculiarities of neural network organization for automated generation of poetic works have been considered. It is proposed to perform neural network training using the method of inverse propagation and using a genetic algorithm. The principle of operation of algorithms for finding optimal solutions which contain such consecutive stages as initialization, evaluation of solutions, population selection, evolution of solutions, is analysed. Their interaction and various opportunities for neural network learning have been investigated in detail. An algorithm has been developed according to which the software application will analyse the poetic works offered by the user and generate new variants of it on the basis received from the neural network of logically connected words or lines of the verse in the poem. The user can edit both the components of the poem and the generated poetic works, and thus can train the neural network. The specification of requirements to the software application has been developed, the basic requirements to the user interface are defined, and also potential classes of users who will use it are established. Keywords: computational linguistics; Artificial Intelligence; neural network; genetic algorithm; optimal solution.
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Donetskikh, L. I., and S. P. Chekmareva. "KEY WORDS “BELL”, “SMALL BELLS” IN ALEXANDER BASHLACHEV’S POEM “THE TIME OF BELLS”." Bulletin of Udmurt University. Series History and Philology 30, no. 3 (July 15, 2020): 395–402. http://dx.doi.org/10.35634/2412-9534-2020-30-3-395-402.
Повний текст джерелаАнотація:
A. Bashlachev’s poetry reflects the historical background of Russia in 1970-1990s, the world perception of rock generation, the thirst for spiritual growth. Artistic identity of the poet who grew up on Russian mythological and folklore traditions, reliance on legacy of Russian literature shaped his individuality within a short period of time. With all its transparency his discourse becomes figurative and symbolic, requires deep plunge into the background of the era and philosophical evaluation. A. Bashlachev transforms his poems into the myth-like texts-codes. He makes his way from rational to irrational. These are magic meanings assigned to the poetics of the key words “bell” and “small bell” as reflected in the poem “The time of bells”. From verse to verse A. Bashlachev brings together discovered keys relying on historical and domestic truth contributing to their existential meanings - Life, People, Russia - with everyday and natural issues - poets who are able to meet the challenges of Time. It is this very understanding of the idioimages - Bell and Poets - that leads the rock-poet to the final of his search for the Name of Names.
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ANNA A., BOROVSKAYA, BYCHKOV DMITRIY M., and SPESIVTSEVA LUBOV V. "GENRE CHARACTERISTICS OF AUTOBIOGRAPHIC POEM BY B. SHAKHOVSKY "SCORN YOUTH"." HUMANITARIAN RESEARCHES 79, no. 3 (2021): 152–61. http://dx.doi.org/10.21672/1818-4936-2021-79-3-152-161.
Повний текст джерелаАнотація:
The article examines B. Shakhovsky's “Scorched Youth” from the point of view of the problem of genre identification. According to the observations of the authors of the study, the work of the Astrakhan artist of the word is an autobiographical poem, in the center of which is a lyrical hero, pulling together all the paradigms of the text. It is concluded that B. Shakhovsky's poem is an organic unity of the lyrical and the epic. The article defines the mechanisms of plot building and compositional organization of the text. The authors of the article argue that the autobiography of the lyric-epic work of the Astrakhan poet is combined with a monumental epoch-making: the life of the lyrical character repeats the history of the fate of the front-line generation.
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Deng, Liming, Jie Wang, Hangming Liang, Hui Chen, Zhiqiang Xie, Bojin Zhuang, Shaojun Wang, and Jing Xiao. "An Iterative Polishing Framework Based on Quality Aware Masked Language Model for Chinese Poetry Generation." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 05 (April 3, 2020): 7643–50. http://dx.doi.org/10.1609/aaai.v34i05.6265.
Повний текст джерелаАнотація:
Owing to its unique literal and aesthetical characteristics, automatic generation of Chinese poetry is still challenging in Artificial Intelligence, which can hardly be straightforwardly realized by end-to-end methods. In this paper, we propose a novel iterative polishing framework for highly qualified Chinese poetry generation. In the first stage, an encoder-decoder structure is utilized to generate a poem draft. Afterwards, our proposed Quality-Aware Masked Language Model (QA-MLM) is employed to polish the draft towards higher quality in terms of linguistics and literalness. Based on a multi-task learning scheme, QA-MLM is able to determine whether polishing is needed based on the poem draft. Furthermore, QA-MLM is able to localize improper characters of the poem draft and substitute with newly predicted ones accordingly. Benefited from the masked language model structure, QA-MLM incorporates global context information into the polishing process, which can obtain more appropriate polishing results than the unidirectional sequential decoding. Moreover, the iterative polishing process will be terminated automatically when QA-MLM regards the processed poem as a qualified one. Both human and automatic evaluation have been conducted, and the results demonstrate that our approach is effective to improve the performance of encoder-decoder structure.
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Kapustina, E. A. "POEEM BY VELIMIR KHLEBNIKOV «PEN PAN»: TEXT AND MEANING." Culture and Text, no. 43 (2020): 49–67. http://dx.doi.org/10.37386/2305-4077-2020-4-49-67.
Повний текст джерелаАнотація:
The article examines the history of the creation and publication of Velimir Khlebnikov’s poem «Pen Pan». Various options are juxtaposed: lifetime publication in the collection «Four Birds» (1916); edition of the text undertaken by Yu. N. Tynyanov and N. L. Stepanov in the «Collected Works» (1930), the text of the poem, edited by N. I. Khardzhiev in «Unpublished Works» (1940); a new version of the poem, published taking into account the textual research of A. E. Parnis in the collection «Creations» (1986); two versions of Velimir Khlebnikov published in the last «Collected Works» (2000), edited by R. V. Duganov, the first of them is published for the first time from the IMLI manuscript, the main version is printed according to the «Creations», taking into account Khlebnikov’s correction in a copy of the collection «Four Birds» (1916), owned by G. N. Petnikov. The study of the lexical composition of the autograph and various variants of «Pen Pan» in the comparative typological aspect allows us to speak of Khlebnikov’s poem as a «process», the basis of which is the movement from the generation of text to the generation of meaning.
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Qələndər qızı İsmayılova, Xalidə. "Mammad Araz peak of our poetry." SCIENTIFIC WORK 69, no. 08 (August 23, 2021): 38–43. http://dx.doi.org/10.36719/2663-4619/69/38-43.
Повний текст джерелаАнотація:
The main directions of the poem by Mammad Araz draw attention; the essence is solved on the basis of the material of actual life, moves on the basis of documents. The events are comprehensive in his poetic work, the figurative beings are polished more honestly and hotly in the author's own objects. Readers can see clearly how Mammad Araz poetry stands in the fortune, how the fortune exists in the poems and how the process branches out in two directions in this mood. In the result, a reader takes a lesson and makes a conclusion for himself. Let’s say so, he tries to understand what troubles a man can face for an elementary mistake. That’s why, Mammad Araz poetry is a great lesson for nowadays and next generation Key words: Mammad Araz, poem, word, poetry, mankind, mood, world, woman, lyricism, alarm, cognition, philosophy
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SUNDHARARAJAN, Mr P., and Dr R. MAYILRAJ. "Critical inquiry of the Greek myths in Endymion Book II of John Keats." Think India 22, no. 3 (September 26, 2019): 647–60. http://dx.doi.org/10.26643/think-india.v22i3.8350.
Повний текст джерелаАнотація:
The purpose of this document is to read and analyze one of the major works of John Keats, the poem Endymion, carefully. Due to the use of classical [primarily Greek ] tales and mythology, this poem is regarded an outstanding work. The primary aim of this article is therefore to demonstrate how Greek stories, heroes and symbols of ancient Greek gods help form the plot, mood and significance of the poem's second novel ' The Underworld. 'Endymion is being likened as a lengthy narrative story portrayed in impressive passages and contrasted with the ancient myths it uses. It would also like to point out Keats ' attempt to authentically make these classical allusions and myths his by a re-creation authority. Perhaps it will be hard for modern readers to find out the valuable significance of Keats ' splendid verses complete of gods, thoughts and wisdom no longer common names, but this poem was a mandatory element of higher education for John Keats and his generation. Then let the beautiful shepherd Endymion look through the eyes into the imaginative world of the poet and find out if the main goal of this paper is being fulfilled.
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He, Jing, Ming Zhou, and Long Jiang. "Generating Chinese Classical Poems with Statistical Machine Translation Models." Proceedings of the AAAI Conference on Artificial Intelligence 26, no. 1 (September 20, 2021): 1650–56. http://dx.doi.org/10.1609/aaai.v26i1.8344.
Повний текст джерелаАнотація:
This paper describes a statistical approach to generation of Chinese classical poetry and proposes a novel method to automatically evaluate poems. The system accepts a set of keywords representing the writing intents from a writer and generates sentences one by one to form a completed poem. A statistical machine translation (SMT) system is applied to generate new sentences, given the sentences generated previously. For each line of sentence a specific model specially trained for that line is used, as opposed to using a single model for all sentences. To enhance the coherence of sentences on every line, a coherence model using mutual information is applied to select candidates with better consistency with previous sentences. In addition, we demonstrate the effectiveness of the BLEU metric for evaluation with a novel method of generating diverse references.
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Koloshuk, Nadiia. "The triad Faith — Hope — Love as a symbol in the lyrics of the representatives of the 1960s generation — Bulat Okudzhava and Yevhen Sverstiuk." Synopsis: Text Context Media 26, no. 4 (2020): 138–44. http://dx.doi.org/10.28925/2311-259x.2020.4.4.
Повний текст джерелаАнотація:
The inquiry is focused on two poems of the Sixties Poets: “Three Sisters” by B. Okudzhava and “Faith — Hope — Love” by Ye. Sverstiuk. They are united by the symbolic image of a triad of Christian martyrs. The aim of the study is an interpretation of texts, associated with a common cultural tradition, as well as an indication of differences in the development of national cultures of the former USSR, that cause further divergence in the modern mentality of citizens in the country that had divided. The research adheres to comparative hermeneutic methodology. Problem Statement. Personalized images of Faith, Hope, Love in the poem by B. Okudzhava appear before the lyrical hero as the most important principle of his personal existence at the time of ordeal. They express the ethical foundations of life; their faithfulness justifies the poet, who feels indebted to life and his contemporaries. The poem by Ye. Sverstiuk “Faith — Hope — Love” reveals a profound social and historical connotation in the light of memoir evidence about the tragic fates of Ukrainian dissidents of the 60s. The motif of the tragic inevitability of choice on the Via Dolorosa is the main one in its figurative and semantic structure. The results of the study. In comparison with Okudzhava’s song, the symbolic parabolic plane in Ye. Sverstiuk’s verse is more tangible and more clearly connected with the religious tradition. Lyrical voice of the Ukrainian dissident is woven from echoes of no everyday cultural text in Soviet Ukraine — from hagiography, from the persecuted and the underground church life, from the insurgent poetry of World War II, from banned journalism fighters for national revival. Ukrainian dissidents saw their mission differently than their contemporaries in Russia, hence there is the deep meaning of the sacred images of martyrs of the triad, and prayerful spirit, and tragic pathos in the poems by Sverstiuk which are devoted to the dissidents.
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Frolova, E. A. ""…and make a fresh start": a linguo-stylistic analysis of Yu. D. Levitansky’s poem "The winter was like asnowy pass…"." Russian language at school 83, no. 1 (January 21, 2022): 44–49. http://dx.doi.org/10.30515/0131-6141-2022-83-1-44-49.
Повний текст джерелаАнотація:
Yu. D. Levitansky’s creative work has repeatedly become the object of literary analysis. Nevertheless, the poet’s writing has not been subject to detailed linguo-stylistic research. The article aims to analyse the linguistic means expressing the author’s message in the poem "The winter was like a snowy pass" and on the basis of this characterisation to reveal the philosophical content of the lyrical poem. To achieve the stated aim, linguo-stylistic text analysis is employed. This approach permits the determination of the role and functions linguistic units perform in revealing the poet’s world view. Componential analysis is used to identify the means of semantic extension and transformations of primary and customary meanings of lexical items, which turns out to be important to form the philosophical basis of the poem. The paper concludes that Yu. Levitansky paints a picture of a man’s and poet’s life searches. Additionally, the modes of expressing the author’s message are identified. The reality and fiction are closely intertwined and complement each other. Thus, they help to reveal the view of life of an individual and the whole generation better. Using the monochrome palette of black-and-white films (the poem is part of the winter cycle of the "Cinematograph" collection), the author provides philosophical reflection on life, creativity, and his own place in the fate of the Sixtiers’ generation.
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Vayntrub, Jacqueline. "Beauty, Wisdom, and Handiwork in Proverbs 31:10–31." Harvard Theological Review 113, no. 1 (December 27, 2019): 45–62. http://dx.doi.org/10.1017/s0017816019000348.
Повний текст джерелаАнотація:
AbstractThe book of Proverbs concludes with an alphabetic acrostic that describes and praises its feminine subject (Prov 31:10–31). The poem’s praise closes with a generalized critique of beauty, its deceptiveness and short-lived nature (v. 30). What function does this critique of beauty serve in light of the praise of the woman and her deeds? How do the poem and, specifically, this critique of beauty function in the broader organization of the book of Proverbs? This study argues that the poem rejects innate beauty in favor of acquired wisdom, a message that can be found elsewhere in Proverbs. The poem rejects beauty through an appeal to a rhetorical device—the “totalizing description”—which is used elsewhere to argue for a subject’s beauty or perfection. Through the structure of the alphabetic acrostic, the poem carefully embeds its message of willed action and acquired wisdom; using a description of the woman’s successive deeds, the poem shows how each deed leads to the enduring success of the woman’s family, her community, and the subsequent generation.
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Musayeva, E. "Issues of Physical Perfection and Physical Education of Women in the Poetry by Nizami Ganjevi." Bulletin of Science and Practice 7, no. 9 (September 15, 2021): 650–54. http://dx.doi.org/10.33619/2414-2948/70/67.
Повний текст джерелаАнотація:
After gaining independence, the Republic of Azerbaijan, one might say, has always honored all our writers and poets from our classical heritage. Our President Ilham Aliyev has declared this year the Year of the classic poet Nizami Ganjavi. The main goal is the desire to lead our nation forward, to protect it, to preserve the legacy left to us by our great leader, world politician Heydar Alirza oglu Aliyev. He also pointed out the importance of preserving our classical poets such as Nizami Ganjavi and passing on their works to the younger generation. Female images play a key role in the works of Nizami Ganjavi. In his works, he highlighted the place of a woman, depicting a woman as a mother, an ornament of life. In Sultan Sanjar and the Old Woman Beit from Treasury of Secrets, the first poem in the five-verse Hamsa, Nizami Ganjavi describes a woman as the leading force of society, defending her rights. In the second poem — Khosrov and Shirin, Nizami Ganjavi always wanted to see women free and made it clear that a society without women would become an orphan. In his third poem, Layli and Majnun, he described in detail the image of Layli as a selfless oriental woman, attached to her family and devoted to her love. In fact, Nizami Ganjavi foresaw the role of women in society thousands of years ago. The fourth poem Seven Beauties shows the customs and traditions of Chinese, Russian, Persian, Indian, Arab and Turkish women. The poem describes in detail the maternal care of a woman, regardless of her nationality. In his works, Nizami Ganjavi called for an end to all forms of violence against women and wanted to see women free.
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Kim, Heesun. "Poetics of Madness and Prophecy: Focusing on Allen Ginsberg’s “Howl.”." British and American Language and Literature Association of Korea 146 (September 30, 2022): 61–81. http://dx.doi.org/10.21297/ballak.2022.146.61.
Повний текст джерелаАнотація:
This paper is a study on the poetics of madness and prophecy in Allen Ginsberg’s poem, “Howl.” The poem is considered to be one of the principal works of the Beat Generation, which was a literary movement started by a group of authors in the fifties in America. The Beats have been reputed as new bohemian hedonists who celebrated non-conformity and spontaneous creativity. “Howl” is famous for being born under William Blake’s most powerful influence. This study focuses on the causes and sources of the insanity of the Beats and identifies how their insanity develops into a poem of prophecy. In the process, this study also analyzes the poet’s madness as both a consequence of social stigma and a source of prophetic self-confidence.
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Scott, Julie-Ann. "Creating and Performing “I Accept My Role”." Departures in Critical Qualitative Research 7, no. 4 (2018): 179–86. http://dx.doi.org/10.1525/dcqr.2018.7.4.179.
Повний текст джерелаАнотація:
This artist statement and poetic response to Ed Mabrey's poem map my ongoing journey to understanding my role in the cultural pursuit of racial justice. I begin with my initial reactions to the request to respond to Mabrey's poem as part of the Opening Session of the 2017 National Communication Association annual convention and explain my reasons for choosing to respond with an autoethnographic poem. I then trace my understandings of racism as 1) a working-class white child in a northern factory town, 2) a first-generation college student and academic, and 3) a parent of sons growing up in a racially divided southern US city. Location, relationships, power, and privilege emerge intertwined in my ongoing lived experience, art, and advocacy.
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Velasco Gómez Gutiérrez, Dolores. "La dualidad en el poema "El Dios ibero" de Antonia Machado." Acta Hispanica 20 (January 1, 2015): 21–28. http://dx.doi.org/10.14232/actahisp.2015.20.21-28.
Повний текст джерелаАнотація:
The Generation of ’98 was the name of a group of Spanish writers born between 1864 and 1875 whose common feature was the influence caused by the Hispanic crisis of 1898. Most of these authors tried to propose solutions through their writings. Antonio Machado’s poem “The Iberian God” was placed in this context. The poet, through a game of dualities, describes the unsettled God that determines the religiosity of the Hispanic man and suggests the god he yearns for, a firm and grim god, shaped by the Iberian man in a piece of Castilian oak, symbol of Spanish unity.
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Li, Chenguang, Suxia Guo, Zhenxing Zhou, Weiwei Zhou, and Naoyuki Nomura. "Powder Fabrication and Laser Powder Bed Fusion of a MoSiBTiC-La2O3 Alloy." Crystals 13, no. 2 (January 24, 2023): 215. http://dx.doi.org/10.3390/cryst13020215.
Повний текст джерелаАнотація:
In the present work, an approach of freeze-dry pulsated orifice ejection method (FD-POEM) was utilized to fabricate monodispersed MoSiBTiC-La2O3 composite powders for laser powder bed fusion (L-PBF). The FD-POEM powders were spherically shaped, possessing a narrow size range and uniform element distribution. As revealed by the single-track and single-layer experiments, the porous FD-POEM particles were sufficiently fused under laser irradiation, leading to the generation of continuous laser tracks and low surface roughness layers, which proved a feasible L-PBF processability of MoSiBTiC-La2O3 powders. Careful microstructural observations confirmed that the microstructure of the molten pools was primarily composed of Mo solid solution dendrites reinforced with La2O3 nanoparticles. Consequently, the single MoSiBTiC-La2O3 track had a high Martens hardness of 3955 HM. The result of this work reveals that the combination of FD-POEM and L-PBF has a great potential of developing advanced heat-resistant Mo-based alloys with tailored structures for ultrahigh-temperature applications.
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Tang, Xiaobing. "The Ocular Turn, Misty Poetry, and a Postrevolutionary Imagination." Prism 16, no. 1 (March 1, 2019): 62–84. http://dx.doi.org/10.1215/25783491-7480333.
Повний текст джерелаАнотація:
Abstract “The Answer,” a poem by Bei Dao first published in 1978, marks the emergence of a defiant voice in contemporary Chinese poetry and asserts skepticism as the political stance of a young generation in post–Cultural Revolution China. It also heralds a historic transition from an era of sonic agitation to an aesthetics based on visual perception and contemplation. This rereading of Bei Dao's canonical poem and other related texts goes back to the late 1970s, when the political implications of the human senses were firmly grasped and heatedly debated. The author shows that an ocular turn occurs in “The Answer” and drives the aesthetic as well as political pursuits of a new generation of poets. He further argues that, in a moment still enthralled with a revolutionary sonic culture, Misty poetry disavowed aural excitement and was part of the reconditioning of the human senses in preparation for a postrevolutionary order and sensibility.
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Supriyadi, Supriyadi, Rian Hidayat, and Ridwan Tawaqal. "Makna Budaya dan Nilai Pendidikan Karakter dalam Syair Ikan Terubuk." GERAM 8, no. 2 (December 21, 2020): 1–10. http://dx.doi.org/10.25299/geram.2020.vol8(2).5437.
Повний текст джерелаАнотація:
This study aimed to describe the characters' cultural meaning and educational values in the poem Ikan Terubuk. It explains that people's moral education results from the refinement of the values instilled since ancient times. Besides, it could also be useful for developing regional literature and enriching teaching materials for teachers of Indonesian language and literature and the learning of local culture, especially in the Riau. Thus, the poem Ikan Terubuk can be known and understood by the next generation so that local wisdom characteristics remain preserved and well maintained by the community. This type of research was qualitative with descriptive methods. The data collection technique used was the note-taking technique. The subject of this research was the poem Ikan Terubuk. This research aimed to focus on stylistic elements, cultural meanings, and educational values of character in the poem Ikan Terubuk. Data analysis through steps: data reduction, data presentation, and inference. The reliability of intra-rater and inter-rater obtained the validity of data. After clarifying the 10 data, it is reflected in the poetry of Ikan Terubuk, which is still developing contextually and has shifted functionally as a magical power in a ritual ceremony in Riau. The religious, nationalist, independent, cooperative, and integrity values showed moral education in this poem. The Islamic values became the dominant value in the poem Ikan Terubuk because it has relevance to the ethnic Malay majority Bengkalis as a devout Muslim.
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Crljic, Vera. "Forgoten authores Nikica Bovolini a contribution to illuminating an unknown literary work." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 82 (2016): 181–87. http://dx.doi.org/10.2298/pkjif1682181c.
Повний текст джерелаАнотація:
The paper deals with the work of the little-known writer Nikica Bovolini (Dubrovnik, 1899 - Belgrade, 1975). She published a book of short stories entitled Between Light and Darkness (Izmedju svijetla i tmine), in Dubrovnik, in 1921. The copy of this book kept in the holdings of the National Library of Serbia in Belgrade is unique because it contains a handwritten addition - the autograph of a poem entitled To the Serbian Warrior (Srpskom ratniku), signed by the authoress. In this poem, dated in Dubrovnik in 1918, written at the end of the First World War, the young poetess Nikica Bovolini expresses sincere admiration for the Serbian soldier as a liberator of the Adriatic. The short stories in this collection were written at the end of the Great War or immediately after it, mostly inspired by the struggle for freedom and unification of the Serbs, Croats and Slovenes, as well as by the importance of educating young generations and the development of science in creating a better society. In periodical publications between the two world wars appeared a small number of her poems and three articles that were not of literary character. The full extent of her creativity is unknown. Nikica Bovolini was from the first generation of nurses that graduated from the School of Nursing of the Red Cross Society of the Kingdom of Serbs, Croats and Slovenes, founded in 1921 in Belgrade. As an instructor and assistant to the headmistress of the School of Nursing she significantly contributed to the organization and education of nurses in Yugoslavia after the First World War.
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Tax, Petrus W. "The themes in the prologue of the MHG 'Pilatus' poem and the dating of the fragment Die Thematik im Prolog des mhd. 'Pilatus'- Gedichtes und die Datierung des Fragments." Zeitschrift fuer deutsches Altertum und Literatur 150, no. 1 (January 1, 2021): 1–15. http://dx.doi.org/10.3813/zfda-2021-0001.
Повний текст джерелаАнотація:
The MHG 'Pilatus' fragment is accompagnied by a three-line Lat. poem which refers to an important event of the year 1187. Several earlier scholars considered this year as the terminus ad quem of the text. But especially Edward Schröder has argued several times that this poem consists of 'memorial verses', which could be repeated in later mss. Thus he dates the Hessian 'Pilatus' text one generation later, ascribes it Herbort of Fritzlar, the poet of the 'Song of Troja' ('SoT'), and proposes the sequence 'SoT' → 'Pilatus'. Joachim Knape published Schröders philological and poetological evidence from his estate and also attempted to consolidate his arguments. The discovery that the 'Pilatus' poet in his prologue often quotes from the recent Pentecostal hymn Veni, sancte spiritus, which is now dated ca. 1150, allows to date the 'Pilatus' text again earlier. In addition, Schröder's as well as Knape's arguments show several weaknesses. The fact that Herbort in his prologue to the 'SoT' apparently takes over poetological key words from Gottfried's exegesis of the love grotto in his 'Tristan' romance strongly suggests that the 'SoT' wasn't finished prior to 1215–1220 so that Herbort hardly would have had enough time for the creation of the 'Pilatus' poem. The 'Pilatus' poet's complaint about the deficiencies of the MHG literary language doesn't easily allow for a too late time of origin either. The anonymous 'Pilatus' poet therefore is hardly identifiable with Herbort, and he very likely finished his poem shortly before 1187. Das mhd. 'Pilatus'-Fragment ist in der Hs. von einem dreizeiligen lat. Gedicht begleitet, das ein bedeutsames Ereignis des Jahres 1187 erwähnt. Die frühere Forschung hatte dieses Jahr meistens als terminus ad quem des Textes aufgefasst. Vor allem Edward Schröder hat dann aber mehrmals behauptet, dass es sich um Memorialverse handelt, die Jahre später in Hss. wiederholt werden konnten. Entsprechend datiert er das hessische Bruchstück eine Generation später, schreibt es dabei Herbort von Fritzlar, dem Dichter des 'Liet von Troie' ('LvT'), zu und setzt dann die Reihenfolge 'LvT' → 'Pilatus' an. Joachim Knape hat Schröders philologische und poetologische Beweisführung aus dem Nachlass veröffentlicht und anschließend versucht, sie weiter zu erhärten. Die Entdeckung, dass der 'Pilatus'-Dichter in seinem Prolog vielfach die neue Pfingstsequenz Veni, sancte spiritus anzitiert, deren Entstehung jetzt um 1150 angesetzt wird, öffnet das Ursprungsdatum des 'Pilatus' weit nach vorne. Es kann auch gezeigt werden, dass Schröders und auch Knapes Argumente mehrere Schwächen aufweisen. Die Tatsache, dass Herbort in seinem 'LvT'-Prolog anscheinend eine poetologische Gedankenreihe aus der Minnegrottenexegese von Gottfrieds 'Tristan' übernimmt, lässt darauf schließen, dass das 'LvT' nicht vor 1215–1220 abgeschlossen wurde, so dass das 'Pilatus'-Gedicht als Werk Herborts zeitlich sehr ins Gedränge käme. Auch die Klage des 'Pilatus'-Dichters über die Mängel des Deutschen als Dichtersprache passt schlecht in eine zu späte Zeit. Dieser anonyme Dichter dürfte daher nicht mit Herbort identisch sein und sein Werk kurz v o r 1187 abgeschlossen haben.
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Daniar, Aninditya. "KAJIAN VISUAL KARAKTER DESAIN WEBTOON BE A POEM." DESKOVI : Art and Design Journal 3, no. 2 (December 3, 2020): 122. http://dx.doi.org/10.51804/deskovi.v3i2.807.
Повний текст джерелаАнотація:
Komik web sekarang muncul sebagai salah satu komik konvensional yang banyak diminati oleh kalangan muda saat ini. Komik web dianggap lebih cocok untuk generasi masa kini yang lebih melirik pada produk dan pelayanan praktis secara online. Penelitian ini membahas tentang visual desain karakter bernama Poem pada komik web yang berjudul Be a Poem karya Chill Peeps. Karakter utama dalam webtoon tersebut berbentuk binatang sehingga memiliki keunikan karakter dan cerita yang digemari oleh banyak pembacanya. Desain karakter tersebut dianalisis dengan metode kualitatif berdasarkan unsur-unsur grafisnya yaitu gaya ilustrasi, layout, dan warna. Hasil dari analisis adalah desain karakter memiliki ciri khas masing-masing dalam gaya ilustrasi dan cerita yang khas sehingga mampu menarik perhatian pembaca muda. Berdasarkan studi kasus yang dilakukan maka dapat disimpulkan bahwa karakter desainer dapat memutar balikkan persepsi pembaca dengan menambah atau mengurangi atribut visual.Webcomics now appear as one of the conventional comics that are in great demand by young people today. Webcomics are considered more suitable for today's generation who are more interested in online practical products and services. This study discusses the visual design of a character named Poem in a webcomic entitled Be a Poem by Chill Peeps. The main characters in the webtoon are in the form of animals that they have unique characters and stories that are loved by many readers. The character designs were analyzed by qualitative methods based on the graphic elements, namely illustration style, layout, and color. The results of the analysis are the character designs have their respective characteristics in the style of illustrations and unique stories so as to attract the attention of young readers. Based on the case studies, it can be concluded that the character of the designer can distort the reader's perception by adding or subtracting visual attributes.
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Siallagan, Emmanuella Anggi, and Ika Alfina. "Poetry Generation for Indonesian Pantun Using SeqGAN and GPT-2." Jurnal Ilmu Komputer dan Informasi 16, no. 1 (March 1, 2023): 59–67. http://dx.doi.org/10.21609/jiki.v16i1.1113.
Повний текст джерелаАнотація:
Pantun is a traditional Malay poem consisting of four lines: two lines of deliverance and two lines of messages. Each ending-line word in pantun forms an ABAB rhyme pattern. In this work, we automatically generated Indonesian pantun by applying two existing generative models: Sequential GAN (SeqGAN) and Generative Pre-trained Transformer 2 (GPT-2). We also created a 13K Indonesian pantun dataset by collecting pantun from various sources. We evaluated how well each model produced pantun by its formedness. Measured by two aspects: structure and rhyme. GPT-2 performs better with a margin of 27.57% than SeqGAN in forming the structure and 22.79% better in making rhyming patterns.
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Purnomo, Mulyo Hadi. "Membaca Chairil Anwar Melalui Psikokritik." Nusa: Jurnal Ilmu Bahasa dan Sastra 13, no. 1 (February 28, 2018): 56. http://dx.doi.org/10.14710/nusa.13.1.56-63.
Повний текст джерелаАнотація:
The poem "Aku" by Chairil Anwar is often identified with the spirit of nationalism. Because indeed Chairil Anwar is widely known as the pioneer of the 45th Generation which is synonymous with independence and nationalism. Psychocritical readings by looking at superpositions / piles of text indicate the passion of tanatos (death) which is even more prominent.
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Davidovitch, Nitza, and Ruth Dorot. "Interdisciplinary Instruction: Between Art and Literature." International Journal of Higher Education 9, no. 3 (April 22, 2020): 269. http://dx.doi.org/10.5430/ijhe.v9n3p269.
Повний текст джерелаАнотація:
This paper explores the developments and trends in higher education from a pedagogical perspective (specifically, multidisciplinary curricula) and research perspective (the interdisciplinary approach), and traces them from a last resort option to their recognition as a legitimate development with added value. The paper focuses on a case study that integrates two disciplines, art and literature, based on the poem by the Israeli poet Rachel entitled My Book of Poems and the painting The Scream by Norwegian artist Eduard Munch. The interdisciplinary approach opens up possibilities of enriching, expanding horizons, and breaking boundaries, and can grant graduates of the higher education system a cultural perspective suitable for the current generation of students, who typically use multiple interactive media and platforms, often simultaneously. This paper may shed light on teaching and learning of many diverse fields. The case study illustrates the joy of interdisciplinary learning and its academic benefits, despite the fact that for years, higher education institutions have tended to refer to researchers’ specializations in specific academic disciplines. This case study may serve as a model or source of inspiration for multidisciplinary learning involving motifs and topics that traditionally represent specific disciplines.
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Belletto, Steven. "The Beat Generation Meets the Hungry Generation: U.S.—Calcutta Networks and the 1960s “Revolt of the Personal”." Humanities 8, no. 1 (January 2, 2019): 3. http://dx.doi.org/10.3390/h8010003.
Повний текст джерелаАнотація:
This essay explores the relationship between the U.S.-based Beat literary movement and the Hungry Generation literary movement centered in and around Calcutta, India, in the early 1960s. It discusses a trip Allen Ginsberg and Peter Orlovsky took to India in 1962, where they met writers associated with the Hungry Generation. It further explains how Lawrence Ferlinghetti, owner of City Lights Books in San Francisco, was inspired to start a new literary magazine, City Lights Journal, by Ginsberg’s letters from India, which included work by Hungry Generation writers. The essay shows how City Lights Journal packaged the Hungry Generation writers as the Indian wing of the Beat movement, and focuses in particular on the work of Malay Roy Choudhury, the founder of the Hungry Generation who had been prosecuted for obscenity for his poem “Stark Electric Jesus”. The essay emphasizes in particular the close relationship between aesthetics and politics in Hungry Generation writing, and suggests that Ginsberg’s own mid-1960s turn to political activism via the imagination is reminiscent of strategies employed by Hungry Generation writers.
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Zhanturina, Bakhyt, and Svetlana Kolesnikova. "Perceptual and Gradual-Evaluative Paradigms of the Translated Poetic Text." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 5 (October 2022): 62–72. http://dx.doi.org/10.15688/jvolsu2.2022.5.6.
Повний текст джерелаАнотація:
The article deals with semantic variation in textual, perceptual and gradual-evaluative paradigms in translation of English poetic texts into Russian. The research material is comprised of the poem A sepal – petal – and a thorn written by an American poet Emily E. Dickinson, and three variants of its translation into Russian carried out by T. Stamova, L. Vagurina, A. Pustogarov. The perceptual narrative plan and sense generation in the source text and its translated target textual variants have been studied considering such relevant criteria as cognitive subject, forms of perception, reference and autoreference, and modal gradual-evaluative frame. The integrative power of a text as a unit of upper layer of the language is noted to be manifested in the complex of compositional, content, and formal linguistic factors of text-building within the rhetoric frame of the poem. The key method of linguistic reconstruction of poetic text cognitive element has been applied to describe the cognitive agent as the subject of perception and subject of speech. Its position is determined within perceptual and gradual-evaluative paradigms. The formation of textual paradigms has also been shown to vary crucially in inter-language communication, to deviate in the target textual variants, and cause multiple interpretations of the source-text meaning.
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Rokhmaniyah, Rokhmaniyah. "ANALYSIS OF CHARACTER VALUES IN THE POETRY OF "LETTER FROM MOTHER" WORKS ASRUL SANI AND "UNKNOWN HEROES" WORKS TOTO SUDARTO BACHTIAR." Social, Humanities, and Educational Studies (SHEs): Conference Series 1, no. 2 (January 11, 2019): 1. http://dx.doi.org/10.20961/shes.v1i2.26716.
Повний текст джерелаАнотація:
<p><em>This article describes the results of a study based on the importance of character education for the younger generation, especially children. This is due to the fact that the character of the nation is decreasing. For this reason, a research was conducted which aimed to analyze the values of the characters found in the poem "Letter from Mother" by Asrul Sani and "Unknown Heroes" by Toto Sudarto Bachtiar. It is expected that the results of the research can be used by teachers to build the character of their students through classroom learning. This research is literature research with data collection techniques through literature study which contains both poems. Data collection tool using poetry study sheet. The source of this research is poetry and dictionary texts (Large Indonesian Dictionary), as well as experts. To maintain data validity, source triangulation techniques are used. The results showed the character values contained in the poem "Letter from Mother" and "Unknown Hero". Character values are implied in the poetry "Surat dari Ibu" by Asrul Sani and poetry</em></p><p><em>"Unknown Heroes" by Toto Sudarto Bachtiar, namely: independent, nationalist and integrity</em><em></em></p>
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Van der Merwe, C., and N. J. Snyman. "Semiotiese fokus op die gedig as estetiese teken-objek." Literator 11, no. 2 (May 6, 1990): 95–108. http://dx.doi.org/10.4102/lit.v11i2.804.
Повний текст джерелаАнотація:
In this article the poem “Sitate per pos” by Lina Spies is decoded according to semiotic premises, inter aha Peirce’s triad of icon, symbol and index. The following relations are examined: the symbol-object relation according to findings of Van Zoest; the index-object relation where indexes respectively referring to external reality, intertextuality and the intratext itself are differentiated; the icon-object relation based on Peirce’s assertion that iconicity is founded on a likeness relation and Eco’s view that iconicity can also be based on observation and convention. The decoding process indicates that informative iconicity takes precedence. Iconicity lends semantic validity to sounds within the context of the poem. Siegel’s exposition of syntactic iconicity is applied on poetic syntactic patterns and ungrammaticality. Signs on a higher level of semantic signification are examined in terms of metaphoric iconicities. The investigation demonstrates that a metaphoric icon can also fulfil the function of a lexical interpretant due to the simultaneous generation of intra- and intertexts. The informative power of material icons and super icons within the structural coherence of the poem is highlighted.
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Furaih, Ameer Chasib. "A Poetics of De-colonial Resistance: A Study in Selected Poems by Evelyn Araluen Cor." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, no. 02 (2022): 439–56. http://dx.doi.org/10.37648/ijrssh.v12i02.029.
Повний текст джерелаАнотація:
First Nations peoples in Australia, as in many other colonized countries, were forced to acquired English soon after the arrival of the colonists in their country during the second half of the 18th century. In response to their land dispossession, Indigenous Australian poets adopted and adapted the language and literary forms of colonists to write a politicized literature that tackles fundamental subjects such as land rights, civil, and human rights, to name but a few. Their literary response can be traced back to the early 1800s, and it had continued through the 20th century. One example is the poem “The Stolen Generation” (1985) by Justin Leiber, which has since been considered a motto for the struggle of Aboriginal peoples against obligatory removal of children from Aboriginal families.This paper aims at examining 21th century politicized literary response of Aboriginal poets. It sheds lights on the poetry of Evelyn Araluen as a telling paradigm of decolonial poetics, demonstrating her role in the political struggle of her peoples. Analysing representative poems by the poet, including “decolonial poetics (avant gubba)” and “Runner-up: Learning Bundjalung on Tharawal,” the paper examines the interdisciplinary nature of her poetry, and demonstrates how the poet transgresses the boundaries between poetry and politics, so as to be utilized as an effective tool of political resistance.
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Artemiev, M. A. "F. Dostoevsky’s image in T. de Banville’s poem Les Petits Lapins." Voprosy literatury, no. 6 (December 25, 2022): 100–105. http://dx.doi.org/10.31425/0042-8795-2022-6-100-105.
Повний текст джерелаАнотація:
In the mid-1880s, the French came to discover Dostoevsky’s works. Yet neither Russian nor foreign scholars have attempted to fnd out when exactly his name was frst mentioned in French fction. This article represents the frst such study. The author believes that Théodore de Banville was the frst French author who introduced Dostoevsky’s name to the poetry of the late 1880s, or can at least be credited with one of the earliest mentions of the Russian writer’s name in French verse. For authors of de Banville’s generation, Dostoevsky remained a trendy foreign writer whose opinions and manner of writing stood in stark contrast with traditional French literary, aesthetic and ethical values. De Banville’s lines about the Russian author are full of irony and mock what the poet views as Dostoevsky’s exaggerated ‘psychologism.’ The article also describes the context for Dostoevsky’s reception, drawing comparisons with other foreign authors who became known to French audiences around the same time. The study contains a comparison between G. Flaubert’s response to L. Tolstoy’s War and Peace [Voyna i mir] and de Banville’s reception of Dostoevsky.
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Coats, Karen. "Please Excuse This Poem: 100 New Poets for the Next Generation ed. by Brett Fletcher Lauer." Bulletin of the Center for Children's Books 68, no. 7 (2015): 360–61. http://dx.doi.org/10.1353/bcc.2015.0175.
Повний текст джерела
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Copcea, Florian. "Un poet cathartic și oracular: Nicolae Dabija." Limba, literatura, folclor, no. 1 (August 2021): 39–42. http://dx.doi.org/10.52505/llf.2021.1.04.
Повний текст джерелаАнотація:
Nicolae Dabija, an assiduous promoter of the generation of poets also called the third eye (literary criticism attributes this phrase to him after the title of his debut volume – The Third Eye, Chisinau, 1975), is considered a living and mythical iconographer who, as no one else, in our immediate contemporaneity, sang the drama of the suffering of Bessarabia. He wrote a poem of „hymn, elegiac or monodic, programmatic messianic” nature, as the academician Mihai Cimpoi observes. His poetry, due to its certain value, always under the sign of sacrificial authorial identification, was favorably received, awarded and translated in many countries. Nicolae Dabija’s poems, unmistakable and memorial, do not belong only to the Romanian language on the left bank of the Prut, but to all those who are dominated by the boundlessness of the Romanian spirit.
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Verducci, Erica. "Ellis Island." Polisemie 1 (April 3, 2020): 23–46. http://dx.doi.org/10.31273/polisemie.v1.605.
Повний текст джерелаАнотація:
Italian-American writer of the third-generation Robert Viscusi tells about the migratory tragedy of Italians in North America in his Ellis Island, a strongly innovative collection which combines history and autobiography. The poem consists of 624 sonnets unfolding through personal memories, historical researches and bold metaphors. The well-known opposition between earth and sea becomes here a match and a very realistic argument on the idea of transformation and mutability typical of a part of humanity that changes through migration. Ellis Island is the final place of changes, just as the poem itself, which can be read in the printed and static version, but also in the ever-changing, randomly generated one, available on the dedicated website by the author’s decision. A form in line with the content and its true meaning.