Статті в журналах: "Poetry Authorship"

1

Gómez-Bravo, Ana M. "«Female (co)authorship in Cancionero Poetry»." Revista de Literatura Medieval 30 (December 31, 2018): 153–72. http://dx.doi.org/10.37536/rpm.2018.30.0.74048.

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Resumen: La autoría femenina era una cuestión polémica en la Iberia del siglo XV y principios del XVI. Gran parte de la producción poética de este período estaba asociada con la interacción social, lo que permitía una compleja negociación de la autoría y los papeles de género. Si bien el discurso femenino era fundamental para la escritura poética y las prácticas culturales relacionadas con el mismo, estaban en funcionamiento prácticas editoriales que suprimían las contribuciones de las mujeres a la escritura. El estudio apunta a una imbricación textual del discurso femenino y masculino en varias etapas de la composición poética y propone una reconsideración de las aproximaciones a la autoría femenina (y masculina).Palabras clave: Cancionero, mujeres escritoras, poesía medieval, poesía renacentista.Abstract: Female authorship was a contentious subject in fifteenth- and early sixteen-century Iberia. During the period, a substantial amount of poetic production was associated with social interaction, which enabled a complex negotiation of authorship and gender roles. While female discourse was central to poetic writing and to the cultural practices connected to it, editorial practices worked to erase women’s contributions to poetic writing. The study shows a textual imbrication of female and male discourse at several stages of poetic composition and proposes a reconsideration of existing approaches to female (and male) authorship.Keywords: Cancionero, Women writers, medieval poetry, renaissance poetry.

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Frishkopf, Michael. "Authorship in Sufi Poetry." Alif: Journal of Comparative Poetics, no. 23 (2003): 78. http://dx.doi.org/10.2307/1350077.

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Siebenpfeiffer, Hania. "Sibylle – Clio – Thalia. Inszenierungen mythopoetischer Autorschaft im Titelkupfer und in Gedichten von Sibylla Schwarz." Daphnis 44, no. 1-02 (July 21, 2016): 199–222. http://dx.doi.org/10.1163/18796583-04401010.

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Frontispiece and dedication poems of Gerlachs edition of Sibylla Schwarz poetry openly refer to the early modern sibylline iconography by characterizing her as the “German” or “Eleventh Sibyl”. In the poems themselves other references are foregrounded, most prominent those to the apollonian muses Clio and Thalia, constructing a mythopoetic authorship and emphasizing the poetic quality of poetry in contrast to the prophetic. By giving him/herself a mythopoetic identity, the “I” transforms its poems into poetic heterotopias. In “Fretow”, they are given a concrete heterotopic counterpart. The poetic “Fretow” notably uncovers the reciprocal dependency of mythopoetic authorship and poetic heterotopia which characterizes Sibylla Schwarz’ poetic works.

4

Zhou, Ai, Yijia Zhang, and Mingyu Lu. "Multidimensional Domain Knowledge Framework for Poet Profiling." Electronics 12, no. 3 (January 28, 2023): 656. http://dx.doi.org/10.3390/electronics12030656.

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Authorship profiling is a subtask of authorship identification. This task can be regarded as an analysis of personal writing styles, which has been widely investigated. However, no previous studies have attempted to analyze the authorship of classical Chinese poetry. First, we provide an approach to evaluate the popularity of poets, and we also establish a public corpus containing the top 20 most popular poets in the Tang Dynasty for authorship profiling. Then, a novel poetry authorship profiling framework named multidimensional domain knowledge poet profiling (M-DKPP) is proposed, combining the knowledge of authorship attribution and the text’s stylistic features with domain knowledge described by experts in traditional poetry studies. A case study for Li Bai is used to prove the validity and applicability of our framework. Finally, the performance of M-DKPP framework is evaluated with four poem datasets. On all datasets, the proposed framework outperforms several baseline approaches for authorship attribution.

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Nagy, Gregory. "Authorisation and Authorship in the Hesiodic Theogony." Ramus 21, no. 02 (1992): 119–30. http://dx.doi.org/10.1017/s0048671x00002599.

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Much has been written about the question of oral poetry in the earliest attested phases of Greek literature, but not enough attention has yet been paid to the existing internal evidence concerning the authority of actual poetic performance. This essay is meant to highlight this authority and its role in authorisation, that is, in the conferring of authorship. Since the first attested identification of an author in Greek literature takes place in the Hesiodic Theogony, where the figure of Hesiod names himself as the poet of this colossal poem (Hēsiodon, Th. 22), it seems fitting that this very act of self-identification should serve as the focus of inquiry. Further, since the poet defines himself in terms of a dramatised encounter with the Muses, who are represented as giving him the two gifts of a sceptre of authority and poetic inspiration itself, it also seems fitting to take with utmost seriousness the actual wording that describes this encounter. The poet's precisely-worded claim to have received from the Muses the power of telling the absolute truth is key, I shall argue, to his authorship.

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Mañas, Amelia R. "Repositorios de poder: la poesía visual en México colonial:Repositories of Power: Visual Poetry in Colonial Mexico." Calíope 27, no. 2 (October 1, 2022): 203–30. http://dx.doi.org/10.5325/caliope.27.2.0203.

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Abstract This work reviews the interventions of visual poetry in the colonies’ lettered world. From the visual exercises with educational and practical value to the visual poems that appeared in poetry contests, these poetic practices reorganize the categories of masculine/feminine readership and authorship as well as the circulation of poetry. Through a contextualized analysis of the uses of visual poetry, this article shows some of the ways in which colonial writers conquered and generated new forms of “authorized word” in the colonies and how these disputes would create a much more diverse and complex reality for the lettered world.

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Robinson, Fred C. "Old English Poetry: The Question of Authorship." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 3, no. 2 (April 1990): 59–64. http://dx.doi.org/10.1080/19403364.1990.11755240.

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8

Helgeson, James. "Poetic Deictics and Extra-Textual Reference (Mallarmé, Scève, Ronsard, Du Bellay)." Nottingham French Studies 56, no. 3 (December 2017): 351–65. http://dx.doi.org/10.3366/nfs.2017.0196.

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This study considers the effects of deictics, which are among the expressions called, in recent linguistics, and particularly cognitive pragmatics, ‘procedural’ expressions, in poetic expression in the first person. It examines a variety of examples drawn primarily from the early modern period (Scève, Ronsard, Du Bellay, Muret's and Belleau's commentaries on Ronsard), but with several modern points of comparison (Keats, Mallarmé). The article studies, in particular, the question of extra-textual reference in poetry and poetic commentary, arguing against an anachronistic understanding (based in nineteenth- and twentieth-century ideas about authorship) of the forms of early modern poetic reference and of the varieties of first-person action early modern poetry can instantiate.

9

Hauser, Emily. "Erica Jong’s Sappho’s Leap:(Re-)constructing Gender and Authorship through Sappho." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 12 (November 8, 2020): 55. http://dx.doi.org/10.12681/syn.25258.

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For contemporary female authors, Sappho is a literary forebear who is both a model for women’s writing and a reminder of the ways in which women have been excluded from the literary canon. Poet and novelist Erica Jong takes up the challenge to gender and authorship posed by Sappho in her 2003 novel, Sappho’s Leap. Jong weaves Sappho’s poetry into her fiction to both complement the Sapphic tradition and to supplant it, proving that female poetry —and authorship— is alive and well, with Sappho continually mediated by and validating each subsequent writer in the female tradition. In addition, Jong’s emphasis on the authentic expression of sexual desire as a bridge to authorship transcends gender binaries, turning Sappho’s Leap into a study of authorship that is not confined to gender. This enables Jong to shift the debate away from the sense of burden placed on female authors post- Sappho and to transform her Sappho into a positive role model for all authors, turning the focus towards a poetics of passion and away from prescriptive assumptions of the relationship between gender and authorship.

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Fang, Alex C., Wan-yin Li, and Jing Cao. "In search of poetic discourse of classical Chinese poetry." Chinese Language and Discourse 2, no. 2 (December 21, 2011): 232–49. http://dx.doi.org/10.1075/cld.2.2.04fan.

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We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.

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Naaman, Erez. "Authorship and Unity of the Classical Arabic Poem through the Lens of Collaborative Composition." Arabica 67, no. 1 (May 21, 2020): 1–59. http://dx.doi.org/10.1163/15700585-12341558.

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Abstract When a classical Arabic poem lacked a noticeable degree of thematic coherence and formal structure, it was at risk of foreign intervention aiming to improve it. Who was recognized in such a case as the author of the poem and on which grounds? This article looks at the interrelated questions of the poem’s unity and its authorship through the lens of collaborative poetry that was practiced by completing verse composed in the past. It presents an analysis of poetic collaboration cases from the second/eighth century to the Ayyubid era, and discusses different practical approaches of poets to authorship questions related to the earlier source poem and their own later completion. In the third/ninth century, as an expansive reservoir of ancient and modern poems became increasingly available, we occasionally notice the marks of plagiary, rather than forgery, on collaborative poems of this type. At the same time, and based on this very expansion, kinds of legitimate poetic influence can be detected in the completions of the later poets. Remarkably, poetic intervention did not cease and the poem conceptually did not achieve an inviolable status, when the scholars replaced the transmitters as the authorities on poetry around the third/ninth century and throughout the period under study. Nevertheless, the cultural domain for reshaping earlier verse changed, and the repertoire of poetry considered as “fair game” for this practice was narrowed down based on quality considerations.

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Othman, Arbak. "Malay Authorship in Landskap Ungu: From Artistic Source to Intellectual Impact." Malay Literature 30, no. 1 (June 1, 2017): 140–58. http://dx.doi.org/10.37052/ml.30(1)no6.

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This article discusses the contribution of Dato’ Ahmad Kamal Abdullah or Kemala regarding the development of Malay poetry in Malaysia and the history of Malay poetry in the archipelago. This article is based fully on the essays compiled in Landskap Ungu (2010). It examines Kemala’s contribution to the Malay art of poetry composition, the approach or the evaluation used in analyzing Malay poetry, specifically in interpreting Islamic poetry and the country’s sociopolitical landscape, as well as comparing the quality of the art of poetry of international poets with that of some of Malaysia’s poets. Apart from that, other issues are also discussed, such as the art concept of sufi poetry which is the basic expression of some Malay poets, either in Indonesia or Malaysia. Kemala’s contribution is exceptional and has proven to be very significant in the development of Malay poetry with regard to his capability as a critic and a disciplined researcher, especially in the world of Malay poetry. His level of thought and intellectualism boost the quality of the art of expression of creative thinking locally or universally. Keywords: epistemology, aesthetics, hermeneutics, irony, critiques, literature, mystique, thinker, sufi, sufi poetry, semiotic, symbolism, theory of literature Abstrak Makalah ini menghuraikan sumbangan Dato’ Ahmad Kamal Abdullah atau Kemala terhadap perkembangan puisi Melayu di Malaysia dan sejarah puisi Melayu di Nusantara. Penulisan makalah ini berlandaskan hasil tulisan beliau sepenuhnya, iaitu esei yang terkumpul dalam karya terbaik beliau, Landskap Ungu (2010) terbitan Penerbit UPM. Makalah ini meneliti sumbangan Kemala dalam dunia perpuisian Melayu, seni dan gubahan puisi, pendekatan atau ukuran kualiti yang digunakan dalam penganalisisan puisi Melayu, khususnya untuk mentakrif puisi Islam dan sosiopolitik tanah air, serta perbandingan kualiti seni pengungkapan puisi penyair antarabangsa yang dibandingkan dengan puisi beberapa penyair tanah air. Selain itu, beberapa kecenderungan lain turut dibicarakan seperti konsep seni puisi sufi yang menjadi asas pengucapan beberapa penyair Melayu, baik di Indonesia mahupun di Malaysia. Sumbangan Kemala amat istimewa dan terbukti sangat besar dalam perkembangan perpuisian Melayu kerana keupayaan beliau sebagai pengkritik dan pengkaji yang berdisiplin, terutamanya dalam dunia kepenyairan Melayu yang dikatakan sudah mencapai tahap kematangan yang boleh dibanggakan. Tahap pemikiran dan keintelektualan beliau meningkatkan kualiti seni pengucapan fikiran yang kreatif sama ada bersifat setempat mahupun universal. Kata kunci: epistemologi, estetik, etika, hermeneutik, kritikan, kesusasteraan, mistik, pemikir, sufi, puisi sufi, semiotik, simbolisme, teori kesusasteraan

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Sarumi, Kahar Wahab. "Nationalism in Modern Arabic Poetry of Yoruba Authorship." International Journal of Literary Humanities 15, no. 3 (2017): 21–33. http://dx.doi.org/10.18848/2327-7912/cgp/v15i03/21-33.

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14

Ahmed, Al-Falahi, Ramdani Mohamed, and Bellafkih Mostafa. "Arabic Poetry Authorship Attribution using Machine Learning Techniques." Journal of Computer Science 15, no. 7 (July 1, 2019): 1012–21. http://dx.doi.org/10.3844/jcssp.2019.1012.1021.

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15

Ahmed, Al-Falahi, Ramdani Mohamed, and Bellafkih Mostafa. "Machine Learning for Authorship Attribution in Arabic Poetry." International Journal of Future Computer and Communication 6, no. 2 (2017): 42–46. http://dx.doi.org/10.18178/ijfcc.2017.6.2.486.

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16

Müller-Tamm, Jutta. "The Mask in Verse. Imaginary Poets and Their Autobiographical Poetry (Jan Wagner, Die Eulenhasser in den Hallenhäusern)." European Journal of Life Writing 10 (July 9, 2021): SV13—SV32. http://dx.doi.org/10.21827/ejlw.10.37637.

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This article examines German poet Jan Wagner’s Die Eulenhasser in den Hallenhäusern [The Owl Haters in the Hall Houses] (2012) and the effects of fictional authorship with respect to autobiographical poetry. Wagner's fiction of three poets—their lives and their poems—proves to be an artfully ambivalent construction: on the one hand, the link between persona and poetic voice seems to be undeniably given, while on the other hand, the autobiographical impact of the poems appears to be an effect of the reader’s desire and his or her response to the work. Wagner’s text exploits, confirms and, at the same time, challenges the desire to read poetry as autobiographical expression.

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Septia, Emil, Silvia Marni, and Armet Armet. "REPRESENTASI NILAI RELIGI DAN KEPENGARANGAN PUISI-PUISI KARYA TAUFIK ISMAIL." Poetika 7, no. 1 (July 30, 2019): 32. http://dx.doi.org/10.22146/poetika.v7i1.43493.

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Penelitian ini memaparkan representasi nilai religi dalam setiap bait-bait puisi karya Taufik Ismail. Puisi yang bernilai religius dapat digunakan untuk menyadarkan masyarakat (pembaca) untuk selalu bersyukur pada Tuhan Sang Penguasa. Kumpulan puisi Debu di Atas Debu: Kumpulan Puisi Dwi-Bahasa karya Taufik Ismail merupakan catatan-catatan emosional zaman dengan gejolak politik dan sikap bangsa Indonesia. Jenis penelitian ini berupa kualitatif dengan metode analisis isi (content analysis) serta pendekatan sosiologi sastra. Hal ini bertujuan untuk mendeskripsikan kepengarangan Taufik yang terdapat pada representasi nilai religi di setiap bait-bait puisi. Melalui seni pedalangan ketika Taufik bermukim di Yogyakarta dan seni bakaba ketika Taufik pindah ke Bukittinggi yang merupakan bentuk gaya kepengaranan seorang penyair yang dipengaruhi kebudayaan lokal, Taufik ingin menyentuh perasaan pembaca akan representasi nilai religius untuk membentuk karakter bangsa.Kata Kunci: representasi; nilai; religi; kepengarangan; puisi This study describes the representation of religious values in each poetic verse by Taufik Ismail. Religious poetry can be used to make people (readers) aware to always be grateful to God the Lord. A collection of Debu di Atas Debu: Kumpulan Puisi Dwi-Bahasa by Taufik Ismail is an emotional record of the times with political turmoil and the attitude of the Indonesian people. This type of research is qualitative with the method of content analysis and the sociological approach of literature. This is aimed at describing Taufik's authorship in the representation of religious values in each verse of poetry. Through the art of puppetry when Taufik settled in Yogyakarta and bakaba art when Taufik moved to Bukittinggi which was a form of the poet's sound style influenced by local culture, Taufik wanted to touch the readers' feelings about the representation of religious values to shape the nation's character.Keywords: representation; values; religion; authorship; poetry

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Pisciurnikova, E., and A. Šela. "Works by Afghan Classical Poet ‘Abd al-Hamid Momand: Stylometric Results." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 27, no. 2 (December 2021): 63–68. http://dx.doi.org/10.31250/1238-5018-2021-27-2-63-68.

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‘Abd al Hamid Momand (d. ca. 1732), a greatest Afghan classical poet at the turn of the 17th and 18th centuries, was the author of Pashto poetry. He created a unique individual style, which was different from that of his predecessors and greatly influenced subsequent Afghan Pashto poetry. However, because of the complexity and eloquence of his style, his work has been understudied inside and outside Afghanistan. The authorship of a set of ghazals by Hamid is questioned by the authors of this article, with some forty works defined as controversial. Methods of digital stylometry are applied to determine the authorship of these ghazals. As a result of this experiment, the question is clarified as to whether Hamid's controversial ghazals are indeed authentic.

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Kennedy, William J., and Dennis Kezar. "Guilty Creatures: Renaissance Poetry and the Ethics of Authorship." Sixteenth Century Journal 34, no. 3 (October 1, 2003): 890. http://dx.doi.org/10.2307/20061602.

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IBRAHIM, ROSNANI, MUAMMAR GHADDAFI HANAFIAH, and SHAIFU BAHRI MD RADZI. "SYAIR DIRAJA MELAYU PERAK-JOHOR ERA KONTEMPORARI: SATU PERBANDINGAN KEPENGARANGAN (Royal Syair in the Contemporary Era of Perak-Johor: Comparison of Authorship)." MALIM: JURNAL PENGAJIAN UMUM ASIA TENGGARA (SEA JOURNAL OF GENERAL STUDIES) 22, no. 1 (November 20, 2021): 290–307. http://dx.doi.org/10.17576/malim-2021-2201-22.

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The 16th century to the end of the 19th century, storytelling and praise of the sultan became the idea of authorship. This storytelling and praise are conveyed by making poetry his platform. The last poem to record the history of this Royal group was the Syair Riwayat Yang Amat Mulia Tengku Ampuan Besar Pahang (1953). However, such influence is less used when modern literature develops. Western powers bring a new diversity of forms and genres in creation. After 56 years, two works have emerged, Syair Sultan Azlan Shah Berjiwa Rakyat (2009), Mohd Ibrahim bin Said and Syair DYMM Sultan Ibrahim Ibni Almarhum Sultan Iskandar (2018) by Maskiah binti Masrom in this contemporary era. Kings and sultans became objects of storytelling in both works. The question is, what are the scopes or criteria that are the ideas of their authorship? The scope or criterion that became the idea of authorship used by both authors in presenting storytelling about their rulers. Both texts of the Royal poetry were sampled. Comparative methods are applied to examine their influence in presenting the idea of Royal history recordings in the contemporary era. Intrinsically research methods on study samples were also used. The findings found that the king's biography became the scope or criterion that became the idea of authorship for both authors in praise and upholding his king. Keywords: Literary criticism; Peering; Authorship; Royal syair; Contemporary syair

21

Blaine, Marlin. "George Jeffreys’s Translation of a Latin Epigram on Casimire and Hosschius’s Elegy on Sarbiewski." Humanistica Lovaniensia 70, no. 1 (October 25, 2021): 141–48. http://dx.doi.org/10.30986/2021.141.

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The “Poems of Doubtful Authorship” in modern editions of Samuel Johnson’s poetry include three Latin poems that were first associated with Johnson in 1856. This article reveals the weakness of this alleged “attribution” and discusses the arguments for and against Johnson’s authorship of each poem in turn. While certainty is impossible, it concludes that he possibly wrote the translation Ex cantico Solomonis but that Venus in Armour and The Logical Warehouse are unlikely to be his.

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Brown, Robert. "Three Latin Poems Doubtfully Attributed to Samuel Johnson." Humanistica Lovaniensia 70, no. 1 (October 25, 2021): 97–114. http://dx.doi.org/10.30986/2021.97.

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The “Poems of Doubtful Authorship” in modern editions of Samuel Johnson’s poetry include three Latin poems that were first associated with Johnson in 1856. This article reveals the weakness of this alleged “attribution” and discusses the arguments for and against Johnson’s authorship of each poem in turn. While certainty is impossible, it concludes that he possibly wrote the translation Ex cantico Solomonis but that Venus in Armour and The Logical Warehouse are unlikely to be his.

23

Jackson, Kenneth S. "Guilty Creatures: Renaissance Poetry and the Ethics of Authorship (review)." Shakespeare Quarterly 54, no. 2 (2003): 212–14. http://dx.doi.org/10.1353/shq.2003.0072.

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DuPlessis, Rachel Blau. "Agency, social authorship, and the political aura of contemporary poetry." Textual Practice 23, no. 6 (December 2009): 987–99. http://dx.doi.org/10.1080/09502360903361592.

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González Alva, Rafael. "Tres rasgos estilísticos de la Hernandia (1755): hacia una identidad americana." Literatura Mexicana 33, no. 1 (March 6, 2022): 9–47. http://dx.doi.org/10.19130/iifl.litmex.2022.33.1.7122x11.

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The objective of this article is to analyze the Gongorism, the polyglotism and the imitatio auctoris of New Spain poets in Hernandia, an 18th century epic poem for which authorship is attributable to the Novohispanic Francisco Ruiz de León as well as to the Spaniard Juan de Buedo y Girón. The study of these three stylistic elements, barely reviewed or unnoticed in previous works, suggests a direct connection to an American context, especially regarding the knowledge of Nahuatl and 17th century Novohispanic poetry, which supports Novohispanic authorship rather than a Spanish one.

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Plecháč, Petr, Klemens Bobenhausen, and Benjamin Hammerich. "Versification and authorship attribution. A pilot study on Czech, German, Spanish, and English poetry." Studia Metrica et Poetica 5, no. 2 (January 28, 2019): 29–54. http://dx.doi.org/10.12697/smp.2018.5.2.02.

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This article describes pilot experiments performed as one part of a longterm project examining the possibilities for using versification analysis to determine the authorships of poetic texts. Since we are addressing this article to both stylometry experts and experts in the study of verse, we first introduce in detail the common classifiers used in contemporary stylometry (Burrows’ Delta, Argamon’s Quadratic Delta, Smith-Aldridge’s Cosine Delta, and the Support Vector Machine) and explain how they work via graphic examples. We then provide an evaluation of these classifiers’ performance when used with the versification features found in Czech, German, Spanish, and English poetry. We conclude that versification is a reasonable stylometric marker, the strength of which is comparable to the other markers traditionally used in stylometry (such as the frequencies of the most frequent words and the frequencies of the most frequent character n-grams).

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Azizah, Amany Nurul, and Abdul Basid. "The Poetry Anthology Ar-Robi fii qalbi by Sofi Ghoniyah: A Sociology of Author Perspective." International Journal of Literature Studies 2, no. 2 (September 2, 2022): 20–28. http://dx.doi.org/10.32996/ijts.2022.2.2.3.

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This study aims to determine the sociology of the author in the poetry anthology Ar-Robi fii Qalbi by Sofi Ghoniyah based on the perspective of Rene Wellek and Austin Warren. This research focuses on four aspects, namely (1) the social background of the author in the anthology of poetry Ar-Robi fii Qalbi by Sofi Ghoniyah based on the perspective of Rene Wellek and Austin Warren; (2) the author's social integration in the poetry anthology Ar-Robi fii Qalbi by Sofi Ghoniyah based on the perspective of Rene Wellek and Austin Warren; (3) author's economic sources in the poetry anthology Ar-Robi fii Qalbi by Sofi Ghoniyah based on the perspective of Rene Wellek and Austin Warren; (4) professionalism in the authorship of Sofi Ghoniyah's anthology of poetry Ar-Robi fii Qalbi based on the perspective of Rene Wellek and Austin Warren. This type of research is qualitative research. The data source of this research uses an anthology of poetry entitled "Ar-robi fii qalbi" by Sofi Ghoniyah. While the secondary data sources of this research were obtained from reading books or journals discussing the sociological theory of the authors Rene Wellek and Austin Warren. Data collection techniques in this study used interview techniques and note-taking techniques. The data validation technique used in this study is to increase persistence, triangulate data, and discuss with colleagues and experts. Meanwhile, for the data analysis technique, this research uses the Miles and Huberman method, namely data reduction, data presentation, and drawing conclusions. The researchers produced several data, namely (1) the author of the poetry anthology Ar-Robi fii qalbi is an educated author and has close interactions with her environment. (2) The author of the poetry anthology Ar-Robi fii qalbi has a high degree of integration. He mingles with the general public. (3) The main economic source of the author in Ar-Robi's poetry anthology is not through her work but in her educational activities. As a teacher, her work is often used as learning material for her students. (4) The author of the poetry anthology Ar-Robi fii qalbi has high professionalism in the authorship of her work.

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Balać, Jelena Marićević. "Anonimna poezija u srpskoj književnosti 18. veka." Kultura Słowian Rocznik Komisji Kultury Słowian PAU 18 (November 9, 2022): 271–80. http://dx.doi.org/10.4467/25439561ksr.22.021.16373.

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Pored autora koji su svoju poeziju objavljivali pod svojim imenom, u okviru štampanih publikacija ili u rukopisima, sačuvan je obiman korpus pesama koje su beležene i objavljene adespotno. Većina pesama spada u korpus takozvanog građanskog pesništva, koji čine posebnu tipološku celinu. Postoje pesnički zapisi za koje se pouzdano ne može tvrditi ko im je autor, već se navode pretpostavke (stihovi u Stematografiji (1741) Hristifora Žefarovića) i, najposle, emblematski zbornik Itika Jeropolitika (1774) u kome embleme prate anonimni stihovi. Temi zaborava pristupljeno je kroz problem nepoznatog autorstva u srpskoj književnosti 18. veka. Cilj je da se kroz predlog tipologije anonimne poezije definiše problem i odrede njene moguće poetičke karakteristike. Anonymous Poetry in Serbian Literature of the 18th Century This paper approaches the theme of oblivion through the problem of unknown authorship in Serbian literature of the 18th century. Along with poetry published by known authors, printed publications or manuscripts preserve an extensive corpus of poems recorded and published by anonymous authors. Majority of such poems belongs to the corpus of socalled civic poetry – a special typological whole. For some poetic records, it is not possible to state with certainty who the author is. However, there are some assumptions based primarily on verses in Hristifor Žefarović’s Stematography (1741) and also on the emblematic collection, Itika Jeropolitika (1774), where emblems are accompanied by some anonymous verses. By proposing the typology of anonymous poetry, our goal is to define the problem and to determine possible poetic characteristics.

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Samin, Nadav. "Poetry, Magic, and the Formation of Wahhabism." Journal of the Economic and Social History of the Orient 65, no. 1-2 (February 18, 2022): 1–26. http://dx.doi.org/10.1163/15685209-12341561.

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Abstract The Sunni revivalist Muḥammad Ibn ʿAbd al-Wahhāb (d. 1792) has been subjected to rigorous scrutiny by a number of scholars. Much remains unknown about Ibn ʿAbd al-Wahhāb’s life and work, however, not least the rationale behind his idiosyncratic style of authorship. Examining the scholar’s theological writings from the vantage point of Arabia’s oral vernacular and popular religious traditions casts new light on the particularities of Ibn ʿAbd al-Wahhāb’s appeal. That appeal, this paper argues, is rooted in phenomena that were seemingly peripheral or even anathema to his puritanical religious mission, namely, poetry and magic.

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Kern, Martin. "Authorship and the Shijing | Fate and Heroism in Early Chinese Poetry." L’annuaire du Collège de France, no. 111 (April 1, 2012): 887–90. http://dx.doi.org/10.4000/annuaire-cdf.1785.

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Hammerschmidt, Sören. "Social Authorship and the Mediation of Memory in Anne Grant’s Poetry." European Romantic Review 30, no. 2 (March 4, 2019): 199–220. http://dx.doi.org/10.1080/10509585.2019.1582417.

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Vayntrub, Jacqueline. "Before Authorship: Solomon and Prov. 1:1." Biblical Interpretation 26, no. 2 (May 7, 2018): 182–206. http://dx.doi.org/10.1163/15685152-00262p03.

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How should we understand the naming of legendary figures like Solomon in biblical titles? The ancient practice of attribution is often obscured by scholars committed to the modern construction of authorship. Texts such as 11QPsa XXVII (“David’s Compositions”) demonstrate an altogether different understanding of this ancient practice. Using Prov. 1:1 as a test case, this essay examines how biblical authors and editors assigned texts to legendary figures, and how this kind of attribution evokes a set of imagined associations in the broader literary tradition. The essay presents a description and categorization of biblical titles and textual frames, and compares these titles and frames to textual frames of ancient Near Eastern and Mediterranean collections of instruction and poetry. The essay argues that Prov. 1:1, like other textual frames, uses attribution to imaginatively stage the text in the broader literary tradition.

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Aquilina, Mario. "The Event of Style in Shakespeare's Sonnets." Oxford Literary Review 37, no. 1 (July 2015): 119–39. http://dx.doi.org/10.3366/olr.2015.0153.

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This essay brings to bear Jacques Derrida's thinking of the ‘event’ and the ‘signature’, specifically in his reading of Francis Ponge's poetry, on the work of style in selected sonnets by Shakespeare. It argues that rather than functioning exclusively as a trace of identification and ownership, the event of style depends on the countersignature of the readers to come in ways that disrupt the teleocratic thinking at the heart of attribution studies in the authorship question. Style has a key role in the authorship controversy. It serves as internal evidence that allows critics to make claims about the authorship of Shakespeare's oeuvre. However, style in the sonnets, while signing for the author, also defaces and dispossesses him in ways that are partly rooted in the epideictic tradition from which the sonnets stem and partly intrinsic to the logic or structure of style as an event.

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Priventa, Hendrike. "AESTHETIC VALUE IN TITLE IN “HUJAN BULAN JUNI” BY SAPARDI DJOKO DAMONO AND “MALAIKAT JUGA TAHU” BY DEWI LESTARI." Multilingual 19, no. 2 (December 19, 2020): 174–82. http://dx.doi.org/10.26499/multilingual.v19i2.166.

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Poetry is a form of literary genre that is full of aesthetic values. The aesthetic value is wrapped in the elements that make up the poetry. This article discusses a comparison of the aesthetic value of the poem “Hujan Bulan Juni” by Sapardi Djoko Damono and “Angels Also Know” by Dewi Lestari. Intertext studies can be used as a medium to find aesthetic values and determine whether literary works are aesthetic or not. The aesthetic value in the poetry "Rain in June" and "Angels Also Know" are shown in several aspects, namely the elements of sound, diction, and image. The linkage of authorship is also shown through the expansion of the use of elements of the poetry structure. The aesthetic value in both poems influences the process of forming new vehicles such as songs and films which are now more popular with the public.

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Kern, Martin. "“XI SHUAI” 蟋蟀 (“CRICKET”) AND ITS CONSEQUENCES: ISSUES IN EARLY CHINESE POETRY AND TEXTUAL STUDIES". Early China 42 (2019): 39–74. http://dx.doi.org/10.1017/eac.2019.1.

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AbstractThe present article explores questions about the composition, performance, circulation, and transmission of early Chinese poetry by examining a small number of poems from the received Mao shi and their counterparts in recently discovered manuscripts. Starting from a close examination of the poem “Xi shuai” (“Cricket”), the essay briefly discusses the problems we face in dealing with looted manuscripts before advancing toward rethinking the patterns of early Chinese poetic composition and transmission. Instead of taking individual poems as discrete, reified objects in the form we encounter them in the Mao shi, it is suggested to read them as particular instantiations of circumscribed repertoires where the individual poetic text is but one of many realizations of a shared body of ideas and expressions. This analysis is informed by the examination of both manuscript texts and the received literature, but also by comparative perspectives gained from both medieval Chinese literature and other ancient and medieval literary traditions. In emphasizing the formation of poetry as a continuous process, it leaves behind notions of “the original text,” authorship, and the moment of “original composition”—notions that held no prominence in the early Chinese literary tradition before the empire.

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Borkent, Mike. "At the Limits of Translation? Visual Poetry and Bashō’s Multimodal Frog." Translation and Literature 25, no. 2 (July 2016): 189–212. http://dx.doi.org/10.3366/tal.2016.0246.

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This paper discusses several visual poems that both translate and adapt Bashō's popular frog haiku; such works are theorized here as multimodal transaptations. Bashō's poem blends form and meaning, action and stasis, sound and silence. Traditional translations struggle to incorporate some of these features because of the limitations of the target language. Visual poetry, by drawing on the affordances of print – which includes verbal, visual, and diagrammatic cues – is better equipped to reflect and extend the style and content of Bashō's haiku into the more limited forms of English textuality, while also engaging in the playfulness of the haiku and calligraphic traditions. Produced through a hybrid, multimodal approach, these visual transaptations present the reader with a range of cues that are neither strictly mimetic nor adaptive, and which challenge assumptions about stylistic choices, translation, authorship, and poetic meaning.

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Bernsdorff, Hans. "P.Oxy. 4711 And The Poetry Of Parthenius." Journal of Hellenic Studies 127 (November 2007): 1–18. http://dx.doi.org/10.1017/s0075426900001580.

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Abstract:P.Oxy. 4711 (from a papyrus codex of the sixth century AD) contains elegiacs with at least three metamorphosis myths (Adonis, Asterie, Narcisssus). In this article I argue against the suggestion by (among others) the first editor of this papyrus that the verses might be by Parthenius. I do so by examining the evidence for Parthenian authorship (especially the presumed imitations by Ovid and Gregory of Nazianzus) and by comparing the style of the new piece with what we actually possess of Parthenian poetry (especially with fr. 28 Lightfoot, which might come from the Metamorphoseis). Instead I suggest a late date of composition and would regard the fragments as a collection of the-matically arranged διηέματα in verse which are related to the production of progymnasmata in schools.

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Drozdov, V. A. "The authorship of the poem ‘Ushshaq-nama from the prospect of academic orientalist studies and modern computer technologies." Orientalistica 3, no. 5 (December 29, 2020): 1360–78. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1360-1378.

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The poem ‘Ushshaq-nama by Fakhr ad-Din ‘Iraqi (610–688 / 1213–1289) is the first poetical writing on the subject of mystical love in Persian literature. ‘Iraqi’s authorship of this work has never been questioned by researchers. However, the English orientalist J. Baldick 1973 cast a doubt on ‘Iraqi’s authorship of this poem. The article examines in detail the arguments of J. Baldick both from the point of view of the context of the creation of the poem, as well as the methods of the latest computational methods, in particular stylometry. Boldik's arguments concern both the historical and religious context in which ‘Iraqi lived and the peculiarities of his works, primarily the poem‘Ushshaq-name. The paper demonstrates that this computational method may be used for the study of the features of the style of Persian poetry and the confirmation of the authorship of doubtful Persian writings. Further expert decision full-field by Artjoms Šeļa based on stylometric methods for the establishment of the poem ‘Ushshaq- nama is expounded. While the results of the analysis of the historical and religious contexts of the poem may serve as confirmation of the authorship of ‘Iraqi and the refutation of the Baldick hypothesis, the results of the stylometric analysis do not give an unambiguous answer to the question of its authorship.

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Fata, Frank, and Olivia Holmes. "Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book." Italica 78, no. 1 (2001): 99. http://dx.doi.org/10.2307/480226.

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Hartung, Blake. "The Authorship and Dating of the Syriac Corpus attributed to Ephrem of Nisibis: A Reassessment." Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 22, no. 2 (September 3, 2018): 296–321. http://dx.doi.org/10.1515/zac-2018-0033.

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Abstract A large portion of the Syriac works attributed to Ephrem of Nisibis survives in the form of collected poetic anthologies. This paper argues that previous attempts to assign authorship and date of composition to Ephrem’s hymn cycles mistakenly treat these works as if they were treatises written by Ephrem. Scholars have tended to treat the hymn cycles as units and to judge the authenticity of each cycle as a whole. By contrast, this paper contends that the cycles postdate Ephrem and were assembled and supplemented by later editors. It further proposes that the heterogeneous origin of most of the hymn cycles makes it impossible to date them to a particular time in Ephrem’s career. To hypothesize a date of composition is to assume that Ephrem composed the hymns in that cycle at a particular time and collected them as a unit. Likewise, this paper contends that scholars must be frank about the general lack of historical evidence, which severely challenges our ability to contextualize fourth-century Syriac poetry. The paper concludes by proposing a new approach to questions related to authorship and date of composition, one focused on smaller metrical sub-units (meter-melodies) that comprise the large hymn cycles.

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Frolova, N. S. "Swahili Poetic Tradition: Main Stages of Development (on Example of Tendi and Mashairi Genres)." Nauchnyi dialog 11, no. 9 (December 1, 2022): 227–51. http://dx.doi.org/10.24224/2227-1295-2022-11-9-227-251.

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The stages of development of the main traditional Swahili poetic genres of tendi and mashairi, starting from the period of their formation and ending with the current state are discussed in the article. On the example of the most significant works of classics and modernity, the formal and stylistic features of the studied genres are analyzed, the question is raised about their continuity and innovative techniques in the context of non-literary factors. The conclusion is made about the development of genres within the framework of a change in the types of artistic consciousness, which manifests itself as the East African society establishes and develops — from awareness of one’s own national identity to an ever-greater inclusion in the global literary process. The last stage of the destruction of tradition, the rejection of the traditional form for today, was expressed in the phenomenon of the transformation of the form of the Old Swahili verse, which is demonstrated in the article on the example of the most prominent representatives of the so-called modernist poetry in Swahili. It is concluded in the article on the role of the author, whose figure manifests itself in different ways at each of the stages of development of Swahili poetry: from controversial authorship at the stage of formation of literature to pronounced features that characterize the specific unique authorial style at the later stages of the development of the studied poetry.

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King’ei, Kitula. "Aspects of Autobiography in the Classical Swahili Poetry: Problems of Identity of Authorship." Folklore: Electronic Journal of Folklore 16 (2001): 87–96. http://dx.doi.org/10.7592/fejf2001.16.swahili.

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Cebrián, José. "Texto crítico del Hernán Cortés de Viera y Clavijo." (an)ecdótica 6, no. 2 (June 30, 2022): 9–50. http://dx.doi.org/10.19130/iifl.anec.2022.6.2.651x0021.

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This paper gives an account of the first poem’s version that Abbé Viera y Clavijo sent to first poetry prize of Spanish Royal Academy under the title of Hernán Cortés (1777), whose authorship has gone unnoticed by critics. Opinions of academicians in payment of non-granting of prize as well as ins and outs are too analyzed. Finally, ecdotics of text in reverse edition is addressed, essential for a future critical edition of Viera’s last poetical will he entitled El segundo Agatocles.

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Tomadaki, Maria. "An unpublished poem on Porphyry." Byzantinische Zeitschrift 111, no. 3 (September 1, 2018): 777–92. http://dx.doi.org/10.1515/bz-2018-0021.

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Abstract This paper offers an editio princeps, an English translation and a commentary of an interesting epigram on Porphyry, the commentator of Aristotle. The epigram was transcribed in Vat. Reg. 166 by Ioannes Malaxos (16th c.) and is ascribed to Petros Servilos, a poet unknown from other sources. The paper discusses the poem’s manuscript context, as well as its authorship, genre, content and function. Further, it attempts to shed light on the poem’s relation to Porphyry’s philosophy and his reception in Byzantine poetry.

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Merkle, Denise. "Language, politics, and the nineteenth-century French–Canadian official translator." Beyond transfiction 11, no. 3 (November 7, 2016): 436–56. http://dx.doi.org/10.1075/tis.11.3.07mer.

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This article aims to contribute to the history of Canadian official translators by looking at three activist translators who were also published writers in post-confederation nineteenth-century Canada. All three francophone official translators “exiled” to Ottawa, the newly designated capital of the young confederation, were actively engaged in creating francophone spaces in and from which they could promote French-Canadian cultures and the French language. Refusing to submit passively to Anglo-dominated government authorship and to the increasingly anglicized Canadian landscape, they coordinated their efforts to carve out a distinct and distinctive place for Canadian francophones. Their weapon of choice in confronting Anglo-Canadian hegemony was authorship. From historical narrative, to novels, caustic songs and nationalist poetry, their writings nurtured pride in the shared history of French-Canadians from different backgrounds — despite the traumatic Grand Dérangement and Conquête — and generated hope for the future of their nation(s).

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Kern, Martin. "Cultural Memory and the Epic in Early Chinese Literature: The Case of Qu Yuan 屈原 and the Lisao 離騷". Journal of Chinese Literature and Culture 9, № 1 (1 квітня 2022): 131–69. http://dx.doi.org/10.1215/23290048-9681189.

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Abstract The present essay combines the theory of Cultural Memory with ideas about textual repertoires, composite text, and distributed authorship that in recent years have been advanced in studies of early and medieval Chinese literature. In its first part, the essay introduces in detail the historical development and key features of Cultural Memory theory. In its second part, it applies this theory to the study of Qu Yuan 屈原 and the Lisao 離騷, the greatest poem of early China. Through detailed philological analysis, the Lisao is described not as a single text by a single author but as a composite, authorless artifact that participates in a larger Qu Yuan discourse distributed across multiple texts in both prose and poetry. This distributed “Qu Yuan Epic” is an anthology of distinct characteristics attributed to the quasi-mythological Qu Yuan persona—a persona that itself emerges as a composite textual configuration into which are inscribed the nostalgic ideals and shifting aspirations of Han imperial literati. This Han social imaginaire recollects the noble exemplar of the old Chu aristocracy; the dual prophecy of the fall of Chu to Qin and of Qin's subsequent collapse; the religious, historical, mythological, and literary traditions of Chu; the embodied paradigm of the ruler-minister relationship; and the gradual formation of the ideal of authorship through the transformation of poetic hero into heroic poet.

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Müller, Juliane. "Planets in Alchemy." Journal of Arabic and Islamic Studies 22 (March 1, 2022): 1–30. http://dx.doi.org/10.5617/jais.9570.

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The Arabic alchemical poetry collection Shudhūr al-dhahab (“The Splinters of Gold”) by Ibn Arfaʿ Raʾs (fl. 12th and/or 13th c.) has engendered a remarkably rich commentary tradition, both in separate works and in manuscript glosses, written and copied from the 12th/13th to the 20th centuries. Of particular interest to the commentators was the first poem of the collection. It was known as al-Kawkabiyya (“The Planetary Poem”) since the seven classical planets are the principal agents in its two opening verses. After providing a survey of all known commentaries on Shudhūr al-dhahab and of the poetry collection’s manuscripts with glosses on the “planetary” verses, this article analyses their explanations, particularly with regard to the interrelations of astrological and alchemical imagery. It also includes an edition of an alchemical poem of unclear authorship, which was probably composed as an imitation of the first poem of Shudhūr al-dhahab by emulating its references to the planets. Keywords: Arabic alchemy – Arabic astrology – Arabic manuscripts – commentaries – glosses – alchemical poetry

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Kotásek, Miroslav. "Terre I. Bl.: Ivan Blatný a (re)konstrukce jeho místa v české kultuře." Slavica Wratislaviensia 173 (October 7, 2020): 371–82. http://dx.doi.org/10.19195/0137-1150.173.30.

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The article analyzes the relationship between the official cultural discourse, “lifeˮ and “workˮ of Ivan Blatný in his British exile. While pointing at several forms of the said relationship the specifics of Blatnýʼs writing in exile are being disclosed, especially concerning the role of memory, body, and autobiography. The article sees the key strategy of writing in Blatnýʼs treatment of proper names. It especially concentrates on the signature “I. Bl.ˮ, which points at its own ambivalence, in a way questioning the institution of authorship. Through his writing, Ivan Blatný is leaving the predominantly hermeneutic sphere of meaning and sense (aesthetics and art) and in a surrealistic gesture uses poetry writing as an existential act, embodying the material, bodily, visceral aspects of “lifeˮ. The analysis is grounded in a brief outline of the differences between poetry and prose “memoryˮ witing.

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Williamson, Thea. "Authoring Selves in School: Adolescent Writing Identity." Literacy Research: Theory, Method, and Practice 68, no. 1 (August 22, 2019): 250–70. http://dx.doi.org/10.1177/2381336919870291.

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This embedded case study investigates the nature of authorship in a secondary English Language Arts classroom by examining two adolescents’ writing identities and experiences writing across genres. Using rhetorical genre theory, the study illustrates how composition and notions of authorship in this context were strongly informed by conversations—both with peers and the teacher. An additional finding was that students wrote themselves into different genre identities as they composed poetry, editorials, and memoirs, drawing on different authorial stances and sources of knowledge. Finally, this analysis documents robust learning about the nature of writing, including transferring rhetorical strategies across contexts and purposes, skills often called for in education policy as well as career and college writing, not documented in secondary schools. Implications for teaching include valuing relationship-building conversations, offering students multiple genre positions across secondary writing experiences, and considering ways to build upon writers’ self-described and socially constructed identities as successful writers.

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Stuart-Thompson, Andrzej. "Ethically inclined models of authorship and lyric subjectivity in the poetry of Adília Lopes." Elyra, no. 14 (2019): 19–47. http://dx.doi.org/10.21747/21828954/ely14a1.

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