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Sipkina, Nina Ya. "Cycle of Poems “Aleshkin’s Thoughts” by R.I. Rozhdestvensky: Development of the Traditions of the Genres of Children’s Folklore." Proceedings of Southern Federal University. Philology 25, no. 3 (September 30, 2021): 131–43. http://dx.doi.org/10.18522/1995-0640-2021-3-131-143.
Повний текст джерелаАнотація:
In the third decade of the twenty-first century, the bundle of poetic energy left by talented poets as a legacy to the generation of Russian people who stepped into the world of high technologies does not allow them to sleep peacefully. This is evidenced by the endless stream of films and programs about people who managed to melt the block of totalitarianism. We are talking about the poets of the sixties, including R. I. Rozhdestvensky. His work for more than sixty years excites the reader: lyrics (landscape, love, philosophical, civil, confessional) and poems (“Requiem”, “Dedication”, “Before you Come”, “Waiting”, etc.). This article analyzes the cycle of poems “Aleshkin’s Thoughts” by R. I. Rozhdestvensky, which reflects the artistic world of childhood and has autobiographical features. The poet’s childhood associations were embedded in the poems-monologues of the three-yearold lyric character. The influence of children’s folklore on the structure and content of the cycle is traced. The development of genres of children’s folklore (fairy tales, jokes, nursery rhymes, tall tales, shifters, parodies, witticisms, horror stories, teasers, mimicry, mockingbirds, jokes, excuses, etc.) in the poems “Aleshkin’s thoughts” is revealed. It is noted that the continuation of the development of genres of children’s folklore in the work helped to reflect the serious-laughing perception of the author of the cycle on the life events of the baby.
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Kürtösi, Katalin. "Poets of Bifurcated Tongues, or on the Plurilingualism of Canadian-Hungarian Poets." TTR : traduction, terminologie, rédaction 6, no. 2 (March 16, 2007): 103–30. http://dx.doi.org/10.7202/037153ar.
Повний текст джерелаАнотація:
Abstract Poets of Bifurcated Tongues, or on the plurilingualism of Canadian-Hungarian Poets — This article aims at an analysis of the plurilingualism of four poets of Hungarian origin, living in Canada: Robert Zend, George Vitéz, László Kemenes Géfin and Endre Farkas. Before examining the poems themselves, the various concepts of plurilingualism and the aspects of grouping these poems, including the code-switching strategies used in them, are reviewed. The base language and the nature of code-switching is discussed with a special emphasis on the relationship of grammatical units, intra- and intersentential switches within contexts where plurilingualism occurs. The first three poets have become bilinguals as adults: they form part of Hungarian literature as well as of Canadian writing. The last one, however, has a childhood bilingualism and is considered an English-Canadian Poet. Since they have a twofold minority status (Hungarian origins, plus writing in English in Montréal), analysis of these poets requires a special approach. The main hypothesis of the article is that, when using more than one language within the same work, the author is able to reach special effects which would be otherwise impossible. These poems, plurilingual in nature, also show that, for these authors, language is of multiple use: not only is language a tool of communication, but also the theme of some of their poems: they are often self-reflexive, making formal and semantic experimentation possible.
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Anjum, Tasneem. "Reminiscences of Childhood for Confessional Poets." International Journal of English Literature and Social Sciences 4, no. 6 (2019): 1819–21. http://dx.doi.org/10.22161/ijels.46.30.
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Verina, Ulyana. "The joy of recognition, a sense of difference: about the book of poems by poets of bulgaria for children translated by m. Yasnov." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 474–84. http://dx.doi.org/10.31860/2304-5817-2020-2-18-474-484.
Повний текст джерелаАнотація:
The book “A Box with Fairy Tales” includes poems by contemporary Bulgarian poets for children. It presents poets of different generations, each with their own special creative approach. Translations made by M. Yasnov embodied the idea of both unity and diversity at the same time. They bring the world of Bulgarian poetry closer to the Russian-speaking reader but maintain enough of a distance to allow the child to experience difference in message and style. The composition of the book is constructed in accordance with this idea: the poems are grouped into two parts and they follow the theme rather than a particular author. Information about the Bulgarian poets is given at the end in a form of small biographical vignettes. The themes in the book cover the timeline from early childhood to the threshold of adulthood. The book celebrates the creative legacy of the Bulgarian authors such as Z. Vasileva, V. Samuilov, M. Dalgacheva, P. Kokudeva, and I. Tsanev. Yasnov’s translations reveal a rich variety of poetic forms and language play in the original such as syntax and graphics, phonics, vocabulary that stand out on all levels of the poetic text. A particular tribute is payed to the author of the biographical articles on Bulgarian poets, Dr. G. Petkova, Sofia University of “St. Kliment Ohridsky” as well as to the artist O. Yavich for their contribution to this book.
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Mahdavi, Batul, and Hedye Kasiri. "Investigating the Manifestations of Nostalgia in the Poems of Amiri Firuzkuhi." International Journal of Multicultural and Multireligious Understanding 7, no. 11 (December 16, 2020): 411. http://dx.doi.org/10.18415/ijmmu.v7i11.2276.
Повний текст джерелаАнотація:
A wistful desire to return in thought or in fact to a former time in one's life is called nostalgia. It has been one of the issues raised in psychology and later was considered in literature. It turned to the source and theme of many literary works. Amiri Firuzkoohi is one of the poets who used nostalgia in his poems. This paper aims at studying the examples of nostalgia in Amiri's poems. The results show that the examples reflect a wistful desire to return to happy days of youth and childhood.
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Conrad, Rachel. "“We Are Masters at Childhood”: Time and Agency in Poetry by, for, and about Children." Jeunesse: Young People, Texts, Cultures 5, no. 2 (December 2013): 124–50. http://dx.doi.org/10.3138/jeunesse.5.2.124.
Повний текст джерелаАнотація:
This essay considers a selection of poetry by, for, and about children in order to explore representations of time and agency. Reading poems across contexts of writers’ age-related social positions and audiences can illuminate poets’ strategies for representing children’s agency in and over time, since representations of time are infused with adult-child power relations. Only poems written by young people conveyed a conception of temporal agency that encompassed characters’ experiences of time as children. The essay concludes by proposing a notion of children’s temporal standpoints that incorporates agency at the levels of action and social role.
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Kamaladdini, Seied Mohammad Bagher. "Abai and Firdowsi." International Letters of Social and Humanistic Sciences 51 (May 2015): 147–51. http://dx.doi.org/10.18052/www.scipress.com/ilshs.51.147.
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Abay Qunanbaev (Qunanbaiuli) was the founder and architect of Kazakh written literature. Since his childhood, he studied religious science and got acquainted with eastern literature, particularly Iranian classic literature and Persian poetry and poets such as Ferdowsi, Hafiz, Sa’adi, Molavi, Nezami and etc.Abay read epic poetry and odes from the great eastern poets on their original texts or Jugatay (old language of central Asia) translations and first raised prosody derived from Persian poetry in Kazakh poetry and this way many Persian vocabulary entered Kazakh language.Using a bibliographic method, the author in current research studies this Kazakh poet’s works from valid and reliable resources. Regarding the special attention paid by this poet to the existing concepts in Persian poetry, particularly those of Ferdowsi, we have attempted to express some of their similarities.
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Yakimenko, Oxana. "The totems and taboos in the hungarian children’s poetry: yesterday and today." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 326–40. http://dx.doi.org/10.31860/2304-5817-2020-2-18-326-340.
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The article describes most notable trends in contemporary children’s poetry in Hungary. Developing in line with European and world trends, Hungarian children’s poetry is an integral part of national literature, which, in turn, has influenced the topics poets have been choosing and/or avoiding. In the early 20th century, the way children’s poetry was perceived in Hungary changed dramatically due to the developments in the society and literature; poetry for (and about) children had gradually evolved into an independent genre. With childhood experience “growing in value”, perception of a child as an independent person, and not as a “underaged adult”, had an effect on the increase in the numbers of texts where authors shared their own childhood experiences, and on the emergence of a whole new body of children’s literature. Sándor Weöres’s poems became a watershed for Hungarian children’s poetry. New principles he proposed formed the basis for poetic texts that have been created over the past seventy years. Following the precepts of Weöres and other authors of his generation, modern Hungarian poets combine rhythmic and phonetic richness of their native language with topics relevant to modern children, and expand the genre of children’s poetry, enriching the national and European children’s poetic canon.
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Haft, Adele J. "The Poet As Map-Maker: The Cartographic Inspiration and Influence of Elizabeth Bishop’s “The Map”." Cartographic Perspectives, no. 38 (March 1, 2001): 37–65. http://dx.doi.org/10.14714/cp38.794.
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New Year’s Eve of 1934 found Elizabeth Bishop recuperating from the flu. Out of her isolation, the recently orphaned 23-year-old created “The Map.” Inspired by a map’s depiction of the North Atlantic, Bishop’s exquisite poem alludes in part to the “seashore towns” and coastal waters of her childhood home, Nova Scotia. A seminal twentieth-century poem about maps, Bishop’s “The Map” has inspired a host of other mappoems since it opened her Pulitzer prize-winning collection, Poems: North & South—A Cold Spring, in 1955. My paper, the third in a series advocating the use of poetry in the teaching of geography, will attempt to elucidate Bishop’s masterpiece and introduce the map that, I believe, inspired her poem. The paper also will present two works influenced by “The Map”: Howard Nemerov’s “The Map-Maker on His Art” (1957) and Mark Strand’s “The Map” (1960). Linking these three acclaimed American poets even further is their recognition of an intimate and explicit connection between poets and cartographers.
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A, Suthakar, and Sethu Kalpana S. "Meera the Poet and Dravidian Ideology." International Research Journal of Tamil 4, S-5 (August 25, 2022): 178–83. http://dx.doi.org/10.34256/irjt22s527.
Повний текст джерелаАнотація:
Poet Meera is an eloquent and conceptual interpreter, who uses simple words to polish profound ideas into her poetic wit. Poet Meera is a poetess who added beauty to Mother Tamil. Ever since her childhood, she had an insatiable love for poetry and poets, and to that extent the Dravidian Kazhagam worshipped the rationalists of the Dravidian movement like Periyar, Anna and Kalaignar. She was born to restore human society like a Sivagangai Seeman. This article explains the human feelings, progressive thoughts, the words she wanted to say emphatically and deeply, poems and essays by aligning them with Dravidian principles.
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Gavrilenko, V. D. "The motif of returning home in the lyric poetry of Nikolay Rubtsov and Leonid Zavalnyuk." Vestnik of North-Eastern Federal University 20, no. 4 (January 1, 2024): 64–75. http://dx.doi.org/10.25587/2222-5404-2023-20-4-64-75.
Повний текст джерелаАнотація:
The article is devoted to the study of the motif of returning to one’s homeland in the poetry of Nikolay Rubtsov and Leonid Zavalnyuk. The biographical research method makes it possible to identify the reasons that make the motif of returning to one’s homeland one of the key motifs in the poetry of Rubtsov and Zavalnyuk. The childhood of the poets, the early lost of mothers, the war years, both being orphans with living fathers, and being forced to leave their homes for many years. A comparative typological analysis allows us to identify the commonality in the revelation of this motif: the return to the homeland as a return to the idyllic world of lost childhood. Moreover, in the poems of both poets the image of their small homeland is presented in two time dimensions: past and present. Using the technique of contrast, the authors show the radical changes in the native space, the inability to accept the changes that have occurred. A comparison of the motif of returning to home reveals not only the similarities, but also the differences in the worldview of the two poets. Turning to the image of a small homeland, Rubtsov continues Yesenin’s traditions, his attention is directed to the Russian village, rural nature, the motif of the death of the traditional way of life. For Zavalnyuk, the motif of returning to his homeland takes on a new meaning: returning to his true self, restoring his own integrity, accepting himself. The analysis of poetic texts is based on the works of A. N. Veselovsky, B. M. Gasparov, M. L. Gasparov, N. D. Tamarchenko, V. I. Tyupa. The results of the study can be applied when studying the history of Russian literature and literary local history at universities and schools.
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Sozina, Elena K. "The Urals Localities in the Poetry of Ekaterina Simonova." Historical Geography Journal 1, no. 3 (2022): 60–69. http://dx.doi.org/10.58529/2782-6511-2022-1-3-60-69.
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In the Urals’ modern poetry, Ekaterina Simonova is one of the most powerful and interesting poets with a distinctly own voice. The article deals with Simonova’s poetic geography, limited to the Ural region. Simonova came out of the so called «Nizhny Tagil poetry school», Yevgeny Turenko was her and other Tagil poets’ teacher. Since 2013, she has been living in Ekaterinburg, but Nizhny Tagil retains its central importance in her poetry as a city of childhood and youth, a city of poetic origins, a place of memory, and empirically, a city where her parents live and where she visits regularly, so in poetry it also acts as a city-road. Simonova’s poems are close to docu-poetry and resemble oral narratives that naturally gather into free verse. She writes plot poems about space and place, in which a special story is attached to each locus, taken from life, not necessarily personal, often from the life of her family. As a commentary and addition to Simonova’s poems, the article cites her posts from the social network – akin to diary entries, among them the story of «grandmother Matrena» stands out, who once lived in the village of Visimo-Utkinsky, founded by Akinfiy Demidov. The small history of the family is closely connected in this narrative with the big history of the country, in which, of course, Ekaterina Simonova herself is involved.
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Mann, Susan. "Presidential Address: Myths of Asian Womanhood." Journal of Asian Studies 59, no. 4 (November 2000): 835–62. http://dx.doi.org/10.2307/2659214.
Повний текст джерелаАнотація:
Salman rushdie calls mythology “the family album or storehouse of a culture's childhood, containing [its] … future, codified as tales that are both poems and oracles” (1999, 83). Myths are, in his words, “the waking dreams our societies permit” that celebrate “the non-belongers, the different ones, the outlaws, the freaks” (73). Of course, all societies have such waking dreams, but women as mythic figures loom rather larger in some cultures than in others. Chinese poets, painters, sculptors, librettists, essayists, commentators, philosophers, storytellers, puppeteers, illustrators, and historians made a veritable industry of myths of womanhood—an industry that, I shall argue today, far outstrips any of its counterparts elsewhere in Asia.
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Magryś, Roman. "Kilka uwag o liryce Stanisława Dłuskiego." Dydaktyka Polonistyczna 16, no. 7 (2021): 50–64. http://dx.doi.org/10.15584/dyd.pol.16.2021.4.
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Stanisław Dłuski is one of the outstanding contemporary poets connected with the Podkarpackie Region. In the course of nearly two decades, his work has evolved immensely. At first, the artist expressed his bond with the culture and tradition of villages near Rzeszów, in a way that was characteristic to him. Later, affected by traumatic existential experiences, he explored the problem of his own alienation from the values and heritage of the world associated with his childhood and youth. His poetry gained a sombre and destructive quality; it entered a more complex phase of searching for God and the meaning of life. His work, however, is not one-dimensional, but presents many perspectives that fall within the abundant horizon of the poet’s experience.
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Tata, Delphine Esi, and Divine Che Neba. "Dynamics of Symbols in Romantic and Neo-Romantic Poets: A Study of Some Selected Poems of William Blake, William Wordsworth, Ted Hughes and Seamus Heaney." Studies in English Language Teaching 11, no. 3 (September 3, 2023): p73. http://dx.doi.org/10.22158/selt.v11n3p73.
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In literary discourse, symbolism is the use of objects to signify ideas and qualities. Consequently, symbols take varied forms to convey these ideas, concepts or emotions, explicitly, and implicitly, relying on shared cultures or conventions. On this note, this paper underscores that there is a shift in the dynamics of symbols from the romantic epoch to the postmodern period with each era portraying nature and childhood symbols in a manner that is satisfactory to humanity across ages. The paper also shows that though the Romantics (William Blake and William Wordsworth) and Neo-romantics, (Ted Hughes and Seamus Heaney) share similar concerns in relation to nature and childhood, these consternations are read through different prisms. In this light, they plunge into the ambiguities of the imagination and the changing consciousness, from a quiet romantic time to the traumatic epoch of the 21st century. To Blake, Wordsworth, Hughes, and Heaney, imagination, as such, remains a gift, as it enables them to sail beyond the ordinary. Against this backdrop, the romantic and postmodern theoretical paradigms become inevitable as they pave the way for a better insight into the distinct styles of these poets in the exploration of space, time, thoughts, and other constituents through vibrant symbols to transcend the ordinary for a better portrait of nature and childhood.
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Golubeva, M. V. "The model of the world in the poetry of ‘the new 2010s’: G. Medvedev, A. Trifonova, A. Kinash." Voprosy literatury, no. 6 (December 28, 2020): 112–25. http://dx.doi.org/10.31425/0042-8795-2020-6-112-125.
Повний текст джерелаАнотація:
The article considers the motif structure of the books by three young poets: G. Medvedev (A Butterfly Knife [Nozh-babochka], 2019), A. Trifonova (a yellow Ikarus bus in the distance [zhelty ikarus vdali], 2019), and A. Kinash (Fragments from a Dream Dictionary [Otryvki iz sonnika], 2019). A comparative analysis of the three books helps the author to identify typical generational traits — in poetics, themes, the motif structure, as well as ways to interpret the laws of the universe and solve semantic problems. The topic of a child’s world features in the works by Medvedev, Trifonova and Kinash alike; their childhood is shaped by playgrounds in provincial towns, active outdoor games and 1990s children’s folklore, although each of them treats these biographical and literary themes in their own way. Trifonova prefers a linear interpretation of time and space, while Kinash chooses to employ a mythological chronotope; in Medvedev’s book, time and space follow the principles of historical organization with their holistic and systematic character. Childhood appears to be the starting point for creation of the poetic system of each of the poets as well as a destination they keep returning to.
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Balatov, S. A. "Tickets for the steamboat of modernity." Voprosy literatury, no. 6 (December 28, 2020): 126–43. http://dx.doi.org/10.31425/0042-8795-2020-6-126-143.
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The article examines the poetry collections printed by Voymega publishers in their new series ‘Pyroscaphe.’ Authors of the six collections published so far are young poets who participated in the literary seminar ‘The way to literature. Continued’ held by the Moscow Writers’ Union in 2019: M. Bessonov, D. Nozdryakov, B. Peygin, K. Tarayan, E. Uliankina, and V. Fedotov. Despite their very dissimilar poetics, the study of their works enables the critic to trace certain common features that define the new generation of poets. In particular, Batalov believes that each author tells their own myth. What unites those myths are the concept of the post-Soviet childhood (with all realia typical of the 1990s), the crossing of the border between life and death, and idealization of the provinces; it is also pointed out that each of the authors eventually arrives at the myth of Hades, the kingdom of shadows, where human souls are roaming in solitude. In conclusion, Batalov proposes to poets that if they cannot overcome the inertia of mythological thinking, they should at least mitigate it by addressing reality.
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Werbanowska, Marta. "Ecojustice Poetry in The BreakBeat Poets Anthologies." Ecozon@: European Journal of Literature, Culture and Environment 13, no. 1 (April 28, 2022): 89–105. http://dx.doi.org/10.37536/ecozona.2022.13.1.4421.
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Ecological modes of thinking and an awareness of environmental (in)justice are becoming increasingly pronounced in the ethics and aesthetics of hip hop. One area in which the culture’s growing interest in ecology as practice and metaphor is particularly visible is hip hop poetry’s turn to ecojustice, or an intersectional concern with social and environmental justice, liberation, diversity, and sustainability. This article examines selected works from the first two volumes of anthologies published by Haymarket Books as part of their BreakBeat Poets series, focusing on three ecojustice-oriented poems that address animal rights, (un)natural disasters, and gentrification. Their authors–all Black women– draw from African American history and culture to illuminate the intertwined ideological, political, and economic dimensions of some of the most pressing humanitarian and environmental crises of today. Samantha Thornhill’s “Ode to a Killer Whale” takes the form of a poetic monologue by the fictional character of Kunta Kinte, revealing similarities between human and animal subjugation and inscribing animal liberation in the Black revolutionary tradition. Candace G. Wiley’s “Parcel Map for the County Assessor” re-members and re-creates a culture of place that permeated the speaker’s countryside childhood to present the larger-than-human cost of rural gentrification. Finally, Mariahadessa Ekere Tallie’s “Global Warming Blues” juxtaposes the personal and the elemental dimensions of climate change in a blues remix that advocates for ecojustice for the disenfranchised.
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Giordano, Matthew, and Angela Sorby. "Schoolroom Poets: Childhood, Performance, and the Place of American Poetry, 1865-1917." Journal of the Midwest Modern Language Association 39, no. 1 (April 1, 2006): 179. http://dx.doi.org/10.2307/20464171.
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YAMASAKI, Kayoko. "高橋睦郎の世界/The World of Mutsuo Takahashi". Asian Studies 3, № 1 (24 липня 2015): 185–99. http://dx.doi.org/10.4312/as.2015.3.1.185-199.
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要旨 本稿は、日本現代詩を代表する詩人高橋睦郎をとりあげ、初期の作品から今日に至るまでの作品について、樹木のモチーフの変化を分析する。父の早世など、過酷な幼児期は、自叙伝的な家庭史と神話を絡ませた円環形式をもつ詩集『姉の島』(1995) に結晶した。だが、2000年以降は、環境破壊、家族崩壊、テロなどの社会問題など、外の世界へと向かっていく。社会的なテーマは、日本の詩歌では歴史が浅いが、逆説的なレトリックによって、高橋睦郎は多義的で抒情的な思想詩を生み出した。東北地方太平洋沖大震災のあった2011年以降の作品は、核エネルギーの問題、情報化時代を背景とした言語の空洞化を主題として新しい展開を見せている。 AbstractThis paper presents the poetry of Mutsuo Takahashi, one of the most important contemporary Japanese poets. We particularly focus on analysing the tree motif in the poems created since the poets’ early stages to the present day. The collection of poetry Sister’s Islands (1995), inspired by the poet’s childhood, full of tragic events such as his father’s premature death and his mother’s abandonment of him, interweaves autobiographical and mythological elements in a ringlike structure. However, after the year 2000 a new creative phase in his work ensued, wherein the poet deals with the problems facing our world such as ecological issues, disintegration of the family, terrorism, etc. The poems created after the great earthquake in Tohoku in 2011 open up new topics such as the ecological catastrophe caused by nuclear energy, loss of the meaning of words in the contemporary era, when information is exchanged at a lightning speed.
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Chen, Juanyu. "The Romantic Style of P. B. Shelley s Poetry." Communications in Humanities Research 20, no. 1 (December 7, 2023): 19–24. http://dx.doi.org/10.54254/2753-7064/20/20231269.
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Shelley s poetry is rich and varied, harmonious in tone, delicate in feeling and expansive in artistic conception, which pushed the British romantic poetry to the peak. Shelley had a very high talent, received a good education since childhood, coupled with diligent thinking, and has twists and turns of life experience, so his works all reflect the pursuit of the truth of the strong philosophical mood. This article mainly focuses on two of Shelley s poems to analyze the romantic style of his poems from the image and theme. Shelley, as a political poet and lyric poet, expressed his poetic aesthetics very clearly. He endowed poets with a lofty mission, believing that they shoulder the dual mission of social revolution and artistic innovation. Of course, Shelley believes that this dual mission is realized in the poet s creative artistic imagination. Therefore, in Shelley s view, the real imaginary expression of poetry should have a spiritual inspiration and aesthetic influence. It can be said that Shelley s poetry aesthetics not only clearly reflects the characteristics of his changing era, but also illustrates his romantic aesthetic stance. Shelley s aesthetic thoughts of poetry are enlightening for people to better appreciate and understand his poems.
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Vermeulen, Karolien. "Home in Biblical and Antwerp City Poems – A Journey." arcadia 52, no. 1 (May 24, 2017): 161–82. http://dx.doi.org/10.1515/arcadia-2017-0009.
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AbstractSince 2003, the city of Antwerp has a poet laureate. Following the classical and Renaissance models, the Antwerp poet laureate writes, performs, and materializes poems for the city. Also in the Hebrew Bible, texts occur that qualify as city poems avant-la-lettre, even though the writers remain anonymous and the texts are part of a larger corpus with a different purpose. This article reads three Antwerp city poems alongside with biblical Psalm 137, in search for the poems’ constructions of cities as homes. The selected texts each introduce the city (i. e., Antwerp for the Antwerp city poems; Jerusalem and Babylon for the psalm) and its possible identification with a home place in ways that are conceptually and stylistically similar. The poems only differ in their final portrayals of the home, themselves connected to the different context of each poem. Throughout the texts the poets explore and question the spatial categories of ‘city’ and ‘home.’ The analysis reveals that being at home both in biblical and Antwerp city poems is connected to childhood, which allows redefining the urban space. The poems conceive cities as a mobile category that is internalized if being defined as home space. Stylistic interventions, in particular the use of inclusios and contrast, help creating and establishing the city-as-home-space in the selected city poems. The juxtaposition of old and new city poems sharing the same topic offers new insights into the textual construal of cities as homes, a process that proves to be similar for the three Antwerp city poems and the biblical psalm.
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Schmidt, Gary D. "Schoolroom Poets: Childhood, Performance, and the Place of American Poetry, 1865-1917 (review)." Lion and the Unicorn 30, no. 3 (2006): 410–13. http://dx.doi.org/10.1353/uni.2006.0037.
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Thomas, Joseph T. "Schoolroom Poets: Childhood, Performance, and the Place of American Poetry, 1865-1917 (review)." Children's Literature Association Quarterly 30, no. 4 (2005): 443–47. http://dx.doi.org/10.1353/chq.2006.0020.
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Lepri, Chiara. "Gioco del calcio, «poesia dei campi verdi» e infanzia. Testi e autori Chiara Lepri." Studi sulla Formazione/Open Journal of Education 26, no. 1 (July 18, 2023): 55–67. http://dx.doi.org/10.36253/ssf-14597.
Повний текст джерелаАнотація:
The paper aims to investigate the presence of the representation of the sport of football in Italian poetry and the themes and motifs through which it recurs. In particular, through the literary evidence of poets such as Saba, Sereni, Giudici, Caproni, Pasolini, Spaziani, Porta, Raboni and others, a very suggestive path along which literature and football meet is highlighted: the two human activities originate from a certain amount of creativity; both allude to a human and historical dimension; both, finally, are connected to aesthetic pleasure and the dimension of play. Finally, we can see a triadic circularity between football, play and childhood, well expressed by poets such as Alfonso Gatto and Gianni Rodari. The path traced, which intercepts the feeling of the youngest on a terrain of consonances, but also of experiences and passions, can allow our youngsters to develop a renewed pleasure and enthusiasm in their relationship with the poetic text.
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McGowan, Margaret M. "MARGUERITE DE VALOIS, REINE DE NAVARRE (1553–1615): PATRONESS AND PERFORMER." Early Music History 34 (September 23, 2015): 191–206. http://dx.doi.org/10.1017/s0261127915000042.
Повний текст джерелаАнотація:
AbstractThis essay studies the role played by Marguerite de Valois in the cultural life of the French court from early childhood until her death in 1615. Trained to perform in public, Marguerite acquired languages and diplomatic skills, and cultivated music and dancing in particular. Her passion for dancing and the energy and mastery she displayed in performance is traced through the testimony of contemporary records (French, Italian and English), through her own recollections, and through a discussion of her patronage of musicians, poets and dancers.
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Χατζηκυριακίδου, Μαρία. "ΜΑΡΙΑ ΧΑΤΖΗΚΥΡΙΑΚΙΔΟΥ, Η Ιταλία του Νίκου Εγγονόπουλου". Σύγκριση 31 (28 грудня 2022): 42–50. http://dx.doi.org/10.12681/comparison.30442.
Повний текст джерелаАнотація:
The Italy of Nikos Eggonopoulos The presence of the Italian culture is reflected in all kinds of art with which the diverse representative of Greek surrealism Nikos Eggonopoulos dealt. «Although, […], the French fed my childhood dreams with Italy and Spain, I [only] loved Italy, and then got to know it in person» he wrote to his later wife, underlining the theoretical and experiential stimuli he received from the other side of the Adriatic coast. From the brush to the pen and vice versa, through reflections and patterns, the Italian landscape, the visual arts, the historical and literary reality and, of course, the monuments of Italy «rest his soul» and exert, as he states, a «deep and invincible» charm for him. But beyond the observations and critical thoughts about Italy as a historical and cultural entity, the Italian culture is part of the artistic ecosystem created by Eggonopoulos. He combines, seemingly incongruously, the painters and poets of Italy by placing them next to ordinary people or Greek deities while, conversely, Greek poets are depicted in his paintings with Venetian masks and renaissance attire or are described in his poems wandering in the streets of Venice. In this way he achieves multiple connections between the arts and the spaces, creating mixed forms and approaches that seem to have a common denominator: the answer to the question that concerns the origins of the Greek identity. Although in his time such a thing was treated as heretical, for Eggonopoulos these effects not only do not alter but, on the contrary, renew the cultural creation, enhancing the uniqueness, the dynamics and the universality of Greek culture.
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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit Renaissance." Journal on Asian Linguistic Anthropology 3, no. 2 (April 1, 2021): 1–18. http://dx.doi.org/10.47298/jala.v3-i2-a1.
Повний текст джерелаАнотація:
A puzzle in Sanskrit’s sociolinguistic history is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) viewed the ‘Sanskrit Renaissance’ as a brahmins’ attempt to combat these invaders. Ostler (2005) attributed Sanskrit victory to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The early-CE public appearance of Sanskrit as a sudden event hypothesis is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests ... that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis,” ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial is his claim that kāvya literature was foundational to this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic, as he ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most importantly, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit Renaissance." Journal on Asian Linguistic Anthropology 1, no. 2 (April 1, 2019): 10–17. http://dx.doi.org/10.47298/jala.v1-i2-a2.
Повний текст джерелаАнотація:
A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis,” ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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Himanshu Kumar. "Nature and Childhood in Ruskin Bond’s Short Stories." Creative Saplings 2, no. 08 (November 25, 2023): 10–21. http://dx.doi.org/10.56062/gtrs.2023.2.08.445.
Повний текст джерелаАнотація:
Ruskin Bond, an eminent Indian author, is lauded for his ability to exquisitely capture the spirit of nature and the naivety of childhood in his literary creations. His short stories portray the deep influence of nature on the lives and experiences of his child protagonists. Romantic poets such as William Wordsworth and William Blake envisaged an intimate connection between nature and childhood. Wordsworth portrays nature as a comforting retreat offering relief and revitalisation where childhood innocence is idealised. On the other hand, Blake juxtaposes childhood innocence with the grim realities of life, often using nature as a symbol for these opposing states. Bond's stories delve into the importance of nature by highlighting how various aspects of the world serve as a setting for his characters’ escapades. They explore how the distinct flora and fauna found in the Himalayan region play a significant role in shaping the characters’ perceptions and choices throughout their journeys. In addition, they focus on Bond’s portrayal of childhood, emphasising traits such as callowness, fortitude, and inquisitiveness exhibited by his characters. This paper examines how the young characters in Bond’s stories manoeuvre through the challenges of a fast-changing world and find comfort and knowledge through their interactions with nature. His storytelling not only encases the innocent and delightful aspects of childhood but also delivers a powerful message about the environment. It encourages readers to value, protect, and peacefully coexist with nature.
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Bayram, A., and A. Koç. "THE ANALYSIS OF THE MIRROR PRAYER POEM IN HÜSEYIN AKKAYA'S BOOK POEMS PASSING THROUGH THE MIRROR." DULATY UNIVERSITY BULLETIN 4, no. 12 (December 30, 2023): 31–38. http://dx.doi.org/10.55956/mjow8091.
Повний текст джерелаАнотація:
Hüseyin Akkaya, born in Sivas in 1955, worked as a professor at Cumhuriyet University since 2004 and retired. In addition to being an academic, his interest in poetry has never ended due to his childhood curiosity. After his first poem, Beli Gül, he wrote his poems with the theme of "mirror". “When I started writing poems centered on the mirror nine years ago, I did not expect that there would be so many of them."I think my poem, "Living in Mirrors", which I first wrote in 2012, must have been born from a fertile source because it paved the way for other mirror poems." He describes his arrival in this way. "Mirror", which has an important place as a symbol in poetry, has been used by many poets from divan literature to the present day. The "Mirror" symbol has appeared in poems both in mystical and human terms. Akkaya, on the other hand, wrote his poem called "Mirror Prayer" as a Sufi style in his book where he compiled his poems on the symbol of "mirror". Roman Ingarden and Nicolai Hartmann are two important names in the ontological analysis method, which is one of the poetry analysis methods. Ingarden stands out in dividing assets into layers, and Hartmann stands out in dividing these layers into real and irreal asset areas. Under the guidance of this information, İsmail Tunalı examined the layers of existence in his book titled Art Ontology. The poem "Mirror Prayer" mentioned in this study was analyzed ontologically according to the layers of existence in İsmail Tunalı's book titled Art Ontology.
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Tekenova, Ulyana N. "The topic of “WW2 rear” childhood in Altai literature of the second half of the 20th century (on the example of the works of Lazar’ Kokyshev, Boris Ukachin, Dibash Kainchin, etc.)." Vestnik of Kostroma State University 27, no. 3 (October 28, 2021): 210–16. http://dx.doi.org/10.34216/1998-0817-2021-27-3-210-216.
Повний текст джерелаАнотація:
The article is based on the works of Altai writers of the second half of the XX century. (Lazar’ Kokyshev, Boris Ukachin, Shatra Shatinov, Dibash Kainchin) The author made an attempt to investigate the theme of memory and the theme of wartime childhood. The work examines the spiritual values of the generation of poets and prose writers who began their career in the 1960s ‟thaw” years. The author's field of vision includes works united by the image of a wartime childhood in the distant rear, the article attempts to fit the material under study into the context of the main trends in the Altai literary process of the indicated period. Attention is paid to autobiography and retrospective point of view, motifs of life and death, hunger and cold. In the works of some writers, a combination of artistic and journalistic principles is noted, the illumination of harsh reality through the eyes of adolescents.
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Woolf, Judith. "Intertextuality, Christianity and Death: Major Themes in the Poetry of Stevie Smith." Humanities 8, no. 4 (November 1, 2019): 174. http://dx.doi.org/10.3390/h8040174.
Повний текст джерелаАнотація:
Stevie Smith, one of the most productive of twentieth-century poets, is too often remembered simply as the coiner of the four-word punch line of a single short poem. This paper argues that her claim to be seen as a great writer depends on the major themes which—in addition to “death by water”—she shares with T.S. Eliot: Anglicanism and the modern reworking of classical literature, with a strong, and in her case sometimes autobiographical, emphasis on female protagonists. Where the female figures in Eliot’s The Waste Land are seen as parodic and diminished contemporary versions of their classical originals, Smith enters and reimagines her classical sources, testing the strength of the narrative material which binds Phèdre, Antigone, Persephone and Helen of Troy to their fates. In contrast to Eliot’s adult conversion to Anglo-Catholicism, Smith became a convert to agnosticism, engaging in a passionate poetic argument with the faith of her childhood, which led her to challenge Eliot himself. She brings both of these themes together in the most personal of her poems, which celebrate, and ultimately invoke, Thanatos, “the only god/Who comes as a servant”, and who puts a merciful end to all stories by “scattering... the human pattern altogether”.
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Pazdziora, John Patrick. "Tell it slant: Talking with Jane Yolen about poetry." Book 2.0 13, no. 2 (December 1, 2023): 209–26. http://dx.doi.org/10.1386/btwo_00094_7.
Повний текст джерелаАнотація:
Among her more than 400 books, Jane Yolen (b. 1939) has written or edited around 50 collections of poetry. In this new interview, Yolen discusses how her poetry developed throughout her writing life. We talk about her early desire in childhood to write poetry and about poets whose work she has admired. Yolen talks about her process in writing works such as the verse novel Finding Baba Yaga (2018) or the agonizing Radiation Sonnets (2003) and explains the difference between writing poetry for children and grown-ups, using her How Do Dinosaurs…? (2000–ongoing) series and Yuck, You Suck! Poems about Animals that Sip, Slurp, Suck (2022) as examples. She gives advice to teachers and suggestions to the poetically perplexed, as well as telling stories about encountering W. B. Yeats and reciting poetry to a wombat. Yolen’s poetic oeuvre is by turns whimsical and heart-wrenching, lyrical and conversational. She writes with a demotic lyricism that balances the formal requirements of prosody against the musicality of everyday speech. Her poetry begins from keen observation of everyday life and translates it into the mythic and the elemental, her words creating images that haunt the readers’ imaginations. What emerges is a glimpse of poetic truth—or, perhaps, the glimpse of the way to catch a glimpse.
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Bennetts, Christine. "Fanning the Aesthetic Flame: Learning for Life." Gifted Education International 15, no. 3 (May 2001): 252–61. http://dx.doi.org/10.1177/026142940101500304.
Повний текст джерелаАнотація:
Selected findings are presented from a doctoral study (Bennetts 1998) into traditional mentor relationships in the lives of 35 creative people, including painters, poets, writers, sculptors, dancers and actors. The study used a hermeneutic (interpretive) approach which demands that meanings are constructed through negotiation with participants, and accepts that these meanings are themselves processual, shifting and developing through reflection long after the inquiry ends. Mentor alliances from childhood to adulthood and across personal and professional development were examined. The role of the mentor is described within in the nebulous concept of ‘career’ in the creative arts, and summaries are provided of effective mentoring at each stage of life. Findings show that the mentoring process remains the same at whatever age mentoring occurs; that mentors can help latent creativity to flourish at any age; and that those who have experienced mentor relationships go on to be mentors themselves.
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Abubakirova, Gulaim, Aizhamal Kaipbayeva, Gulzhanat Zhursinalina, and Altyn Toleuova. "Linguocultural and conceptual features in poetic works." Scientific Herald of Uzhhorod University Series Physics, no. 55 (January 26, 2024): 870–80. http://dx.doi.org/10.54919/physics/55.2024.87gs0.
Повний текст джерелаАнотація:
Relevance. The relevance of the work is conditioned upon the need to study conceptual systems in national literatures from the standpoint of different approaches. Purpose. The purpose of this article is to explore and analyze modern literature, particularly Kazakh poetry, through linguistic and cultural lenses, aiming to elucidate the conceptual core and periphery of national identity while considering global influences and the integration of international concepts into the Kazakh poetic tradition. Methodology. The methodology of the article involves a comprehensive exploration of linguistic, cultural, and conceptual analysis methods applied to the study of Kazakh poetry, emphasizing the interplay between linguistic expression and cultural context, with a focus on identifying and interpreting key thematic and symbolic elements within the poetry of Zhyrau and other Kazakh poets, ultimately aiming to advance understanding of national identity and literary traditions. Results. In the article, the problems of analysing literary texts on the example of the poetry of Zhyrau and the creativity of Kazakh poets are thoroughly and voluminously comprehended, the conceptual systems of these authors with the key (basic) dominants of the steppe, Homeland, native land, home, childhood memories, natural philosophical sketches (description of the beauty of nature, the change of seasons) are represented. Conclusions. The materials used in the work may in the future become useful for continuing the in-depth study of the conceptual foundations of modern Kazakh poetry, analysing the reintegration of Eurasian concepts into a stable national system, tracking changes, opportunities for reinterpretation, developing the poetic arsenal in a semantic-linguistic and ideological way, understanding linguocultural, psycholinguistic, communicative, conceptual processes in the interdisciplinary study of Kazakh literary tradition.
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Zhuk, Alexandra D. "The Problem of Genre in the Hymns by the Lake Poets and Thomas Moore." Imagologiya i komparativistika, no. 15 (2021): 7–30. http://dx.doi.org/10.17223/24099554/15/1.
Повний текст джерелаАнотація:
Though there are many seminal works on early Romanticism and Thomas Moore’s poetry, their hymns remain understudied. This article focuses on the genre problem in the hymns by the Lake Poets (S.T. Coleridge, W. Wordsworth, R. Southey) and Thomas Moore, whose poetry is studied in context of English Literature and German Romanticism. The characteristics of the hymn are emotionality, associative composition, abundance of repetitions and parallelisms, archaic grammatical forms of verbs and pronouns, and the use of verb contractions. The combination of genres in hymns results in such variants as the odic hymn, the idyllic and elegiac hymn, the mythological hymn, and even the satirical hymn, with each of them evolving in its own way in the period under study. The odic hymn is represented in “Hymn before Sun-rise, in the Vale of Chamouni” (1802) by S.T. Coleridge and “Hymn. For the Boatmen, as They Approach the Rapids under the Castle of Heidelberg” (1820/1822) and “To the Laborer’s Noon-Day Hymn” (1834/1835) by W. Wordsworth. These poems have such odic features as comparisons and conditional and cause-and-effect syntactic constructions. Coleridge’s hymn going back to the psalms of praise was influenced by German Romanticism, while Wordsworth’s hymns feature religious vocabulary and quotations from the Mass. The mythological hymn comes in two versions – one with idyllic features (“Hymn to the Earth” (1799, publ.1834) by S.T. Coleridge) and the mythological hymn-fragment (“Fragment of a mythological hymn to Love” (1812) by T. Moore). The fist is the translation of Stolberg’s hymn, from which the leitmotif of the Earth as the mother and the nanny of the World is borrowed. The image of the Earth has anthropomorphic features, with the marriage of the Earth and Heaven going back to W. Blake. The myth created by T. Moore is more complex. The creation of the world begins with the marriage of Love and Psyche. Love appears as the masculine principle of the Universe, while Psyche as the feminine one. The plot goes back to the ancient myths of the world creation from the Chaos and marriage of Eros and Psyche. However, T. Moore changed the myth and transformed the heroes into a source of life. “Hymn to the Penates” (1796) by R. Southey combines the idyllic, elegiac, publicistic and hymn features proper. The idyllic features are related to the image of the Penates that turn into a force controlling human lives and the souls of the dead. The childhood memories give rise to the elegiac features. The publicistic features appear in the verses of the people who do not worship the Penates. The composition, repetitions and parallelisms in the satirical “A Hymn of Welcome after the Recess” (1813) by T. Moore go back to the hymn genre; however the main stylistic devices used are irony and metonymy. Summing up, the genre of hymn in the works by the Lake Poets and Thomas Moore undergoes significant transformations, which will be further developed in late Romanism.
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Boev, Hristo. "The sea in the works of Sylvia Plath and Petya Dubarova: A comparison." Studies in Linguistics, Culture, and FLT 10, no. 3 (December 12, 2022): 7–29. http://dx.doi.org/10.46687/aekz8148.
Повний текст джерелаАнотація:
This article compares the portrayals of the sea in Sylvia Plath’s and Petya Dubarova’s works. Both authors wrote their major poetry and prose during the Cold War, the former in the 1950s, early 1960s, the latter in the 1970s, on both sides of the Atlantic, respectively. They also belonged to opposing political and military camps – the USA and NATO on one side, and the Comecon on the other of which Bulgaria was a member state. The sea as a heterotopic place and space bordering on the human ones in their case will be shown to be a frequently personified natural element that is benevolent to the narrator and that allows a getaway into a phantasmatic world composed of dreamscapes marked by fictional transformations of the body typically contained in the areas around Boston, USA and Burgas, Bulgaria. Strongly present in their childhood, the sea also served as a vital force of the imagination which helped sustain both poets in their adolescence years and whose waning power in terms of its receding literary presence eventually signaled their approaching untimely demise.
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Zorilova, Larisa S., and Ol’ga E. Shilova. "M. V. Yudina as a representative of the Silver Age in the cultural space of the USSR." Vestnik of Saint Petersburg State University of Culture, no. 3 (56) (2023): 36–42. http://dx.doi.org/10.30725/2619-0303-2023-3-36-42.
Повний текст джерелаАнотація:
The article is dedicated to the legendary pianist Maria Veniaminovna Yudina (1899–1970). Interest in her work does not fade away. And today, many musicians and researchers again turn to her personality, creativity, analyze her unique performing skills, and study her pedagogical activity. Nevertheless, despite this interest and rather extensive literature, the problem of the spiritual world of M. V. Yudina, who was formed from early childhood under the influence of the family, the atmosphere of the Silver Age, and also thanks to communication with friends, including philosophers, writers, poets, such as M. M. Bakhtin, A. F. Losev, P. A. Florensky, Z. N. Gippius, D. S. Merezhkovsky, B. L. Pasternak, A. Bely, K. D. Balmont, Vyach. Ivanov and many others. The authors pay special attention to the spiritual and moral values (kindness, love for people, mercy, mutual assistance), which M.V. Yudina always followed. It was difficult for the outstanding pianist to maintain her Christian beliefs and values in this atmosphere and follow them daily until 1970. As a result, her whole life became a real spiritual, aesthetic and social feat.
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Zhakibayeva, K. A. ""I would take height, perseverance, seriousness from my native land" (about the lyrics of Baydilda Aidarbek)." Bulletin of Kazakh National Women's Teacher Training University, no. 4 (December 30, 2022): 27–38. http://dx.doi.org/10.52512/2306-5079-2022-92-4-27-38.
Повний текст джерелаАнотація:
The article provides a scientific analysis of the poems of the modern poet Baydilda Aidarbek, which have not yet received full recognition in Kazakhstan, but are well known on his land, in his area and recognized by local readers. The poet's creativity is being studied for the first time in Kazakhstan. The poet was born in the Suzak district of South Kazakhstan region. He was fond of writing poetry since childhood. The author showed interest in writing poems, songs, and dramatic works from school. He is the father of six children, a faithful husband, a wise teacher, a sincere poet. Along with poetry, he devoted his life to pedagogical work. Before retiring, he taught technical drawing and painting in various schools in his native district. Giving a description of the features of the poet's work, who loved his native land from childhood and dedicated his poems to it, the author of the article reverently quotes his poetic lines about his native nature, the landscapes of his native land, the depths of the history and human destinies. The author believes that the poet's deep and soulful lyrics should find their new researchers and grateful readers.
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Brusilovskaya, Liliya B. "The image of the cat as the Other in Russian poetry: from the 19th century classics to the « thaw» of the 20th century." Verhnevolzhski Philological Bulletin 2, no. 29 (2022): 238–43. http://dx.doi.org/10.20323/2499-9679-2022-2-29-238-243.
Повний текст джерелаАнотація:
The article is devoted to the culturological comprehension of the cat as a character and image of the XIX-XX century Russian poetry. It is noted that the most famous and firmly established in the Russian mentality cats enter the reading and, accordingly, the cultural experience of Russians in their childhood when they are introduced to classical Russian literature (A.S. Pushkin, the learned cat from the introduction to the poem Ruslan and Lyudmila» and the Russian liter-ary fairy tale (K. Chukovsky). The author specifies that even in the 19th century these animals were an inseparable part of the Russian literary landscape, but they did not play an important role there, being semi-animate characters of sorts for their masters (A. Fet). It is found out that some writers of the turn of XIX-XX centuries assigned supernatural abilities to them, recognizing the mysteriousness of these creatures and our inability to understand them (I. Bunin). In this historical period, Russian poets in general did not separate the cat from the animal world, which was opposed to the human world (Sasha Chyorny). The attitude towards cats changed fundamentally during the «thaw»: the poets of the Sixties saw in their behavior a degree of inner freedom and independence which they themselves were unable to achieve on the social and cultural level, but which they desired so much. (B. Akhmadulina, A. Voznesensky). The atti-tude toward animals, cats in particular, became for many a criterion of the human personal qualities and it was a sign of certain softening of mores in Soviet society (I. Brodsky). The article suggests and studies the development of the cat's image / character from a minor character being a part of the lyrical hero's environment, through positioning the cat as part of the animal world, to humanizing its image in XX century poetry and assigning to it the qualities of human beings, interlocutors and associates, on the one hand, and interpreting the cat as a creature involved in the mysteries of the Universe, on the other hand.
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Cedeño, Hugo Romeo Cedeño, and Telly Yarita Macías Zambrano. "Analysis of Latin American literature through a mathematical lens." International journal of social sciences 4, no. 1 (May 18, 2021): 141–47. http://dx.doi.org/10.31295/ijss.v4n1.1524.
Повний текст джерелаАнотація:
Several of the most influential Latin American writers were interested in the sciences. Moreover, a handful showed an affinity to mathematics since childhood, eventually following careers as physicists, engineers, and mathematicians before turning their attention to the arts. In the end, they became novelists, essayists, and poets, who made significant contributions to their field. There is a large amount of existent traditional literature analysis research on Latin American authors. In the last sixteen years, research has shifted to include a focus on the connection between math and literature. However, this research focuses on interpreting the ideas of the universally acclaimed writer Jorge Luis Borges, studying his scientific thinking through his works, and demonstrating the writings included both basic and advanced math concepts even though he lacked a formal mathematical and scientific formation. Currently, there is a gap in the research that ignores the influential Latin American authors who were also prolific in mathematics. As a math and engineering student, I am interested in studying the work of Latin American writers with academic backgrounds in STEM fields--specifically mathematics. I intend to examine the writings of Ernesto Sabato, Guillermo Martinez, and Nicanor Parra for explicit math terminology and concepts.
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Juică, Brânduşa, Virginia Popovic, and Marinel Negru. "Banatul, temă lirică în literatura română din Voivodina." Swedish Journal of Romanian Studies 4, no. 1 (May 13, 2021): 50–63. http://dx.doi.org/10.35824/sjrs.v4i1.22414.
Повний текст джерелаАнотація:
In Romanian literature in Vojvodina, Republic of Serbia, poetry is the favourite genre of writers, especially when it comes to the second half of the twentieth century. Among the lyrical themes often explored by the authors who wrote their texts in Romanian, the theme of the homeland of yesterday and today, occupied a privileged place. Natural beauty, childhood images, loved ones, customs and traditions, educational aspects, social coexistence, the multicultural specificity have also quite often become literary topics. This article reveals some lyrical experiences in which the homeland - Banat, is in the focus of some poets, belonging to different literary generations. Their writings are modelled according to the feelings of nostalgia, alienation, wanting to return to the past through recollection or dreams. On the other hand, in addition to daydreams of their home and self-searches, we are drawn to the approaches to these topics that place Romanian literature in its own right, at the confluence of the two European literatures, Romanian and Serbian. The lyrical creations that present such characteristics are included both in author's collections of works as well as on the pages of the magazine „Lumina", the symbolic publication of Romanian culture in the former Yugoslavia and present-day Serbia.
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O'Donoghue, Bernard. "Medievalism and Writing Modern Poetry." Irish University Review 45, no. 2 (November 2015): 229–41. http://dx.doi.org/10.3366/iur.2015.0174.
Повний текст джерелаАнотація:
Bernard O'Donoghue argues that his choice of specialising in the medieval parts of an English degree may have been unconsciously dictated by the language and culture of an Irish Catholic upbringing and school education. At Umeraboy National School in North Cork he learned the writing and reading of English and Irish simultaneously, giving no particular privilege to the language spoken at home, English. A possible consequence of this was an everyday acceptance of unfamiliar vocabulary, which was reinforced by daily encounters with the Latin-derived language of prayer: words like ‘implored’, ‘intercession’, ‘advocate’, ‘clement’. When he did graduate work in Medieval English, he found that the cultural issues for writers like Chaucer and Dante and the Old English poets were the stock in trade of his childhood, and that the script used by the Anglo-Saxon scribes were the same as the cló gaelach of the National School of his time. Also, while operating in an imperfectly understood vocabulary might be expected to be a disadvantage in grasping the precise senses of words, the compulsion of ‘the half-stated’ or half understood was not out of place in poetry. So he ended up as a medievalist who tried to write poetry.
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Shelestyuk, E. V. "THE STUDY OF CONCEPTUAL COMPOSITION OF SOVIET POETRY DEVOTED TO THE GREAT PATRIOTIC WAR." Bulletin of Kemerovo State University, no. 1 (March 20, 2017): 208–16. http://dx.doi.org/10.21603/2078-8975-2017-1-208-216.
Повний текст джерелаАнотація:
The article describes the conceptual structure of the body of Soviet poetry, dedicated to the Great Patriotic War, identified by the automatic semantic analysis, cluster analysis and contextual interpretation of semantic core. We specify the central lexis (the semantic weight ≥20), the near peripheral lexis (19-6) and the far peripheral lexis (5-2) and hence the nuclear, auxiliary and peripheral concepts. We also determine the ratio of generalized or abstract concepts and concrete, basic-level concepts; the former somewhat prevail over the latter. The abstract concepts include "intellective" (war, waiting, return, death, memory, hope, glory, grand, terrible, Motherland, victory, come to life, soul, etc.) and "emotive" (grief, sadness, guilt, love, fear, fatigue, courage, duty, power, pain, conscience, etc.). The concrete concepts provide detailed profiling of the ground against which particular figures are represented, here we find the realities of the front (soldiers, trench, track, wet, drag, move, attack, run, boom, etc.), and the realities of the civilian life (yard, childhood, garden, village, hut, etc.); the realities of military and civilian life are closely intertwined. Based on R. Langacker’s tenet that the greater the attention upon the ground, the greater the objectivity of construal, we conclude on the objective representation of the wartime by the Soviet poets.
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Сурнина, Лидия Егоровна. "Forms of expression of the author’s consciousness in N. Shchukin’s children’s poetry." Tomsk state pedagogical university bulletin, no. 4(144) (July 21, 2023): 136–44. http://dx.doi.org/10.23951/1609-624x-2023-4-136-144.
Повний текст джерелаАнотація:
Литература для детей – целый пласт коми литературы, который на сегодняшний день является мало изученным. Существуют критические статьи, в которых раскрывается тематическое и образное своеобразие поэтических произведений для детей, но нет отдельных работ, в которых стихотворения коми поэтов рассматривались бы с точки зрения их субъектной организации. Научная новизна данного исследования заключается в подходе к анализу стихотворений Н. Щукина – коми детского поэта – с точки зрения их субъектной организации. На основе анализа литературного материала установлено, что в его творчестве преобладающими формами выражения авторского сознания являются лирический герой и предметно-поэтический мир. Для детской поэзии коми поэта свойственен такой лирический герой, в котором отражается и детское, и взрослое начало, но с очевидным доминированием взрослого. Лирический герой – это человек, для которого детские впечатления становятся воспоминаниями во взрослой жизни. На то, что в стихотворениях преобладает взрослое начало, указывает временной фактор: через глаголы отражается единство настоящего с прошлым. В ходе анализа установлено, что лирический герой занимает определенное, но не преобладающее положение. В детской поэзии Н. Щукина основной формой выражения авторского сознания становится предметно-поэтический мир. Особенностью стихотворений становится то, что поэт сосредотачивает внимание маленьких читателей на открытии простой и неброской красоты северной природы. Однако прием метафорического одушевления природных явлений, использование глаголов и звуковая оркестровка произведений создают образ живой природы, что дает возможность детям почувствовать, ощутить и услышать окружающий их мир. Поэтический мир как способ выражения авторского сознания в детской лирике Н. Щукина проявляется и в стихотворениях, основанных на художественных приемах фольклорной жанровой формы – загадки. В данных поэтических произведениях предметы даются в ярких, выразительных, но в то же время понятных детям деталях, соотносимых с его жизненным опытом в родном краю. Literature for children is a whole layer of Komi literature, which is little studied today. There are critical articles that reveal the thematic and figurative originality of poetic works for children, but there are no separate works in which the poems of Komi poets would be considered from the point of view of their subject organization. The scientific novelty of this study lies in the approach to the analysis of N. Shchukin’s poems from the point of view of their subjective organization. Based on the analysis of literary material, it was established that in his work the predominant forms of expression of the author’s consciousness are the lyrical hero and the subject-poetic world. The Komi poet’s children’s poetry is characterized by such a lyrical hero, which reflects both the childish and adult beginnings, but with the obvious dominance of the adult. A lyrical hero is a person for whom childhood impressions become memories in adulthood. The fact that the adult beginning prevails in the poems is indicated by the time factor: the unity of the present with the past is reflected through the verbs. The lyrical hero occupies a certain, but not dominant position. In N. Shchukin’s children’s poetry, the subject-poetic world becomes the main form of expression of the author’s consciousness. A feature of the poems is that the poet in them, with the help of colors, focuses the attention of young readers on discovering the simple and discreet beauty of the northern nature. However, the use of metaphorical animation of natural phenomena, the use of verbs and the sound orchestration of works create an image of an unusual, fabulously magical wildlife, which makes it possible for children to feel, feel and hear the world around them. The poetic world as a way of expressing the author’s consciousness in N. Shchukin’s children’s lyrics is also manifested in poems based on artistic techniques of the folklore genre form – riddles. In this poetic work, objects are given in bright, expressive, but at the same time, details understandable to children, correlated with his life experience in his native land.
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Jelsbak, Torben. "“A Danish Genius of Madness”." Passage - Tidsskrift for litteratur og kritik 38, no. 89 (June 5, 2023): 43–59. http://dx.doi.org/10.7146/pas.v38i89.137909.
Повний текст джерелаАнотація:
Within the last decade, the Danish author Tove Ditlevsen (1917-1976) has experienced a remarkable renaissance: her works are massively being reissued and her legacy is taken up by young poets and artists. The “Tove fever” is also an international phenomenon – as most lately witnessed by the inclusion of “The Copenhagen Trilogy” (Childhood, Youth, Dependency, 1969-71) in the Penguin Modern Classics Series in 2021. Subsequently, the trilogy has been sold for publication in 32 countries worldwide. After having been dismissed by the Danish literary establishment in her lifetime as a female author of social realism and “confessional literature”, Ditlevsen is now celebrated as one of the most important and unique voices in 20th century Danish literature and as a precursor of Karl Ove Knausgård, Annie Ernaux, Rachel Cusk. But what are the reasons for this rediscovery? In the perspective of Bourdieusian sociology, the writing up of Ditlevsen may be seen as an instance of the fall of high Modernism and as an example of the constant metamorphosis of literary taste. However, we may also view the case through the lenses of Latourian actor-network-theory. The article tries to combine the two theoretical approaches by offering an outline of the most important actors in the current rediscovery and transmission of Ditlevsen’s work, while also paying attention to the aesthetic judgements and forms of attachment characterizing the “Tove fever”.
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St. Armand, Barton Levi. "Schoolroom Poets: Childhood, Performance, and the Place of American Poetry, 1865–1917. Angela Sorby. Hanover, NH, and London: University Press of New England, 2005. Pp. xlv+233." Modern Philology 104, no. 2 (November 2006): 277–80. http://dx.doi.org/10.1086/511727.
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Hamthoon, PM. "Perceptions of Children's Literature in the Writings of Sheikh Abi Al-Hassan Ali Al-Nadwi." Al Hikmah International Journal of Islamic Studies and Human Sciences 4, no. 3 (August 31, 2021): 144–65. http://dx.doi.org/10.46722/hkmh.4.3.21h.
Повний текст джерелаАнотація:
India is one of the most famous non-Arab countries in the world where the Arabic language and Arabic literature has grown, developed and flourished on a large scale. During the period of Arab rule in the Indian lands, Arabic was an official language of government and a means of learning about Arab-Islamic heritage and literary achievement. Moreover, many Arab schools and cultural institutions of higher education were established that produced a large number of poets, writers, Islamic thinkers, and interpreters of the Qur’an and Hadees scholars. Among those great writers was Allama Abul-Hassan Ali Al-Hasani Al-Nadawi, who was an outstanding imam whom the twentieth century saw and one of the great personalities of India, served Islam and Muslims. This study concerns the problem of Arabic teachers in Sri Lanka and India, who do not follow an appropriate methodology for teaching Arabic children and tries to make sure that children’s literature writers take into account the psychology of children in their compositions. To achieve these goals, the researcher has followed the descriptive and analytical approach to complete this study and reach the required results. This study concluded that Allama Abul-Hasan Ali al-Hasani al-Nadawi, may God have mercy on him, had a huge role in contemporary Arabic literature. Especially in children's literature, where he showed his value theory while following wonderful methods in his literacy works, concerning the psychology of children and their childhood, which helps students to read and understand through a very easy way.
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Levander, C. "Elusive Childhood: Impossible Representations in Modern Fiction; Dependent States: The Child's Part in Nineteenth-Century American Culture; Civilized Creatures: Urban Animals, Sentimental Culture, and American Literature, 1850-1900; Schoolroom Poets: Childhood, Performance, and the Place of American Poetry, 1865-1917." American Literature 79, no. 1 (March 1, 2007): 213–15. http://dx.doi.org/10.1215/00029831-2006-090.
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