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1
Khadka, Kul Bahadur. "The Un-bodied Voices in Shelley’s “To a Skylark” and Keats’s “Ode to a Nightingale”." Journal of Development Review 8, no. 1 (August 1, 2023): 16–21. http://dx.doi.org/10.3126/jdr.v8i1.57130.
Повний текст джерелаАнотація:
B. Shelley and John Keats are noted Romantic poets and their works are celebrated. In this article, Percy Bysshe Shelly’s “To a Skylark” and John Keats’s “Ode to a Nightingale” have been appreciated. The skylark and the nightingale seem to be similar birds while reading the poems simultaneously. Shelley glorifies the skylark’s song and Keats immortalizes the nightingale due to its melodious song. The article, structured in four headings- Introduction, Appreciating, The Un-bodied Voices and Conclusion, introduces the poets and their aforesaid poems. It appreciates both the poems in matter of the contrasts and commonalties between the birds, the major themes in the poems, the poets’ power of imagination and the un-bodied voices in the poems. It makes a quest for how the un-bodied voices in the poems represent idealism in contrast to the harsh reality of life. To appreciate the poems and further strengthen the ideas, the poets’ respective poems and books by various writers have been consulted. The article concludes that the songs of the skylark and the nightingale are the un-bodied voices which symbolize beauty, purity, perfection and freedom. These un-bodied voices are in contrast to the harsh reality of human life on the earth.
2
Zholkovsky, A. K. "On the main-meta-song by Bulat Okudzhava." Voprosy literatury, no. 5 (November 29, 2021): 126–50. http://dx.doi.org/10.31425/0042-8795-2021-5-126-150.
Повний текст джерелаАнотація:
The article analyses Bulat Okudzhava’s ‘The Main Song’ [‘Glavnaya pesenka’] (1962). The poem’s metapoetic leitmotif and expressive structure are examined in a broader context of corresponding common literary motifs, Okudzhava’s poetic invariants, and immediately contemporary subtexts, including in song lyrics. The intertextual field comprises poems of the same metric structure, namely, three-foot amphibrachs. M. Gasparov specified themetre’s appropriate halos: suggestions of a drinking song ( ‘zazdravnaya,’ sung to toast someone’s health); a ballad; an allusion to Heine’s manner (memory, dreams, daily life); a Romantic intonation; and, lastly, a ceremonial verse, including metapoetic works, i.e., written by poets about poetry (namely, V. Bryusov’s, A. Akhmatova’s, and V. Khodasevich’s poems). Okudzhava’s ‘The Main Song’ belongs with the aforementioned series, as well as with poems united by the leitmotif of walking (departing), rejection and the actual process of poetry writing. A detailed analysis of Okudzhava’s intertext and method helps reveal the originality of the poet’s take on a traditional topic.
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INGLESE, FRANCESCA. "“Watch Out For The Sharks”: Gender, Technology, and Commerce in the American Song-Poem Industry." Journal of the Society for American Music 7, no. 3 (July 30, 2013): 295–315. http://dx.doi.org/10.1017/s1752196313000230.
Повний текст джерелаАнотація:
AbstractSince the early 1900s, song-poem entrepreneurs, often referred to as “song sharks,” have fueled a diffuse and largely hidden American industry that produces music to accompany the poems and lyrics of amateur writers. These entrepreneurs have long been demonized in the popular media for preying on the naiveté of their clientele. Yet despite charges of exploitation, this musical equivalent of the vanity press has survived for over a century. Although the vast majority of song-poets and their song-poems have remained in obscurity, in the 1990s, song-poems developed a cult following among record collectors; as “anonymous collaborations,” these recordings highlighted tensions between poignant personal expression and impersonal commercial rendering that appealed to listeners with a penchant for the obscure. This article draws on advertisements, sheet music, media coverage, and personal interviews to piece together a history of the song-poem industry, with particular focus on the gendered dimensions of the practice, the role of technology in the production process, and the multiplicity of meanings embedded in song-poems for both song-poets and collectors.
4
Han, Christina. "Turning Songs into Poems and Poems into Songs: Intersections of Literary Sinitic and Vernacular Korean in Chosŏn Literature." Sungkyun Journal of East Asian Studies 21, no. 2 (November 1, 2021): 211–35. http://dx.doi.org/10.1215/15982661-9326219.
Повний текст джерелаАнотація:
Abstract This article investigates the dynamic intersections of Literary Sinitic and vernacular Korean and their impact on the innovations in poetry and song in fifteenth- through nineteenth-century Chosŏn Korea. More specifically, it traces the evolution of poetry or song discourse and explores the different strategies employed by Chosŏn poets and songwriters to render oral songs into text. It also investigates the differing views on the function of poetry and song, musical and textual preservation, and emotional and lyrical immediacy, which influenced the composition and translation of song-poems. The article probes the creative collaboration and competition between Literary Sinitic and vernacular Korean, and the fluid relations between translation and vernacularization. On the whole, it explores the ways in which the evolution of poetry-song discourse and the ensuing literary innovations contributed to Chosŏn's complex linguistic ecology.
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Luo, Lianlian, Fengjiao Gong, and Hang Zuo. "The Study of Poetical Style Attribution and Classification of Poetic Subgenres in the Tang and Song Poetry." Journal of Social Science Humanities and Literature 6, no. 6 (December 29, 2023): 19–28. http://dx.doi.org/10.53469/jsshl.2023.06(06).04.
Повний текст джерелаАнотація:
The literary styles of Tang and Song poetry exhibit noticeable differences, at times directly denoting two distinct categories of poetic styles. However, sometimes the poetic style of Tang Dynasty poets may be more akin to Song poetry, and the poetic style of Song Dynasty poets may lean closer to that of the Tang Dynasty. This study employs quantitative analysis and establishes mathematical models to investigate these differences. Methods: Firstly, this paper employs a logistic regression model based on the simulated annealing algorithm to classify the style of poets and determine their style affiliation. Secondly, using the k-means clustering model, Tang and Song poetic styles are further refined into subcategories. Finally, scores are computed using the TOPSIS model modified by the entropy weight method to select the most representative poems and poets within each style. Conclusions: 1) The model identifies the style affiliation of Pei Che and Liu Yizhi as Song poetry style and Tang poetry style, respectively, with an accuracy rate of 83.3%. 2) The Tang poetic style is divided into three categories, and the Song poetic style is divided into five categories, with the first subcategory of Tang poetry including poems like "Passing Jin Yang Palace" and "Spring Platform Views." 3) The most representative poems include "Sending Xue Shaoqing to Qingyang" and "Introducing the Ballad for the Feast."
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Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 2 (October 25, 2023): 237–40. http://dx.doi.org/10.53830/vckz2369.
Повний текст джерелаАнотація:
Review of vocal music by two American composers: Scott Wheeler, “Dreams, Lies & Love Songs” and Juliana Hall, “Setting Sails,” twelve song settings of Emily Dickinson poems for soprano, mezzo, or tenor. British composer Jacques Cohen’s “Love Journey,” seven song settings for voice and piano, and for string orchestra, on poems from James Joyce’s “Chamber Music.”
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Kamitova, Alevtina Vasilevna. "FEATURES OF POEMS-SONGS OF THE UDMURT POET AIVO IVI." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 82–87. http://dx.doi.org/10.35634/2224-9443-2020-14-1-82-87.
Повний текст джерелаАнотація:
This article discusses the features of the functioning of the song genre in the creative practice of Aivo Ivi. The appeal of the Udmurt poets of the beginning of the XX century to the creation of literary songs, which were alterations, imitations, re-singing and stylization of folk songs, was a common phenomenon and played a positive role in the development of national literature. In this work, on the example of Aivo Ivi's creativity, the characteristic features of the poems-songs created by him are revealed. It is determined that his texts represent improvisation of folk songs with preservation of traditional plots, complicated by signs of time. In some cases, the popular melody of Russian songs was attracted by the Udmurt poet to "service" his compositions. In building the text on the basis of a simple plot line, the calculation for the ease of perception of information by the reader is obvious. It is established that the author's songs of Ivo Ivy went beyond the book existence. It is summarized that the song texts created by him as a whole were formed under the influence of socio-cultural trends and the previous song-poetic tradition. The "folk" form of poems, their adaptation to the tunes understandable to the illiterate population allowed the poet to realize ideological and educational meanings, were a way of creative self-realization, introducing the reader to the artistic word.
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Wiaderny, Jacek. "Title: Refrains of trauma: Eugeniusz Tkaczyszyn-Dycki’s songs." Tekstualia 2, no. 53 (July 29, 2018): 71–78. http://dx.doi.org/10.5604/01.3001.0013.3293.
Повний текст джерелаАнотація:
The article focuses on Eugeniusz Tkaczyszyn-Dycki’s songs, that is poems containing the word „song” in the title (e.g. „Song for Ms. Mościcka”). Although they are called „songs”, they are not intended to be performed orally; instead, they explore the musical potencial of their form for strictly textual purposes. The discussion follows Magdalena Łopata’s typology of Tkaczyszyn-Dycki’s songs, which refl ects the poet’s own differentiation between „somebody’s” songs, songs „about something”, „some” songs and songs „for somebody”. Subsequently, the article problematizes Tomasz Majeran’s conception of the refrainity” of Tkaczyszyn-Dycki’s poems. The Lacanian theory of trauma and tuché helps explain this particular aspect of Tkaczyszyn-Dycki’s poetic writing.
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Lv, Chen. "A Study on the Ideological Connotation and Significance of Agricultural Poetry in the Northern Song Dynasty." Studies in Linguistics and Literature 7, no. 2 (July 17, 2023): p87. http://dx.doi.org/10.22158/sll.v7n2p87.
Повний текст джерелаАнотація:
The agrarian-related poems of the Northern Song Dynasty are far from the realistic creation tradition of the Book of Songs, the Yuefu folk songs of the Han Dynasty, “those who are hungry sing about their food, those who are working about their work”, and the realistic spirit of Du Fu’s “Three officials” and “three different” and Bai Juyi’s New Yuefu Movement, “Only songs live the people’s disease”. Through multiple contrast techniques, they fully show the miserable fate of the peasants under the heavy pressure of land, taxation, labor and other systems in the Northern Song Dynasty. It exposes the social situation of extreme disparity between the rich and the poor and sharp contradictions between classes, and expresses the complex feelings of compassion, hatred and guilt of scholars and literati. Influenced by the social culture of the Song Dynasty, the agriculture-related poems of the Northern Song Dynasty also showed the creative tendency of argumentation and prose culture, which was different from the previous poetry, and demonstrated the unique artistic style of the Song poetry.
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Bharadwaj, S. "Dylan Thomas’s “In Country Sleep”: His Paradoxical Sensibility." Studies in Linguistics and Literature 4, no. 4 (September 9, 2020): p12. http://dx.doi.org/10.22158/sll.v4n4p12.
Повний текст джерелаАнотація:
In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.
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Zipunov, Andrey. "Macrosemantic rhythmic structures in the songs of A. Mirzayan." Litera, no. 6 (June 2022): 114–28. http://dx.doi.org/10.25136/2409-8698.2022.6.38151.
Повний текст джерелаАнотація:
Earlier, semantic rhythms were found in several texts of the author's song of the 1950s-80s, determined by the oppositions "private-universal" and "order-chaos". In the process of analyzing these works, a method of categorical macrosemantic structures was developed. Previously, this approach was applied in a systematic study of cultural trends. As part of the current work, the songs of the famous bard Alexander Mirzayan are considered using this method. The totality of this author's creativity is analyzed. From the standpoint of semantic rhythms, a structural analysis of the song "Wanderers" based on the poems of A. Mirzayan was carried out, as well as several song adaptations based on the texts of I. Brodsky, V. Sosnora and T. Klangsor were considered. In the works under study, the general theme of the conflict of a certain alternative system with the state line is traced. Mirzayan's interest in this topic is probably connected with the social processes of the late USSR. In addition, the presence of semantic rhythms in songs based on poems by A. Mirzayan and poems by other authors is compared. As a result, it turned out that the indicators of PM-rhythmics in song adaptations exceed the indicators of these structures in A. Mirzayan's poetry. Thus, the method of categorical macro-semantic structures helped clarify the principle by which Mirzayan selects poems by other authors and what are the methods of their adaptation.
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Rosenfeld, Aaron. "Wine, Poems, and Song." Pedagogy Critical Approaches to Teaching Literature Language Composition and Culture 17, no. 2 (March 24, 2017): 203–34. http://dx.doi.org/10.1215/15314200-3770117.
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Dolby, William, and J. I. Crump. "Song-Poems from Xanadu." Asian Theatre Journal 12, no. 1 (1995): 198. http://dx.doi.org/10.2307/1124478.
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Gashi, Syzana Kurtaj. "Browning’s and Serembe’s Love Poems." SEEU Review 15, no. 2 (December 1, 2020): 31–41. http://dx.doi.org/10.2478/seeur-2020-0015.
Повний текст джерелаАнотація:
Abstract Browning’s and Serembe’s love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the ‘By the Fire-Side’, one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe’s ‘Song for Longing’, considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning, to his love relationship with a famous poetess Elizabeth Barrett, their elopement and union in Italy, and Serembe to his love for a girl from his native village, who immigrated to Brazil and subsequently died. In these poems, both poets explore the intimate atmosphere they tried to establish for their beloved women, by describing the places that witnessed the birth and growth of their love. ‘By the Fire-Side’ and ‘Song for Longing’ comprise a common element; they are personal love poems that describe their ideal love, personal feelings, and passion of their love. While Robert Browning in his poem writes about a peaceful and satisfied married life, full of sweet memories and images of his wife, Zef Serembe’s poem is a picture of his sentiment, primarily of solitude and disillusionment. The comparative and descriptive research methods have been helpful while conducting this research paper.
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Mazur, Elżbieta. "Piosenka literacka i hymny pokoleniowe drugiej połowy XX wieku… na lekcjach języka polskiego w szkole średniej. Estetyka – tematy – wartości." Annales Universitatis Paedagogicae Cracoviensis. Studia ad Didacticam Litterarum Polonarum et Linguae Polonae Pertinentia 12, no. 330 (December 16, 2021): 259–71. http://dx.doi.org/10.24917/20820909.12.17.
Повний текст джерелаАнотація:
The article concerns the post-war literary song in Polish language education in secondary schools, i.e. the place of authors and texts representing poetic songs, poems set to music, author’s song and the opinion of a generation at the Polish language classes. Besides such authors as Ewa Demarczyk, Agnieszka Osiecka, Wojciech Młynarski, Jacek Kaczmarski (perceived not through the prism of intertextual measures: painting or biblical one, but as a bard of “Solidarity”, i.e. the author of “The Walls”), Grzegorz Ciechowski’s work ‘Do not ask about Poland ‘ was considered. On the example of the poems by Kamil Baczyński which were sung by Demarczyk, texts written by Kaczmarski and Ciechowski, they were discussed the artistry, the topics and evaluation of poetic song from the perspective of educational axiology.
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Vejvodová, Veronika. "Rané písně Antonína Dvořáka: literární předlohy, rukopisné fragmenty, nakladatelé." Muzeum Muzejní a vlastivedná práce 60, no. 2 (2022): 30–38. http://dx.doi.org/10.37520/mmvp.2022.015.
Повний текст джерелаАнотація:
In his songs from 1865–1882, Dvořák used poems by Czech authors Adolf Heyduk, Eliška Krásnohorská, Karel Jaromír Erben, Serbian folk songs translated by Siegfried Kapper (Czech-German author), Vítězslav Hálek and poems from the Dvůr Králové Manuscript. Most of the texts were probably obtained through Jan Ludevít Procházka, the important figure of Czech cultural life, who initiated Czech song writing for the concerts he organised in Prague. Some of Dvořák’s songs and cycles have survived in fragmentary form (Rozmarýna, s. op. and Like the Moon in the Heavens, No. 12 from Evening Songs, s. op.), some in the two different versions (the song Bouquet from Songs on Words from the Dvůr Králové Manuscript, op. 7). For the purposes of the Simrock edition, the composer arranged the song for the mezzo-soprano Amalie Joachim. Shortly after Dvořák’s establishment of cooperation with the Berlin publisher Simrock, this important publisher released Songs on the Words of Serbian Folk Poetry and four of the Songs on the words from the Dvůr Králové Manuscript. The singer Joachim supported the publishing of these editions, which were also dedicated to her by Dvořák.
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Abbott, Helen. "Composing Baudelaire for contemporary times." Journal of Romance Studies 21, no. 3 (December 1, 2021): 323–50. http://dx.doi.org/10.3828/jrs.2021.19.
Повний текст джерелаАнотація:
Sustained interactions with a poet’s work by musicians produce interpretative gaps. Through analysis of contemporary settings of five Baudelaire poems by Nicolas Chevereau, this article proposes a ‘thick method’ of song analysis which accounts for words and music as a conjoined ‘work’ and as a song ‘event’, using a systematic approach underpinned by digital tools including Excel, Sonic Visualiser, and Voyant. A consistent framework for song analysis enables us to rove around inside songs, and to draw in materials from outside the song. A highly individualized response to Baudelaire poems that are less commonly set to music, as in the case of Chevereau’s 2016 Cinq poèmes de Baudelaire, reveals significant common ground in terms of multi-perspective approaches that are now possible with intermedial works. Chevereau’s settings of Baudelaire shine important light on a series of complex sensory events which open up the poetic landscape to fresh interrogation and new interpretations.
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Shuqing, Xia. "An Examination of the Editors and Friendship of the Tang Songs and Poems in the Classification of the Categories." Studies in Linguistics and Literature 7, no. 3 (August 29, 2023): p93. http://dx.doi.org/10.22158/sll.v7n3p93.
Повний текст джерелаАнотація:
Zhao Mengkui’s compilation of Tang poems is one of the largest collections of Tang poems in the Southern Song Dynasty, and has served as a guide in the history of the compilation of Chinese Tang poems. Zhao Mengkui, the compiler of the “Tang Songs and Poems”, was born into a royal family of imperial examiners and had excellent family roots and profound academic training. The problem of the different records of Zhao Mengkui’s origin is due to the fact that he lived in a different place of official transfer. In his life, Zhao Mengkui had a close personal friendship with Liu Kezhuang, Li Qianwei, Lin Xiyi, and other literati. It is an important reference value for the study of the compilation of the Tang Songs and Poems.
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Hore, Sirshendu, and Tanmay Bhattacharya. "Analyzing Tagore's Emotion With the Passage of Time in Song-Offerings." International Journal of Synthetic Emotions 10, no. 2 (July 2019): 18–38. http://dx.doi.org/10.4018/ijse.2019070102.
Повний текст джерелаАнотація:
The emotions of humans can be observed through tears, smiles, etc. The emotion of poets is reflected through poetry/songs. The works of a poet give philosophical insights about the beauty and mystery of nature, socio-economic conditions of that era, besides his personal state of mind. In the proposed work ‘Song- Offerings': A collection of poems and songs composed by Rabindranath Tagore, for which, Tagore received the Nobel Prize for literature in 1913, has been analyzed. Earlier, most of the research work on Song-Offerings was based on Zipf's law or bibliometric laws. This article analyzes the changes in Tagore's emotion in Song-Offerings with the passage of time (1895-1912). Emotions are analyzed based on the Arousal-Valence Model. To analyze the arousal state, ‘Plutchik's' emotion model has been employed and to find the valence, a Fuzzy-based model has been engaged. The work reveals that the emotions of the poet gradually mellows with the passage of time barring some transitional time, nevertheless, poet submission towards almighty remains unchanged during this period.
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Carlson, James R. "Songs That Teach: Using Song-Poems to Teach Critically." English Journal 99, no. 4 (March 1, 2010): 65–71. http://dx.doi.org/10.58680/ej20109986.
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Lotter, GA, and Rian S. Steyn. "Hooglied: Hedendaagse paradigma vir romantiese verhoudings." Verbum et Ecclesia 27, no. 1 (November 17, 2006): 70–89. http://dx.doi.org/10.4102/ve.v27i1.143.
Повний текст джерелаАнотація:
In this article it is argued that the Old Testament book Song of Songs can serve as a present-day paradigm for romantic relationships. Song of Songs is being viewed as a collection of love poems and songs where the romantic relationship between a man and a woman is in the focus. The authors discuss the so called “love triangle” which is to be found in Song of Songs. The challenge for correcting relationships with regards to reciprocity and equility in this relationship is also researched followed by the important (albeit absent in the text itself) acknowledgement of people’s own limitation and dependence on God. This article therefore deals with the roles of men and women in connection with love, the complexities of love and suggests nine consequences of Song of Songs for romantic relationships. The article ends with a short discussion on the adventure of love.
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Jayalalitha. "Tamil Agathinai poems and Kannada folk songs - A comparison study." International Research Journal of Tamil 2, no. 4 (August 30, 2020): 16–23. http://dx.doi.org/10.34256/irjt2043.
Повний текст джерелаАнотація:
There is an emphasis in recent years on the study of literary and cultural parallel between Tamil and Kannada. This kind of research would enable one to arrive at Proto- Dravidian common cultural core. Anyhow my attempt is humble. I Try to make a comparison of the Akam (Love) poems. Which are found in Tolkappiyam and Sangam literature with some Kannada folk songs. Tolgappiyam says that the Akam poems of five division of land (Kurinji, Mullai, Marudam, Naidal and Paalai) should not mention the proper name of the characters. If we take a simple look at the different folk songs collection of Kannada, we note that there are no proper names of characters of such love songs. According to Tolkappiyam, the first grammar of Tamil, the concept of love is divided into ‘compatible love’ (anbin inthinai) and ‘incompatible love’ (porundha Kamam). We also come across such concept in the Kannada folk songs, which is explained in the theme of the song. There is a song of a man who is sitting on the bank of a river asking the girl permission to lean on her shoulder. The mention of a shoulder of a girl is a special feature mentioned in many Sangam poems.
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Chen, Xi. "When the classic speaks for children." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (October 5, 2020): 780–95. http://dx.doi.org/10.1075/babel.00175.che.
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Abstract Bob Dylan has significantly influenced American song tradition and popular music for more than five decades. As his songs are famous for the creative poetic expressions, they are not merely song lyrics, but also can be regarded as lyric poems. This paper aims to investigate the retranslation of Bob Dylan’s songs in bilingual picture books to explore how his classic musical works are repackaged both verbally and visually for contemporary children. The data for analysis are selected from two bilingual picture books on Dylan’s songs published in China in 2018. Firstly, it conducts a detailed textual analysis of the English and Chinese song lyrics to analyze the appropriate translation strategies and methods for song translation. Secondly, based on visual narratives (Painter, Martin and Unsworth 2013), it analyzes the intersemiotic relations between texts and images in picture books to discuss how the emotions and narratives in Dylan’s songs are visually represented.
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Oriol, Carme. "Influències entre la literatura popular i la literatura culta: les "Glosas" de Josep Carner." Zeitschrift für Katalanistik 35 (July 1, 2022): 69–88. http://dx.doi.org/10.46586/zfk.2022.69-88.
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Summary: This article studies the interrelationships between folk literature and written literature. The author describes some of the methods that have been used to identify and interpret the presence of folk literature in an author’s work. In this context, the interest that the writer Josep Carner had in popular literature is analyzed. Subsequently, the nine poems that he published in 1904 under the title “Glosas” are discussed. The poems are inspired by well-known folk songs that are used to accompany children’s games. Starting with the first verses of these songs, Carner creates poems where the features of folk literature are combined with those of written literature. Keywords: literature, poetry, folk, folklore, song, game, Josep Carner
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Zhylenko, Iryna. "«I FEEL UKRAINIAN...»: GENRE-THEMATIC MARKERS OF THE CREATIVE WORK OF VASYL VYSHYVANYI." Fìlologìčnì traktati 16, no. 1 (2024): 230–39. http://dx.doi.org/10.21272/ftrk.2024.16(1)-23.
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The present article focuses on creative work of Wilhelm von Habsburg (Vasyl Vyshyvanyi), who perceived Ukraine and the Ukrainian and mentality so deepty that he became a patriot of the country. Vasyl Vyshyvanyi is the author of the poem collection «Mynayut Dni...» (1921) and miniature fragmentary prose published in the magazine «Volya» (1920). The relevance of his work is outlined, as in a difficult time for Ukraine, attention should be paid to little-known figures who shaped Ukrainian history day by day and remained faithful to their cause till the end. The goal of the present work lies in elucidating the genre-thematic markers of Vasyl Vyshyvany's creative work. The article clarifies leading motives of the collection of his poems: the heroic struggle accompanied by the hope for victory, the transience of life and mourning for fallen soldiers, existencialism and the search for homeland, the beauty of Ukrainian song and the nature of Ukraine. Considering Vasyl Vyshyvany's works as representative of the creative work of Sich Riflemen writers, it is suggested to view his poems as songwriting, highlighting some types of literary-origin songs: the call song, lyrical march, elegy song, humorous song, anthem march. The main marker of Vasyl Vyshyvanyi's work is emphasized as a “tragic optimist” (D. Dontsov). This is traced both in poetry and in prose poems. Ukrainian symbols (willow, rocks, mountain song, nightingale, charms of the night), as well as toponyms (Karpathians, Tscheremosch, Chervonohor, Hutsul Region, Pokuttia) abound on the pages of his sparse but so sincere creative heritage, the main marker of which is Ukrainianness.
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Щітова, С. А., and О. М. Якимець. "THE INNOVATIVE INTERPRETATION OF THE CHAMBER-VOCAL GENRE IN THE LATE WORKS OF SCHUBERT." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 163–71. http://dx.doi.org/10.33287/221913.
Повний текст джерелаАнотація:
The purpose of the study is to prove the innovative approaches of F. Schubert in vocal works on the example of his later opuses – the vocal cycle „Winterreiseˮ, op. 90 („Winter Roadˮ) and the song collection „Der Schwanengesangˮ („Swan Songˮ). The methods of this proposed scientific article are based on the research approaches (historical, compare, analytical), which allow to us to follow the path of dramatization of the song in the late works of F. Schubert, as well as to determine the conformity of the vocal intonation to the poetic text. The material of scientific intelligence there are ten separate songs, namely, five songs from the vocal cycle „Winter Pathˮ and five songs on the lyrics by G. Heine from the collection „Swan Songˮ. In our opinion, they are not only indicative, but also similar in form, methods and content. The scientificnovelty of this research is to in the treatment to the issues of determining the correspondence of vocal intonation to a poetic text. Conclusions. Lyrics by Wilhelm Muller and Heinrich Heine are the peak of Schubertʼs vocal lyrics, the starting point for the further development of the song (romance) genre. Simplicity and the associated „sociability” of song intonation, on the one hand, naturally continue the traditions of the Austro-German song Lied. However, while the melody of Schubert reveals time fundamentally new qualities caused by the composerʼs innovative attitude to its formation. The reason for this is a great attention to the verbal text. The close interaction of poetic words and music, especially in the late works of the composer romantic, gives rise to a fundamentally new type of vocal intonation, a new level of voice and accompaniment and, as a final result, the emergence of a new quality of the chamber-vocal work – „poems with music”, thereby pushing on the further path of development of chamber vocal genres.
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Johnson, Julian. "Present Absence: Debussy, Song, and the Art of (Dis)appearing." 19th-Century Music 40, no. 3 (2017): 239–56. http://dx.doi.org/10.1525/ncm.2017.40.3.239.
Повний текст джерелаАнотація:
Debussy's early song settings of Théodore de Banville and Paul Bourget foreground the Romantic topic by which the singing voice revokes lost presence. The closed aesthetic space of music becomes, in these songs, the space of the nocturnal garden in which the souls of lovers merge with the containing landscape. But Debussy's fascination with the poetry of Paul Verlaine, over a period of twenty-two years from 1882 to 1904, juxtaposes such evocations of intense sensuous presence with songs of alienated absence and ironic distance. The poems Debussy set from Verlaine's Fêtes galantes (1869) provoke both kinds of song, the latter embodied through the shadowy figures of the commedia dell'arte. In the case of two such poems, “En sourdine” and “Clair de lune,” Debussy produced two different settings of the same text, ten years apart. The usual account is that these show the composer's progression from Romantic lyricism to a more sophisticated but withdrawn style, a development paralleled by a biographical story moving from his youthful passion for the dedicatee of the early songs, Marie-Blanche Vasnier, to the breakdown of his first marriage in 1904. But neither the stylistic nor the biographical narrative provides an adequate account of the Verlaine songs, and both miss their exploration of the economy of desire at the heart of the piano song.
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M. Hermintoyo, M. Hermintoyo. "Simbol Natural dalam Lirik Lagu “Di Manakah Matahariku” Karya Ebid G Ade sebagai Sarana Kreatif Penciptaan Kosakata Baru." Nusa: Jurnal Ilmu Bahasa dan Sastra 12, no. 3 (August 1, 2017): 145. http://dx.doi.org/10.14710/nusa.12.3.145-153.
Повний текст джерелаАнотація:
Song lyrics are created along with a tone of harmonization. The lyrics of the song as the author’s expression are created by choosing the right and aesthetic words, which fulfill elements of beauty such as poems that have diction, images, rhymes, and rhetorical means. Creative lyricist, such as Ebiet G Ade in the song "Where My Sun" utilizes the object seen, felt and heard by changing in a metaphor that is symbolically natural in the lyrics of the song. Ebiet G Ade as a creative lyricist produces new vocabulary through his previously invented songs. The creation of this new vocabulary is known as a private symbol, especially in the form of a metaphor.
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Mukhopadhyay, Aju. "Communication in Art Song and Literature: Poems versus Novels." IJOHMN (International Journal online of Humanities) 4, no. 1 (February 14, 2018): 1–6. http://dx.doi.org/10.24113/ijohmn.v4i1.74.
Повний текст джерелаАнотація:
The primary urge of a poet or writer is to create according to his inspiration but close to it is the urge to communicate with the reader. A singer requires hearer, a painting requires connoisseur. Well, even without the other parties, a poem and a painting may be created or a song may be sung. Think of the wind flowing through the reeds or bamboo grove or a bird’s song reaching the ethereal height creating a symphony in the air which is perhaps enjoyed by the silent Nature. Nature exactly does that. It is neither responsible nor obliged to tell man what it enjoys, how it enjoys itself but when a man hears them they become songs touching the heart of the pure sympathizers away from the hullabaloo of the mundane world. Go further and there are the unheard songs, unheard sounds; they are very much there for every sound comes out of silence. When Nature creates such things on its own without waiting for anybody to appreciate the things remain unknown until someone hears or looks at them. Man creates to communicate. If we consider songs it is definitely a field for communication between the singer and the hearer. Man’s creation may be said to be, in general term, artificial whereas Nature’s creation is natural. Nature recreates itself Man creates imitating Nature or otherwise. But I don’t wish to stop telling that Art is imitation only like our great Greek predecessors. The seer poets created words the way they heard. The higher and highest sources, it may be said the Divine sources, create through man as through the Nature.
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Zhiyenbayev, Y., and Z. Asanova. "Comparison of the Structure, Themes and Style of Gulten Akin’s Poems “Yaşlanmayan Bir Kadına Türkü” and Fariza Ungarsynova’s “Ayel”." Iasaýı ýnıversıtetіnіń habarshysy 121, no. 3 (September 30, 2021): 68–79. http://dx.doi.org/10.47526/habarshy.v3i121.735.
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Well-known are the poetic works of famous women poets of Turkic literature Gulten Akyn and Fariza Ungarsynova. However, these two poets tried to be harbingers of flaws in society, and not to become famous. Although she dealt with personal themes in the early stages of Gulten Akin's poetry, in her later poems she always dealt with social issues. In this regard, Fariza Ungarsynova also described the position of the masses in her poems. The image of a woman occupies a special place in the work of these poets, who lived simultaneously in Kazakh and Turkish literature and touching upon common themes. The aim of the research is to compare the image of a woman in the verses of two poets. In this study, the method of analyzing the text of Professor Sherif Aktash was used. The first part of article, which consists of two parts, tells about the life and literary personality of Gulten Akyn and Fariza Ungarsynova. The second part analyzes the poems of Gulten Akyn “Yaşlanmayan Bir Kadına Türkü” (“Folk Song for an Ageless Woman”) and Fariza Ungarsynova “Ayel” (“Woman”). The article reflects the ideology, structure (personality, time, space), subject matter, language and stylistic features of the poems, compares the similarities and differences of the two poems.
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Fitri Apriyanti and Faisal Zarkashi Arif. "METAPHOR ANALYSIS OF DANIEL CAESAR’S SONG LYRICS." Teaching English as Foreign Language, Literature and Linguistics 4, no. 1 (June 30, 2024): 1–7. http://dx.doi.org/10.33752/teflics.v4i1.5011.
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The Metaphor Analysis of Daniel Caesar''s Song is a research study that examines the meaning and type of metaphorical language contained in Daniel Caesar''s song lyrics. Metaphors are ideas to discuss something, give an understanding of the world, and are used by poets, songwriters, and book writers to convey meaning in an interesting way. The aim of this research is to provide understanding, enhance knowledge, add new experiences, and fill gaps. Qualitative research aims to understand phenomena experienced by research subjects, while descriptive research collects descriptive data and presents it in reports and descriptions. The researcher found 8 structural metaphors (53%), 3 orientation metaphors (20%), and 4 ontological metaphors (27%). According to conceptual metaphor, the most dominant type of metaphor is structural metaphor. Daniel Caesar''s songs are composed of words taken from poems and given additional melodies to create attraction. This research can be used as a reference source for the study of metaphoric language and its various meanings. Institutions can benefit by providing better support and making it easier for students to access resources related to metaphoric languages.
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Brown, A. Peter. "Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta." Journal of the American Musicological Society 47, no. 1 (1994): 39–89. http://dx.doi.org/10.2307/3128836.
Повний текст джерелаАнотація:
Anne Hunter (1742-1821) seems to have appeared suddenly on the London scene when she provided Joseph Haydn with texts for his English songs published under the fashionable title of canzonettas. Yet long before Haydn arrived in London, she had already established herself as a writer of lyrics for the Scottish national song movement and of the famed "Death Song" of a Cherokee Indian set to "an original Indian air." Some believe that her poems provided a model for Robert Burns. Her lyrics were also set by Johann Peter Salomon and requested by the propagator and publisher of national song in the British Isles, George Thomson.
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Hersey, Anna. "Dyveke Songs of Heise and Schultz: A Comparative and Integrative Study." Journal of Singing 79, no. 5 (April 27, 2022): 575–92. http://dx.doi.org/10.53830/brjx8133.
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Singer, pedagogue, and scholar Anna Hersey has made a career of studying, performing, and promoting Danish song literature. In this study, she examines songs on poems about Dyveke Villosdatter, mistress of King Christian II of Denmark in the 16th century, with particular emphasis on the settings by Peter Heise and Svend S. Schultz.
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Riman, Kristina, and Helena Pavletić. "Poetske, tematske i leksičke značajke uglazbljene dječje poezije 19. stoljeća na primjeru tekstova Ljudevita Varjačića." Magistra Iadertina 14, no. 2 (November 16, 2020): 87–102. http://dx.doi.org/10.15291/magistra.3148.
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In the second half of the 19th century, children’s poems were mostly published in periodicals and poem collections. Until now less attention has been devoted to the poems that had been set to music and included in the songbooks published in the late 19th century. Ljudevit Varjačić was the acclaimed author of children’s verses used for song lyrics. He is known as a particularly prolific collaborator of the Smilje magazine, whose songs were often set to music. Among other things, he also published “Lira”, a songbook with music notation for male and female school youth, and his poems were set to music in other songbooks for children and youth. Varjačić poems set to music are analysed in this paper with regard to their poetic, thematic and lexical features. His poetry is written with the well-defined overall metric pattern and rhyme, marked by pedagogical and ethical tendencies. Lexical analysis showed several topics on which Varjačić writes: songs that refer to physical work, songs that inspire learning, songs expressing love for mother, patriotic songs, religious songs, and songs about vacation and fun. Although some of these lyrics are still offered to children, we conclude that their poetic, thematic and lexical features are no longer close to the contemporary recipient.
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Sipayung, Febri Ridho. "BUKU DODING HALELUYA SEBAGAI SALAH SATU MEDIA PELESTARIAN LAGU RAKYAT SIMALUNGUN DI GKPS SIMALINGKAR." Grenek Music Journal 7, no. 1 (January 3, 2018): 11. http://dx.doi.org/10.24114/grenek.v7i1.8782.
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This study aims to find out what folk song title Simalungun in Doding book Hallelujah,how is the form of the folk songs and the effectiveness of its conservation through replacementmethod lyrics/poems for the congregation GKPS Simalingkar.This study is based on the theoretical foundation to explain the meaning of HallelujahDoding Books, Media, Preservation, and Folk Songs SimalungunThe method used is descriptive qualitative. The population in this study are allSimalungun folk songs that are in the book Hallelujah Doding the 36 songs and 10 congregationsGKPS Simalingkar. The techniques of Data collection in this study conducted by fieldobservations, literature studies, interviews and documentations.Generally, this research shows that the contribution of 36 folk songs in the bookDoding Simalungun Hallelujah create varied impressions in the book. as well as with the form ofsongs that mostly consists of two parts. And look also the effectiveness of the preservation of thefolk song lyrics Simalungun with replacement method/lyrics towards more religious makeHallelujah Doding books as one of the media in the preservation of the folk song SimalungunGKPS Simalingkar.
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Frost, Christine Mangala, and A. Mariaselvam. "The Song of Songs and Tamil Love Poems, Poetry and Symbolism." Vetus Testamentum 41, no. 2 (April 1991): 255. http://dx.doi.org/10.2307/1518919.
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Griffiths, Dai. "Internal rhyme in ‘The Boy with a Moon and Star on His Head’, Cat Stevens, 1972." Popular Music 31, no. 3 (October 2012): 383–400. http://dx.doi.org/10.1017/s026114301200030x.
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Abstract‘The Boy with a Moon and Star on His Head’ was written and recorded by Cat Stevens in 1972. This paper briefly examines the song's subject matter, before analysing its musical structure and that of the words to the song. As well as the standard pattern of end rhyme, a pattern of internal rhyme is also analysed, using tools derived from literary analysis. The words to the song are transcribed by a method which mediates between transcription of the words that make it look like a poem and the words as they appear in sheet music. Finally, the song's pattern of internal rhyme is placed into a context that includes songs as well as poems, suggesting that the song is an exception that suggests a rule for words in the singer-song at the time of the song's appearance.
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Fijai, Andi Ahmad, Hat Pujiati, and Ikwan Setiawan. "Class Struggle Seen in Ernest Jones’ Three Selected Poems: The Song of The Poor, The Song The Lower Classes, and A Song for People." JENTERA: Jurnal Kajian Sastra 11, no. 1 (June 28, 2022): 41. http://dx.doi.org/10.26499/jentera.v11i1.2773.
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This article discusses class struggle of the working class through Ernest Jones’ three selected poems: The Song of The Poor, The Song of The Lower Classes, and A Song for People in the Industrial Revolution era in England. Industrial Revolution is a shift in goods production from human power into mechanical power. This research uses Michael Riffaterre’s Semiotics of Poetry theory to find out the meaning and significance of the chosen poems and uses some opinions and history as hypogram to portray the class struggle of the workers in Industrial Revolution era. The result of this research shows that these poems articulate the voices of the working class in struggling to get justice against the ruling class. AbstrakArtikel ini membahas tentang perjuangan kelas pekerja di tiga puisi pilihan karya Ernest Jones: The Song of The Poor, The Song of The Lower Classes, dan A Song for People di era Revolusi Industri di Inggris. Revolusi Industri adalah perubahan cara produksi barang yang awalnya menggunakan tenaga manusia menjadi tenaga mekanik. Penelitian ini menggunakan teori Semiotika Puisi oleh Michael Riffaterre untuk mengetahui meaning (makna) dan significance (arti) puisi yang terpilih dan menggunakan beberapa opini dan sejarah sebagai hipogram untuk menggambarkan perjuangan kelas pekerja di era Revolusi Industri. Hasil penelitian ini mengeksplorasi perjuangan para pekerja di era Revolusi Industri. Jones melalui puisinya mengartikulasikan suara-suara kelas pekerja dalam perjuangannya mendapatkan keadilan melawan kelas pengusa.
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OH, Kyong-geun. "KOREAN SIJO POEMS AND THEIR TRANSFORMATIONS." International Journal of Korean Humanities and Social Sciences 1 (November 4, 2016): 23–38. http://dx.doi.org/10.14746/kr.2015.01.02.
Повний текст джерелаАнотація:
Sijo is an original genre of short Korean poems with a strictly defined structure reflecting the rhythm of a traditional Korean song. Sijo poems are the only traditional genre of Korean poetry, which is still practised by contemporary Korean poets. It gained tremendous popularity during the reign of the Joseon dynasty, especially among the Confucian scholars and noblemen who ruled the country. Sijo poetry has undergone a transformation as far as the topics and structure of sijo poems are concerned. Initially the authors of sijo belonged to the ruling class and were solely men (Confucian scholars). But with the passage of time and the development of society the representatives of the middle class started writing sijo poems as well. The sijo transformations also included the linguistic changes, which may be observed through the course of sijo history. The topics also changed as new types of sijo appeared beside traditional sijo devoted mainly to Confucian ideas formulated in a refined language.
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Al-an'shory, Hamzah silahul Islam, Rochmat Tri Sudrajat, and Tamtam Kamaluddin. "ANALISIS SEMIOTIK DALAM LAGU BANDA NEIRA YANG BERJUDUL “YANG PATAH TUMBUH, YANG HILANG BERGANTIâ€." Parole : Jurnal Pendidikan Bahasa dan Sastra Indonesia 5, no. 3 (May 28, 2022): 235–42. http://dx.doi.org/10.22460/parole.v5i3.5844.
Повний текст джерелаАнотація:
This research is based on the many songs that are difficult to understand its meaning. A song is a series of tones combined with harmonious rhythms and complemented by poems that form a beautiful harmonisation. The song conveys its messages through lyrics that tell about a journey or or a picture of one's life therefore the song is often used as a medium to express feelings towards others. The purpose of this study was to analyze the meaning of Banda Neira's song "The Broken Growing, the Lost Changed" using a semiotic approach. The method used in this paper is qualitative descriptive that exposes writing based on the content of literary works, while the writing technique is a library study. The results showed that the lyrics of the song popularized by Banda Neira are a motivational message for someone who falls in a complicated situation because whatever happens time will go on and everything will pass. This song is very inspiring and suitable for listeners to stay uplifted despite the difficult circumstance.
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Stephenson, Jean. "“Quizás, quizás, quizás”. Translators’ dilemmas and solutions when translating spanish songs into english." DEDiCA Revista de Educação e Humanidades (dreh), no. 6 (March 1, 2013): 139–51. http://dx.doi.org/10.30827/dreh.v0i6.6968.
Повний текст джерелаАнотація:
Rendering songs into another language poses numerous difficulties for translators. Songs may be considered as poems set to music, and in translating them, these professionals confront not only routine translation problems such as expressing the meaning, ambience and style of the original work, but they also have to attend to other requisites such as creating a new version of the song within the restrictions of rhythm and rhyme. In this article, I examine songs from Spanish literature and from Spanish and South American popular music, and explore translators’ ways of converting the original texts into English. We shall see that sometimes they have captured meaning by translating virtually word for word, while on other occasions translated songs manage to encapsulate only the general sense and atmosphere of the original Spanish song. In some cases, sounds from the original have acted as a catalyst for the topic of a new song, while in others the song’s main topic has been discarded altogether. As a result of these perhaps inevitable adjustments and shifts in topic and atmosphere there will nearly always be some kind of ‘loss’ in the translation of songs, but on rare occasions their rendition into English almost seems to ‘improve’ on the Spanish version. I will outline Low’s (Low, 2005) “Pentathlon Principle” which offers five criteria for assessing song translation, and examine specific translations from this persective. Song examined are María Josefa’s song “Ovejita, niño mío” from Federico García Lorca’s “La Casa de Barnada Alba”, Luis Aguilé’s “Cuando salí de Cuba”, Agustín Lara’s “Granada”, and Osvaldo Farrés’s “Quizás, quizás, quizás.”
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Sciberras, Lillian. "SIX POEMS BY LILLIAN SCIBERRAS: “TO CONSTANTINE CAVAFY AND THE WORM WHO SPARED HIS WORKS”, “SONG OF THE EARTH”, “SONG OF THE MINISTER’S WIFE”, “IN YOUR EYES OF DARK AMBER”, “MIGRAINE THERAPY” AND “NOW." RAUDEM. Revista de Estudios de las Mujeres 2 (May 22, 2017): 329. http://dx.doi.org/10.25115/raudem.v2i0.606.
Повний текст джерелаАнотація:
SIX POEMS BY LILLIAN SCIBERRAS: “TO CONSTANTINE CAVAFY AND THE WORM WHO SPARED HIS WORKS”, “SONG OF THE EARTH”, “SONG OF THE MINISTER’S WIFE”, “IN YOUR EYES OF DARK AMBER”, “MIGRAINE THERAPY” AND “NOW
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Raflis, Raflis, and Juni Rahmat Zai. "Figurative Languages in William Shakespeare’s Poem: a Fairy Song, a Madrigal, Bridal Song, Dirge, and Sonnet 116." Jurnal Ilmiah Langue and Parole 2, no. 1 (December 30, 2018): 53–58. http://dx.doi.org/10.36057/jilp.v2i1.334.
Повний текст джерелаАнотація:
The problem in this thesis is figurative language in Shakespeare's poetry. The reason for choosing the figurative language in William Shakespeare's poetry is because all of his works contain many literary qualities, which are figurative and each of these poems has a beautiful story that is translated into a beautiful figurative form.The purpose of this study is to analyze types of figurative language, figurative language formulas, and figurative language functions in Shakespeare's poetry. In this writing, library research is taken as a data collection method. As for the data analysis method, the researcher describes literary work as a not-based structure that forms it as an internal factor of literature. Data collection techniques use documentation techniques to find data relevant to the research. In data analysis techniques, the author uses a formalist approach, all elements needed to understand the work contained in the work itself. The main purpose for formalist criticism is to determine how elements in Shakespeare's poetry work together with text content to form meaning to the reader.The findings in this thesis are: 1) figurative language in Shakespeare's poetry can be divided into simile, metaphor, hyperbole, personification, and repetition. Simile can be found in Madrigal poetry; Metaphorical figurative languages can be found in four Shakespearean poems, A Fairy Song, Song Bridal, Dirge, and Sonnet 116; personification can be found in two poems Shakespeare, A Madrigal and Dirge; hyperbole can be seen A Fairy Song, Dirge, and Sonnet 116; and Repetition can be seen in three poems of Shakespeare, A Fairy Song, A Madrigal, and Dirge.
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Bryson, J. S. "Wild Song: Poems of the Natural World." Interdisciplinary Studies in Literature and Environment 6, no. 2 (July 1, 1999): 224–25. http://dx.doi.org/10.1093/isle/6.2.224.
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Smith, Nicholas. "Murtuka Yirraru: Automobility in Pilbara Song-Poems." Anthropological Forum 25, no. 3 (March 2, 2015): 221–42. http://dx.doi.org/10.1080/00664677.2015.1011603.
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Edzard, Alexandra. "A Judeo-French Wedding Song from the Mid-13th Century: Literary Contacts between Jews and Christians." Journal of Jewish Languages 2, no. 1 (June 9, 2014): 78–98. http://dx.doi.org/10.1163/22134638-12340022.
Повний текст джерелаАнотація:
The subject of this article is a bilingual Judeo-French wedding song, edited by David Simon Blondheim in 1927. It is studied in its linguistic (Hebrew and French) and cultural (Jewish and Christian France) context. In the Jewish tradition, the song belongs to a widely used form of poetry in which two or more languages alternate. A similar bi- and multilingualism can also be found in medieval Christian poetry in France and in Muslim poetry in Moorish Spain. The present study concentrates on poems in which French can be found together with other languages. The article demonstrates influence from Christian multilingual poetry on the Judeo-French wedding song. In addition, it discusses how Jewish and Christian poets proceed when using more than one language and what reasons there are for the use of multiple languages within a single text.
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Soldevila i Balart, Llorenç. "Josep Maria Andreu: lletrista de la Nova Cançó." Zeitschrift für Katalanistik 8 (July 1, 1995): 153–71. http://dx.doi.org/10.46586/zfk.1995.153-171.
Повний текст джерелаАнотація:
The Nova Canço Catalana is mainly associated with the artist type of the cantautor, but professional composers and lyricists have also to be taken into account to describe this movement. The articles presents the most prolific and important lyricist of the Nova Canço era, Josep Maria Andreu (1920-2014), who – apart from literary poems – between the 1960’s and the 1990’s wrote the lyrics for 114 original Catalan songs and adapted some 281 foreign song texts to Catalan. Special attention is given to his most successful song, “Se’n va anar”, which he wrote in 1963. An appendix to the article contains an exhaustive list of Andreu’s original work and adaptations.
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Rebronja, Semir. "Uzrit motifs of love and love longing in Bosniak and Serbian romanticists." Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), no. 21 (December 15, 2023): 399–421. http://dx.doi.org/10.51728/issn.2637-1480.2023.399.
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Created in the 7th century, Uzrit love poetry or desert love poetry is inspired by love. It is named after the tribe to which poet Džemil (Ğamīl), one of the most famous love poets, belonged. In these poems, a lover spends his whole life in longing and absence, yearning for his beloved one. At the end of the 19th and the beginning of the 20th century, European romanticists sang and composed songs following, among others, Uzrit poets. Thus, Heinrich Heine sang the song Der Azra, writing down the Arab tradition of the Banu ʻUzra (Banū ʻUḏra) tribe that "for love lose their heads and die when they kiss". Hajne also influenced romanticists, such as Bašagić and Kostić. We can assume that Bašagić was directly influenced by the Arab love poetry of the desert because he knew the Arabic language, studied at university, and translated numerous poems from the Arabic language. However, when it comes to Kostić, the influence was indirect. A factor that should not be excluded from the research on the influence of Uzrit love, as a phenomenon, on romanticism, but also on the entire literature of the Balkan peoples, is folk poetry, which is filled with motifs from the East, and especially the Uzrit understanding of love. We witness the unavoidable influence of numerous folk songs, which later grew into songs sung with musical instruments, sevdalinkas, which the poets of the Balkans, regardless of national-confessional affiliation were exposed to. That folk lyric sang about exactly what Uzrit poetry sang about and it often drew its motifs from the Uzrit understanding of love. Keywords: comparative literature, Uzrit poetry, romanticism, Safvet-beg Bašagić, Laza Kostić
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K, Latha, and Shanthi G. "Biographical Thoughts of Pattinapalai." Indian Journal of Tamil 3, no. 1 (February 1, 2022): 8–12. http://dx.doi.org/10.54392/ijot2212.
Повний текст джерелаАнотація:
Pattinapalai is one of the literatures that testifies to the life lived by the ancient Tamil people. This book is composed by the poet Uruthirakannanar. The specialty of the ancient Chola country, its wealth, the heroic deeds of Charikalan and the way of life of the people are highlighted. The song is set at 301 feet. Pattinapalai is the epitome of the charcoal Chola specialty of Kavirippoompattinam. Sangam literature holds a unique place in the creative context of Tamil literary history. The Sangakkala people can be discriminated against as natural morality because they lived with natural morality and as heroic age because of the emphasis on heroic sentiments. Songs are a mixture of literature and life. Sangakkala songs are also known as people's life songs. Most of them are spontaneous poems that express their innermost feelings. The study is set to explore the emotions of the poets, the lifestyles of the people, and the thoughts of life.
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Waldinger, Albert. "Stopping by the Woods: Classic American Poems in Yiddish." TTR : traduction, terminologie, rédaction 16, no. 2 (April 15, 2005): 155–74. http://dx.doi.org/10.7202/010719ar.
Повний текст джерелаАнотація:
Abstract This essay interprets and analyzes in detail the Yiddish versions of great American poems: Poe's "The Raven," Longfellow's "Hiawatha," Whitman's "Song of Myself" and Frost's "Stopping by Woods on a Snowy Evening." An attempt has been made to relate all cross-linguistic data to cultural and social ideologies like Poetic Professionalism, Americanization, Socialism, Preservation of Ethnic Identity and Personal/Communal Expressiveness. In other words, the main intent of the essay has been to "explicate" a text by reference to its cultural context, whether American or Jewish.