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Journal articles on the topic 'All of poetry forms'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Vargas Gómez, Francisco Javier. "All Roads Lead to... Italy." LETRAS, no. 75 (December 9, 2023): 163–80. http://dx.doi.org/10.15359/rl.2-75.7.

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      The results of research on the translation of Costa Rican poetry into Italian are presented, including its evolution, determining factors, forms adopted, the image the translations project of the original poetry, and their potential function within the target context. It is concluded that the appearance of those translations would have been the result of opportunity and that, as poetic texts, they would have been adapted to the target readers’ expectations.     

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Arunlal, K., and C. Sunitha Srinivas. "All in the space of a poem: Spatial logics in poetry." Journal of European Studies 47, no. 3 (2017): 249–58. http://dx.doi.org/10.1177/0047244117713159.

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One of the oldest cultural practices of human societies, poetry, simultaneously responded and contributed to the evolution of human sense of spaces. Before print culture became ubiquitous, poetry was a time-art: all classic poetic techniques and devices were meant to hold a piece of verse permanently in a person’s memory, and by extension, in a community’s living history. However, contemporary poetry has little use for the chronologic dimension of poetry. The correlation of spatialized poetry with the new proliferation of ideas regarding space can be explored in multiple angles. The way space

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Adeleke, Duro. "Poetic Exploration of Obasa’s Prolegomenous Poetry." Yoruba Studies Review 5, no. 1 (2021): 1–43. http://dx.doi.org/10.32473/ysr.v5i1.130057.

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Mere mentioning of poetics often ignites the memory of Aristotle whose admiration is hinged on the elegance and clarity of his style in poetics. Tis is as a result of the historic influence of poetics or aesthetics as well as the quality of its thought. Tus, poetics is not devoid of philosophical nuances. Based on this premise, an attempt is made here to explore the poetic strands in Obasa’s trilogy, wherein Yorubá proverbs are strung together. The paper, therefore, considers aesthetic category of artistic mimesis, intertextuality and components of all diction alongside stylistic elements bec

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Zavracky, Gregory. "John Musto’s Viva Sweet Love: An Exploration of Love in All its Forms." Journal of Singing 79, no. 4 (2023): 457–67. http://dx.doi.org/10.53830/ybwt3883.

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Viva Sweet Love is a cycle of five songs by American composer John Musto, settings of poetry by E.E. Cummings and James Laughlin. It provides detailed information on the cycle, including biographic information on the composer and poets, along with details about Musto’s general music style, technical considerations for the singer and pianist, poem synopses, and song analyses.

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Kudyba, Wojciech. "Norwid in contemporary poetry. Forms of presence." Studia Norwidiana 39, Specjalny / English Version (2024): 187–216. http://dx.doi.org/10.18290/sn39sp.6en.

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The article attempts to establish the character of references to Norwid in texts by poets representative of Polish modernity, accounting for functions of intertextual allusions, initially in the area of collective consciousness. As it turns out, during the interwar period and the Second World War works by the Romantic master were referenced at all stages of developing a distinct literary identity. Poets would not just read Norwid’s texts, but in fact regard themselves in the mirror of his works. However, after 1956 Norwid’s presence in literary life was rooted in the needs of literary scholars

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Boboyev, Temur Mahmadmurodovich. "ROLE OF SHORT HUMOROUS POEMS IN DIFFERENT CULTURAL BACKGROUNDS." International journal of word art 5, no. 3 (2022): 178–83. https://doi.org/10.5281/zenodo.6642946.

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The research work is dedicated to the study of linguocultural aspects of limericks in the English literature. Poetry can be viewed as a literary medium for recording, forming, controlling and communicating human experience. Most forms of poetry follow a specific format for words, syllables and rhyme. Writing poetry can help gain confidence as one plays with the language and thinks creatively about specific topics. All poetry benefits from sensory words and a strong action verbs while faithful to the particular rules of the poetic form.

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Bjelčevič, Aleksander. "Verz in proza, vmes pa nič." Jezik in slovstvo 59, no. 2-3 (2024): 139–44. http://dx.doi.org/10.4312/jis.59.2-3.139-144.

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Verse is not synonymous with poetry, a poem or lyrics, nor is prose synonymous with narrative, a story or prosaicness. Verse and prose are clearly defined notions, while all of the others are vague. Verse and prose are opposite and mutually exclusive, therefore no in-between forms exist. However, in-between forms do exist between poetry and narrative. Thus free verse is verse and not an in-between form between verse and prose, whereas a prose poem and rhythmic prose are prose. Verse is not obligatory for a poem and poetry, poetry can also be written in prose (the prose poem). Verse is not mere

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Pan, Yirui. "From the Classical to the Modern: Form Changes and Language Innovations in Modern Chinese Poetry." Frontiers in Humanities and Social Sciences 4, no. 12 (2024): 200–205. https://doi.org/10.54691/msr73b94.

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The development of modern and contemporary Chinese poetry can be described as a comprehensive transformation from the classical to the modern, from form to content, and from language to poetic field. The form changes of modern poetry are a complex and rich process. The changes are not only reflected in the liberalization of forms and the innovation of language, but also in the expansion of themes and the innovation of forms. These changes have made modern poetry more contemporary and modern, and have also provided valuable inspiration and reference for later poetry creation. Additionally, ther

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Vanherpen, Sofie. "The Afterlives of an Icelandic “Foremother of Us All”: Auðr djúpauðga and the Making of Cultural Memory." Scandinavian-Canadian Studies 28 (December 1, 2021): 230–59. http://dx.doi.org/10.29173/scancan208.

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ABSTRACT: During the last few decades an increasing number of Old Norse scholars have drawn from memory studies in their analyses of texts. Yet, so far, these studies have not sufficiently considered other genres of literature besides the Íslendingasögur, such as post-medieval poetry and folk literature, in the discussion of memory. This article looks at the relation between genre and the ways in which the foremother figure Auðr djúpauðga is remembered in late eighteenth- and early nineteenth-century forms of popular culture as diverse as rímur, popular poetry, such as kappakvæði, vikivakakvæð

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Mulpuri, Gowtham. "The Influence of Hashadev Madawan's Sijokavyas on Sanskrit Literature." Journal of Social Science and Humanities 6, no. 9 (2024): 205–8. http://dx.doi.org/10.53469/jssh.2024.6(09).38.

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Since ancient times, Sanskrit poetry has been world-famous for its structure, theme, rasa, characters, etc. It can be seen that the structure of modern Sanskrit poetry is completely different from this traditional form. Because of the greatness of ancient Sanskrit poetry, it was transferred to other languages and literature. But today, Sanskrit poetry tends to adopt the literary styles of other languages and its literature. Various literary styles and writing styles from all over the world have found their way into the Sanskrit language today. As such, Sijo poems are a type of poetry that has

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Mohamad, Abdulqadir Hamaameen, and Sarhad Hussain Mustafa. "Deviation of simile in Qubadi Jalilzadas poetry." JOURNAL OF LANGUAGE STUDIES 6, no. 2 (2023): 299–318. http://dx.doi.org/10.25130/jls.6.2.25.

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Poets in all literary schools utilize the poetic and rhetorical technique of simile in their works. QubadiJalilzada is on of the contemporary poets with a distinctive style. So because poet innovates with poetic imagination and style rather than adhering to a predetermined poetic form, the researcher in this study emphasizes the presence of many simile forms and techniques in his poems. Thus, the present study pinpoints poetic simile, according to its types, forms, morphology and place.

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Anders, Jaroslaw. "Poetics of Loss and Dislocation." Polish Review 67, no. 1 (2022): 9–26. http://dx.doi.org/10.5406/23300841.67.1.02.

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Abstract This essay examines several recurring themes, references, and poetic tropes in Anna Frajlich's poetry, to establish how her personal experience of exile and dislocation shapes and enriches her poetic universe. It focuses on the poet's treatment of space, time, memory, human relations, and the nagging sense of incompleteness often expressed by her lyrical personae. The essay combines historical and structural analysis of the main features of Frajlich's poetry, paying special attention to the prosodic organization of her verse, types of poetic diction, the intermittent use of traditiona

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Steel, Conrad. "Standard Forms: Modernism, Market Research, and “Howl”." Twentieth Century Literature 69, no. 3 (2023): 245–70. http://dx.doi.org/10.1215/0041462x-10814800.

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Before he was a famous poet, Allen Ginsberg was a market researcher. He stopped only when he managed to persuade his employer to automate his job out of existence (using one of the commercial computers that had first become available four years earlier); the resultant unemployment benefits enabled him to write “Howl.” This article reconsiders this iconic text of the nascent US counterculture as a product of the postwar structures of informatics, automation, and precarity that are sometimes now referred to as surveillance capitalism. But it also asks what relation those structures had and have

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Siti Nurhalimah and Rianti Maryana. "Analisis Puisi “Aku Tidak Akan Berhenti Mencarimu” Karya Heri Isnaini dengan Pendekatan Struktural." Bhinneka: Jurnal Bintang Pendidikan dan Bahasa 1, no. 2 (2023): 21–28. http://dx.doi.org/10.59024/bhinneka.v1i2.179.

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Literary work is a form of expression of human feelings as outlined in oral and written forms. Literary work is a language art that can be enjoyed by oneself and for everyone to enjoy. Poetry is one type of kasya satsra which is an expression of the poet's feelings which is poured using figurative words. The poem entitled "Aku Tidak Akan Berhenti MencariMu" by Heri Isnaini was chosen as research material for poetry studies using a structural approach. The Structural Approach is an approach that examines poetry based on the elements that build poetry in an objective systematic manner. This stud

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Ans, Weam Mohammed, and Maha Abdullah Alzhrany. "Writing the Self in Saudi Poetry: Reading Contemporary Forms." Dirasat: Human and Social Sciences 50, no. 3 (2023): 486–501. http://dx.doi.org/10.35516/hum.v50i3.5428.

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Objectives: This study aims to identify prominent topics and ideas in contemporary poetry, analyze selected texts, deconstruct their symbols and signs, and derive distinguishing artistic features and employed techniques. It explores the modern vision of these techniques and their aesthetic implications, contributing to Saudi Arabia's vision for 2030. Methods: The study employs an analytical approach, actively engaging with the texts and utilizing all relevant resources to shed light on them. The nature of the texts allows for multiple perspectives, reflecting their openness to vision and their

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Shahbaz Anjum and Dr. Arshad Mehmood Nashad. "Poetic Harmony In Arif Abdul Mateen’s Naa’atya Poetry." Dareecha-e-Tahqeeq 4, no. 2 (2023): 20–26. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i2.113.

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Naa’at is a form of religious poetry that is recited in praise of the Prophet Muhammad (peace be upon him). The word “Naa’at " is derived from the Arabic word "nath," which means "praise. “The content of Naa’ats usually includes descriptions of the Prophet Muhammad's character (seerat), his life, and his teachings. Naa’at can also be used to express the devotion and love that Muslims feel towards the Prophet Muhammad. Arif Abdul Mateen wrote in all forms of poetry and prose but his Naa’at genera have special mental thought process and evolution as a journey from communist thoughts to prospects

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Seilbekovich, Kazakbayev Sarsen. "The Emergence of Karakalpak Ritual Poetry and Its Developmental Paths." International Journal Of Literature And Languages 5, no. 5 (2025): 165–67. https://doi.org/10.37547/ijll/volume05issue05-38.

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The article examines the practical significance of ritual folklore and its designation with a particular name related to the specifics of each national ritual folklore and the peculiarities of their composition. All types of Karakalpak ritual folklore mainly consist of poetic forms and, apparently, are classified as lyrical genres.

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Ravvin, Norman. "On Refusing Canada, Canlit and More: National and Literary Identity in All Its Varieties." Studia Anglica Posnaniensia 55, s2 (2020): 291–301. http://dx.doi.org/10.2478/stap-2020-0014.

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Abstract Two recent anthologies of Canadian writing – Refuse: CanLit in Ruins and Resisting Canada: An Anthology of Poetry – reflect stances of resistance to mainstream institutional understandings of Canadian writing culture. They highlight recent scandals in academia and in literary communities, as well as highlighting the voices of Indigenous and women writers. These stances echo earlier forms of cultural revolution in Canada, in particular the Refus global manifesto, which provoked conventional Quebec society in the late 1940s. This paper contrasts these forms of refusal with a period in t

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Bakuridze, Mariam. "Galaktion." Journal in Humanities 3, no. 1 (2014): 31–33. http://dx.doi.org/10.31578/hum.v3i1.286.

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In his article “Lyricism”, Galaktion points out the unbreakable bond between a poet and folk poetry. The author underlines the unifying ethnic character of the ancient lyrical poetry. According to his observations, the folk poetry stands out with its artistic imagery and the richness of language. It is through the knowledge of folk poetry, that one is able to master technicalities of a poem and discover new poetic forms. Due to this belief the author finds it essential to have a comparative study of both literary and folk poetry. He wrote: “Our poetic techniques have a history of thousand year

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Pandev, Dimitar. "Liryka konwersacyjna w funkcji narratywu – ideologem." Politeja 21, no. 4(91) (2024): 149–55. https://doi.org/10.12797/politeja.21.2024.91.09.

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CONVERSATIONAL LYRICYSM AS A NARRATIVE FUNCTION – IDEOLOGEME The conversational lyric (an expression that we take from the Makjej Kavka’s study on the poetry of Aco Shopov and adapt it to poetry with an emphasized communicative function) opens new multimedia forms of public performance in front of a wide auditorium with a clearly emphasized contact (phatic), but also has a propaganda function, most often for political purposes. This especially applies to poetry whose main purpose was, and remains, the preservation of historical or cultural information, which could not be preserved in any form

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Chaib, Nabil. "The discursive characteristics of the digital poem: from the communicative approach to the actional perspective A semio stylistic analysis." Journal of Science and Knowledge Horizons 4, no. 02 (2024): 480–97. https://doi.org/10.34118/jskp.v4i02.4056.

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This paper attempts to explore the connotation of interactive poetry; Communicators believe that interactive poetry is a symbolic function model. In this model, the combination of function and meaning forms a field of concern of semiotics, and provides a broad space for applying all its methods through semiotics culture. The importance of this research problem is reflected in that it can be used as a systematic entry point through the research of French scholar Roland Barthes and stylistic researcher George Moliniè. The way young people accept these spaces and their interactions through social

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Adeduntan, Ayo. "Performative agency and transition in Àlàbí Ògúndépò’s ìjálá and Yẹmí Ẹlẹ́buìbọn’s Ifá chants". Africa 94, № 1 (2024): 162–85. http://dx.doi.org/10.1017/s000197202400007x.

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AbstractIndigenous Yorùbá poetry is often defined by such features as context, structure, tonal quality and the performer’s identity. Early taxonomy of the poetry focused on the poetics that could be deduced from a long tradition of practice. Recent scholarship in literary and cultural studies has been more interested in showing the ways in which the poetry is being inflected by encounters with postcolonial modernity. While these recent contributions demonstrate how new forms, such as ewì, distil expressive nuances from the older forms and invent new performative practices to address new publi

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Donskikh, Oleg. "Poetry as the beginning of philosophy and science." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 13, no. 2 (2019): 716–32. http://dx.doi.org/10.25205/1995-4328-2019-13-2-716-732.

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The article analyzes the situation of the formation of organized philosophical and scientific discourse in the pre-Socratic time, as well as in Alexandria and in the Arab Caliphate. It is shown that in all three cases it is, firstly, poetry that raised the verbal culture to such a level that the possibilities of using language expanded drastically and extreme generalizations became possible. Secondly, poetry performed a reflection upon mythology and formulated the problems that became the starting point of philosophical and scientific research. Poetry also inspired philosophers and scholars to

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Markowski, Michał Paweł. "The Holy Word “Is”." Polish Review 70, no. 3 (2025): 6–24. https://doi.org/10.5406/23300841.70.3.02.

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Abstract This article follows Czesław Miłosz's idea of “objective poetry” within its philosophical ramifications and tries to find a way to make all the statements by Miłosz and his commentators on “being” and “existence” coherent. The main problem detected in the vast poetic and discursive work of Miłosz is his insistence on “objective poetry,” which, due to his adamant allegiance to the philosophy of forms, never attains its supposed goals. In a surprising twist, Miłosz's approach to poetry, instead of being a praise of being, turns into an elaborated praise of language, situated at the oppo

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Smailbegović, Ada. "Iterative Objects: Hauntings of Identity in Poetic Form." American Literary History 34, no. 4 (2022): 1447–55. http://dx.doi.org/10.1093/alh/ajac157.

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Abstract Channeling Gertrude Stein’s assertion from her lecture “Portraits and Repetition” that there is no such thing as repetition because both language and other entities that compose the world are continuously undergoing change, this essay explores the question of iteration or recursion in two recent critical books, Brian Kim Stefans’s Word Toys: Poetry and Technics (2017) and Jacob Edmond’s Make it the Same: Poetry in the Age of Global Media (2019). Stefans develops a critical practice that considers poems to be autonomous, dynamic entities, akin to machines or living organisms, thus conn

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James, Kedrick. "Poetic Terrorism and the Politics of Spoken Word." Canadian Theatre Review 130 (March 2007): 38–42. http://dx.doi.org/10.3138/ctr.130.006.

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Late teen, early 1980s, and first gorging on poetry because it was the only thing that made sense, I became deeply enthused by hearing poems, as much as by reading them: to experience poetry as immanent, in synaesthetic plenty, all writing, reading, listening, speaking, watching, touching, tasting and smelling of poetry was involved. Poets whose work was about all the things language could do, and all the ways of doing it, really appealed to me. Among Canadian poets, I was not left wanting. Amazing work had already been achieved in the experimental spirit of the sixties and seventies: sound, v

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Detelic, Mirjana. "The place of the symbolic city in construction of national imagery: A case of Balkan folklore - two models of epic city." Balcanica, no. 35 (2004): 171–84. http://dx.doi.org/10.2298/balc0535171d.

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This article is based on folklore studies of oral epic tradition in the Serb-Croat (or, depending on territory, Croat-Serbian) language which was common to the majority of former Yugoslavia population (in fact, all but Slovenes and Macedonians). The corpus of 1200 oral epic songs were chosen among other folklore genres because of their strong ideological position which made them the only form of oral literature where town appears as a human habitation clearly defined in time and space. In all other forms of traditional culture, the urban space is imagined and represented either as a miraculous

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MIRUSMANOVA, Ziyoda. "THE INFLUENCE OF EASTERN CLASSICAL POETRY ON WESTERN POETS." UzMU xabarlari 1, no. 1.10.1 (2024): 312–13. https://doi.org/10.69617/nuuz.v1i1.10.1.4791.

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Literature serves as a mirror reflecting the cultural, social, and philosophical contexts of its time. Western and eastern literature has impacted each other in all era. While Western poetry has its own distinct heritage, it has also been significantly influenced by Eastern classical poetry. The interplay between Eastern and Western literary traditions has been a significant area of exploration in comparative literature. This article examines how Eastern classical poetry has influenced notable Western poets, specifically Johann Wolfgang von Goethe, Alexander Pushkin, and Lord Byron. By analyzi

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Arora, Jhanvi, and Santosh Kumar Bharti. "Rhetorical Analysis and Classification of Poem Text." International Journal of Semiotics and Visual Rhetoric 5, no. 1 (2021): 57–71. http://dx.doi.org/10.4018/ijsvr.2021010105.

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Poetry is one of the richest forms of literature, which in itself includes all components of language a human learns; by components here, the context is towards the rhetorical devices. The rhetorical devices constitute the witty use of words used in the reference to things. The work intends to identify the forms of creative references used by the poets to contrast their style of writing and categorize the text on the basis of the same. On the basis of each such prominent device such as rhymes or alliteration, one can derive the boundary or similarity percentage amongst the poems, which can be

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Anwari, Moh Kanif. "PANDANGAN ADONIS TERHADAP PUISI DAN MODERNITAS." Adabiyyāt: Jurnal Bahasa dan Sastra 11, no. 2 (2012): 197. http://dx.doi.org/10.14421/ajbs.2012.11202.

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Poetry is a mirror of a society. It contains the poets’ emotions, thought, and impression poured through the medium of language. This paper describes the thought of Ali Ahmad Said, who is better known as Adonis, on Arabic poetry from the perspectives of literature, linguistics, culture, and philosophy. The study begins by describing Adonis’ biography, followed by a description and analysis of Arabic poetry, its forms and relation to religion and modernity. The formulated problems concerns who Adonis is, how the position of Arabic poetry in relation with culture (religion) is, and how the moder

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Sulaiman, Shiyar. "Review of the book "Teşeyên Nezmê"." Kurdiname, no. 10 (April 28, 2024): 247–52. http://dx.doi.org/10.55106/kurdiname.1437718.

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The article is a review of the book Teşeyên Nezmê by Professor Dr. Abdul Rahman Adak, published by Nûbihar Publishing House. The book consists of 638 pages. The book explains how Kurdish poets write their poems. He talks extensively about every type of poetry and shows many interesting poems by ancient poets of all Kurdish dialects. It can be said that the subject of the book is not limited only to the forms of poetry composition, but rather it is a selection and description of ancient Kurdish poets, because the book contains interesting information and examples about each of the poets. The bo

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Prabawati, Ninda, and Masda Surti Simatupang. "IDENTIFYING AND CATEGORIZING THE DIFFERENT TYPES OF REFERENCES USED IN ALL THE WORLD’S A STAGE BY WILLIAM SHAKESPEARE." DIALEKTIKA: JURNAL BAHASA, SASTRA DAN BUDAYA 10, no. 1 (2023): 66–79. http://dx.doi.org/10.33541/dia.v10i1.5073.

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Reference is an important aspect of the learning process, especially in analyzing discourse, both in the forms of scientific texts and literary works such as drama, prose, and poetry. Two concepts of reference are used: the kinds of referents and ways of referring. Kinds of referents include unique or non-unique, concrete or abstract, and countable or non-countable referents. Meanwhile, the ways of referring include a generic or non-generic, specific or non-specific, and definite or indefinite reference. These two concepts are used to identify and categorize referents in the poem “All the Worl

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Schaefer, Heike. "Un/published: Presence and Absence in Contemporary Erasure Poetry." American Literary History 36, no. 2 (2024): 463–88. http://dx.doi.org/10.1093/alh/ajae039.

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Abstract Erasure is a popular form of appropriative poetry that refashions found material by partially effacing it. Made of salvaged fragments and deletion marks, erasure poetry puts processes of obliteration on display and provides a structural analogy for both the social erasure of marginalized groups and the critical rewriting of hegemonic discourses. This essay understands erasure as a constraint-based appropriative practice and differentiates it from other forms of conceptual and documentary poetry. It argues that erasures use the oscillation between presence (of the retained words, the r

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Watson, Lindsay, and Pat Watson. "Literary Polemic in Martial." Acta Classica 65, no. 1 (2022): 117–33. http://dx.doi.org/10.1353/acl.2022.a914040.

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ABSTRACT: Following the practice of Greek and Roman poets, Martial employs polemic as a means of expressing his literary views, particularly with respect to his chosen genre and his place within that genre. In order to elevate the status of epigram within the generic hierarchy, he attacks the higher forms of poetry as stale and irrelevant to real life, dismissing their apologists in highly personal and aggressive terms. He often engages in an argumentative to-and-fro with a supposed critic of his poetry or of his opinions, summarily dismissing his opponent in a typically epigrammatic put-down

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Pavlič, Darja. "Pesnitve sodobnih slovenskih pesnic." Jezik in slovstvo 66, no. 4 (2024): 121–34. http://dx.doi.org/10.4312/jis.66.4.121-134.

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Among the literary genres that characterise Slovenian poetry, long poems have not been prominent, and especially not long poems written by women. In recent years, however, women poets have written a number of works that fit this label, demonstrating their great creative power. In this paper, I first discuss the theory and history of the long poem, devoting particular attention to the diversity of long poems in American poetry, and then analyse recent works by Nina Dragičević, Katja Gorečan and Kristina Hočevar by exploring the poetic processes and themes employed. All of the works under consid

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Naqvi, Azhar Hussain, and Abdul Ghafoor Baloch. "Shade of Tauheed and different genres of Urdu poetry." Al Khadim Research journal of Islamic culture and Civilization 2, no. 2 (2021): 114–36. http://dx.doi.org/10.53575/arjicc.u8-v2.2(21)114-136.

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In its essence Tauheed (the Islamic doctrine of monotheism, the only one creator), is the foundation of all Islamic beliefs. The essence of sending the Prophets and the day of judgement and the life after death all these beliefs are based on Oneness of “God”. Hence when we take a glance on the literature of the period, between 1759 A.D. (1174 A.H.) and 1806 A.D. (1221 A.H.), which is that of the Moghul era, i.e., the literature of Aali Gohar Shah Alam era, we see that during this period alongside the development of Urdu prose, the effects of doctrine of Tauheed had begun to show in its poetry

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Kaczmarski, Paweł. "Wkurwy, złostki i pomiędzy. O wierszach Kamili Janiak." Śląskie Studia Polonistyczne 14, no. 2 (2019): 173–86. http://dx.doi.org/10.31261/ssp.2019.14.12.

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The article is focused on the theme of anger in Kamila Janiak’s poetry – its forms, types, and understanding that transpire as she develops her poetry. A paradigm of reception assumed herein as a departure point is the category of a “piss-off” (Polish vulgar noun wkurw, a strong sensation of anger), which is synonymous with intense and politically motivated indignation. The author of the article, however, attempts to show that Janiak’s poetry has been for a long time defined by other affective registers; emotions and moods in a way supressed – restricted, unfulfilled, most of all: incapable of

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Hassan, Mariwan Omar, and Awara Khadr Mahmoud. "The Basic Forms of Poetry gener in the “Kurdistan” Newspaper of Tehran This paper is a part of master's thesis entitled:." Journal of University of Raparin 10, no. 2 (2023): 617–37. http://dx.doi.org/10.26750/vol(10).no(2).paper26.

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The term genre in the literary literature means (type, style, category, or literary element). genres include all the artistic frameworks and templates that poets and writers use to shape their thoughts, consciousness and emotions. In ancient times (classical age) the boundaries between literary genres are clearly defined on the basis of the purity of genres. In general, genres had enjoyed a kind of independence. However, in the later stages, the boundaries between genres were crossed since they merged, went into each other and lost their sanctity and independence. For example, a genre of epic

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Chung, Eun-Gwi. "Poetry Education in the Universities at Korea, Its Reality and Possibilities: Rethinking the Dilemma and Force of Poetry." Korean Society for Teaching English Literature 26, no. 2 (2022): 125–48. http://dx.doi.org/10.19068/jtel.2022.26.2.05.

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This article focuses on two points: first of all, it goes back to the history of English poetry education here in Korea, how poetry education has been done in the university classroom for the past 30 years. To reach the goal, this article revisits the 26 years of The Journal of Teaching English Literature. Reading the major achievements and endeavors of the earlier generations in poetry education, this article diagnoses the realities, changes, transformations, and dilemmas, which English poetry education here in Korea has faced for the past 30 years. Secondly, based on scanning the history, th

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Bychkov, Victor V. "Studia humaniora, or The Spiritual-Aesthetic Meaning of Art in Mature Friedrich Schlegel." Voprosy Filosofii, no. 9 (2022): 128–39. http://dx.doi.org/10.21146/0042-8744-2022-9-128-139.

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Schlegel sees philosophy and poetry (all forms of artistic expression) as two key components of human spiritual culture. In his mind they are tightly linked as different ways of expressing divine truth and beauty. Both art and philosophy belong to the sphere of the sophia, the difference being that philosophy aims at separating truth from beauty and art expresses both in their unity. Philosophy, as a subdivision of prose, is focused on concepts and the “definite”, while poetry is focused on contemplation, expressive imagery, and the “indefinite”. Prose, including philosophy, communicates,

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Semenov, Vadim Borisovich. "Guillaume Troubadour and the Englins (towards the construction of the "Welsh" hypothesis of the origin of European rhyming stanzas)." Litera, no. 8 (August 2022): 171–86. http://dx.doi.org/10.25136/2409-8698.2022.8.38539.

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The subject of the study is the real and probable connections of Aquitanian (and in particular Poitevin) poetry of the High Middle Ages with the traditions of early Medieval Celtic (and in particular Welsh) literature. A narrower topic of research was the influence of Welsh poems in the form of Englyns on the early samples of Guillaume IX's poetry, primarily in the early forms of englyn milwr and englyn penfyr. An additional subject of research was the metric features of these early forms of Englyns. At the same time, a broader topic of research was the topic of the possible origin of exact rh

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Veira, Elīna. "Digitālās dzejas klasifikācija: Džovannas Di Rozārio un “klasiskā” modeļa sintēze." Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, no. 14 (December 19, 2022): 54–61. http://dx.doi.org/10.37384/sm.2022.14.054.

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Digital literature and digital poetry are relatively new fields that are developing rapidly. As a result, theoreticians are facing various challenges. There is a lack of unified terminology, classification, and the attempts to define the field result in either over-generalisation or, quite the contrary, they focus on certain aspects that are not common to all forms of digital literature or digital poetry. The boundaries between digital literature, cinema, art, video games etc., are rather blurred as well; thus, the aim of this article is to 1) provide a comprehensive overview of the attempts t

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Burt, Stephanie. "Jo Gill, Modern American Poetry and the Architectural Imagination: The Harmony of Forms." American Literary History 36, no. 4 (2024): 1249–52. http://dx.doi.org/10.1093/alh/ajae104.

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JURAYEVA, Nazokat. "OBSERVATION OF THE POETIC UNITY OF THE VERSE IN THE POETRY OF MUHAMMAD RIZA OGAKHI." Art and Design: Social Science 02, no. 01 (2022): 9–12. http://dx.doi.org/10.37547/ssa-v2-i1-4.

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This article presents scientific and analytical ideas on the definition of types in Uzbek literature in terms of the structure of the byte and its function in the structure of the poetic work. Also, in our literature on the relationship of bytes and genres, historical sources have been studied and the correct theoretical foundations have been formed. The level of application, types, and functions of genres such as chiston, the problem is analyzed. This article examines in detail the use of the poetic unity of the byte in the poetry of Muhammad Rizo Ogakhi, a unique representative of Uzbek clas

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Laletina, Olga S., and Iwei Zhang. "Describing the verse of Russian émigré poets: Poetry by Nikolay A. Shegolev and its metrical system." Vestnik of Saint Petersburg University. Language and Literature 18, no. 4 (2021): 661–79. http://dx.doi.org/10.21638/spbu09.2021.402.

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The article analyses Russian émigré poetry: it describes the lyric poetry of Russian emigrants in the Far East, its connection to the poetry of the metropolis and the western branch of Russian emigration. The work is focused on one of the least studied issues in the history of Russian émigré poetry, i. e., the specific development of its verse. Lyric poetry by Nikolay A. Shegolev (1910–1975), a poet of the so-called “Russian China”, offers extensive material in this respect. His poetry has been overlooked in terms of academic verse analysis to date; however, many scholars note that he was very

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Litsardaki, Maria. "Poésie et absence." Quêtes littéraires, no. 2 (December 30, 2012): 162–72. http://dx.doi.org/10.31743/ql.4638.

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Considering poetry as a literary form in close relation with absence and scarcity; this paper deals with some of the most frequent and significant forms of absence that appear in poetic texts. The physical absence of the other, due either to death or to the distance between the two individuals, is the most common kind in lyric poetry. Modern poetry often deals with Gods’ absence, which represents an important loss for the contemporary human being, trying to understand or face it. There is also the lack of inspiration and words with efficient expressive capacity that make poets suffer. However,

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Kasperski, Edward. "Poetry and Philosophy: Four Pillars of Tradition – A Comparative Study of Discourses." Tekstualia 1, no. 1 (2013): 91–109. http://dx.doi.org/10.5604/01.3001.0013.6132.

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It is now a very well known truth that poetry and philosophy are not, and have never been, linked through a stable algorithm1. Any discussion of the two must, then, inevitably start with the historical and synchronic diversity of poetic output, on the one hand, and with the diversity of philosophical concepts, languages, and world models, on the other. Other forms of poetry and philosophy have developed outside Europe and the Mediterranean world – in Islamic, Eastern, and Native American cultures – and must be also taken into account, with all their different rules and relations. It is also ne

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Boksh, Shanjida Khatun. "Robert Lowell’s “Benign Possession” in Revisiting Traditions." Crossings: A Journal of English Studies 6 (August 1, 2015): 48–61. http://dx.doi.org/10.59817/cjes.v6i.209.

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Robert Lowell’s poetry is saturated in intertextuality and returns frequently to contemporary and past authors of many nationalities for deep infusions of strength in poetry that is neither a recapitulation nor a replica, but something new — a new incarnation in an enriched context. Lowell’s experimental attitude towards poetry, seen in his constant revision of various forms of tradition, establishes his professionalism as well as his aspiration to create a distinct position in the literary world. It likewise suggests the lineaments of Lowell, the composite figure of various traditions, whose

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Nouzeilles, Gabriela, and César Vallejo. "Notes on Vallejo and Redemptive Poetry." Critical Times 1, no. 1 (2018): 120–32. http://dx.doi.org/10.1215/26410478-1.1.120.

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Abstract To paraphrase the late Salvadorian radical poet Roque Dalton, at a time when the present is charged with the urgency to act no matter what, César Vallejo's poetry must be thought through, down to its last detail. No one understood better than Vallejo that to articulate the past historically means to seize a memory “as it flashes up at a moment of danger.” He hinted at the radical event that was already “tomorrow,” and the redeemable future tense that was in a permanent state of arrival. Encrypted in his poetry is the question: “¿Cómo se llama cuanto heriza nos?” (“What to call all tha

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Bumatova, Aidakhon. "Problems in the Translation of Smaller Lyric Genres." Uzbekistan: language and culture 3, no. 2 (2021): 51–64. http://dx.doi.org/10.52773/tsuull.uzlc.2021.2/xwvx9334.

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The article discusses some of the problems that occur during the translation of smaller poetic genres from Uzbek into English and the pro-cess of analysis and interpretation that is carried out by a translator taking into consideration the presence, omission or transformation of crucial ele-ments of poetry such as form, meaning and poetics of a poem. In a broad sense, it is logical enough to consider that to translate a poem is much eas-ier than, for instance, rendering of novels, stories and any other types of written genre of a literature, because of its shorter forms. Despite the fact that

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