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Journal articles on the topic 'Catalan poetry – 20th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Guereña, Jean Louis. "Un infierno catalán. Apuntes para una bibliografía de publicaciones eróticas catalanas clandestinas (siglo XIX-primer tercio del siglo XX)." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 3, no. 3 (June 28, 2014): 311. http://dx.doi.org/10.7203/scripta.3.3823.

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Resumen: El presente artículo colecciona un buen número de las publicaciones catalanas de tema erótico que vieron la luz clancestinamente durante el siglo XIX y principios del XX. Palabras clave: bibliografía, erotismo, catalán, renaixença, siglo XIX, siglo XXAbstract: This article collects a good number of Catalan publications with a erotic topic that came out clandestinely during the 19th and early 20th centuries. Keywords: literature, eroticism, Catalan, Renaixença, 19th century, 20th century

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2

Pujol, Dídac. "Three Translators in Search of an Author: Linguistic Strategies and Language Models in the (Re)translation of Shakespeare’s Plays into Catalan." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 41–59. http://dx.doi.org/10.1515/mstap-2017-0018.

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This article shows how the language of Shakespeare’s plays has been rendered into Catalan in three especially significant periods: the late 19th century, the early 20th century, and the late 20th and early 21st centuries. The first section centres on the contrast between natural and unnatural language in Hamlet, and considers how this differentiation is carried out (by linguistic techniques that differ substantially from Shakespeare’s) in a late 19th-century Catalan adaptation by Gaietà Soler. The second part of the article investigates the reasons why in an early 20th-century translation of King Lear the translator, Anfòs Par, resorts to medieval instead of present-time language. The last section of the article illustrates how and explores the motivations why Salvador Oliva’s first (1985) version of The Tempest is retranslated in 2006 using a different language model. The ultimate aim of the paper is to put forward the hypothesis that, in the case of Catalan, Shakespearean translations are both a reflection of the current state of the language and a major linguistic experimentation that shapes and creates (sometimes through a via negativa) the Catalan literary language.

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3

Oleart, Oriol. "From Legal Compilations to Legal Codes: A Catalan Legal History Approach (18th–20th Centuries)." International Journal of Legal Information 42, no. 1 (2014): 1–21. http://dx.doi.org/10.1017/s0731126500028225.

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This contribution deals with the evolution of the traditional Catalan legal system after the end of the Spanish War of Succession (early 18th-Century) up to the late 20th-Century. It shows how the traditional Catalan legal system survived and evolved through the end of the Old Regime to the 19th-Century constitutional system, and focuses on the traditional Catalan legal system (and law compilations) that survives beside the brand new Spanish Civil code, along with other Spanish existing regional legal regulations (due to historical surviving legal systems from pre-existing kingdoms).

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Bernal, Elisenda. "Catalan compounds." Probus 24, no. 1 (June 26, 2012): 5–27. http://dx.doi.org/10.1515/probus-2012-0002.

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Abstract In this paper, we will present an overview of compounding in Catalan, covering the founding theoretical-descriptive studies of the 20th century to the most recent scholarship. Specifically, it analyses the boundaries of compounding, considering the limits which make it possible to distinguish compounding from derivation and free syntagmas. We will also consider the various types of compounding documented in Catalan, as well as the syntactic and semantic relationships between the elements that make up a compound. Finally, we will analyse newly-created compounds that shed light on the productivity of this process of word formation.

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Cosoveanu, Mihai. "Teaching Culture through 20th Century American Poetry." Procedia - Social and Behavioral Sciences 70 (January 2013): 1204–9. http://dx.doi.org/10.1016/j.sbspro.2013.01.178.

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6

Van Den Berg, Gabrielle. "Perceptions of Poetry. Some Examples of Late 20th Century Tajik Poetry." Oriente Moderno 83, no. 1 (August 12, 2003): 37–56. http://dx.doi.org/10.1163/22138617-08301006.

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7

Šilbajoris, Rimvydas, and Justinas Marcinkevičus. "The Amber Lyre: 18th-20th Century Lithuanian Poetry." World Literature Today 59, no. 3 (1985): 466. http://dx.doi.org/10.2307/40141035.

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8

Niatum, Duane. "Harper's Anthology of 20th Century Native American Poetry." Wicazo Sa Review 4, no. 1 (1988): 31. http://dx.doi.org/10.2307/1409082.

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9

Krupat, Arnold, and Duane Niatum. "Harper's Anthology of 20th Century Native American Poetry." Wicazo Sa Review 4, no. 2 (1988): 48. http://dx.doi.org/10.2307/1409280.

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10

Wilson, Norma C., and Duane Niatum. "Harper's Anthology of 20th Century Native American Poetry." American Indian Quarterly 14, no. 2 (1990): 211. http://dx.doi.org/10.2307/1185085.

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11

Aulinas, Monserrat Adam. "DIFERÈNCIES DE GRAU EN EL CANVI LINGüíSTIC MORFOLÒGIC DINS D’UNA ZONA DEL CATALÀ I APROXIMACIÓ A LES CAUSES." Catalan Review: Volume 21, Issue 1 21, no. 1 (January 1, 2007): 9–42. http://dx.doi.org/10.3828/catr.21.1.

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This paper examines the evolution during the 20th century of 10 dialectal features of verbal morphology, in an area of northeastern Catalonia. It compares dialectological data collected by Alcover in the first decades of the 20th century with data from recent interviews that have been carried out. The general conclusion is that, in this period, whereas features that can be characterized as typical of Roussillon Catalan have receded, those that are typical of Girona Catalan have remained stable in their use or, even, have increased. After presenting the numerical facts, the paper discusses spatial-typology reasons that might expia in this particular evolution; it also refers to system-internal reasons that should be taken into account as well.

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12

Filatov, Georgy. "Catalonia and Regional Self-Government in the First Quarter of the 20th Century." ISTORIYA 12, no. 6 (104) (2021): 0. http://dx.doi.org/10.18254/s207987840016155-9.

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The Mancomunitat represents the first experience of self-government in Catalonia in the 20th century. This idea began to form among Catalan intellectuals in the second half of the 19th century, when the interests of the local bourgeoisie and the cultural elite of the region unexpectedly coincided in connection with the need to defend their interests before the central authorities. The Mancomunitat emerged at a time when the political system of the restoration was in crisis as the main monarchist parties were ousted from the political life of the region by Catalanists and Republicans. In these conditions, the Spanish government preferred to satisfy the demands of the nationalists, since they were a more conservative force and did not pretend to change the political system of Spain. As a result, the Catalan provinces were able to create the Mancomunitat, which allowed them to coordinate efforts to deal with administrative issues.

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13

Ripa, Valentina. "Omaggio a Joan Vinyoli." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 5, no. 5 (June 12, 2015): 305. http://dx.doi.org/10.7203/scripta.5.6377.

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Riassunto: In continuità con l’omaggio a Joan Vinyoli organizzato a Roma nel 2014, si propongono le traduzioni in italiano di alcuni suoi componimenti, con testo a fronte. Parole chiave: Joan Vinyoli, traduzione dal catalano all’italiano, poesia catalana del Novecento. Abstract: In continuity with the Joan Vinyoli Tribute organized in Rome in December 2014, I propose the translation from Catalan to Italian of some of his poems. Keywords: Joan Vinyoli, translation from Catalan to Italian, twentieth-century Catalan poetry.

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Gamurari, Pavel. "ROMANIAN POETRY FROM THE TWENTIETH CENTURY AND MUSIC." Akademos 60, no. 1 (June 2021): 125–29. http://dx.doi.org/10.52673/18570461.21.1-60.16.

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The article outlines approaches and syntheses of high complexity, made within the framework of reference compositional creations by leading composers from Romania and the Republic of Moldova. Among them are Sigismund Toduta, Paul Constantinescu, Vasile Spatarelu, Felicia Donceanu, Viorel Munteanu, Dan Voiculescu, Vladimir Rotaru, Vlad Burlea, etc. The compositional approaches to poetic sources, which fall within the musical trends of the 20th century and are representative of national and universal music, are particularly diverse and original.

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15

Lobin, Aleksandr M. "The Poetry of the Russian Novel." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, no. 4 (November 25, 2020): 483–85. http://dx.doi.org/10.18500/1817-7115-2020-20-4-483-485.

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The monograph under review explores the poetics of the Russian novel of the first half of the 20th century. The author focuses on the titular sphere of the works and their inner organization, as well as the rhythm of the composition.

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Kim, Jaeun. "Aspects of Death in the late 20th century and early 21st century Chinese poetry." JOURNAL OF CHINESE HUMANITIES 66 (August 31, 2017): 325–46. http://dx.doi.org/10.35955/jch.2017.08.66.325.

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17

Casanovas, Pompeu, Josep Monserrat, and Wendy R. Simon. "Gearing up for Catalan Intellectual History: JOCIH’s Twist." Journal of Catalan Intellectual History 1, no. 11 (October 1, 2017): 1–14. http://dx.doi.org/10.1515/jocih-2016-0001.

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AbstractThis article can be read as an Editorial for the first issue of the Journal of Catalan Intellectual History (JOCIH) in its new stage at de Gruyter Open. It offers, first, a methodical review of the concept, roles, and trends of intellectual history in the 20th century. Next, it looks into the particular Catalan tradition, historiography, and cultural analysis to position the aim and the role of the Journal with regard to similar initiatives. It tries to give an answer to the crisis of intellectual history as a discipline, at the end of the past century. The third part of the article describes some of the available resources. The fourth section introduces the contents of the present issue, focussing on the construction of a collective identity and the literary engagement of Catalan writers between 1920 and 1980, either in their country or in exile. The Notes of the present issue highlight the importance of technology, natural language processing, and Semantic Web developments in carrying out contemporary research in this field.

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18

Sasor, Rozalia. "The historical background of Catalan separatism: The case of Occitania." Review of Nationalities 10, no. 1 (December 1, 2020): 153–67. http://dx.doi.org/10.2478/pn-2020-0011.

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Abstract The purpose of this study is to discuss the originality of the Catalan literature at its beginnings in relation to the poetry of the Occitan troubadours, and to explain why some Catalans today do not feel connected to the Castilian heritage. The paper presents the Occitan-Catalan political and cultural relations in the time between 993 and 1213, with particular emphasis on the 12th century when the Great Occitan War took place. The historical Occitania at that time was divided into numerous principalities affected by constant internal struggles. That unstable political situation encouraged powerful neighbours – as the rulers from the House of Barcelona – to attain their domination over the region. The successful military and diplomatic engagements of the Catalan sovereigns allowed them to create a relatively homogeneoas Occitan-Catalan community based on cultural similarity and feudal dependence.

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Frolova, Natal'ya S. "Devices of comic in the work of the 20th century English-speaking Ugandan poets." Vestnik of Kostroma State University, no. 4 (2019): 140–44. http://dx.doi.org/10.34216/1998-0817-2019-25-4-140-144.

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Poetry of the Ugandans are analysed in an article in the context of the use of devices of comic in the East African English-language poetry. The critical-realistic and enlightener tendencies that were eagerly apprehended by most East African authors in the 1960s have not allowed them going beyond the direct criticism of damning poetry to this day as well, although point-by-point attempts to use humour and satire when contemplating socio-political issues, do occur throughout the sixty-year existence of East Africa English-language poetry. The dilogy by Okot p’Bitek, Timothy Wangusa and Taban Lo Liyong are clear examples of such attempts made in Uganda literature. At the same time, the three authors use fundamentally different techniques of comic, when portraying modern reality, both purely African and universal human.

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20

Markova, E. A. "THE TRADITION OF ENGLISH-LANGUAGE ELEGY AND J. BRODSKY’s POETRY." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (December 25, 2019): 1030–36. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1030-1036.

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In the present article J. Brodsky’s poetry is analyzed in the context of a particular elegiac tradition associated with some key figures of English-language poetry of the mid-to-late 20th century. These are W.B. Yeats, T.S. Eliot, W.H. Auden and S. Heaney. The aim of the article is to examine the continuity of the 20th century English poetry by the example of a sequence of dedication poems (elegies), in which each subsequent poem alludes to the previous one(s). The comparative method allows us not only to show the features of modern English-language poetry (for instance, the link between elegiac mood and reflection on the purpose of poetry), but also to analyze the influence of poets’ interpersonal contacts on their works. Special emphasis is put on J. Brodsky’s poetry as it may seem extraneous to the English-language tradition in question. The analysis of Brodsky’s personal and creative biography, his particular dedication poems and essays allows us to find the links between the Russian poet and the literary tradition of Great Britain, Ireland and the USA.

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21

Bocheński, Tomasz. "Tuwim’s Dialogues with Banality." Acta Universitatis Lodziensis. Folia Litteraria Polonica 36, no. 6 (May 30, 2017): 219–31. http://dx.doi.org/10.18778/1505-9057.36.16.

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The article examines the relation between Tuwim’s poetry and modern colloquial language. The avant-garde artists for whom in the beginning of the 20th-century art was an elite occupation, treated every-day speech as a mass form of communication. Tuwim’s poetry was frequently criticised for banality. Matywiecki presents the poet as a hero fighting with the demon of commonness. The crucial thesis of the article is that banality which is modified in a creative way says more about the epoch than elitist visions. In his poetry, satire and cabaret work Tuwim transformed triviality into dialog and a common human being into a creative person. Transition of the street talk into original speech is the defence against reducing individual being to cliché which means the fear of 20th-century killing ideologies.

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22

Bosia, Daniela, and Tanja Marzi. "Leonardo Mosso: the poetry of structure." Modern Houses, no. 64 (2021): 89. http://dx.doi.org/10.52200/64.a.3qdp8m1x.

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Leonardo Mosso (1926-2020) was able to combine art and architecture. He was a collector and an interpreter of 20th century culture that he shared and passed on to succeeding generations of students and collaborators who attended the Alvar Aalto Institute. For many, he was an unsung Maestro, a generous polymath, who maintained an extraordinary curiosity and child-like enthusiasm throughout his long life.

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23

Janowska, Karolina. "Amor udrí – la poesía cortesana árabe en la Península Ibérica." Forum Filologiczne Ateneum, no. 1(7)2019 (December 31, 2019): 323–42. http://dx.doi.org/10.36575/2353-2912/1(7)2019.323.

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The poetry of Arab-Andalusian poets is a bridge between Eastern and Western culture. Its roots date back to the sixth century, when the first Bedouin songs resounded in the limitless areas of the Arabian desert. His echoes resounded in the poetry of Provençal troubadours. Traces of this poetry can be found in the works of Renaissance poets, including Petrarc. Elements of Andalusian poetry were also visible in the poetry of the Spanish court since the 16th century. The characteristic poetic forms still appeared in 20th century poetry – at least one of the most outstanding Spanish poets, Federico Garcia Llorca, reached for it. Its greatest prosperity was in the 10th andd 11th centuries, and among the outstanding Andalusian poets were both men and women. The main motive of this poetry was unfulfilled love, which remained the dominant element of modern European court poetry.

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Virnyk, O. A. "The Functioning of Anthroponyms in Turkish Poetry in the Early 20th Century." Science and Education a New Dimension VIII(241), no. 72 (November 25, 2020): 64–67. http://dx.doi.org/10.31174/send-ph2020-241viii72-14.

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25

UM, Inkyung. "The Aspect of the 20th Century Japanese Traditional Poetry in Korean Peninsula." Border Crossings: The Journal of Japanese-Language Literature Studies 9, no. 1 (December 28, 2019): 15–29. http://dx.doi.org/10.22628/bcjjl.2019.9.1.15.

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UM, Inkyung. "The Aspect of the 20th Century Japanese Traditional Poetry in Korean Peninsula." Border Crossings: The Journal of Japanese-Language Literature Studies 9, no. 1 (June 28, 2020): 15–29. http://dx.doi.org/10.22628/bcjjl.2020.9.1.15.

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27

Yoon, Ji-a. "Social meanings and tendency of early 20th century Korean-American classic poetry." Society Of Korean Language And Literature 60 (January 30, 2018): 329–59. http://dx.doi.org/10.15711/wr.60.0.11.

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28

Khodakivska, Yaryna. "Classical and non-classical verse: terminological aspects." Terminological Bulletin, no. 5 (2019): 118–24. http://dx.doi.org/10.37919/2221-8807-2019-5-15.

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The paper deals with the expediency of using the terms classical verse and non-classical verse in Ukrainian versification studies. They are borrowed from Russian scientific discourse. The article shows the semantics of these terms in Russian versification studies. The phrase classical verse in works on poetry has wide semantics and means different types of poetry for different literatures: syllabic, quantitative, etc. In the first half of the 20th century Borys Tomashevsky began to use the phrase “Russian classical verse” to refer to the syllabic-tonic verse along with the accent verse. In 1959, he narrowed the semantics of this phrase and used it for syllabic-tonic verse only. Such a decision was motivated by the fact that in the “golden time of Russian literature” (19th century) syllabic-tonic verse was the prevailing system of versification, unlike the syllabic verse that could be rarely found in the Russian literature, and the tonic verse that was starting to develop during Tomashevsky’s time. Thus, in the studies of Russian poetry, the phrase classical verse became the term (acquired termhood) with the meaning of “syllabic-tonic verse”. In 1974, Mikhail Gasparov created the antonymic term “non-classical verse”, which marked other types of Russian verse: syllabic, tonic. Both terms became widespread in Russian poetry. Ideological as well as political and cultural conditions for the development of the Ukrainian science in the 20th century promoted uncritical replication of evaluative judgments expressed by Russian scholars in the Ukrainian poetry. The terms classical verse (as syllabic-tonic) and non-classical verse (as non-syllabic-tonic) having the component of estimating semantics faced the abovementioned situation. They were borrowed and applied in the Ukrainian poetry with the same meaning as in the Russian ones. Halyna Sydorenko, Natalia Kostenko, Olena Kytsan and others used these terms in their works. However, the history of the Ukrainian verse differed from the history of the Russian verse. The syllabic verse occupies a significant place therein, whereas the tradition of using it extends to the first half of the 20th century. The greatest Ukrainian poet Taras Shevchenko and many of his followers wrote syllabic-verse poems. Pavlo Tychyna used the syllabic verse in the 20th century. Therefore, the exclusion of syllabic verse from the notion of “classical verse” in relation to the Ukrainian literature is unjustified. These terms in Ukrainian verification studies have false motivation. They are used incorrectly in Ukrainian versification sources. This terminological situation needs adjustment.

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García, María Isabel Maldonado. "The Spanish Women Poet’s Contribution To The Literature Of The 20th Century." Pakistan Journal of Gender Studies 10, no. 1 (March 8, 2015): 129–43. http://dx.doi.org/10.46568/pjgs.v10i1.230.

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The 20th century offers us a wealth of literary authors. The Spanish poets of the 20th century that usually come to mind are mainly male due to the fact that the female poets never received proper recognition and were ignored for many years. The historical events of the 20th century could have ceasedthe literary works of the Spanish authors. However, instead, the Spanish utilized the poetry of protest as a means of rebelling towards their social reality. Not only male poets but also women were extremely prolific in their craft. First during the Civil War and after during the thirty six years of dictatorship that followed in spite of the hardships, censorship and vigorous opposition. A few of these women are Carmen Conde, Rosa Chacel, Ernestina de Champourcin and others. This research studies thecontribution of a few outstanding women poets to the 20th century Spanish literature and language.

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Semenist, Ivan. "“Misty Poetry” as a reflection of the nature of Chinese literature of the “New Period” (second half of the 20th century)." Synopsis: Text Context Media 26, no. 4 (2020): 145–50. http://dx.doi.org/10.28925/2311-259x.2020.4.5.

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The subject of the study is the formation of “Misty Poetry” trend in Chinese literature of the late 20th century. The study aims at the disclosure of the dynamics of “Misty Poetry” within modernist paradigm against the backdrop of Chinese literature of the “New Period”. The method is grounded in identification of key modernist poetics categories, perceived and transformed in the versification practice of Misty Poetry. Sociocultural contextualization method is employed to locate Misty Poetry in the post Cultural Revolution aesthetic and ideological context of China. The study results cover the lyrical attempt at a modernistic search for identity in Chinese literature of the “New Period”. The pursuit of self and vaster category of identity is considered and comprehensively analyzed through the array of representative poetic texts (Zhang Ming, Meng Lang, Bei Dao, Duo Duo). “Misty Poetry” marked the beginning of the “New Period” in the history of modern Chinese literature. The trend demonstrated qualitative changes in the ideological foundations and artistic practice of the new poetry of China in the 20th century. “Misty Poetry” became a kind of aesthetic protest against the ideological and artistic clichés of the preceding cultural-historical era. The concept of “self” within the paradigm of Misty Poetry is corroborated to be perceived as an independent consciousness, not dictated by any ideology or doctrine, disclosed through the means of a poet’s internal thoughts depictions, both conscious and subconscious. The paper results demonstrate the transformative potential of the Misty Poetry trend poetics on prosodic level, level of stylistic imagery and genre specificity. The paper interpretative results explore the significance of the “Misty Poetry” in the way that it revived and gave a new impetus to the further development to the humanistic orientation of Chinese poetry. The novelty is connected with the aesthetic means of territorializing the marginal space that provides the poet and the poetic protagonist with a critical distance from the dominant discourse of the political-cultural establishment of post Cultural Revolution China are disclosed. The paper concludes the Misty Poetry trend drew attention to the subjective beginning in art and opened the discourse for an active search for a new artistic reality in which the legacy of classical poetry of China, the best humanistic traditions of the new poetry of the early 20th century and the modernist features of Western poetry were combined.

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Reynolds, Dwight F. "Music, Poetry, and Lingua Franca in Medieval Iberia." Philological Encounters 2, no. 1-2 (January 9, 2017): 76–94. http://dx.doi.org/10.1163/24519197-00000016.

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This essay examines three different points of cultural contact between Muslims and Christians in medieval Iberia as documented in three different bodies of texts. In each example, the use of a lingua franca results in the exchange of cultural ideas and the re-presentation of one group in the language of another. The first point of contact is in the court of Córdoba in the early 9th century as recorded in an Arabic biography of a musician, which has survived only as excerpted in a later encyclopedia compiled across the Mediterranean in Syria in the 14th century. The second point of contact takes place only a few decades later, also in Córdoba, and is documented in a Latin epistle composed by a Christian during a period of increasing tension between Muslims and Christians. The third point of contact occurs in Aragon and Catalonia in the late 14th and early 15th century, where ‘Moorish’ and Jewish musicians and dancers were regularly hired to perform at the courts of the royal family and other nobles, the evidence for which is found in financial records composed in Old Catalan. Each of these examples provides evidence of cultural contact that could significantly change our understanding of the relationship between cultural and linguistic groups in this period.

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Петров, Алексей Андреевич. "THE SPECIFICITY OF OLGA KAMENSKI’S LYRIC POETRY THEMES." Вестник Тверского государственного университета. Серия: Филология, no. 1(68) (April 9, 2021): 243–48. http://dx.doi.org/10.26456/vtfilol/2021.1.243.

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В статье представлен анализ поэтического наследия Ольга Каменской, которая активно публиковалась в «Псковских епархиальных ведомостях» в конце XIX - начале ХХ вв. Своеобразие лирики О. Каменской заключается не только в обращении к религиозным темам и мотивам, но и в рефлексии на события истории России рубежа столетий. The article represents the analyses of Olga Kamenski’s lyrical poetry heritage. Olga Kamenski’s verses were published in Pskov Eparchial Gazette in the end of the 19th and the beginning of the 20th century. The specificity of Olga Kamenski’s lyrical poetry includes not only the appeal to the religious themes and motifs, but also the reflection on the Russian history at the turn of the century.

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Dugan, Olga. "In the Catbird Seat: The African American Contribution to 20th-Century American Poetry." Journal of African American History 100, no. 4 (October 2015): 748–73. http://dx.doi.org/10.5323/jafriamerhist.100.4.0748.

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34

Gallik, Ján. "Sts. Cyril and Methodius in Slovak Poetry of the 20th and 21st Century." Konštantínove listy/Constantine's Letters 9, no. 2 (2016): 98–105. http://dx.doi.org/10.17846/cl.2016.9.2.98-105.

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35

Gery, John. "Resisting Apollo: The Legacy of Ezra Pound in Late 20th Century American Poetry." Literature of the Americas, no. 7 (November 2019): 225–47. http://dx.doi.org/10.22455/2541-7894-2019-7-225-247.

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36

Bzinkowski, Michał. "Penelopa w poezji nowogreckiej XX wieku (Penelope in Modern Greek 20th century Poetry)." Symbolae Philologorum Posnaniensium Graecae et Latinae 25, no. 2 (June 15, 2016): 119. http://dx.doi.org/10.14746/sppgl.2015.xxv.2.8.

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Nazarenko, Tatiana, Olha Luchuk, and Michael M. Naydan. "A Hundred Years of Youth: A Bilingual Anthology of 20th Century Ukrainian Poetry." Slavic and East European Journal 47, no. 2 (2003): 308. http://dx.doi.org/10.2307/3219955.

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Mustafayeva, Nailya B. "Stanza form of mukhammas in Azerbaijan lyrics in 20th century." Neophilology, no. 21 (2020): 76–84. http://dx.doi.org/10.20310/2587-6953-2020-6-21-76-84.

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In Azerbaijan literature of the early 20th century mukhammas were created, they were distinguished by the search for new forms and the problematic range. For example, Sabir began mukhammas with beit (couplets) of tarji, repeated it at the end of each stanza. Many other poets repeated a similar technique afterwards. There are other features of the mukhammas of the specified period; the topic in general covered lyric and poetic, patriotic, social and political, philosophical, and religious issues. The patriotic mukhammas included a description of the nature beauties, the motherland defenders courage, the impulses of those who strove for the progress of the country, for its freedom. The number of satirical mukhammas increased. Takhmis (imitations) were written on classical poems, including Fuzuli’s ghazals. At the early 20th century in Azerbaijan, as well as in other places of the Russian Empire, political activity grew among the population. The famous poet Mahammad Hadi wrote in his mukhammas about the need to achieve freedom. After all, only free people can achieve true progress and prosperity. In Soviet times, a number of poets continued to write their poems in the classical style. Poets such as V. Abbaszade Hammal, M.S. Ordubadi, A. Nazmi, Mikayil Rafili, Ali Nazim, Suleiman Rustam, Mikayil Mushfig praised their native land in their mukhammas, at the same time they did not forget to note the role of the Communist Party in the prosperity of the country. A lot of poems were devoted to international events, criticism of the imperialist forces. During World War II, Aliaga Vahid in his mukhammas predicted German fascism an inevitable defeat, expressed admiration for the heroism of Soviet soldiers. In the second half and at the end of the 20th century, the number of mukhammas on religious themes is growing in Azerbaijan poetry. A number of poets have moved from writing poetry in the classical nazm style to the mukhammas genre.

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Lara Bermejo, Víctor. "Los clíticos de segunda persona de plural en las lenguas romances de la Península Ibérica." Zeitschrift für romanische Philologie 134, no. 1 (March 7, 2018): 62–85. http://dx.doi.org/10.1515/zrp-2018-0003.

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AbstractThe Romance languages of the Iberian Peninsula possess a second person plural subject pronoun that induces verb and pronoun agreement in 2pl. While standard Catalan chooses us/vos as unstressed pronouns, Portuguese selects vos and Spanish, os. Nevertheless, the data taken from linguistic atlases of the 20th century point out the great quantity of 2pl allomorphs in unstressed pronouns: tos, sos, sus, los and se. In this article, I aim to account for the linguistic geography of 2pl allomorphs and their possible linguistic factors.

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Nguyen Thị Mai, Chanh. "The trend of “the misty poetry” in the Chinese literature in the second half of the 20th century." Journal of Science Social Science 65, no. 8 (August 2020): 3–9. http://dx.doi.org/10.18173/2354-1067.2020-0043.

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After 10 years of the chaotic Great Cultural Revolution, Chinese literature transited to a “new age”, which was characterized by tremendous efforts into seeking an artistic breakthrough. The Misty Poetry is not randomly regarded as “the trumpet blast” of the new-age literature. The Misty Poetry did not only disrupt conservative literary principles and express novel perspectives on the social history through individual compositions but also offered a comprehensive reflection of contemporary people’ spirits. However, evaluations on “the Misty Poetry” have varied for years. This paper will help to re-evaluate undeniable values of this unique poetry trend and contribute a new perspective on the mentioned ongoing argument.

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Przymuszała, Beata. "Konwencjonalne i emocjonalne w poezji Małgorzaty Hillar." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 129–41. http://dx.doi.org/10.14746/pspsl.2018.32.7.

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Text, showing the most important ways in the 20th century to think about poetry, refers to modernist epiphany (Ryszard Nycz). On the example of Małgorzata Hillar’s poetry, the author shows the inadequacy of this concept. It focused on the linguistic aspect of transmitting emotions, bypassing their bodily sensations. The recent studies on the relationship between emotions and language also allow to present a relationship with language and poetry. Recent studies on the relationship between emotions and language also allow us to otherwise present the relationship between language and poetry.

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Gaszyńska-Magiera, Małgorzata. "Literatura y política. Notas sobre la recepción de las traducciones de la poesía hispano-americana en Polonia en la segunda mitad del siglo XX." Estudios Hispánicos 24 (March 31, 2017): 49–62. http://dx.doi.org/10.19195/2084-2546.24.4.

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Literature and politics. Notes on the reception of translations of Hispano-American poetry in Poland in the second half of the 20th centuryThe main objective of the article is to describe the main trends in the reception of the Hispano-American poetry in Poland in the second half of the 20th century. The analysis carried out on the basis of the bibliographical data demonstrated that political factors were more important than artistic ones when the decisions concerning the choice of works to be published were made. Therefore, the most well-known Hispano-American poet in Poland was Pablo Neruda, presented to the Polish reading public as a communist activist who used his poems as a weapon in the struggle for a better future. For the same reason the Cuban post-revolutionary poetry became popular in Poland. In general, Hispano-American poetry did not arouse much interest of critics nor readers.

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Raft, Zeb. "Sound and Sense – A Musical Look at Chinese Poetry in 1916." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 3 (March 23, 2011): 94. http://dx.doi.org/10.21992/t9v637.

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This essay examines two contributions related to “Chinese poetry” from Eunice Tietjens, an early editor of and contributor to the Chicago-based magazine Poetry. In the first, Tietjens uses western musical notation to transcribe the “tunes” of two Chinese scholars chanting a short poem. The second is a group of Tietjens’s own poetic sketches of the China she witnessed on her 1916 visit. Taken together, these projects provide a useful commentary on the translation of Chinese poetry in the early 20th century.

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Sanchis Mollà, Hèctor. "Estudi comparatiu i edició de l’Stabat mater d’Escorigüela." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 15 (June 10, 2020): 55. http://dx.doi.org/10.7203/scripta.15.17555.

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Resum: Joan Baptista Escorigüela és la figura més interessant de la poesia catalana a la València de la fi del segle XVIII. Dos dels poemes millor valorats per la crítica són la cançó El Àngel del Apocalispi i una versió de l’Stabat Mater Dolorosa. En el present treball, portarem a terme una comparació entre la versió de l’Stabat Mater Dolorosa amb l’original. A banda de conèixer les modificacions efectuades pel poeta valencià, obtindrem uns resultats que ens permetran situar la peça estudiada dins del corrent pre-romàntic. Completarem el present treball amb una edició del text. Paraules clau: poesia catalana, s.XVIII, Escorigüela, Stabat mater. Abstract: Joan Baptista Escorigüela is the most interesting author of catalan poetry in Valencia at the end of the 18th century. Two of his best works are: El Àngel del Apocalispi and a version of the Stabat Mater Dolorosa. In this paper, we will carry out a comparative study between his version of Stabat Mater Dolorosa with the original. We will know the modifications made by the autor and we will get results that will allow us to set this poem in the pre-romantic style. Finally, we will end with an edition of it. Keywords: catalan poetry, 18th century, Escorigüela, Stabat mater.

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TAMBURELLO, Giusi. "Baudelaire’s Influence on Duo Duo’s Poetry through Chen Jingrong, a Chinese Woman Poet Translating from French." Asian Studies, no. 2 (September 25, 2012): 21–46. http://dx.doi.org/10.4312/as.2012.-16.2.21-46.

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As a woman poet, Chen Jingrong’s productions encompassed the whole 20th century: of particular interest are her poetry translations from the French language. Thanks to her translation work, valuable understanding of Charles Baudelaire’s poetry was made available in China, which influenced the Chinese contemporary poet, Duo Duo, when he first started writing poetry during his youth. This paper tries to depict the importance of this contribution of Chen Jingrong and its effect on the process of renovation of the contemporary poetic scene in China.

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Grądziel-Wójcik, Joanna. "„Trudne” wiersze. Wokół lingwistycznej poezji kobiet." Przestrzenie Teorii, no. 30 (April 16, 2019): 187–204. http://dx.doi.org/10.14746/pt.2018.30.9.

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The article addresses the problem of absence of women’s poetry in the linguistic current of 20th-century Polish poetry. It analyses its causes, amongst which the pivotal role is played by the stereotypical vision of women’s poetry, deeply ingrained in general awareness. The vision in question does not admit “difficult” forms and thus places women’s poetic work outside the avant-garde tendencies, linguistic experiment and metareflection. The authoress calls for inclusion of the omitted or forgotten poetesses who play with language in their poems and she articulates the need to redefine our understanding of linguistic poetry.

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Katharine Hodgson. "Two Post-Soviet Anthologies of the 1990s and the Russian 20th-Century Poetry Canon." Slavonic and East European Review 90, no. 4 (2012): 642. http://dx.doi.org/10.5699/slaveasteurorev2.90.4.0642.

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Sharip, A. "Hussain Jawid and Kazakh poetry of early 20th century: spiritual quest and artistic features." Bulletin of L.N. Gumilyov Eurasian National University. Philology Series 122, no. 1 (2018): 153–62. http://dx.doi.org/10.32523/2616-678x-2018-122-1-153-162.

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Hernández, Ana María, and Ann Venture Young. "The Image of Black Women in 20th Century South American Poetry: A Bilingual Anthology." World Literature Today 62, no. 2 (1988): 254. http://dx.doi.org/10.2307/40143569.

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Noirard, Stéphanie. ""In the Hills on my own": 20th Century Scottish Poetry, the Writing of Perception." Caliban, no. 23 (May 1, 2008): 71–78. http://dx.doi.org/10.4000/caliban.1124.

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