Relevant bibliographies by topics / Colloquial poems

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Colloquial poems'

Author: Grafiati
Published: 2 June 2025
Last updated: 19 July 2025

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Journal articles on the topic "Colloquial poems"

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Radwan, Noha. "Palestine in Egyptian Colloquial Poetry." Journal of Palestine Studies 40, no. 4 (2011): 61–77. http://dx.doi.org/10.1525/jps.2011.xl.4.61.

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Shi'r al-'ammiyya is a poetry movement whose emergence in Egypt in the early 1950s coincided with the heyday of Nasser's revolution, when the Palestine question was a national concern. With numerous practitioners today, the movement has yielded a large corpus of colloquial poetry that has become a significant part of Egypt's cultural landscape.This article presents a historical survey of shi'r al-'ammiyya's best known poets—Fu'ad Haddad, Salah Jahin, and 'Abd al-Rahman al-Abnudi—and their poems on Palestine. Among the essay's aims is to dispel the common misconception that the use of colloquia
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Elinson, Alexander Eben. "Contrapuntal Composition in a Muwashshah Family, or Variations On a Panegyric Theme'." Medieval Encounters 7, no. 2 (2001): 174–96. http://dx.doi.org/10.1163/157006701x00049.

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AbstractThe unique structural qualities of the Andalusi strophic poem (muwashshah or zajal) lent itself to a type of poetic interaction called muārada, commonly translated as "literary imitation." By composing within the parameters of an already established metrical, rhythmic, and melodic scheme, as well as sometimes sharing the final lines of the poem (the kharja), poets opened up a dialogue with their audience, and/or their fellow poets. However, these "imitations" were more than simplistic copies of of one another composed for virtuosic show. When executed well, a muārada provided a variati
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Anhao, Jake, Julian Lee M. Gementiza, Razelle Mae G. . Ripdos, Althea Samantha B. Sangalang, Jhelye Bea A. Valencia, and Jose G. Tan Jr. "“Linguistic Strategies in Poetry: A Descriptive Analysis of Artistic Choices and Deviations”." International Journal of Research and Innovation in Social Science IX, no. VI (2025): 3772–79. https://doi.org/10.47772/ijriss.2025.906000284.

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Authors and poets use different stylistic deviations or strategies in writing their poems to better convey emotions, scenarios, and stories to appeal to the reader’s experience. These deviations are not negative, but rather a deliberate choice made by the artist to create an expressive and creative effect in their works. Elements like archaic language, syntax inversion, non-standard grammar, colloquial language, and pronoun usage help the author develop their pieces. However, studies show that too much usage of these creates confusion, misunderstandings, and preservation difficulties when tran
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Scudeller, Gustavo. "O grito do 'griot' e o serviço da palavra: declamação e oratória na poesia de Abdias do Nascimento." Elyra, no. 19 (2022): 67–87. http://dx.doi.org/10.21747/21828954/ely19a5.

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This article aims to discuss the relationship between poetry and prose in the works of Abdias Nascimento. The analysis focuses on some audio recordings made by the author months before the publication of Axés do Sangue e da Esperança. (Orikis), his first book of poetry. Those readings stress some discursive and colloquial core aspects of his poems. Neither prose poems nor poetic prose, the recorded readings place the poems between one form and other, creating a sort of oratory poetry that, through declamation, takes part in both poetry and prose values.
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Al-Rashidi, Muhammad Ayub, та Muhammad Zubair Abbasi. "روائع التشبيه في معلقة الملك الضِلِّيل امرئ القيس". Journal of Islamic and Religious Studies 3, № 2 (2020): 45–58. http://dx.doi.org/10.36476/jirs.3:2.12.2018.15.

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There are two major parts of Arabic literature i.e. prose and poetry. Arabic poetry has a great value among the critics and the literati. A series of seven poems known as Muʽallaqāt Sabʽa or ʽAšhara have a great deal in the Arabic poetry. These are the collection of seven or ten long poems that are considered as the excellent work of the pre-Islamic era known as Jāhilīya ages. These poems had been presented in the annual fair of Okaz on the occasion of pilgrimage and awarded to be the top class creative works. After that judgment, golden genres were written with silk and recited judgment, as w
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Simmons, Richard VanNess. "The Language of Táng Poetry as Entryway into the Spoken Language of the Táng: A Preliminary Exploration." Tang Studies 41, no. 1 (2023): 121–63. http://dx.doi.org/10.1353/tan.2023.a911976.

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Abstract: This study examines features of the living colloquial language of the Táng Dynasty as found to be reflected in Táng poetry. The operating postulate for this study is that Táng poetry and its prosody had a strong orality, and hence also had a connection to the spoken language that went beyond the formulaic and codified system of Middle Chinese phonology. A corollary to this postulate is that across and between regional varieties, or dialects, of the Táng spoken language there also was a prestige koine, that had evolved out of those spoken dialects and that had wide currency in the Tán
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Van Nieukerken, Arent. "Vade-mecum and the poeticization of epistolography." Studia Norwidiana 39, English Version (2024): 65–91. https://doi.org/10.18290/sn.2020.39.3en.

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This article attempts to highlight links between poems from theVade-mecum collection and Norwid’s epistolography. These ties manifest not only on the genetic level, but also in terms of themes as well as stylistic and lexical elements (including key words), primarily with regard to the use of communication structures. What draws attention in these poems is the use of dialogue and the incorporation of colloquial and epistolographic phrases. In his letters, on the other hand, the poet displays a predilection for saturating certain passages with formulas and expressions of distinctly poetic chara
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Pogorelaya, E. A. "A dispute about poems and beyond." Voprosy literatury, no. 3 (June 7, 2024): 122–33. http://dx.doi.org/10.31425/0042-8795-2024-3-122-133.

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The article is written in response to I. Plekhanova’s study published in the same issue of Voprosy Literatury, which calls A. Dolgareva’s poetry an undoubtedly leading phenomenon of contemporary poetry. E. Pogorelaya also acknowledges key defining characteristics of Dolgareva’s output: preference for lively colloquial language, references to personal experience and the reader’s civic stance, reliance on plots and archetypical images and motifs, as well as a leaning towards the Soviet literary tradition and Soviet past as the last era of stability and relative normalcy. Polemizing with Plekhano
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Levina, Maria D. "Pasternak and Severyanin: Two Editions of Vokzal." Studia Litterarum 9, no. 3 (2024): 242–55. http://dx.doi.org/10.22455/2500-4247-2024-9-3-242-255.

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Boris Pasternak’s early work, in particular, in the first two books of poems, Bliznets v tuchakh (Twin in the Clouds, 1914) and Poverkh bar’erov (Over the Barriers, 1916/1917), demonstrates the “traces” of Igor Severyanin’s (Igor Lotarev) style and imagery. However, in 1928, Pasternak significantly rewrote his early poems for a new book. The poet frees several poems from Severyanin’s influence but does not eliminate the elements of his older contemporary’s poetics and stylistic features. The present article shows the evolution of reminiscences from Severyanin’s texts in early and late editions
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Van Zyl, D. "Al sietmen de lui…: Perspektiewe op boere en boerejolyt in enkele Nederlandse en Afrikaanse gedigte." Literator 22, no. 1 (2001): 81–98. http://dx.doi.org/10.4102/lit.v22i1.354.

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Though one sees the people… (one does not therefore know them): Perspectives on farmers and boorish festivity in a number of Dutch and Afrikaans poems A selection of a few Dutch and Afrikaans poems from, inter alia, the seventeenth, nineteenth and early twentieth century, share so many characteristics in their combination of the subjects “farmer” (“boer”) and “feast”, that in this article the question is raised whether these stereotypes form part of a relatively fixed traditional topic or “storehouse” of conventions. Each poem utilizes colloquial language, diminutives and nicknames in the depi
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Dissertations / Theses on the topic "Colloquial poems"

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Sornat, Katarzyna. "Słownictwo Wacława Potockiego. Geneza, struktura, semantyka." Doctoral thesis, 2021. https://depotuw.ceon.pl/handle/item/4099.

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Tematem rozprawy uczyniono analizę wycinka słownictwa poezji Wacława Potockiego (1621–1696). Na potrzeby badań ekscerpcji poddano próbę tekstową objętości 3000 linijek (wersów) pochodzących z trzech najbardziej znanych dzieł barokowego poety, to jest Transakcji wojny chocimskiej, Ogrodu nie plewionego i Moraliów. Podstawę źródłową badań stanowiło trzytomowe wydanie Dzieł W. Potockiego w edycji Leszka Kukulskiego (1987). Integralną częścią dysertacji stał się słownik języka autora, gromadzący całość zebranego materiału leksykalnego. Oprócz tegoż Słownika języka Wacława Potockiego (SJWPot), licz
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Books on the topic "Colloquial poems"

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Murphy-Gibb, Dwina. Ergot on the rye: Irish poems and colloquial dialogues. Prebendal, 1988.

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Palva, Heikki. Artistic colloquial Arabic: Traditional narratives and poems from al-Balqāʼ (Jordan). Finnish Oriental Society, 1992.

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1945-, Whitaker Julie, and Blakesley David, eds. Late poems, 1968-1993: Attitudinizings verse-wise, while fending for one's selph, and in a style somewhat artificially colloquial. University of South Carolina, 2005.

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Burke, Kenneth. Late poems, 1968-1993: Attitudinizings verse-wise, while fending for one's selph, and in a style somewhat artificially colloquial. University of South Carolina Press, 2004.

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Galaverni, Roberto. Il canto magnanimo: A colloquio con Umberto Piersanti. PeQuod, 2005.

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Mura, Angelo. Colloqui con Nino. Ponte del sale, 2005.

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Sanguineti, Edoardo. Colloquio con Edoardo Sanguineti: Quarant'anni di cultura italiana attraverso i ricordi di un poeta intellettuale. Anabasi, 1993.

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Stocking, Sarah L. Columbian entertainments: Consisting of dramas, colloquies, poems, tableaux, pantomimes, designed for the use of classes, clubs or schools. J.W. Franks, 1987.

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Lisa, Tommaso. Poetiche contemporanee: Colloqui con 10 poeti italiani : Antonella Anedda, Franco Buffoni, Gianni d'Elia, Gabriele Frasca, Marcello Frixione, Rosaria Lo Russo, Valerio Magrelli, Aldo Nove, Tommaso Ottonieri, Patrizia Valduga. Zona, 2006.

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Ceccardi, Ceccardo Roccatagliata. Colloqui d'ombre: Tutte le poesie, 1891-1919 : Il libro dei frammenti, Sonetti e poemi, Sillabe ed ombre, poesie disperse. De Ferrari, 2005.

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Book chapters on the topic "Colloquial poems"

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Chevillard, Jean-Luc. "Chapter 11. How far are the horizons of descriptive linguistics?" In Studies in the History of the Language Sciences. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/sihols.133.11che.

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European missionaries engaged in the linguistic description of 16th–18th c. Tamil Nadu discussed two possible attitudes. Proença (1625–1666), who wrote in Portuguese, thought that the most important task was to concentrate on what is useful pera a pratica “for practical purposes” and wanted to master ordinary language, both (A) in its colloquial forms — including substandard and dialectal variants — and (B) in its more standardized form. Beschi (1680–1747), who wrote in Latin, thought he could become influential by mastering (C) Centamiḻ, the poetic “more elegant” dialect, cultivated for many centuries by traditional grammarians and poets of Tamil Nadu. This article evokes the strategies of Proença, Beschi and others, who navigated the components of Tamil “triglossia”, in which both (A) and (C) can coexist with (B), but not simultaneously. Either (C) is ignored, being considered as “useless for practical purposes”, or (A) is shunned, being considered as “barbaric”.
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Giles, Paul. "Postwar Poetry and the Purifications of Exile." In Atlantic Republic. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199206339.003.0009.

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Abstract In 1973, Philip Larkin produced his edition of the Oxford Book of Twentieth- Century English Verse, seeking to identify a native literary tradition organized around a colloquial idiom whose precursors were Wordsworth, Thomas Hardy, and the Georgian poets. In order to emphasize this lineage, Larkin chose to omit altogether from his anthology the works of Ezra Pound and to minimize the contributions of T. S. Eliot, on the grounds that it was not within the editor ‘s remit to ‘include poems by American or Commonwealth writers, nor poems requiring a glossary for their full understanding ‘.
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Selby, Martha Ann. "Wives Address Their Philandering Husbands "More Than Three Are Bees Sucking Honey from Budding Flowers"." In Grow Long, Blessed Night. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127331.003.0015.

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Abstract The fifteen poems in this chapter all represent the voices of unhappy wives (the commentaries attached to a few of these verses suggest that the speakers could also be unmarried women who are lashing out at inconstant lovers). This section opens with two poems that depict protesting wives as their husbands set out on long journeys. Poem 15.1, a Prakrit gatha, is a bit opaque in meaning but commentator Mathuranath Sastri offers this interpretation, adopting the voice of the wife: "Whoever might be cut off from my heart for just an instant would naturally be remembered. But a man who lives night and day in my heart, how can I remember him? "The point seems to be that a love that lives in memory is not a love worth having! Poem 15.2, from the Sanskrit Amarufataka, ends in a bald suicide threat. Poem 15.3, a Tamil verse from Kuruntokdai, is addressed to a crowing rooster (but meant for the husband's ears). Since this unusual poem is set in the Marutam landscape, we can surmise that the husband has been sleeping with other women but has decided to return home. Poems 15.4-15.10 all record the voices of women as they bitterly quarrel with their men. All of these poems(with the exception of poem 15.4, a Prakrit gatha), are from the Amaru collection and demonstrate the pure genius of the authors associated with this anthology-their ability to create monologues and dia longues such as these, employing highly complex, algebraic meters while maintaining a perfectly colloquial tone, is unparalleled in other South Asian literary traditions. The final six poems all directly allude to rivals. Verses 15.10 and 15.11, from the Tamil anthology Ainkurunuru, are spoken by a women whose body has been ruined by childbirth. Her husband has taken on lovers, and she shames him. This is a theme that is unique to the Tamil tradition. The final poem in this series, a Prakritgatha, is spoken by a senior wife: She says this obliquely to her husband, who has focused all of his affections on a new co-wife. The senior wife compares herself to a serviceable, durable shawl that is warm in winter-what good is an ox against the cold?
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Bennett, J. A. W. "The Poems of the Gawain Manuscript." In Middle English Literature 1100–1400, edited by Douglas Gray. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198122289.003.0006.

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Abstract With the alliterative poem that we call Sir Gawain and the Green Knight, English medieval romance reaches its peak—though that phrase is misleading if it suggests a gradual development to perfection: the gulf between the poem and its congeners is as great as that between the novels that Jane Austen read and her own. Its author has mastered all the poetic techniques and narrative devices of his predecessors, but he has also taken elements from various genres of romance, including chronicle, and welded them to form a vehicle for new values and more subtle suggestions. Love and combat have their place, but in a fresh context and perspective. In its own kind, the Arthurian kind, the work is as refined as the Troilus and Criseyde that developed out of IIFilostrato, and it bears the marks of the same kind of transforming intelligence. The Arthurian hero here takes on a new aspect and a new interest. In some ways the work is more courtly than Troilus and the poet evidently had in mind a courtly audience. Descriptions of rich feasts, of a castle built in the latest style, of elegantly ornamented armour, of choice furnishings in the best contemporary design, of conversations replete with polite phrase and elegant allusion, of hunts conducted in accordance with the elaborate laws of venery: all these show familiarity with the correct French—which is to say European—terms of art that were current at the court of Richard II and in the households of his nobility. On the other side of the picture are scenes of wild and rugged country, winter and rough weather, boisterous humour with some grim touches, plain-spoken comment by characters whose language is localized and colloquial. The combination of the romantic and the real, of humour and high tone, of lyrical delicacy and verbal wit, is one that is hard to find elsewhere.
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McCarthy, Kathleen. "Poetry as Conversation." In I, the Poet. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739552.003.0002.

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This chapter discusses the conversational model of positioning the agency of the poet in relation to the speech and events depicted in the storyworld. This model quite strongly segregates the poet's artistic motivations from those of the speaker by heightening the sense that the speaker is reacting to his immediate context and minimizing his consciousness of the poetic status of his words. Poems structured on this model may or may not give a full picture of storyworld events, but the speaker's language tends to highlight features like questions and imperatives or shorter and simpler sentences. This model can be called “conversational,” not because its style is particularly colloquial, but because it situates the speaker's language as an attempt to meet needs in his social and emotional environment. Significantly, such poems exhibit a high degree of artistic polish and thus offer ample evidence of the poet's artistic agency and motivations, but these discursive features are not linked to the speaker's agency in the storyworld. The overall effect, then, makes clear the distance between the speaker's wholehearted focus on his own world and the poet's careful orchestration of the poetic discourse, thus expressing structurally the distinction between speaker and poet, in spite of the first-person form and in spite of the speaker's characterization as a poet. The chapter then analyzes the poems in Sextus Propertius's first book, which forcefully demonstrates this model.
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Zheng, John. "Sonia Sanchez." In With Fists Raised. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859777.003.0004.

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This chapter discusses Sanchez’s poetry and her distinguished voice under the banner of “soniasanchezism,” showing her creativity and aesthetic awareness through her sensibility to the larger society, her involvement in the civil rights and Black Arts movements, and her open mind to the bricolage of genres in her writing. In her free-verse poems she has found freedom to boldly voice her thoughts and feelings and in her haiku she has learned not to limit herself in borrowing a non-black genre to enrich her writing and express her Black Arts aesthetic. To a large extent, Sanchez’s poetry expresses African American cultural sensibility through descriptions of beauty, dignity, love, memory, loss, pain, and pride in blackness. Her voice is dynamic and colloquial, her language is innovative and graphic, and her aesthetic is bold and unexpected.
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Colvin, Stephen. "Hellenistic Poetry: Theokritos and Kallimachos." In A Historical Greek Reader. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199226597.003.0049.

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Abstract The language of passages 87 and 88 is a playful mixture of Homeric and poetic language with more informal or colloquial diction. Theokritos was a native of Syracuse, a Doric-speaking city in Sicily. The idylls (εíδ!λλια, ‘vignettes’) deal with many themes other than the purely bucolic, as 87 shows. Of the surviving hexameter poems, most are written in a predominantly Doric version of epic language, and a handful are in epic language; there are in addition four poems written in (archaic literary) Lesbian dialect and metre. The nature of the Doric dialect that he uses has been much disputed, a debate not helped by the usual textual problems which apply to dialect texts. We have almost no dialect texts from Syracuse, which makes it difficult to judge how much Syracusan there is in the mixture: there was, however, a literary tradition at Syracuse in genres close to Theokritos (Epicharmos and Sophron), and this may have played a role. There was also a Doric vernacular in Ptolemaic Alexandria: there were many immigrants from Cyrene in the city, and from elsewhere in the Doric-speaking world (as 87 shows), but since we have little evidence for this variety it is again difficult to judge to what extent Theokritos based his poetic idiom on it. The most easily identifiable elements in his language are epic, and choral/lyric Doric poetry (Alkman, Stesichoros, epinician, etc.).
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Heshmat, Dina. "Rewriting History in the 1990s." In Egypt 1919. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458351.003.0007.

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This chapter analyses narratives published, performed or screened between 1968 and 1999 that have attempted a ‘rewriting of history’ in a context of defeat, in the aftermath of the 1967 naksa. Belonging to different genres (a play, two novels, a television series) all these works feature peasants (and urban underprivileged) as key actors of the 1919 revolution and narrate their resistance in a laudatory mode. The chapter starts with an analysis of al-Masamir (The Nails,1968) by Saad al-Din Wahba, and goes on with readings of Qantara al-Ladhi Kafara (Qantara Who Became an Infidel, 1966) by Mustafa Musharrafa and al-Faylaq (The Legion, 1999) by Amin ‘Izz al-Din. Finally, it examines Gumhuriyyat Zifta (The Republic of Zifta, 1999), a television drama written by Yusri al-Gindi and directed by Isma‘il ‘Abd al-Hafiz, in which the peasant community of the Delta village is given a much more important role than is generally admitted in the historiography about the village’s declaration of independence during the 1919 revolution. Special attention is given to the use of the colloquial, including the songs of the Zifta series, based on poems by ‘Abd al-Rahman al-Abnudi.
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Gediņa, Linda. "Bibliotēka un lasīšana. Lasīšanas hermeneitiski fenomenoloģiska analīze." In Bibliotēka un personība. Fragmentu bibliotēkas. LU Akadēmiskais apgāds, 2023. http://dx.doi.org/10.22364/ilt.23.14.

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Hermeneutically-phenomenologically understanding the question “what is reading?” – the Author’s work is to be read and the Author provides the possibility of following the path shown by the Author in order to get to the [ontological] field of play chosen and created by the Author, where, in turn, not the Author’s statements, descriptions of beings appear, but the reader is given the possibility of understanding this world that the Author has created for him – he is provided with a space, a field of play for understanding, where to play with the possibilities of meanings offered by language – thinking his own thoughts, he does not yield so easily to games and play. The Author offers a new language, and a great deal of freedom and participatory choice – reading even allows one to escape the mundane, or in Hugo Ball’s words, “escape out of time”. In this new spatiality of the world: the trees grow out of the letters, at the same time someone asks for someone’s hand, and Mr. Schulze rides on the tram yawning (See: Dada’s Manifestoes, sound poems); but it [the Author’s work] must always be in harmony with the idea [of the Author], must fulfil the demands of the idea and must not want anything more, the Author must not impose his will – he may only show what he sees himself, creating a perspective, opening, or at least wanting to open a window on the same apparent view he sees. The ability to read enables one to discover and understand the perspective [in the imagination] and experience of others, which are no less true than one’s own – even in everyday and colloquial language, even, for example, when one says that one “reads” a table of analysis results, “to read” means: to understand the intended meaning, to be able to do something with the language of meanings used by the Author.
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Lyne, R. O. A. M. "Exploitation: I." In Words and the Poet. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198152613.003.0003.

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Abstract Horace, I said above (1.2), is prepared to make use of prosaic diction, in spite of the fact that it will often appear unpromisingly familiar. For example, wishing to focus our attention on the dangers of ‘money’ or the pleasures of an ordinary ‘dinner’, he uses words that denote these everyday things directly, even in the Odes: ‘pecunia’, ‘cena’. Most poets, deeming such things to be more the province of prose, prefer to gloss and cover them with other and glamorous connotations: they use the words ‘aurum’, ‘opes’, ‘dapes’, and ‘epulae’-gold, wealth and feasts. But, Horace would say, if you are moralizing about real money, it is pointless to glamorize, camouflage or in any way to deflect attention from the real, everyday thing. Likewise if it is your attention to laud plain, old dinner. 1 Horace makes use of prosaic words; and, too, colloquialisms. Vergil I think more vigorously exploits such diction. This is what I shall begin to demonstrate now. But I should mention a preliminary point. I suggested in 1.3 a couple of factors which might induce a word to become generically prosaic, or colloquial. We should now note that, when a word has become prosaic or colloquial, it possesses another quality simply by virtue of that fact. In a poem it is ‘eye-catching’: it is unexpected. So a prosaic word catches the eye, and then directs the attention to an exact and limited meaning, or to an area of experience not normally associated with poetry; or it may do both of these things simultaneously. And colloquialism catches the eye, and directs the attention to one of its particular provinces of experience. In both cases Vergil then exploits this package of qualities.
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