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Journal articles on the topic 'Colloquial poems'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

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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7

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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Nurieva, Fanuza Sh, та Gulnaz N. Fakhretdinova. "Стихи и письма Якова Емельянова как источник для изучения языковой нормы татар-кряшен XIX века". Ural-Altaic Studies 43, № 4 (2021): 106–23. http://dx.doi.org/10.37892/2500-2902-2021-43-4-106-123.

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The article analyzes the language features of Yakov Emelyanov’s collection of “Poems in the Christianized-Tatar language”, published in 1879 for Baptized Tatars. Written manuscripts are one of the main sources for studying the history of the language, however, this collection has not yet been considered. The article analyzes the phonetic, morphological, and lexical features in the text. The language of the poems is compared with the linguistic material of the translated liturgical Cyrillic books, the Tatar literary language and its modern dialects. The results suggest that there are a number o

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Davies, Eirlys E., та Abdelali Bentahila. "From the Medieval ḫarğāt to Contemporary Songs: Patterns of Codeswitching Involving Arabic". Arabica 61, № 1-2 (2014): 18–68. http://dx.doi.org/10.1163/15700585-12341286.

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Abstract This paper seeks to use evidence from contemporary language use to shed light on that of an earlier period. It examines a set of ḫarğāt, the closing sections of medieval Andalusian muwaššaḥ poems, which exhibit codeswitching between colloquial Andalusian Arabic and Romance, and compares the patterns of switching seen there with those used in some contemporary popular songs, in particular the Arabic-French switching used in the rai lyrics of North Africa. On the basis of the parallels and contrasts observed, some remarks are made about what the language of these ḫarğāt suggests about t

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Książek, Agata. "Dwie przestrzenie wojennej propagandy. Język utworów moskiewskich Okien TASS." Studia Rossica Posnaniensia 46, no. 2 (2021): 185–99. http://dx.doi.org/10.14746/strp.2021.46.2.13.

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The aim of the article is to analyze the language of the Soviet propaganda posters from the Second World War period, containing the poetic commentary of the members of the Moscow TASS Agency. The research reveals the main means of persuasion used in the poems. The subject of the analysis is the phenomenon of spreading ideas in two basic social spheres that occurred in the Soviet Union during the war period, which include people who took direct part in military actions, and Soviet citizens who provided the army with all the necessary materials. Texts addressed to potential soldiers contained a

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B., A. Essam, and Mustafa Esra'a. "Challenges in Translating Colloquial Egyptian Arabic Poetry into English: The Case of Register and Metaphors-A Contrastive Study." International Journal of English Language and Translation Studies 02, no. 03 (2014): 14–22. https://doi.org/10.5281/zenodo.15949.

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This study tackles the challenges of translating poem composed in colloquial Egyptian Arabic (CEA) into English. It applies Halliday’s concept of register on a CEA poem and its translation to determine the different varieties used in the original and how far they are maintained in the translation. It pays a special attention to the usage of metaphors and its relation to the register, highlighting the translation challenge of rendering culture-specific and register-specific metaphors into English. It is evident that both the register and the metaphors carry an essential weight of both the

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15

BYBYK, Svitlana. "“CHRONICLERS WILL NOT HARM FOR US EPITETS WITH A TINT OF RED” (epithetics “Poems from the war” by Borys Humeniuk)." Culture of the Word, no. 92 (2020): 22–35. http://dx.doi.org/10.37919/0201-419x-2020.92.2.

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The article offers an analysis of one of the expressive markers of the language of social works of B. Humeniuk “Poems from the war”. Stylistic functions, structural and semantic properties of epithets are outlined. The connection between lyrical and epic epithets and the form of poems – verlibr – is noted. The functional load of epithets in correlation with linguistic-stylistic categories actualization, intimation, subjectivization, publicism, epicness, lyricism is traced. The role of epithets as actualizers of emotional assessments, concrete-sensory associations (color, size, smell of realiti

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Rezvani, Saeid. "Outdated Humanism and Literary Authority as Threats to the Popularity of Ahmad Shāmlu’s Poetry." Advances in Language and Literary Studies 10, no. 1 (2019): 117. http://dx.doi.org/10.7575/aiac.alls.v.10n.1p.117.

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Shāmlu belongs to the few poets of the modern Persian poetry, who can be called neoclassical, namely, those whose work has a distinctive character and who are influential in the history of modern Persian literature. These special characteristics of Shāmlu’s poetic features together with his socio-cultural and political vision as manifested in his poems had excessively allowed for his oeuvre to be popularized, forming a large crowd of admirers who even tried to mythologize his character and art. Shāmlu’s enthusiastic admirers, moreover, insist that his poetry is everlasting and even immortal. T

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Kudalina, Anna A. "LOVE, DEATH AND SPEECH. ABOUT TWO POEMS BY O. MANDELSTAM AND I. BRODSKY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2022): 82–90. http://dx.doi.org/10.28995/2686-7249-2022-6-82-90.

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The article provides a comparative analysis of O. Mandelstam’s poem “Skillful mistress of guilty glances” and “It is not that the Muse is gathering water in the mouth…” by J. Brodsky. It proves the fact of Brodsky’s borrowing the imagery of O. Mandelstam’s poem with its over re-denotation and deliberate stylistic degradation. The analysis focuses on such concepts as “love”, “death” and “speech”, each of which, while retaining the original connotations of Mandelstam’s poem, acquires a new, reduced meaning through the use of certain lexical means (for example, colloquial and jargon words) Thus,

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Aleksandrov, Il'ya A. "Mythopoetic Space of Banya in Poems of B. A. Slutsky and V. S. Vysotsky." Russkaia rech, no. 1 (2023): 103–13. http://dx.doi.org/10.31857/s013161170024709-8.

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The image of the banya (a Russian steam bath) with its deep mythopoetic roots in the history of Russian literature is embodied in the works of the Soviet literature as well. Thus, the poems “Banya” by B. A. Slutsky and “White Banya” by V. S. Vysotsky create the archetypal images of the bathhouse, which, despite the realities of the Soviet life described in them, manifest their archaic syncretic nature. The plot of the banya visit is represented by talking about the past ‒ the military one in the first case and the labour camp one in the second. The motive of spiritual and physical purification

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19

Поліщук, Ярослав. "Маска „одеського бомонду”: поезія Бориса Нечерди". Poznańskie Studia Slawistyczne, № 18 (28 квітня 2020): 195–208. http://dx.doi.org/10.14746/pss.2020.18.11.

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There are analysed in the article writings of the Ukrainian poet Borys Necherda (1939-1998). He was the original writer of the generation of 1960th and made brave experiments with the artistic word. Necherda as an author balanced between the official literature and the literature of the underground. There are a lot of unconventional features in his poems such as colloquial vocabulary, elements of slang, journalism, mixing of discourses and various means of rhetoric. That was a reason that Necherda’s writings were not appreciated during his life. Only nowadays after the poet’s death we have the

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Gudkova, Svetlana Petrovna, and Samira Maratovna Karimova. "A genre book of poems in the Russian poetry of the late 20th century (based on the works of G. Sapgir)." Philology. Theory & Practice 18, no. 1 (2025): 308–13. https://doi.org/10.30853/phil20250046.

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The article is devoted to the study of the artistic specifics of the genre book of poems in Russian poetry at the end of the 20th century on the example of G. Sapgir’s work. The purpose of the study is to identify the poetological features of the genre book of poems in G. Sapgir’s poetry. The scientific novelty of the work is determined by the fact that it comprehensively examines the author’s strategies for creating a genre poetry book in the creative practice of a modern poet. As a result, it has been established that in Russian poetry, a genre book of poems vividly demonstrates the process

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SABLJIĆ, Jakov, and Mirjana MIJIĆ. "A POEM AND ITS PARODY IN THE CONTEXT OF TEACHING METHODOLOGY." Lingua Montenegrina 6, no. 2 (2010): 389–409. https://doi.org/10.46584/lm.v6i2.192.

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In Croatian textbooks for secondary schools Vesna Parun is represented with her famous poem „Ti koja imaš nevinije ruke“. This poem is an intimate confession of suffering female personalitiy who renounces her own fortune for a man beloved. The poem by Parun can be linked with the Bruno Andrić’s lyrical title „Ti koja imaš ruke nevinije od mojih“. It is a modern parody in which is very important the effect of comic and comedy. Using ludism, ilogicalness, simple and colloquial vocabulary, Andrić iro-nizes existential situation presented by Parun – emotional infatutation of the lyrical subject wi

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Bokarev, A. S. "Review of Kargashin, I. (2017). Russian poetic narrations in the 17th–21st centuries: Genesis. Evolution. Poetics. Moscow: Yazyki slavyanskoy kultury. 336 pages." Voprosy literatury, no. 6 (February 7, 2019): 368–73. http://dx.doi.org/10.31425/0042-8795-2018-6-368-373.

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The review is concerned with detailed analysis of I. Kargashin’s monograph on Russian poetic narrations in the 17th–21st centuries. Normally applied to the epic genre, the concept of skaz [oral narration, tale] is extrapolated by the scholar to describe lyrical poetry. Hence the broad scope of issues discussed in the book: how accurately can the term be applied to lyrical works, since poetry is anti-narrative in its ‘pure form’? How can one structure the subjective sphere of poems, given that a skaz recreates a consciousness other than that of the author, unlike in lyrical poetry, where the au

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Попова_Бонналь, Т. "POÉSIE DE LA GUERRE MODERNE : TENDANCES DE DÉVELOPPEMENT À LA LUMIÈRE DU GENRE POETIQUE ET DE LA SPÉCIFICITÉ THÉMATIQUE." Journal “Ukrainian sense”, no. 1 (December 2, 2023): 30–44. http://dx.doi.org/10.15421/462304.

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Background. From the first day of the war, on February 24, 2022, Ukrainian poetry gained a new impetus for development. The actualization of this type of creativity isdriven, on the one hand, by the experience of the tragic moment because such poetry often emerges in the immediate aftermath of war events, and on the other hand, by the expected therapeutic effect of poetic words. Social media platforms played a significant role in the dissemination of amateur and professional poets' verses, providing people with moral support and the opportunity to uplift one another. It is worth conducting a c

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Terekhova, Marina V. "Irony in the Epistles and Amphiguri of Antony Pogorelsky." Russkaia rech, no. 3 (July 13, 2024): 89–102. http://dx.doi.org/10.31857/s0131611724030081.

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The article analyzes the techniques of creating irony in three poems by Anthony Pogorelsky: “Neelov the dissolute...”, “Message to my friend N. N., a military man” and “Abdul the Vizier...”. In two poems written in an epistolary genre, namely, in a form of a message about poetic creativity, traditional dichotomies (a talented lazy person and a mediocre worker; a wanderer and a homebody) are being paradoxized by Pogorelsky and filled with unexpected meaning. The ironic effect is based on pseudo-exposure or, on the contrary, pseudo-exaltation of the message recipients, as well as on the demonstr

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Lespada, Gustavo. "Los heraldos de una estética." Archivo Vallejo 1, no. 1 (2018): 12. http://dx.doi.org/10.34092/av.v1i1.30.

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El ensayo es una reflexión acerca del sentido (no solo la significación) en el primer libro de César Vallejo: Los heraldos negros. Tomamos como punto de partida la noción pergeñada por Michel Foucault de signatura, entendida no como ausencia del signo sino como su grado cero. Desde esta perspectiva nos concentramos en el poema-íncipit, de título homólogo al libro y «Espergesia», el poema-éxcipit bajo el método de indagar no solo por la apertura y cierre del poemario, sino también, y sobre todo, en calidad de representar los lugares semiológicos más emblemáticos del libro, para poder interrogar

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Suranjana, Bhadra. "A 'Space' of One's Own: Exploring the Language of Resistance in Select Poems of Meena Kandasamy." postScriptum: An Interdisciplinary Journal of Literary Studies 3, no. 2 (2018): 93–100. https://doi.org/10.5281/zenodo.1318978.

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Contemporary women poets in India have re-radicalized the commonplace poetical conventions in order to subvert prevalent power structures. The self-representation of the cultural ‘other’ in poetry dissolves the feeling of being an ‘outsider’ as they venture to move beyond boundaries, beyond fixities. The process of creating a potent voice translates the ‘contact zone’ into the production of meaning. The two places, the ‘I’ and the ‘You’ get mobilized in the passage through a ‘Third Space’, a fusion of the horizons through

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Zhilyakov, Sergey V. "THE MNEMONIC POTENTIAL OF THE AUTHOR’S EPIGRAM (using the example of Igor Guberman’s poetry)." Vestnik of Kostroma State University 30, no. 1 (2024): 137–43. http://dx.doi.org/10.34216/1998-0817-2024-30-1-137-143.

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The article is devoted to the consideration of the author’s epigram by the poet Igor Guberman as a genre with mnemonic (memorable) potential. It is understood that inheriting an ambivalent nature borrowed from the previous ritual tradition, Igor Guberman’s epigram in its architectonic organisation simultaneously contains the ridiculous and the serious, the personal and the impersonal (‟alien”), the subjective and the objective. The latter, as deposited in the memory of the past, is used as a mnemonic demonstration of the material tested by life experience, which enters into a dialogical relati

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Pociechina, Helena. "Interferencja rosyjsko-cerkiewnosłowiańska w tekstach staroobrzędowych z XIX–XX wieku." Przegląd Wschodnioeuropejski 10, no. 1 (2019): 373–88. http://dx.doi.org/10.31648/pw.4532.

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Until today, the Russian of Old Believers’ prints and manuscripts has not been subject to research in linguistic studies. The written language under investigation here, as seen in hand-written notebooks or books printed illegally, is based on the urban variant of the Russian colloquial language. Old Church Slavonic elements are prominent in the analyzed texts, which might be the result of teaching the skills of reading and writing from Old Church Slavonic primers (azbukas) and from the Church Slavonic Psalter and Horologion (Book of Hours). This feature of the analyzed texts refers not only to

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Hnatenko, V. I. "THE ROLE TARAS SHEVCHENKO IN EVALUATION IN OF HIS LIFTTIME CRITICAL REVIEWS." Shevchenko Studies, no. 1(23) (2020): 72–84. http://dx.doi.org/10.17721/2410-4094.2020.1(23).72-84.

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No other book by Ukrainian author has ever compelled so much attention as «Kobzar» («The Bard») by Taras Shevchenko. He was the national poet, who confirmed the identity of Ukrainian people, their history and language. Newspapers and magazines in St. Petersburg almost simultaneously announced literary works by Shevchenko. The majority of criticists of the time acknowledged Shevchenko’s talent and advised him to write his masterpieces in Russian and not in the so called «peasant colloquial speech of Little Russia». 1860 was marked by publishing the last «Kobzar» in his life in St. Petersburg. N

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Dreyzis, Yulia Alexandrovna. "Poetic topolectization in the formative years of the Chinese “new poetry”." Ethnic Culture 5, no. 3 (2023): 29–36. http://dx.doi.org/10.31483/r-107456.

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The paper explores the infiltration of topolect into the poetry of Liu Bannong and Crescent Moon Society authors, induced by the Folksong Collection Movement, often labeled as introducing vernacular into poetry. The language of Liu Bannong’s New Poetry presents a complex hybrid between the emerging literary norm, local Beijing vernacular and his native lect of the northern Taihu region. Many contemporaries noted his poetry’s merits and his invaluable contribution to New Poetry development, greatly facilitated by Liu Bannong’s professional linguistic training. Following Liu Ban Nong’s footsteps

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Sebeleva, Anastasia V. "Peculiarities of the manifestation of V. Gavrilov's idiosyncrasy in the collection of poems «Times. Coda»." Nizhnevartovsk Philological Bulletin 10, no. 1 (2025): 62–69. https://doi.org/10.36906/2500-1795/25-1/06.

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The article provides a comprehensive analysis of Viktor Gavrilov's idiosyncrasy as a modern Ugra writer with a unique, hybrid style close to the Leningrad underground. Special attention is paid to the «language game» technique, as one of the dominant ones in some works from the collection “Times. Coda”. Based on the interpretations of the approaches of several scientific schools, based on the material of the poem “(M)art”, the characteristic features of Gavrilov's poetics, synthesizing elements of playful postmodernism and existential lyrics, are comprehensively investigated. The methodologica

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Zhuikova, Marharyta. "The linguisitc creativity of Kostiantyn Dumytrashko: means of humor in the first Ukrainian translation of “The batrachomyomachia”." Ukrainska mova, no. 3 (2024): 42–57. http://dx.doi.org/10.15407/ukrmova2024.03.042.

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The article is dedicated to the Ukrainian translation of the ancient Greek parodic poem titled “The Batrachomyomachia” (“Battle of the Frogs and Mice”) – a famous work of ancient literature believed by researchers to have been written in the 5th century BC in the burlesque genre. The first Ukrainian translation of this short poem was created by the Kyiv professor Kostiantyn Dumytrashko (1814–1886); he named it with a coined Ukrainian word “Zhabomyshodrakivka”, which is an almost exact calque of the Greek title. The translation was first printed in St. Petersburg in 1859 and reprinted in Kyiv i

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Shapiro, Nadezhda A. "On the Poem by Boris Slutsky “They shot Van’ka, the platoon commander…”. Problems of Understanding." Russkaia rech, no. 2 (2023): 120–27. http://dx.doi.org/10.31857/s013161170025489-6.

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The article is devoted to analysis of a poem written by Boris Slutsky. Boris Abramovich Slutsky (1919–1986), Russian poet and a veteran of the Great Patriotic War, is an important figure in the Russian poetry of the second half of the 20th century. The article examines the poem “They shot Van’ka, the platoon commander…” that was not published until the late 80s. While very simple in form, the poem leaves a great deal of room for interpretation of its content. The author intentionally chooses a restrained tone and avoids judgmental vocabulary that could reveal his attitude towards the depicted

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Jaramillo, Camilo, Julie Ann Ward, and Virginia Leyva. "Surviving the Ruins: Translating the Apocalyptic Vision of Virginia Leyva's Poetry. Four Poems From <em>Linguistics for the Fallen</em>." Latin American Literary Review 51, no. 103 (2024): 169–73. http://dx.doi.org/10.26824/lalr.520.

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Abstract: Virginia Leyva, a prominent voice in contemporary Mexican literature, addresses the socio-ecological crises of her homeland through a blend of colloquial and surreal imagery. Her poetry portrays a world teetering on the edge of collapse, reflecting themes of destruction, identity, and resilience. This introduction to her work in English highlights the challenges of translating Leyva’s deeply cultural and politically charged language. Through a collaborative process, translators Camilo Jaramillo and Julie Ann Ward grapple with the nuances of Leyva’s original Spanish, striving to prese

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Baeshen, Lamia. "The Motion of the Mutable and the Constant: An Analytical Study of the Temporal Rotation in the Poetry of Khaled Al-Faisal." Journal of Umm Al-Qura University for Language Sciences and Literature, SI Arabic Poetry (September 19, 2024): 195–208. http://dx.doi.org/10.54940/ll44985797.

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This research is based on the conviction that dialect literature carries a cultural and artistic value that demands attention. Categorizing this literature as “popular” or “colloquial,” has been adopted to distinguish it from formal Arabic-language literature, but this research intentionally stays away from these two names, since their implications detract from the value of popular literature and considers it simple and spontaneous consequently, addressing the commoners, based solely on its use of colloquial dialects in direct expression. Surely, oral circulation does not diminish the ability

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Mathie-Heck, Janice. "Translating Gjergj Fishta's epic masterpiece, Lahuta e Malcis, into English as The Highland Lute." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 2 (2009): 140. http://dx.doi.org/10.21992/t9j04r.

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The Highland Lute, the Albanian national epic poem, contains 15,613 lines. It mirrors Albania’s difficult struggle for freedom and independence which was finally achieved in 1912. It was important for Robert Elsie and I to achieve an atmosphere similar to that of other important European epics such as Beowulf (England), The Kalevala (Finland), and the grand medieval poems of the eleventh and twelfth centuries such as The Song of Roland (France), Nibelungenlied (Germany), and Poem of the Cid (Spain). Rhythmically, The Highland Lute is very much like the American writer Henry Wadsworth Longfello

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Rahman, Rumana. "“Talking like Men”:." Crossings: A Journal of English Studies 9 (August 1, 2018): 88–94. http://dx.doi.org/10.59817/cjes.v9i.109.

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Myths unravel an overwhelmingly patriarchal order in society and consequently validate the androcentrism of language. As cultural texts, they show and legitimize the victimization of women. “Revisionist mythmaking” is a process, suggested by Alicia Ostriker, which tends to subvert the patriarchal structure of the cultural elements and “correct” the gender stereotypes of women. Carol Ann Duffy’s The World’s Wife is a remarkable addition to the tradition of revisionist mythmaking in English literature. Almost all the poems focus on hitherto invisible and “silenced” female counterparts of mythica

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Novodvorchuk, Olha. "Lexical and stylistic features of Olesya Mamchych’ poetry for children." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 63–67. http://dx.doi.org/10.34079/2226-3055-2019-12-21-63-67.

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The article deals with the consideration of lexical and stylistic features of poems for children of the modern writer O. Mamchych. The study contains a selective analysis of the poetry of the writer, which reveals the peculiarities of modeling the poetry of different genres (in the form of small folklore genres and contemporary lyrics), the use of a mix of traditional and contemporary images, allusions to the works of oral folk art and works of classical literature for children. The article covers the plot, thematic and ideological content of poetry. The author analyzes the peculiarities of th

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Sori, Habibollah, Latifeh Salamatbavil, and Aliyeh Yousef Fam. "Analysis of Shivan Fumani’s Poetry: The Intersection of Language, Culture, Identity, and Socio-Political Critique." Journal of Social-Political Studies of Iran's Culture and History 3, no. 4 (2024): 322–41. https://doi.org/10.61838/kman.jspsich.3.4.19.

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The present study aims to explore the aesthetics in the poetic style of Shivan Fumani. This research has been conducted using a descriptive-analytical method, relying on library resources. Data collection for this study was carried out through library resources, articles, and the use of reputable electronic databases. Subsequently, the researcher analyzed and examined Shivan Fumani’s poetry from a stylistic perspective using descriptive and analytical methods. Shivan Fumani employs the colloquial and conversational Gilaki language as a tool to preserve and revive his native culture and local i

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Mazur, S. M. "SUGGESTIVNESS OF THE “OFUDESAKI” TEXT: INTENTION OR FORTUITOUSNESS?" Opera in linguistica ukrainiana, no. 28 (September 28, 2021): 325–38. http://dx.doi.org/10.18524/2414-0627.2021.28.236854.

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The article goal is to single out and describe verbal means of suggestive influence on the recipient of “Ofudesaki” text a translation erbatim from Japanese: “At the tip of the brush”), which is the main script of the Tenrikyo religion, one of the “oldest” among the many newest syncretic religions in Japan, founded by a simple peasant Nakayama Miki (1797-1887) in 1838. The text “Ofudesaki”, written by the founder of this religion “from the words of God the Father” in 1869-1881, consists of 17 chapters and 1711 tanka poems, which vividly reflect the Japanese language of the second half of the 1

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Kurpershoek, Marcel. "Heikki Palva: Artistic colloquial Arabic: traditional narratives and poems from al-Balqā' (Jordan): transcription, translation, linguistic and metrical analysis. (Studia Orientalia, Vol. 69.) 191 pp. Helsinki: Finnish Oriental Society, 1992." Bulletin of the School of Oriental and African Studies 58, no. 1 (1995): 144–46. http://dx.doi.org/10.1017/s0041977x00012155.

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Fufaeva, Irina V. "RUSSIAN IDIOM V NIKUDA ‘TO NOWHERE’ AS A COLLOQUIAL CLICHÉ AND POETICISM." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2024): 181–92. https://doi.org/10.28995/2686-7249-2024-8-181-192.

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The article, based on the material of the National Corpus of the Russian Language (NRC), compares the use of the Russian idiom v nikuda ‘to nowhere’ as poeticism, on the one hand, and a colloquial cliché, on the other. The unit under study arose as a poetism in the beginning 20th century and is found in the works of poets of all directions and schools, including Marina Tsvetaeva, Anna Akhmatova, Boris Slutsky, Genrikh Sapgir, Joseph Brodsky, Boris Ryzhy, etc. Having penetrated since the 1930s. into colloquial speech and everyday discourse, it develops the function of colloquial cliché, while c

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Stepovaya, Valeriya I., and Evgeniy O. Tretyakov. "Reflection of modernity in the translation interpretation of Nikolai Gogol's comedy The Government Inspector by Alistair Beaton." Vestnik Tomskogo gosudarstvennogo universiteta, no. 480 (2023): 39–47. http://dx.doi.org/10.17223/15617793/480/5.

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The article examines the translation interpretation of Nikolai Gogol's comedy The Government Inspector by Alistair Beaton, embodied in its theatrical adaptation in 2005. Since one of the main factors on the basis of which the interpretation is formed is the cultural and historical context, it seems legitimate to analyze the translation from the point of view of modern world tendencies' influence. This will help to trace the semantic transformations of Gogol's idea. The methodology is based on the comparative, biographical methods, contextual analysis, as well as content analysis of Gogol's com

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ИВАНОВА, С. В. "Folk legends about Manchary: the case Aelita Shaposhnikova’s translation." Altaistics, no. 4(07) (April 7, 2023): 76–89. http://dx.doi.org/10.25587/altaisticsvfu.2022.76.49.007.

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Работа И. Г. Березкина «Манчаары – норуот номоҕор» («Манчары в преданиях народа») основана на материалах, собранных фольклорными экспедициями научных организаций. Народные предания о Манчары относятся к преданиям об исторических лицах, точнее к героическим сказам. Манчары является национальным героем якутского народа, о котором еще при жизни слагалось много народных рассказов и песен о любимом герое. Позднее Манчары стал героем литературных произведений: драмы В. Никифорова – Күлүмнүүр, стихотворений Семена Данилова, C. Р. Кулачикова – Эллэя, Н. Михалевой – Сайа, рассказов Софрона Данилова и д

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Lauze, Linda, and Kristīne Mežapuķe. "Literārās valodas un sarunvalodas attiecības: sociālo mediju piemērs." Vārds un tā pētīšanas aspekti: rakstu krājums = The Word: Aspects of Research: conference proceedings, no. 27 (November 3, 2023): 37–47. http://dx.doi.org/10.37384/vtpa.2023.27.037.

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The case of social media demonstrates the growing relevance of the relationship between literary language and colloquial speech in today’s society. The article encourages us to think: is it really no longer important to switch linguistic codes based on the nature of the speech situation when the choice of language means is applied, and one or the other type of language existence is used; is communication more and more dominated by colloquial speech? The study aims to characterise the interaction and competition between literary and colloquial language in the use of the Latvian language by anal

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JAHANGIROVA, Narmin. "Lu Xun's Stories and Modern Chinese Literature." ALTRALANG Journal 2, no. 01 (2020): 215–25. http://dx.doi.org/10.52919/altralang.v2i01.60.

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ABSTRACT: One of the most famous figures in the world literature of the twentieth century is Lu Xun. Lu Xun has an irreplaceable place in the history of Chinese literature not only as a writer, but also as one of the signatures that shaped modern literary thought and introduced Chinese literature to the world. The writer began his artistic career with essays, and later wrote different kind of stories, and published a book of poems. Lu Xun, who was interested in European and Russian literature from a young age, underwent a fundamental change in his literary thinking by translating various write

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Xakimova, Maqsadxon Dilshodbekovna. "THE LIVERPOOL POETS AND THEIR APPROACH TO POETRY." Results of National Scientific Research 1, no. 1 (2022): 147–52. https://doi.org/10.5281/zenodo.6481406.

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<em>The article is a brief introduction to the work of the "Liverpool poets", a group of young beat poets from Liverpool: A. Henry, R. McGough, B. Patten, popular in Great Britain in the 60s of the twentieth century. Contemporaries of the famous "Liverpool Four", "Liverpool poets" gained recognition not only due to the extreme popularity of Liverpool among young people around the world, but also due to their own original experiments with oral poetic word. The focus on direct live contact with the audience largely determined the specifics of their creative method.

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Xakimova, Maqsadxon Dilshodbekovna. "THE LIVERPOOL POETS AND THEIR APPROACH TO POETRY." EURASIAN JOURNAL OF ACADEMIC RESEARCH 2, no. 2 (2022): 576–79. https://doi.org/10.5281/zenodo.6327492.

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The article is a brief introduction to the work of the "Liverpool poets", a group of young beat poets from Liverpool: A. Henry, R. McGough, B. Patten, popular in Great Britain in the 60s of the twentieth century. Contemporaries of the famous "Liverpool Four", "Liverpool poets" gained recognition not only due to the extreme popularity of Liverpool among young people around the world, but also due to their own original experiments with oral poetic word. The focus on direct live contact with the audience largely determined the specifics of their creative method. The

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Kolokol’tseva, T. N. "Dialogiueness and Conversationality in the Lyrics of A.A. Voznesensky (Based on the Poem «Proshchanie s Politehnicheskim»)." Russian language at school 80, no. 6 (2019): 74–79. http://dx.doi.org/10.30515/0131-6141-2019-80-6-74-79.

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This article provides a linguopoetic analysis of the poem by A.A. Voznesensky «Proshhanie s Politehnicheskim». The focus is on the means of creating dialogueness and conversationality, which obtained a vivid and diverse embodiment in this work. The category of dialogueness is realized both at the composition level (the main part of the text is the dialogue of the lyrical character with the audience of the Polytechnic Museum and the museum itself) and the level of the figurative component (rhetorical appeal and rhetorical exclamation). The category of conversationality is manifested using numer

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Karpenko, L. B., and T. V. Dmitrieva. "Derivational peculiarities of the high style vocabulary in the lyrics of I.A. Brodsky and A.A. Tarkovsky." Vestnik of Samara University. History, pedagogics, philology 29, no. 3 (2023): 114–20. http://dx.doi.org/10.18287/2542-0445-2023-29-3-114-120.

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The article is devoted to the word-formation features of high style vocabulary on the material of I.A. Brodsky’s and A.A. Tarkovsky poetry. The author shows the continuity of the poetic language of Brodsky and Tarkovsky with the heritage of Pushkin, and links lexical resources used by these poets with the corpus of Slavic words in the Russian literary language. The productivity of book word-formation type of nominative and objectifical names with abstract feature with suffixes -ость/- есть, -ство/-ество, lexical apophathisms, formed by prefix-suffixal method with prefixes без- and не-; the pro

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