To see the other types of publications on this topic, follow the link: Diction of poetry of scardness.
Journal articles on the topic 'Diction of poetry of scardness'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Diction of poetry of scardness.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Herthalia, Regina Ayu, and Maharani Intan Andalas. "Diksi Diksi dalam Kumpulan Puisi Sarinah Karya Esha Tegar." Jurnal Sastra Indonesia 8, no. 2 (August 28, 2019): 157–63. http://dx.doi.org/10.15294/jsi.v8i2.26998.
Full textAbstract:
ABSTRACT
Literary works is one form of art in which language is used as a medium, one of them is poetry. Language in poetry is free and solid regarding the licencia poetica, yet it still contains various aspects of life as the poet’s idea. In order to convey his ideas, the poet uses diction on poetry. The usage of dictions on poetry are able to reveal many things, for example, a city. The description of a city through diction within literary works are often depicted through Indonesian poetry. One of those poetry collections which potray a city through diction usage is Sarinah Poetry Collection by Esha Tegar Putra. This research present the usage of dictions within Sarinah Poetry Collection by Esha Tegar Putra. The problems being discussed are (1) how does the diction interpret a city within the Sarinah Poetry Collection by Esha Tegar Putra (2) how is the relation between the diction and other poetry elements contain in Sarinah Poetry Collection by Esha Tegar and (3) how does the meaning contained within Sarinah Poetry Collection by Esha Tegar Putra related to the diction which intepreted city. The approach used in this research is stylictica with qualitative method. The data were obtained from fifteen poems written in Sarinah Poetry Collection by Esha Tegar Putra. The result of this study showed that within this Sarinah Poetry Collection are carried diction in form of nouns, verbs, dictions with connotative and dennotative meaning, and diction in form of basic words also words that have undergone morphological processes. The usage of the diction based on the word type and the meaning type is aiming more valid interpretation about city, such as name of the places and facilities provided in the city. Based on the form, the usage of the diction within Sarinah Poetry Collection is working as the element to strengthen the atmosphere withi the poems. the diction contained in this poem are related to other poetry elements such as tone, imagery and figure of speech, so that they could bring a whole unity meaning of the poem. The diction being used by the poet is functioning to reinforce the meaning and the atmosphere, so that the depiction about a trip, traffic jam, bustle, poverty, environmental matters and injustice that represent a city is clearly present.
Keywords: Diction, Poetry Collection, Sarinah, Stylistic
2
HUGHES, GEOFFREY. "THE DICTION OF POETRY: AN OVERVIEW." English Studies in Africa 42, no. 1 (January 1999): 69–80. http://dx.doi.org/10.1080/00138399908691279.
Full text
3
Siti Maryam & Agus Supriatna, Ibna Ul Izzati,. "The Ability of Using Diction in Junior High School Students’ Poetry." Alinea: Jurnal Bahasa, Sastra, dan Pengajaran 2, no. 1 (April 16, 2019): 36. http://dx.doi.org/10.35194/alinea.v2i1.444.
Full textAbstract:
This article discusses students' ability in using word choices (diction) on the poetry of students of SMP Negeri 3 Cianjur. The method used in this research is descriptive qualitative method. The techniques used are test and questionnaire. The population of the study is 25 students of class VIII-4. This study concludes that the students’diction ability is 78 (it can be categorized as good). In terms of diction aspects, formal aspect has very good criteria, synonymy has good criteria, and polysemy has sufficient criteria. Obstacles experienced by students in writing poetry that includes diction aspect and its problem solving.Keywords: diction, formal aspect, polysemy, synonymy.
4
Mustari, Mustari. "Erotic Narration of Syair Lebai Guntur." ELS Journal on Interdisciplinary Studies in Humanities 1, no. 3 (September 25, 2018): 309–20. http://dx.doi.org/10.34050/els-jish.v1i3.5048.
Full textAbstract:
The text of Syair Lebay Guntur contained in the Syair Lebay Guntur text by Raja Ali Haji records the traces of the 'disgraceful' behavior of some Malay people in the past who practiced "Cina Buta" marriages. It is aiming to find muhallil or a proponent to reconcile a couple (wife and husband) who had divorced by triple divorce. Because the problem raised in the poetry is a matter of muhallil, inevitably, its diction appears to be erotic in every verses of the poetry. This study employed the theory of diction and language style with stylistic analysis of Malay to uncover two raised problems they are (1) Can erotic diction contained in SLG be categorized as vulgar pornography? (2) How to interpret the erotic diction? The findings show that the erotic diction in Syair Lebai Guntur poem cannot be categorized as pornography diction, but it rather as a diction adapted to the poem's theme of the practice of "Cina Buta" marriage. The diction considered as an allusion that is intended as teaching values which is not need to be copied by anyone to avoid a disgrace.
5
Suskandiati, Suskandiati. "ANALISIS STILISTIKA KUMPULAN PUISI ”DERU CAMPUR DEBU” KARYA CHARIL ANWAR." EDU-KATA 5, no. 2 (August 31, 2019): 129–38. http://dx.doi.org/10.52166/kata.v4i2.1014.
Full textAbstract:
The purpose of this study was to describe (1) the diction, (2) prosody, and (3) the use of stylistic collection of poems "Mixed roar of Dust" by Chairil this Anwar.Penelitian using qualitative methods that are deskriptif.Objek this study were 1) structure, diction, figure of speech, prosody, stylistics and 2) the meaning or message contained in the poetry of Chairil Anwar. This research data is lines and verses that contain 1) the structure, diction, figure of speech, prosody, and style, as well as 2) the meaning and the message or thought that would be submitted by the poet. Data collection techniques are engineering documentation. Techniques and procedures analysis using three grooves: data reduction, data presentation, and drawing conclusions. The results showed that one characteristic of poetry Chairil Anwar is the powers that be in the choice of words. Every word he created capable of causing a strong imagination, and evoke a different impression, able to liven up the atmosphere, with vivid, so it emits a deep compassion for peniklmatnya. In addition, the strength in diction, characteristic lies in the poetry and literary.
6
Das, Shruti. "Écriture Feminine and the Poetry of Langston Hughes." Literary Studies 34, no. 01 (September 2, 2021): 202–12. http://dx.doi.org/10.3126/litstud.v34i01.39540.
Full textAbstract:
This paper attempts to locate Hughes’s poetic diction as Ecriture feminine since like feminist poetry the diction of his poetry is rebellious and questions the hierarchical structure of society where White people hold more power and promote the idea of racial superiority. His desire to express the angst of the Blacks finds currency in the definition and explication of feminine writing. The focus of this paper will be on analysis of the poetry of Langston Hughes in the light of ecriture feminine in order to show how Hughes counters hegemony’s repressive rhetoric, challenges the loss of agency through the language of the dominant class and recreates another symbolic order.
7
Ho-Gyong Seong. "Poetic Diction and Characteristics of Ssanghwajeom." Korean Classical Poetry Studies 41, no. ll (November 2016): 81–109. http://dx.doi.org/10.32428/poetry.41..201611.81.
Full text
8
Huda, Ghea Febian. "ANALYSIS OF CHILDREN POETRY WRITING SKILLS ON CLASS V STUDENTS SDN 181 PEKANBARU." JURNAL PAJAR (Pendidikan dan Pengajaran) 4, no. 5 (September 26, 2020): 987. http://dx.doi.org/10.33578/pjr.v4i5.8102.
Full textAbstract:
This study aims to determine the poetry writing skills of students in class V SDN 181 Pekanbaru based on aspects of theme, imagination, diction, and performance. Because of the lack of students 'poetry writing skills due to students' lack of skill in expressing ideas and thoughts. therefore by analyzing we can find out which aspects are not mastered by students. The study was conducted in class V odd semester of 2019. The sample in this study was saturated sampling. The assessment instrument used was a poetry writing skills test using a poetry writing assessment descriptor. The data obtained from poetry writing skills seen from 4 aspects, namely theme, imagination, diction and presentation, it can be concluded that the poetry writing skills of children who are categorized as highly skilled there are 5 (3.67%), then 9 (6.57%) skilled categories , and 103 (75.18%) were categorized as quite skilled, while students who were categorized as less skilled were 20 (14.60%) as a whole. Over all poetry writing skills class V SND 181 Pekanbaru obtain the average value of 64 categorized enough.
9
Intaraporn, Weerawat. "Aesthetics of Khlong in Thai Poetry: Convention and Creativity." MANUSYA 9, no. 3 (2006): 73–87. http://dx.doi.org/10.1163/26659077-00903005.
Full textAbstract:
This paper aims to illustrate the beauty of khlong (Thai poetry) creatively written and transmitted from the past to the present through a study of the preservation and creation of aesthetics in relation to euphony, and diction, as well as the imitation of words used by previous poets with new meaning in Thai poetry. From the study, it is found that Thai poets of each era have both followed and adapted the traditional style of composition. In terms of euphony, poets from the past to the present put an emphasis on tones at the end of each line, play on different tone levels, and use internal rhymes as seen in both alliteration and assonance. As for diction, puns, either homophones or homonyms and repeated words are employed. Regarding word formation, even though it is obviously seen that poets have imitated the same words employed by poets of previous generations, they have also adapted and developed them to suit the individuality of each poet for the unique aesthetics of both diction and concept. It can be said that the creation of melodious and witty khlongis congruent with the nature of the Thai language since khlong is Thai in its origin and this in itself enhances the effectiveness of Thai poets in making use of the dominant characteristics of the Thai language in the composition of their poetic works from the past to the present.
10
Fernández-Delgado, José-Antonio. "Greek Genealogical Epic: Vitality of Its Formulaic Diction." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 41, no. 1 (December 20, 2019): 1–16. http://dx.doi.org/10.1163/17246172-40010011.
Full textAbstract:
Abstract One aspect of the Greek epic that has yet to be thoroughly explored is the possibility of differentiating, in the midst of formulaic wording, the different genres that from the point of view of Greek literature comprise, for example, the telling of heroic deeds (Iliad, Odyssey), gnomic-paraenetic poetry (Works and Days), or the stories of genealogies, be they divine (Theogony), or heroic (Ehoiai). However, each of these forms of poetic expression had available a specific formulaic apparatus apart from the other much more abundant and more visible, the epic one, shared among the different genres. Thus has it been pointed out on some occasions, although the critics have scarcely pursued the consequences. Here my proposal consists of investigating the dynamics of the formulaic diction of oral poetry of the genealogical type, based on information provided in this regard by the Hesiodic poems of the Theogony, and above all, of the Catalogue of Women.
11
Ojeda, Beatriz Martínez. "La traducción del lenguaje figurado: figuras de dicción y de pensamiento en la obra de François Villon." Lebende Sprachen 65, no. 1 (May 6, 2020): 136–55. http://dx.doi.org/10.1515/les-2020-0006.
Full textAbstract:
AbstractThe current article primarily aims at analysing the strategies utilised by quintessential translators of F. Villon to render into Spanish the figures of diction and thought that characterise the poetry of the 14th-century author, following the classical classification proposed by Abrams (1953). A second objective is to suggest a set of guidelines on how to translate the figurative use of discourse into a given target-language text. Accordingly, this article will first provide an overview on the most relevant approaches to poetry translation, which especially concern relaying the figurative language of a source into a target-language text. Moreover, it will analyse a set of examples that best illustrate the distinctive use of rhetorical devices by Villon, and will examine the ways to better transforming them into another target language, namely Spanish. Lately, this article will propose a set of translation guidelines for both the figures of diction and thought that permeate his poetry.
12
Monti, Richard C. "Poetry, Rhetoric, and Science: The Case of Plaustra Bootes." Mnemosyne 65, no. 1 (2012): 94–111. http://dx.doi.org/10.1163/156852511x547794.
Full textAbstract:
Abstract This article examines the aural qualities of the collocation plaustra Bootes, its application in Latin poetry, and the precepts of rhetorical theory which explain its use. Plaustra Bootes, which occurs frequently, refers to either or both of the circumpolar constellations Ursa Major and Ursa Minor, configured as ‘wagons’, and to Bootes, the ‘Oxman’ who tends them. The case is made that the collocation is a poetic formula characterized by solemnity of diction, and that its application is limited to contexts, usually characterized by highly elaborate rhetoric, which train the attention on matters of natural science and philosophy. The rhetorical theory of the sublime provides the means to explain the pairing of diction and subject matter. It establishes a hierarchy of sublime topics which include philosophy and natural science, and it indicates the appropriate manner to express elevated thought. In this way rhetorical theory raises the question of the place of science in rhetoric and poetry. Implicit in the theory of the sublime is a system of thought in which rhetoric, poetic theory, and science are aligned with each other as representations in different domains of the same reality.
13
Nikolaev, Alexander. "The Aorist Infinitives in -EEIN in Early Greek Hexameter Poetry." Journal of Hellenic Studies 133 (2013): 81–92. http://dx.doi.org/10.1017/s0075426913000050.
Full textAbstract:
AbstractThis paper examines the distribution of thematic infinitive endings in early Greek epic in the context of the long-standing debate about the transmission and development of Homeric epic diction. There are no aorist infinitives in -έμεν in Homer which would scan as ◡◡ – before a consonant or caesura (for example *βαλέμεν): instead we find unexplained forms in -έειν (for example βαλέειν). It is argued that this artificially ‘distended’ ending -έειν should be viewed as an actual analogical innovation of the poetic language, resulting from a proportional analogy to the ‘liquid’ futures. The total absence of aoristic -έειν in Hesiod is unlikely to be coincidental: the analogical form must have been the product of a specifically East Ionic Kunstsprache, and so could have been simply unknown in some other Ionian school of epic poetry where Hesiod was trained. Finally, the striking avoidance of anapaestic aorist infinitives in -έειν is argued to be explained better under the ‘diffusionist’ approach to the Aeolic elements in Homeric diction than under the ‘Aeolic phase’ theory.
14
Juwati, Juwati. "Diksi dan Gaya Bahasa Puisi Puisi Kontemporer Karya Sutardji Calzoum Bachri, Sebuah Kajian Stilistik." Jurnal Kajian Bahasa, Sastra dan Pengajaran (KIBASP) 1, no. 1 (December 31, 2017): 72–89. http://dx.doi.org/10.31539/kibasp.v1i1.96.
Full textAbstract:
The purpose of this study is to analyze the contemporary poetry by Sutardji Calzoum Bachri with a stylistic approach. This research is content analysis based research. The method used in this research is qualitative method. Results and discussion in this study found the elements that stand out in the development of the concept of estessstis on contemporary poetry is diction and style of language. Poets are free to play the words with the aim of beautifying poetry poems. The language style used is hyperbolic language style, repetition.
Keyword: Poetry, Stylistic Approach
15
Najah, Zughrofiyatun, Umi Hijriyah, Ahmad Nur Mizan, and Dian Risky Amalia. "Language Style in Poetry Mahmud Sami Basha al–Barudi (A Stylistic Analysis) | Gaya Bahasa dalam Puisi Mahmud Sami Basha al–Barudi (Suatu Analisis Stilistik)." Mantiqu Tayr: Journal of Arabic Language 1, no. 2 (July 8, 2021): 133–44. http://dx.doi.org/10.25217/mantiqutayr.v1i2.1352.
Full textAbstract:
This study aims to examine the language style (al–uslub) used by al- Barudi in his poetry with the theme of life descriptions by describing the main idea or theme, elements of feeling or emotion, and language style based on aspects of diction or choice of words, syntax or sentence structure and rhetorical aspect or meaning. This research is a type of qualitative research with a descriptive-analytical literature study by referring to Al-Barudi's poetry text as the primary source. The data analysis method used is content analysis (tahlil al–madmun). The author uses a stylistic approach in examining and analyzing the language styles used by the poets in this poem. In examining this poem, the writer will use the stylistic theory proposed by Gorys Keraf related to the classification of types of diction, language style based on syntactic aspects, and rhetorical aspects or meaning. This poetry has the theme of "life description" with a choice of words that still maintain aesthetic values supported by a very strong language style or (al–uslub). The language style contained in the poem is very strong and appropriate with the characteristics of the neoclassical genre of poetry pioneered by al-Barudi at that time, although free, but still strongly adheres to wazan and qafiyah. Seen from the aspect of diction, the words chosen by the poet in sya'ir are quite easy to understand in a popular style. Then from the aspect of sentence structure or syntax, this poem has a climax style. The language styles based on the meaning contained in this poem are hyperbole, simile, pleonasm, apostrophe, ellipsis, assonance, erotesis, and euphemism.
16
Wenjuan, Tian. "TWO ORIENTALISMS: THE ROLE OF ORIENTAL DICTION IN G. G. BYRON’S THE BRIDE OF ABYDOS AND I. I. KOZLOV’S RUSSIAN TRANSLATION." Russkaya literatura 2 (2021): 50–53. http://dx.doi.org/10.31860/0131-6095-2021-2-50-53.
Full textAbstract:
«Oriental diction» is an important exotic element of Byron’s poem The Bride of Abydos. Using Oriental words that jarred with English poetry of early 19th century, and accompanying them with extensive notes, Byron gave his poem an experimental and scholarly character. While translating the English poem into Russian, I. I. Kozlov chose a creative approach to the problem of reproducing the Oriental diction (the exotic and bizarre words, style and poetics were somewhat downplayed), the reasons being the originality of the Russian culture of the early 19th century and Kozlov’s own literary taste.
17
Lestari, Titik. "Peningkatan Kemampuan Menulis Puisi dengan Metode Paralel Writing melalui Teknik Pengimajinasian Benda Abstrak Siswa Kelas X IPS 3 SMA Negeri 4 Pekanbaru." GERAM 7, no. 1 (June 20, 2019): 64–70. http://dx.doi.org/10.25299/geram.2019.vol7(1).2748.
Full textAbstract:
Learning Indonesian is not only learning languages but also studying literature. Literary learning is also very important with the aim of giving a sense of love to literature and making students have the ability to appreciate and be able to judge the results of literary works. One aspect taught in learning literature is writing poetry. The motive of the importance of the learning process of writing poetry literary works for students is to improve reading and writing skills which can be used as a routine activity to improve achievement. Based on the results of observations on the learning patterns of Literature of Class students at X IPS 3 Pekanbaru of SMAN 4 Pekanbaru, students' poetry writing skills were still low. Students had difficulty in determining ideas, diction, and the first word in writing poetry. The achievement of the indicator editing poetry in accordance with the elements of poetry was not maximal, students were confused in determining diction and language style. It took a solution to these problems through innovation in the application of learning models. Pararrel writing based learning based on the imagination of abstract objects was one solution that can improve the power of writing poetry. So, this study aimed to improve students' poetry writing skills. The method used in this study was class action research with two cycles approach. Based on the results of the research that has been carried out, using the pararrel writing based learning model using imagination of abstract objects can improve poetry writing skills students at X IPS 3 Pekanbaru of SMAN 4 Pekanbarusignificantly.
18
Wijaya, Herman, Lalu Mas’ud, and Moh Irfan. "The Analysis of Mental and Physical Structure of Dawn Poetry: “Time Celebrated Rooster’s Crowing”." Bahasa: Jurnal Keilmuan Pendidikan Bahasa dan Sastra Indonesia 2, no. 2 (February 2, 2021): 68–82. http://dx.doi.org/10.26499/bahasa.v2i2.48.
Full textAbstract:
The purpose of this study is to describe the inner and physical structure of the poem "Fajr: Time Celebrated by Chicken crowing" by Ahmad Nasrullah using structural studies. This poem is thick with social, moral, and religious values that need to be understood and implemented in everyday life. The method used in this study uses descriptive qualitative. The data source used is every diction which contains structural and mental elements and physical poem "Dawn: Time Celebrated Chicken crowing". Data collection techniques used are library studies with interactive analysis techniques, which include data collection, data reduction, data presentation, and drawing conclusions. Based on the results of the analysis of the poem entitled "Fajr: Time Celebrated by Chicken crowing" it was found that the inner element was the theme of excess dawn time. The poet is concerned about those who do not take advantage of the dawn, while the message is to make good use of the dawn time. Then, the physical element of the poem is the choice diction which is to make good use of the dawn time. Then, the physical element of the poem is the choice diction which is able to tag the reader. The imagery contained in the poem is the image of motion, temperature, vision, while the majes found are personification and hyperbole with rhythm and rhythm in the form of internal sound patterns that are elements of repetition and equality of sound, be it consonants or vowels. In addition, the typography used is modern poetry.
19
Berry, Craig A. "Prosaic Diction: Finding Patterns in the Words of Spenser’s View." Explorations in Renaissance Culture 47, no. 1 (June 16, 2021): 27–38. http://dx.doi.org/10.1163/23526963-47010003.
Full textAbstract:
Abstract Scholars have long noted the eccentric vocabulary of Spenser’s A View of the Present State of Ireland, primarily with an eye toward glossing words unfamiliar outside of a contemporary Irish context. This essay steps back from consideration of individual words to ponder what can be learned from word frequencies, primarily focusing on what the tools of corpus linguistics can tell us about the View and especially the View in relation to Spenser’s poetry. What words are most common in the View? What words in the View are most likely (or least likely) to occur in Spenser’s poetry? Is the vocabulary of Eudoxus similar to or notably different from the vocabulary of Irenius? What parts of Spenser’s poetic corpus have the greatest (or least) affinity, vocabulary-wise, with the View? This essay answers those questions and argues that linguistic analysis must go hand-in-hand with traditional close reading in order to draw conclusions from those answers.
20
Griffith, Mark. "Old English poetic diction not in Old English verse or prose – and the curious case of Aldhelm's five athletes." Anglo-Saxon England 43 (November 26, 2014): 99–131. http://dx.doi.org/10.1017/s0263675114000040.
Full textAbstract:
AbstractThree contexts characterized by the occasional appearance of Old English poetic diction outside of Old English poetry — debased verse, rhythmical prose, and prose passages with rhetorical heightening — have been surveyed by previous scholars, but no serious consideration has been given to the use of poetic lexis to be found in the surviving glosses and glossaries. The article first looks at some examples in these non-poetic texts of poetic words used as markers of the heroic, the elegiac, the sublime, the exotic and the monstrous, before moving on to a detailed analysis of a significant discovery. The glosses and glossary batches to Aldhelm's extended simile in De Virginitate comparing the educational development of Christian nuns to the exertions of various athletes display (when taken together) a unique cluster of poetic diction, comparable in density (and perhaps also in motivation) to that found only in the most enriched passages of traditional heroic poetry.
21
Al farisi, Tsalits Abdul Aziz. "PENGKODEAN DALAM PEMBELAJARAN PENULISAN SASTRA." HUMANIS: Jurnal Ilmu-Ilmu Sosial dan Humaniora 12, no. 2 (July 31, 2020): 161–71. http://dx.doi.org/10.52166/humanis.v12i2.1976.
Full textAbstract:
The purpose of this research is to describe it 1) how is the coding system for creating poetry. 2) how can student understand objects in the ward then applied to the text of diction. 3) how can students create certain diction in relation to what one imagines. The methods in this research are using quantitatif methods with model design patterns using media as a basis for finding a purpose the study of literature at SMA Kanjeng Sepuh school X class. The result of this study is the observation table of assessments stuents interest in literature especially the poem. On other side of the observation of teacher and student activities carrying out the study of poetry is also a focus quantitatif data results. The conclusion of this study is to find a point of literary learning accuracy through quantitatif measures in coding systems. It needs to be used to find the concrete steps the literary writing learning pattern that currently is of little interest to students.
22
Perta, Jaya Nasa, and Ermanto Ermanto. "Language Study in Irwan Prayitno's Pantun (Governor of Sumatera Barat)." Humanus 19, no. 1 (May 21, 2020): 76. http://dx.doi.org/10.24036/humanus.v19i1.107199.
Full textAbstract:
The purpose of this study is to look at the language (diction) used and pantun in pantun in the speech of Irwan Prayitno (Governor of Sumatera Barat). The data of this study are words in the poem with the source of spontaneous pantun data collection ala Irwan Prayitno. This research describes pantun (identification and classification) based on word types. Based on the research objectives, the findings of this study are as follows. First the language study, the choice of words that are often found are the name of a person, the name of a place or region, and the name of a profession or nickname. The two pantun structures, the poetry found in general, ab.ab., then aa.aa, ab.aa, and ab.bb. By analyzing and linking the diction used, the findings of this study say the rhymes in Irwan Prayitno's speech (Governor of Sumatera Barat) have specific spontaneity as evidenced by the diction used that is relevant to the situation or condition of the speech event that took place.
23
Malinda, Ayu. "An Analysis on William Ernest Henley’s Invictus." LUNAR 2, no. 01 (August 12, 2019): 16–29. http://dx.doi.org/10.36526/ln.v2i01.513.
Full textAbstract:
The research is an analysis the poem structure of William Ernest Henley Invictus. The purpose of this research is to understand the structure that used in thepoem of William Ernest Henley Invictus. The data were taken fromdocumentation of Invictus poem and biographical of the poet. Theresearcher used objective approach as data analysis method. The structureof poetry is consisting of two structures, namely; physical structure and innerstructure. The physical structure is consisting of six sections, they are diction,imagery, concrete word, figurative language, version and typography. While, the inner structure is divide on four proportion they are theme, tone, feelingand mandate. To make a good poetry the poet should pay attention in theelements of poetry, especially the structure of poetry.
24
어강석. "A Study of Colloquial Diction in the Poetry of Mogeun, Lee Saek." DONG-BANG KOREAN CHINESE LIEARATURE ll, no. 50 (March 2012): 307–35. http://dx.doi.org/10.17293/dbkcls.2012..50.307.
Full text
25
Changho Kim. "Poetical Diction, Thinking, Reference value of Hanshi and Korean Classical Poetry Education." Journal of Chinese Characters Education in Korea ll, no. 49 (December 2017): 187–216. http://dx.doi.org/10.17963/ccek.2017..49.187.
Full text
26
Babarinde, Olusanmi, and Elizabeth Babarinde. "Themes, Diction, and Prosodic Systems in Yoruba Lullabies." International Research in Children's Literature 12, no. 1 (July 2019): 18–33. http://dx.doi.org/10.3366/ircl.2019.0288.
Full textAbstract:
Lullabies are essentially sung for their soothing nature but, as this article shows, they have other important functions. One of the most important of these is that lullabies may provide much-needed language stimulation with important long-term consequences for future learning. This paper begins the work of addressing the dearth of scholarly research on lullabies, especially in the Yoruba (Nigeria: Niger-Congo) culture. It looks at the range of themes, dictions, and prosody that are intertwined to reveal Yoruba beliefs and world-views about children, starting with their time in the womb. The study uses a descriptive survey method to analyse data collected through participant observation. It shows that Yoruba lullabies not only offer insights into Yoruba cultural beliefs but also depend greatly on figurative expression and prosodic systems. These rich literary qualities identify lullabies as the earliest sub-genre of children's poetry.
27
Asriningsari, Ambarini, and Azzah Nayla. "Implementation of Multicultural Context on Learning Writing Poetry in Senior High School." International Journal of Social Sciences and Humanities Invention 5, no. 5 (May 3, 2018): 4634–39. http://dx.doi.org/10.18535/ijsshi/v5i5.01.
Full textAbstract:
Indonesian society is a pluralistic society, so it needs understanding of multicultural values in every interaction through education. Cultural diversity must be understood and accepted as a uniqueness that is able to bring Indonesian society in the heterogeneous life of society. Schools play a key role in how an educational institution is able to transmit multicultural values. This study raises the problem (1) the application of multicultural context in the study of writing poetry in high school; and (2) student learning outcomes on the application of multicultural contexts on learning to write poetry in high school. This research design using qualitative descriptive approach through step 1: Preliminary observation, step 2: developing learning tools, compiling materials, and evaluation guides, step 3: applying the multicultural context to the learning of writing poetry to the class which is the activity enforcement in a classroom learning, 4) step 4: Formative evaluation and description of research results. The application of multicultural context in learning to write poetry is done through preliminary activities, core, follow-up, and reflection. Student attitudes after applied multicultural contexts begin to enthusiastically pay attention to teachers and mostly seem to seriously engage in discussion activities with group members. The skills of writing poetry on the aspect of the accuracy of word selection or diction, topics, and the message, have met the good category. In the skill students are able to choose the right word or diction, determine the theme, and understand the cultural differences that exist around them to be positively responded. Students are also quite able to understand the mandate implied in the poem to apply to everyday life.
28
Januarti, Inayah. "STILISTIKA DALAM PUISI “KERIKIL TAJAM DAN YANG TERAMPAS DAN YANG PUTUS” KARYA CHAIRIL ANWAR." KONFIKS : JURNAL BAHASA DAN SASTRA INDONESIA 6, no. 1 (November 13, 2019): 1–9. http://dx.doi.org/10.26618/jk.v6i1.372.
Full textAbstract:
ABSTRAKPermasalahan yang dibahas dalam penelitian ini, yaitu: (1) Bagaimana bentuk asonansi dan aliterasi dalam kumpulan puisi Kerikil tajam dan yang terampas dan yang Putus karya Chairil Anwar? (2) Bagaimana pemilihan konotasi dan denotasi dalam diksi yang terdapat dalam kumpulan puisi Kerikil tajam dan yang terampas dan yang Putus karya Chairil Anwar? (3) Bagaimanakah makna gaya bahasa dalam kumpulan puisi Kerikil tajam dan yang terampas dan yang Putus karya Chairil Anwar. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah teknik catat, karena data-datanya berupa teks. Berdasarkan analisis ini dapat disimpulkan beberapa hal, yaitu: (1) Pemanfaatan atau pemilihan bunyi-bunyi bahasa yang dipergunakan dalam Puisi Kerikil tajam dan yang Terampas dan yang Putus karya Chairil Anwar, ditemukan adanya asonansi ‘persamaan bunyi vokal’ yang banyak dipakai bunyi a, i, u, e, o. Aliterasi ‘persamaan bunyi konsonan yang digunakan dalam Puisi Kerikil tajam dan yang Terampas dan yang Putus karya Chairil Anwar adalah bunyi konsonan /p/, /s/, /g/, /k/, /t/,/l/,/k/./m/ dan /b/. (2) Diksi dalam puisi Kerikil tajam dan yang Terampas dan yang Putus karya Chairil Anwar dapat ditinjau dari segi kosakata, pemilihan kata, dan denotasi serta konotasinya. (3) Pemakaian gaya bahasa yang terdapat dalam puisi Kerikil tajam dan yang Terampas dan yang Putus karya Chairil Anwar adalah (a) metafora, (b) alusio, (c) hiperbola, (d) sinestesia, (e) alegori, (f) personifikasi, (g) fabel (h) simbolik, (i) repetisi.Kata kunci: Stilistika, diksi, gaya bahasa, aspek bunyiAbstractThe problems discussed in this study, namely: (1) How do the assonance and alliteration in poetry collection sharp gravel and seized and that the End works Anwar? (2) How does the selection of connotation and denotation in diction contained in a collection of poems sharp gravel and seized and that the End works Anwar? (3) What is the meaning of the language in the style of a collection of poetry and sharp gravel seized and the work of Anwar Disconnect.The method used in this research is descriptive qualitative method. Data collection techniques used in this research was noted, because the data in the form of text. Based on this analysis we can conclude several things, namely: (1) The use or selection of language sounds used in Poetry Gravel sharp and seized and that the End works Anwar, found their assonance 'equation vowel' a widely used sound a, i, u, e, o. Alliteration 'equation consonant sounds used in Poetry Gravel sharp and seized and that the End works Anwar is consonant / p /, / s /, / g /, / k /, / t /, / l /, / k / ./m/ and / b /. (2) Gravel sharp diction in poetry and seized and that the End Anwar's work can be viewed in terms of vocabulary, diction, and denotation and connotation. (3) Use a style that is contained in the poem Gravel sharp and seized and that the End works Anwar is (a) metaphor, (b) allusion, (c) hyperbole, (d) synesthesia, (e) the allegory, (f) personification, (g) fable (h) the symbolic, (i) reps.Keywords: Stilistika, diction, style, sound aspects
29
Hinduan, Najmah Al, Achmad Tohe, and Ibnu Samsul Huda. "Karakteristik dan Fungsi Puisi Arab pada Masa Transisi Pemerintahan Dinasti Umayyah ke Dinasti Abbasiyah." Alsina : Journal of Arabic Studies 2, no. 1 (July 17, 2020): 51. http://dx.doi.org/10.21580/alsina.2.1.5127.
Full textAbstract:
<p class="ABSTRACT">The transition period of the Umayyad dynasty to the Abbasid dynasty occurred in a span of 100 years. There are fifteen great poets whose poetry represents the study of this research. The results of this study indicate that there are seven types of poetry found in the transition period, namely madh, hija, naqaidh, zuhud, gazal, khamriyyat, and fakhr. These seven poems have different characteristics to fulfill different functions. Among them are diction which uses connotative words, strong imagination, uses a lot of simile/tasybih, cynicism, sarcasm, personification, and metaphor/istia'rah.</p>
30
Fardani, Rani. "KEMAMPUAN SISWA DALAM PEMBELAJARAN MENULIS PUISI BEBAS BERTEMA BENCANA SULAWESI TENGAH (SULTENG) PADA SISWA KELAS V SDN BULURI PALU." Guru Tua : Jurnal Pendidikan dan Pembelajaran 2, no. 1 (May 1, 2019): 60–68. http://dx.doi.org/10.31970/gurutua.v2i1.19.
Full textAbstract:
This study aims to find out: (1) How is the ability of fifth-grade students at Elementary School in Buluri Palu to determine the main ideas of making poetry about Central Sulawesi disaster (Central Sulawesi), (2) How is the ability of students to use the right choice of words/ diction based on the creativity of the Central Sulawesi disaster theme , (3) How is the ability of students in learning to write free poetry with the theme of Central Sulawesi disaster. The method used in this study was descriptive qualitative, with the subject of the study were all of the fifth-grade students in Buluri Elementary School consisted of 29 students. To measure and assess students' abilities, a poetry writing ability test is used. The indicator validation used is in accordance with the guidelines from the school where the research is conducted. Based on the analysis, the results showed that, (1) In determining the poetry main ideas with the Central Sulawesi disaster theme, fifth-grade students were said to be capable, because of the 29 students obtained very precise qualifications of 3 students (10.34%), 23 students were qualified correctly (79.32%), the qualifications are not quite right (0%), the qualifications are not exactly 3 students (10.34%). (2) In the aspect of using word/ diction, fifth-grade students are said to be unable, because of the 29 students who received very precise qualifications 3 students (10.34%), the right qualifications were 7 students (24.14%), the qualifications were not exactly 8 students (27.59%), improper qualifications were 11 students (37.93%). (3)Generally, this study can be described that fifth-grade students have not been able to write free poetry with the theme of the Central Sulawesi disaster. This is evidenced by the acquisition of fifth-grade students, from 29 students, 5 students (17.24%) were able to write poetry with the theme of Central Sulawesi disaster, while 24 students (82.76%) were unable to write poetry with the theme of Central Sulawesi disaster
31
Hakim, Muhammad Lukmanul, Din Azwar Uswatun, and Iis Nurasiah. "Analisis Unsur Intrinsik Puisi Pada Buku Siswa Bahasa Indonesia Dikelas 4 Sekolah Dasar." DIKDAS MATAPPA: Jurnal Ilmu Pendidikan Dasar 3, no. 2 (November 26, 2020): 326. http://dx.doi.org/10.31100/dikdas.v3i2.704.
Full textAbstract:
This study aims to describe the intrinsic element of the fourth grade Indonesian language poetry learning material in theme 6 used by elementary schools. This type of research is a qualitative research with a qualitative descriptive approach. This research was conducted in the even semester of the academic year 2018/2019. The place of the research was SDN Cisarua 1, located at JL.Tipar Gg. Meralaya II No. 142 City of Sukabumi. This research uses quota sampling technique with the object book theme 6 My dreams are grade IV elementary school. Data collection techniques used were interview and documentation techniques which the implementers used interview and documentation guidelines to analyze the intrinsic elements of poetry material in the theme book. The results of this study are poetry learning in class IV Indonesian subjects contained in Theme 6 regarding my goals. Poetry material is explained about the meaning of poetry, the types of poetry, and the intrinsic elements of poetry. There are 7 intrinsic elements in poetry, namely theme, sound, rhyme, diction, imagination, cooperation, and rhythm.
32
Dezső, Csaba. "Inspired Poetry: Śāntākaragupta’s Play on the Legend of Prince Sudhana and the Kinnarī." Indo-Iranian Journal 57, no. 1-2 (2014): 73–104. http://dx.doi.org/10.1163/15728536-05701016.
Full textAbstract:
A fragment of a play written on the Buddhist legend of prince Sudhana and the kinnarī has been microfilmed by the Nepal-German Manuscript Preservation Project. It was probably written at the end of the eleventh century in Bengal by a Buddhist scholar called Śāntākaragupta. The present article contains a critical edition and an English translation of the fragment, as well as an analysis of the intertextuality of the play and especially the literary influences that shaped the author’s poetic diction.
33
Hermintoyo, Muhamad. "Fungsi Rima dalam Lirik Lagu." Nusa: Jurnal Ilmu Bahasa dan Sastra 13, no. 1 (February 28, 2018): 26. http://dx.doi.org/10.14710/nusa.13.1.26-35.
Full textAbstract:
The lyrics of a song as a creative piece of poetry are made up of physical and mental elements. Physical elements include diction, image, rhetorical means, and rhyme, while the inner element is the meaning. Rima or poetry in the lyrics (poetry) in addition to acting as aesthetics also provides a comfortable atmosphere, fun called eufofoni sound and provide euasana otherwise called kakophoni. Eufofoni sounds in the form of vowel sound, while the sound of kakofoni in the form of consonant sound. The sounds are deliberately chosen by the author as a means of rhetoric to be enjoyed in accordance with the meaning and theme contained in the lyrics. Rima in the lyrics (poetry) aesthetically gives the neatness of sound at the end of the stan neatly with the pattern aaaa (full), abab (cross), abba (hug), aabb (spouse) and broken (abcd).
34
Islam, Mohammad Shafiqul. "Bangladeshi Poets Writing in English." Journal of World Literature 6, no. 1 (October 22, 2020): 65–83. http://dx.doi.org/10.1163/24056480-20201003.
Full textAbstract:
Abstract This article observes that Kaiser Haq has made an immense contribution to Bangladeshi poetry in English, leading the school of English poetry of the country from the front. A relatively new field, Bangladeshi writing in English has started becoming a part of world literature, and its scope, no doubt, is expanding rapidly. The article also focuses on the legacy of Bangladeshi writing in English to demonstrate how Bangladeshi poetry in English has simultaneously progressed. The article argues that Haq’s enormous contributions justify his position as the best English-language poet in Bangladesh. For his poetry, the poet takes material from his motherland and its rich culture, and his style, technique, and diction resonate with those of prominent poetic voices of the world. The article also sheds light on how Haq presents Bangladesh, depicting numerous shades of reality, and how he still dominates in the contemporary scene of Bangladeshi poetry in English.
35
Priventa, Hendrike. "AESTHETIC VALUE IN TITLE IN “HUJAN BULAN JUNI” BY SAPARDI DJOKO DAMONO AND “MALAIKAT JUGA TAHU” BY DEWI LESTARI." Multilingual 19, no. 2 (December 19, 2020): 174–82. http://dx.doi.org/10.26499/multilingual.v19i2.166.
Full textAbstract:
Poetry is a form of literary genre that is full of aesthetic values. The aesthetic value is wrapped in the elements that make up the poetry. This article discusses a comparison of the aesthetic value of the poem “Hujan Bulan Juni” by Sapardi Djoko Damono and “Angels Also Know” by Dewi Lestari. Intertext studies can be used as a medium to find aesthetic values and determine whether literary works are aesthetic or not. The aesthetic value in the poetry "Rain in June" and "Angels Also Know" are shown in several aspects, namely the elements of sound, diction, and image. The linkage of authorship is also shown through the expansion of the use of elements of the poetry structure. The aesthetic value in both poems influences the process of forming new vehicles such as songs and films which are now more popular with the public.
36
Booth, Marilyn. "Colloquial Arabic Poetry, Politics, and the Press in Modern Egypt." International Journal of Middle East Studies 24, no. 3 (August 1992): 419–40. http://dx.doi.org/10.1017/s0020743800021966.
Full textAbstract:
On 9 November 1956, a poem in colloquial Arabic appeared in the month-old Cairo daily al-Masāʾ. The poet was an unknown named Hamid al-Atmas, a carpenter from the Delta city of Damanhur. Entitled “That's It, I'm Off to the Battlefield,” al-Atmas's poem celebrated the worker as soldier, for British and French troops had just landed in Port Said. The narrator states that he will put down his tools—as will many laborers and craftsmen—to go and fight. Following victory, he will return to his shākūsh (hammer) and mingār (plane). This, he stresses, is a people's struggle.1 The point is made no less subtly through the poet's choice of language: the narrator's diction is based on that of shop, home, and street.
37
Safitri, Yuyun, Sarwiji Suwandi, Herman Waluyo, and M. Soediro Satoto. "Developing a Textbook of Creative Poetry Writing Based on Local Wisdom Problem Based Learning." Jurnal Darussalam: Jurnal Pendidikan, Komunikasi dan Pemikiran Hukum Islam 10, no. 1 (September 30, 2018): 1. http://dx.doi.org/10.30739/darussalam.v10i1.262.
Full textAbstract:
The purpose of this article is to describe: (1) Condition textbook of creative writing poetry which is used in learning “Creative Writing Poetry” for the student of Indonesian Language and Literature Education in University of West Kalimantan. (2) Needs of the Student and Lecturer of Indonesian Language and Literature Education Study Program in West Kalimantan University in developing textbook if creative writing poetry based on local wisdom. Methodology which is used is research and development. Conclusions of the research result are as follow: (1) condition of the creative writing textbook which is used in earning creative writing poetry is inadequate, the detail of the book is less clear and less appropriate to the condition of the student. The poetry which is used are less attention to the face of poetry (typography), diction, imagination, concrete word, language style, rhyme/rhythm, theme/mean, feeling, tone, mandate/purpose/mean, and less attention to local wisdom. (2) Student and lecturer need a special book about creative writing poetry based on local wisdom which contains the text of poetry based on local wisdom and supporting illustration image, and also the evaluation sheet.
38
Edwards, Anthony T. "ΚΛΕΟΣ ΑΦΘITON and Oral Theory." Classical Quarterly 38, no. 1 (January 1988): 25–30. http://dx.doi.org/10.1017/s0009838800031220.
Full textAbstract:
In a recent article Margalit Finkelberg raises the question of whether or not the phrase κλοσ ἄπ;θιτον at Iliad 9.413 is indeed a Homeric formula:λετο μν μοι νóατοσ, τρ κλοσ ἄπ;θιτον ἔσταιHer purpose is to ‘test the antiquity of κλοσ ἄπ;θιτον on the internal grounds of Homeric diction’ (p. I).1 Proposing to use specifically the analytic techniques of oral theory, she argues that this phrase does not represent a survival from an Indo-European heroic poetry, as has been suggested from the occurrence of its exact cognate, śápos;rdvas áksitam, in Vedic poetry. To this end Finkelberg presents a precise and carefully organized argument. I briefly summarize its two branches as follows:(1) It is the formulae that comprise the oldest stratum of Homeric diction, and so it is here that one would find survivals of Indo-European poetic diction. κλοσ ἄπ;θιτον ἒσται (which Finkelberg correctly argues to be the complete phrase), however, cannot be judged a Homeric formula by the criterion of repetition since it is a unique phrase in Homer. Nor can it be judged a formula by the ‘functional’ criterion since the better attested κλἒοσ οὒ ποτ óλεῖται expresses the same essential idea in the same metrical shape.(2) A unique phrase such as that in question might nonetheless be ancient. The development of the use of ἄπ;θιτοσ, first to modify concrete nouns, and only later with abstracts, however, would indicate that its use with κλοσ is late. The demonstration that κλοσ ἂθιτον ἔσται is a ‘formulaic expression’, moreover, argues that it was coined for this specific context in Iliad 9 by analogy with other Homeric formulae, and so does not preserve an Indo-European formula.
39
Satinem, Satinem, and Juwati Juwati. "The Diction and Language Style in Sutardji Calzoum Bachri’s Contemporary Poetry (A Study on Stilistics)." AKSIS: Jurnal Pendidikan Bahasa dan Sastra Indonesia 3, no. 1 (September 10, 2019): 154–67. http://dx.doi.org/10.21009/aksis.030115.
Full textAbstract:
The purpose of this study was to examine contemporary poetry by Sutardji Calzoum Bachri using the stylistic approach. The research method used is based on content analysis. The object of this research is contemporary poems entitled Husspuss, O, Mantera, Sepisaupi, and Tapi. The method used in this study is a qualitative method. The results and discussion in this study in the poems of Husspuss, O, Mantera, Sepisaupi, and Tapi shows that there are many elements of rhyme, rhythm, sound play, and sound repetition that are incorporated in the characteristics of sound and meaning of poetry while the style of language contained in these contemporary poems received less attention from the poet. The poet uses only a few styles of language such as hyperbole and repetition.
40
Smith, John D. "Winged words revisited: diction and meaning in Indian epic." Bulletin of the School of Oriental and African Studies 62, no. 2 (June 1999): 267–305. http://dx.doi.org/10.1017/s0041977x00016712.
Full textAbstract:
Scholars working in the field of oral epic all have a particular form of words committed to memory—Milman Parry's celebrated definition of the formula. The definition in fact appears in two slightly differing forms in Parry's writing. In 1928 he wrote, ‘In the diction of bardic poetry, the formula can be defined as an expression regularly used, under the same metrical conditions, to express an essential idea’ (Parry, 1971: 13). Two years later came the more familiar version: ‘The formula in the Homeric poems may be defined as a group of words which is regularly employed under the same metrical conditions to express a given essential idea’ (Parry, 1971: 272). The differences between the two forms of the definition are negligible, and Parry made no further attempt to refine or modify it during the five years of life that remained to him. For Albert Lord, too, the definition was clearly adequate as it stood: in ch. iii of The singer of tales he simply quotes it verbatim (Lord, 1960: 30), and proceeds directly to a consideration of the function of formulaic diction.
41
Reichl, Karl. "The varieties of formulaic diction in Turkic oral epics." Balcanica, no. 44 (2013): 79–91. http://dx.doi.org/10.2298/balc1344079r.
Full textAbstract:
This article tries to show that the formulaic diction on the level of verse line and formulaic patterning in the composition of scenes are closely related and must be studied together. The analysis is done on the example of Turkic epics. Of the formulaic patterns the most prominent one is the variety of use of the attribute ak (white), which appears to be one of the most common epithets in Turkic epic poetry. It is usually connected with cloth (e.g. caftan, yurt), different parts of body (face, bosom), antelope, the lumps of gold given as bride-price and various kinds of arms (sword, spear) etc. It is usually denoted evaluatively as purity and beauty. In this matter Turkic epics share its position with many national epics of the middle ages including Serbian, Old English, Old German etc. The same role is analyzed for the opposite pattern ?dust of earth?, and for the two themes: preparation of the hero for his journey and council scenes which are also mutual to many medieval epic traditions such as aforementioned Serbian and others.
42
Ryu Su-yeol. "The Rivalry between Joint Ownership of Poetic diction and Authority in Post-Chosun Dynasty." Korean Classical Poetry Studies 28, no. ll (May 2010): 155–81. http://dx.doi.org/10.32428/poetry.28..201005.155.
Full text
43
Tjodding, Tjodding, and Inayah Januarti. "TILISTIKA DALAM PUISI “KERIKIL TAJAM DAN YANG TERAMPAS DAN YANG PUTUS” KARYA CHAIRIL ANWAR." KONFIKS : JURNAL BAHASA DAN SASTRA INDONESIA 2, no. 1 (February 9, 2017): 1. http://dx.doi.org/10.26618/jk.v2i1.395.
Full textAbstract:
Abstract The problems addressed in this study, namely: (1) How is the form of assonance and alliteration in poetry collection of sharp gravel and deprived and the Disconnect work of Anwar? (2) How does the selection of the connotation and denotation in diction contained in a collection of poems sharp gravel and deprived and the Disconnect work of Anwar? (3) What is the meaning of style in a collection of poems sharp gravel and deprived and the Disconnect work of Anwar. The method in this research used deskriptiva qualitative. Data collection techniques used technique of record, because the data in the form of text. Based on this analysis we can conclude several things, namely: (1) The use or selection of language sounds used in Poetry Gravel sharp and deprived and the Disconnect work of Anwar, discovered the existence of assonance 'equation vowel' a widely used sound a, i, u, e, o. Alliteration 'equation consonant sounds used dalamPuisi Gravel sharp and deprived and the Disconnect work of Anwar is consonant / p /, / s /, / g /, / k /, / t /, / l /, / k /. / m / and /b/.(2) Diction in poetry sharp gravel and deprived and the Disconnect Anwar's work can be viewed in terms of vocabulary, diction, and denotation and connotation. (3) The use of force contained in the language of poetry Gravel sharp and deprived and the Disconnect work Chairil Anwaradalah (a) metaphor, (b) allusion, (c) hyperbole, (d) synesthesia, (e) allegory, (f) the personification, (g) fable (h) the symbolic, ( i) reps. Keywords: Stilistika, diction, style, sound aspects Abstrak Permasalahan yang dibahas dalam penelitian ini, yaitu: (1) Bagaimana bentuk asonansi dan aliterasi dalam kumpulan puisi Kerikil tajam dan yang terampas dan yang Putus karya Chairil Anwar? (2) Bagaimana pemilihan konotasi dan denotasi dalam diksi yang terdapat dalam kumpulan puisi Kerikil tajam dan yang terampas dan yang Putus karya Chairil Anwar? (3)Bagaimanakah makna gaya bahasa dalam kumpulan puisi Kerikil tajam dan yang terampas dan yang Putus karya Chairil Anwar. Metode yang digunakan dalam penelitian ini adalah metode deskriptifkualitatif. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah teknik catat, karena data-datanya berupa teks. Berdasarkan analisis ini dapat disimpulkan beberapa hal, yaitu: (1)Pemanfaatan atau pemilihan bunyi-bunyi bahasa yang dipergunakan dalam Puisi Kerikil tajam dan yang Terampas dan yang Putus karya Chairil Anwar, ditemukan adanya asonansi ‘persamaan bunyi vokal’ yang banyak dipakai bunyi a, i, u, e, o. Aliterasi ‘persamaan bunyi konsonan yang digunakan dalamPuisi Kerikil tajam dan yang Terampas dan yang Putus karya Chairil Anwar adalah bunyi konsonan /p/, /s/, /g/, /k/, /t/,/l/,/k/./m/ dan /b/.(2) Diksi dalam puisi Kerikil tajam dan yang Terampas dan yang Putus karya Chairil Anwar dapat ditinjau dari segi kosakata, pemilihan kata, dan denotasi serta konotasinya.(3)Pemakaian gaya bahasa yang terdapat dalam puisi Kerikil tajam dan yang Terampas dan yang Putus karya Chairil Anwaradalah (a) metafora, (b) alusio, (c) hiperbola, (d) sinestesia, (e) alegori, (f) personifikasi, (g) fabel (h) simbolik, (i) repetisi.Kata kunci: Stilistika, diksi, gaya bahasa, aspek bunyi
44
McHale, Brian. "Det unaturlige i fortællende poesi. To radikale eksempler." K&K - Kultur og Klasse 39, no. 112 (December 25, 2011): 71–92. http://dx.doi.org/10.7146/kok.v39i112.15745.
Full textAbstract:
THE UNNATURALNESS OF NARRATIVE POETRY | New cognitive theory (e.g. Monica Fludernik) argues that we naturalize texts by narrativizing them. Although there are no ultimately “unnatural” narratives on this account, this article argues that there are certainly artificial ones. The article focuses especially on narrative poetry in which the artificial order of poetry spaces languageand denaturalizes it. It is the underlying hypothesis that artifice changes everything, narrative included. And the article shows this in a contrastive reading of two very different narrative poems:Shakespeare’s Venus and Adonis that exploits the possibility of artificial segmentation, heightened diction and extravagant figuration and Les Murray’s Fredy Neptune: A Novel in Verse in which narration dominates, artifice is minimal, reduced to little more that lineation, stanza-breaks and sporadic end-rhymes. The point is that even in the case of Les Murray’s very narrative poetry, the artificial segmentation sets up counter-rhythms that syncopate and counterpoint narrative shifts.
45
YOON, Chi Boo. ""A Study on the Poetic Diction of Chusa Kim Jeong-hee’s Jeju Exile Poetry "." Study of Korean Poetry and Culture 45 (February 29, 2020): 55–84. http://dx.doi.org/10.52530/kpac.2020.45.3.
Full text
46
Mozetič, Uroš. "E. E. Cummings: From Parenthesis to Personality (Part I)." ELOPE: English Language Overseas Perspectives and Enquiries 3, no. 1-2 (June 20, 2006): 201–12. http://dx.doi.org/10.4312/elope.3.1-2.201-212.
Full textAbstract:
The paper presents the unique oeuvre of E.E. Cummings, who claims an outstanding position in the heritage of American poetry, as a case of Bildungsdichtung. This status is largely due to his highly innovative and iconoclastic approach to poetic composition, starting from his early rebellious endeavours drawing on an astounding variety of non-standard and downright shocking potentialities of the English language (including such peculiar linguistic and stylistic idiosyncracies as drastic changes of the syntactic English word order, shifts at the morphology and word-formation level, unorthodox use of punctuation, extravagant typography and spacing or arrangement of space between the lines, a diversity of meters and rhymes, as well as seemingly eccentric imagery), to his later and invariably maturer poetic diction – the diction of one who has apparently come to terms with the world and his fellow-beings, realising that genuine wisdom resides in the understanding and forgiveness of the inherently fallible human nature rather than in its continuous sardonic scrutiny.
47
Mozetič, Uroš. "E. E. Cummings: From Parenthesis to Personality (Part II)." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 121–34. http://dx.doi.org/10.4312/elope.4.1-2.121-134.
Full textAbstract:
The paper presents the unique oeuvre of E.E. Cummings; who claims an outstanding position in the heritage of American poetry; as a case of Bildungsdichtung. This status is largely due to his highly innovative and iconoclastic approach to poetic composition; starting from his early rebellious endeavours drawing on an astounding variety of non-standard and downright shocking potentialities of the English language (including such peculiar linguistic and stylistic idiosyncracies as drastic changes of the syntactic English word order; shifts at the morphology and word-formation level; unorthodox use of punctuation; extravagant typography and spacing or arrangement of space between the lines; a diversity of meters and rhymes; as well as seemingly eccentric imagery); to his later and invariably maturer poetic diction – the diction of one who has apparently come to terms with the world and his fellow-beings; realising that genuine wisdom resides in the understanding and forgiveness of the inherently fallible human nature rather than in its continuous sardonic scrutiny.
48
Windo Dicky Irawan, Dewi Ratna Ningsih dan. "KAJIAN STRUKTURAL SASTRA LISAN PEPACCUR MASYARAKAT LAMPUNG PEPADUN DALAM PROSESI PENGAMBILAN GELAR ADAT." Edukasi Lingua Sastra 16, no. 2 (October 20, 2018): 59–67. http://dx.doi.org/10.47637/elsa.v16i2.94.
Full textAbstract:
Pepaccur is a type of Lampung poetry which contains advice or message in the customary degree ceremony. In this research, data was collected from several regions belonging to the Lampung Abung community, such as Kotabumi Ilir, Blambangan Pagar, Surakarta, Bumi Agung, and Mulang Maya. The problem that will be examined in this study is about the structure contained in Pepaccur. The purpose and benefits of this study are (1) to determine the Pepaccur structure in the Pepadun community in the procession of taking traditional titles; (2) to revitalize Pepaccur Lampung Pepadun people. Descriptive method through qualitative approach is the method used in this study. Data collection techniques used in this study are (1) observation, (2) recording, and (3) interview. Data analysis techniques are carried out by identifying the Pepaccur structure. Based on ethnographic studies that are used as a foothold in this study the Pepaccur structure consists of a framework, diction, sound, tone, and class. (1) Pepaccur framework. Of the 6 Pepaccur text samples, there is only one Pepaccur text that does not have an opening stanza, ie in Pepaccur II text. In addition, the Pepaccur II text is also a text in the form of stories to bind Lampung women. (2) Pepaccur's diction. Based on the results of the analysis, the diction used by people who are Pepaccur is a diction related to marriage. (3) Pepaccur sounds. the sound found in Pepaccur text analysis is a sound pattern abc / abc, ab / ab, aa / aa, a / a. (4) Pepaccur tones. The tone in Pepaccur's text is advising. (5) figurative language. The figurative language found in the Pepaccur text includes; allegory, metaphor, and simile.
49
Hermintoyo, Muhamad. "Metaforis dalam Lirik Lagu Populer Bertemakan Percintaan." Nusa: Jurnal Ilmu Bahasa dan Sastra 13, no. 2 (May 31, 2018): 291. http://dx.doi.org/10.14710/nusa.13.2.291-300.
Full textAbstract:
AbstractThe lyrics of the song are like the poetry of an aesthetic element that builds them as intrinsic elements, such as diction, rhyme, images and rhetorical means. In the hands of creative authors will create an interesting private diction diction and bring up beautiful metaphors. Song lyrics are created based on the author's emotional expression both from personal experience and see around him as the object of his creation. One of the most widely made is the lyrics of the song with the theme of romance, both ranging from approach / introduction, romantic seduction to the sadness left by her lover. This article discusses the metaphorical phrases in the lyrics of popular songs with the study of aesthetics, the elements that build the lyrics and their meaning. IntisariLirik lagu tak ubahnya seperti puisi ada unsur estetis yang membangunnya berupa unsur intrinsiknya, seperti diksi, rima , imaji dan sarana retorika. Di tangan pengarang yang kreatif akan memunculkan diksi private symbol yang menarik dan memunculkan metafor-metafor yang indah. Lirik lagu diciptakan berdasar ekspresi emosional pengarangnya baik dari pengalaman pribadi maupun melihat di sekitarnya sebagai objek penciptaannya. Salah satu yang paling banyak dibuat adalah lirik lagu yang bertemakan percintaan, baik mulai dari pendekatan/pengenalan, rayuan romantisnya sampai pada kesedihan ditinggal kekasihnya. Artikel ini membahas kalimat-kalimat metaforis dalam lirik lagu populer dengan kajian estetikanya, yaitu unsur yang membangun lirik dan maknanya.
50
Wewengkang, Nontje Deisye. "PENINGKATAN KEMAMPUAN MENULIS PUISI DENGAN TEKNIK AKROSTIK SISWA SMP KRISTEN EBEN HAEZAR MANADO." Kadera Bahasa 2, no. 2 (January 29, 2019): 127–43. http://dx.doi.org/10.47541/kaba.v2i2.58.
Full textAbstract:
The aim of this research is to develop poetry writing ability on grade 7 students of Eben Haezar 2 Middle School in Manado. The design of this research is Class Action Research. The indicators such as diction, figurative language, rhyme, and image. The objects of this research are the 7 C students of Eben Haezar 2 Middle School which are comprised of 28 students. The data of this research are verbal and non-verbal data. The data were obtained by observing, recording, interview, and documentation. The data are analyzed using a qualitative method, such as classification, reduction, explanation and analyses, and conclusion. The result of this research shown that was ability increasing on poetry writing with acrostic technique including learning planning, implementing and the lesson learned.