Relevant bibliographies by topics / Epic poetry

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

Academic literature on the topic 'Epic poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Epic poetry"

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Ahmed, Amr Abdel Monim. "Flavian Epic Poetry." British Journal of Translation, Linguistics and Literature 3, no. 3 (September 30, 2023): 64–76. http://dx.doi.org/10.54848/bjtll.v3i3.69.

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Flavian Epic Poetry is considered one of the most important literary works that distinguished the period of the rule of the Roman emperors from the time of Vespasian to Domitian. Flavian epic poetry was named after the Emperor Vespasian, which indicates that most of the epic works were organized to glorify the emperors and celebrate their military victories. This flattery is considered to be a famous characteristic of the style of that period. Among the most famous poets who wrote epic works in this era were Valerius Flaccus, Papenius Statius, and Silius Italicus. Each of them composed a number of epics similar to the Greek epics for the sake of imitating their precious treasures, like Argonautica, who was imitated by Valerius, the Thebaid by Statius, and the Punica by Italicus. Flavian epic poetry was characterized by exaggeration, especially regarding the description of events and the use of gods who intervene in the course of things in order to achieve their benefits. The heroic nature that the epics aimed to highlight is also evident in epic poetry.
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Eshonkulov, Jabbor. "About "Rustamkhan" Series." International Journal of Social Science Research and Review 5, no. 5 (April 30, 2022): 300–306. http://dx.doi.org/10.47814/ijssrr.v5i5.326.

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The Rustamkhan series plays an important role in Uzbek epic poetry. This series includes such epics as "Rustamkhan", "Murodkhan", "Oftob pari". To date, two epics of the series - "Rusmtkhon" and "Muradkhan" have arrived. There is one version of the epic "Murodkhan", many variants of the epic "Rustamkhan". This article examines the peculiarities of the series "Rustamkhan", its role in the art of epic poetry. Different variants of the epic "Rustamkhan", their manuscript versions, the differences between the variants were analyzed, issues related to the emergence, development and survival of epic traditions, changes in the publication of folk epics were discussed.
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RUIJGH, CORNELIS J. "The source and the structure of Homer's epic poetry." European Review 12, no. 4 (October 2004): 527–42. http://dx.doi.org/10.1017/s1062798704000456.

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Homer's Iliad and Odyssey were created, probably in the second half of the 9th century BC, in the framework of the Greek epic tradition of oral formulaic poetry, which started in the Peloponnese in proto-Mycenaean times (c. 1600 BC). The epic verse, the dactylic hexameter, must have been taken over from the Minoan Cretans. Whereas most 19th century scholars were analysts, considering Homer's epics' conflations of older and more recent epic poems, most modern scholars are unitarians, recognizing the unity of both epics, thanks to modern insights in the nature of oral traditional poetry and to modern narratology. Although many modern scholars ascribe the Odyssey to a later poet than that of the Iliad, there are no convincing arguments against the Ancients' opinion that both epics are the work of one single poet called Homer. Both Iliad and Odyssey are characterized by the principle of ‘unity of action’, a principle not found in other ancient epic poetry. There are reasons to suppose that Homer learnt the art of epic versification in Smyrna, his native city, by listening to performances of Aeolic singers. Driven by Ionic self-consciousness he transposed the epic Aeolic Kunstsprache into Ionic, thus creating the so-called Homeric dialect. He could perform his monumental epics at great religious festivals and at the courts of princes. There is evidence that he gave performances in the island of Euboea, the only prosperous region of the contemporary Greek world, and that there his epics were eventually written down. Thus, Homer's epics are the end-point of the oral epic tradition and the starting point of written Greek and European literature.
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Čolaković, Zlatan. "Avdo Međedović’s Post-Traditional Epics and Their Relevance to Homeric Studies." Journal of Hellenic Studies 139 (October 4, 2019): 1–48. http://dx.doi.org/10.1017/s0075426919000016.

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Abstract[Milman Parry established first that Homeric poetry was traditional, based on his studies of its formulae and language, and then that it was oral, based on his experience of recording south Slavic epic; he likened the unusually long epics of Avdo Međedović to those of Homer. Albert Lord put the two concepts together, holding that both south Slavic epic and Homeric poetry were oral-traditional and that all oral epic poetry, including that of Međedović, is traditional. However, the author’s investigations into the Milman Parry Collection of Oral Literature and his personal experience of collecting epics in Montenegro in 1989 prove that this is incorrect. The poems of Avdo Međedović do not conform to traditional uses of language, theme and story-patterns, but offer something new, of which other traditional singers disapproved, as their recorded conversations demonstrate. Similarly, by analogy, the epics of Homer differed from the traditional poems of the Epic Cycle, exactly as Aristotle indicates in the Poetics. Hence neither Međedović nor, by analogy, Homer were fully traditional poets, although they were oral poets; instead, they deliberately adapted the tradition so that the old stories were mixed and matched into much lengthier and more complex epics, which should be called post-traditional.]
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AYVA, AZİZ, and MERAL DOĞRU. "TÜRK SAZ ŞİİRİNDE ESNAF DESTANLARI VE AHİLİK KÜLTÜRÜNE KATKILARI." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 104 (December 3, 2022): 153–66. http://dx.doi.org/10.34189/hbv.104.009.

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Turkish instrumental poetry is a deep-rooted tradition that has survived to the present day by gaining a unique style and shape by being fed from the minstrel-art environments in Anatolia, rooted in the pre-Muslim poet-baksı tradition, developed over the centuries by feeding from different cultural environments and artistic circles of the Turkestan geography, and followed systematically since the 16th century after the first examples were identified in Anatolia from the 14th century. The epic genre, which is performed in an epic style based on the principle of syllabic meter, long volume and storytelling, in which the minstrels show great popularity and perform their art is also an important genre in this tradition. The epics, in which the first examples of a historical event in the past are dealt with, have started to be told around various topics such as economic and social life, flood, fire, drought, disaster, famine, animals, daily life, etc., thus expanding its field. One of the types of epics that emerged in this context is the Artisan Epics. These are poetic products in which certain professions and tradesmen groups and their masters are discussed, often based on a story that the minstrels go through on their own. Artisan Epics, which can sometimes only be told around a profession (craftsman), are often told around many tradesmen and professional groups. In these epics, problems related to a certain profession and its master, the story of the lover's inability to get a job in life and his failure in every job is often the subject while the satire and humour style is seen. In the tradesman epics, socio-cultural characteristics, the place of tradesmen and professional groups in social life, principles of tradesmen and professionals, duties of tradesmen, the importance given to tradesmen by the era, what is expected of traders, the place of professions in the eyes of the public, tragic-comic events that are instrumental in telling the epic; advice, satire, humour, etc. are dealt with using explanation. Based on the fact that the Akhism organization is a tradesman organization, we can say that the minstrels are not indifferent to this type of poetry, and they are especially in demand. In this context, many Artisan Epics have been identified in Turkish instrumental poetry. In this study, characteristics of the epic genre, varieties, the place of Artisan Epics in Turkish instrumental poetry, the characteristics of the Artisan Epics identified in Turkish instrumental poetry, tags, samples, occupations and occupations covered in these epics, and their place in community life will be shown. Keywords: Akhi-Order, Turkish Saz Poetry, Epics, Artisan Epics, Jobs.
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Ergashevna Sabirova, Nasiba. "Cənubi və şimali Xorəzm epik məktəbləri." SCIENTIFIC WORK 77, no. 4 (April 17, 2022): 26–31. http://dx.doi.org/10.36719/2663-4619/77/26-31.

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In this article we will talk about Khorezm epic schools and their peculiarities. It is said that the ethnogenetic history of the people has a significant impact on the formation of different schools of epic poetry, as any ethnic group preserves its ancient traditions, which can be clearly seen in the epic schools of Khorezm.Also, art critic B.Matyokubov in his pamphlet divided the Khorezm epic into three shops based on the information given by Bola Bakhshi, folklorist S.R.Ruzimbaev also commented on Khorezm epics, Bakhshi schools, and there are two traditions of epic poetry in the oasis. The article is analyzed on the basis of the classification of traditions of epic poetry of South and North Khorezm, the similarities and differences of epic schools are proved by examples taken from Khorezm epics. Key words: epic, Khorezmepic schools, South Khorezmepic school, North Khorezmepic school, Khorezmepic stores, upper store, middle store, Osh (Lower) store, Khorezmbakhshi, Bola bakhshi, Oshiq Aydinpir Nəsibə Erqaşevna Sabirova Cənubi və şimali Xorəzm epik məktəbləri Xülasə Bu yazıda Xorəzm epik məktəbləri və onların özünəməxsus xüsusiyyətlərindən bəhs edəcəyik. Bildirilir ki, hər bir etnik qrup öz qədim ənənələrini qoruyub saxladığından, xalqın etnogenetik tarixi müxtəlif epik şeir məktəblərinin formalaşmasına mühüm təsir göstərir ki, bunu Xorəzmin epik məktəblərində də aydın görmək mümkündür. .Matyokubov öz pamfletində Xorəzm dastanını Bola Baxşinin verdiyi məlumata əsasən üç dükana ayırmış, folklorşünas S.R.Ruzımbayev də Xorəzm dastanlarına, baxşı məktəblərinə münasibət bildirmiş, oazisdə iki epik şeir ənənəsi mövcuddur. Məqalədə Cənubi və Şimali Xorəzm epik poeziya ənənələrinin təsnifatı əsasında təhlil edilmiş, epos məktəblərinin oxşar və fərqli cəhətləri Xorəzm dastanlarından götürülmüş nümunələrlə sübut edilmişdir. Açar sözlər: dastan, Xorəzmepik məktəbləri, Cənubi Xorəzmepik məktəbi, Şimali Xorəzmepik məktəbi, Xorəzmepik dükanları, yuxarı mağaza, orta mağaza, Oş (Aşağı) mağazası, Xorəzmbaxşı, Bola baxşı, Aşıq Aydınpir
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Watson, Roderick, and Alan Riach. "Hugh MacDiarmid's Epic Poetry." Modern Language Review 88, no. 4 (October 1993): 964. http://dx.doi.org/10.2307/3734457.

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Mirzaev, Hamid. "Artistic Features Of The Sonnet-Epic." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 06 (June 28, 2021): 51–54. http://dx.doi.org/10.37547/philological-crjps-02-06-11.

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The article discusses the experience of creating sonnets and epics in Uzbek poetry, the peculiarities of this genre, the artistic features of sonnets and epics. The author B.Boykobilov's contribution to the creation of works in the genre of sonnet-epic, tried to scientifically describe the experiences and traditions gained in this genre.
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Rodrigues Júnior, Fernando. "Epopeia e poesia bucólica no Idílio XI de Teócrito." Nuntius Antiquus 8, no. 1 (June 30, 2012): 77–90. http://dx.doi.org/10.17851/1983-3636.8.1.77-90.

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Abstract: This paper discusses the relation between bucolic and epic poetry. Both genres shared the same meter – hexameter – and Theocritus was considered a poet influenced by Homer and belonging to epic tradition. In some sense it is possible to find bucolic elements in epic poetry, not only in similes in which there are shepherds in a variety of situations, but also in characters such as Polyphemus. Through the analysis of Polyphemus’ pastoral way of life in Odyssey a link is created between Theocritus’ idylls and Homeric narrative in order to distinguish bucolic poetry as a kind of epic poetry.
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Mutar, Aamir Ali, and Muhammad Nuri Abbas. "Praise Among Epic Poets." Journal of AlMaarif University College 33, no. 4 (December 7, 2022): 167–76. http://dx.doi.org/10.51345/.v33i4.548.g306.

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Praise in ancient Arabic poetry was one of the important purposes; Because of his connection to tribal life, the poet defends his tribe and praises its knights, and here we will shed light on the poetry of praise of the epic poets, as praise flourished on their tongue in their poems and they recorded the most wonderful pictures of Arab tournaments and added to them from their actual status and mental accuracy, in this research I dealt with poetry Praise for the epic poets and touched on the most important characteristics of their poetry and how they left a great impact on this poetic purpose in the Umayyad era and how they were accepted by the Umayyad state, especially in the epic of Al-Akhtal and the epic of Ubaid Al-Ra’i.
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Dissertations / Theses on the topic "Epic poetry"

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Clemenzi-Allen, Benjamin. "Epic." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/983.

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This thesis consists of a collection of poems: two thematic-translations that engage source material for their composition and two anaphoric poems. “A Seeson in Heckk,” an epyllion (or mini-epic), engages Arthur Rimbaud's "A Season in Hell," as it echoes his syntax and translates some of his themes into a portrait of a troubled young speaker familiar but strange to Rimbaud's. “Love Poem,” the first anaphoric poem in the collection, explores the arc of a relationship through surreal, bizarre, and lyrical images that chart the experience of falling in and out of a tumultuous love affair. “THE BOOK OF CLAY” is composed in relation to “The Narrative of the Captivity and the Restoration of Mrs. Mary Rowlandson.” These poems form a surreal, pastiche, thematic-translation of the early American's accounts of her experience during the King Philip's War. “Transplant: Final Lines from a Poem Titled, Cardiology” also uses anaphora, while it explores emotional identity, authenticity, and an overused poetic trope: the heart.
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Callaway, Cathy L. "The oath in epic poetry /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11449.

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Haubold, Johannes. "Homer's people : epic poetry and social formation /." Cambridge : Cambridge University, 2000. http://www.loc.gov/catdir/toc/cam023/99037676.html.

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Haydon, Liam David. "'I sing'? : narrative technique in epic poetry." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/i-sing-narrative-technique-in-epic-potry(3d7d23da-ade0-424c-93a2-9b183283e30e).html.

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This thesis examines the genre of epic, and particularly Milton’s Paradise Lost. It argues that it is only in attending to the contextual interactions within Paradise Lost that its full meaning can be comprehended. It demonstrates that the poem not only narrates the Fall, but actively performs its consequences in its thematic and linguistic structures, which continually stress the impossibility of approaching perfect (divine) totality. Chapter one outlines the theoretical response to epic, read as a petrified genre in contrast to the newness, openness and linguistic flexibility of the novel. It then challenges these assumptions through a reading of the invocation to book III of Paradise Lost. The chapter closes by examining seventeenth-century writings on epic, demonstrating that Milton’s contemporaries saw the epic as defined by the possibility of didactic intervention into its context. Chapter two examines the forms of the epic metaphor, which serve as a temporal link between the ‘mythic’ past of epic and contemporary events. It then shows that the nationalistic impulse of epic was a method by which the mythic past of a country was deployed as an exemplary narrative for the present. The chapter closes by considering the ways in which shifts in national conception were mapped onto the epic. Chapter three outlines Paradise Lost’s thematic engagement with the concept of representation. It focuses on the twin images of the music of the spheres and the Tower of Babel, used in Paradise Lost to represent man’s relationship with God. It argues that the poem uses these tropes to explore the linguistic effects of the Fall. Both these images are deployed to suggest that postlapsarian expression is too open and ambiguous to properly portray divinity. Chapter four moves that discussion to a linguistic level, arguing that the poem is characterised by indeterminacy. It argues that Paradise Lost calls into question the possibility of expressing perfect truth in fractured, postlapsarian language. It shows that punning is the mark of fallen creatures in the poem, and suggests that the poem’s own puns exploit this category to linguistically question its own status as representation through performances of ambiguity. The conclusion synthesises these local readings of Paradise Lost into a reading of the poem as a whole. It argues that these individual instances demonstrate the poem’s continual reflexive concern over its theodicean project. By continually expressing ambiguity, at the level of imagery and language, Paradise Lost draws attention to its status as postlapsarian art, and the consequent impossibility of approaching the divine perfection exemplified by the celestial music or prelapsarian language.
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Maynard, Katherine S. "Epic lessons : pedagogy and national narrative in the epic poetry of Early Modern France /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/8299.

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Macleod, Eilidh. "Linguistic evidence for Mycenaean epic." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14497.

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It is now widely acknowledged that the Greek epic tradition, best known from Homer, dates back into the Mycenaean Age, and that certain aspects of epic language point to an origin for this type of verse before the date of the extant Linear B tablets. This thesis argues that not only is this so, but that indeed before the end of the Mycenaean Age epic verse was composed in a distinctive literary language characterized by the presence of alternative forms used for metrical convenience. Such alternatives included dialectal variants and forms which were retained in epic once obsolete in everyday speech. Thus epic language in the 2nd millennium already possessed some of the most distinctive characteristics manifest in its Homeric incarnation, namely the presence of doublets and the retention of archaisms. It is argued here that the most probable source for accretions to epic language was at all times the spoken language familiar to the poets of the tradition. There is reason to believe that certain archaic forms, attested only in epic and its imitators, were obsolete in spoken Greek before 1200 B.C.; by examining formulae containing such forms it is possible to determine the likely subject-matter of 2nd millennium epic. Such a linguistic analysis leads to the conclusion that much of the thematic content of Homeric epic corresponds to that of 2nd millennium epic. Non-Homeric early dactylic verse (e.g. the Hesiodic corpus) provides examples of both non-Homeric dialect forms and of archaisms unknown from Homer. This fact, it is argued, points to the conclusion that the 2nd millennium linguistic heritage of epic is evident also from these poems, and that they are not simply imitations of Homer, but independent representatives of the same poetic tradition whose roots lie in the 2nd millennium epic.
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Hershkowitz, Debra. "Madness in Greek and Latin epic." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296228.

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Foster, Hubert Wakefield. "Catullus' Attis counterfeit epic /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5975.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 24, 2009) Vita. Includes bibliographical references.
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Marks, James Richard. "Divine plan and narrative plan in archaic Greek epic /." Digital version:, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3026208.

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Moss, Carina M. "Elegy with Epic Consequences: Elegiac Themes in Statius’ Thebaid." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592134478208502.

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Books on the topic "Epic poetry"

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G, Gentry Francis, and Walter James K, eds. German epic poetry. New York: Continuum, 1995.

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Riach, Alan. Hugh MacDiarmid's epic poetry. Edinburgh: Edinburgh University Press, 1991.

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Egan, Desmond. Epic. Newbridge County Kildare, Ireland: Goldsmith Press, 2015.

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Colin, Graham. Ideologies of epic: Nation, empire, and Victorian epic poetry. Manchester, UK: Manchester University Press, 1998.

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Bhaṭṭācārya, Tapodhīra. Epic sequence. Delhi, India: Bharatiya Vidya Prakashan, 1996.

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Robertson, Lisa. Debbie: An epic. London: Reality Street Editions, 1997.

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Robertson, Lisa. Debbie: An epic. Vancouver, BC: New Star Books, 1997.

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Lind, Michael. The Alamo: An epic. Boston: Houghton Mifflin, 1997.

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Camara, Sirifo. The epic of Kelefaa Saane. Bloomington: Indiana University Press, 2010.

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Pāṇḍeya, Gaṅgā Ratna. Nachiketa: An epic. Lucknow: Akchhar Brahma Prakashan, 1999.

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Book chapters on the topic "Epic poetry"

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Whitby, Mary, and Michael Roberts. "Epic Poetry." In A Companion to Late Antique Literature, 221–40. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118830390.ch14.

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Bernstein, Neil W. "Epic Poetry." In A Companion to the Flavian Age of Imperial Rome, 393–411. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118878149.ch22.

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Garey, Wesley. "Epic Poetry." In The Palgrave Encyclopedia of Early Modern Women's Writing, 1–5. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-01537-4_238-1.

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Garey, Wesley. "Epic Poetry." In The Palgrave Encyclopedia of Early Modern Women's Writing, 1–5. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-01537-4_238-2.

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Gaunt, David. "Epic Poetry." In Greek and Latin Literature, 162–94. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003482901-6.

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Tucker, Herbert F. "Epic." In A Companion to Victorian Poetry, 23–41. Oxford, UK: Blackwell Publishers Ltd, 2008. http://dx.doi.org/10.1002/9780470693537.ch1.

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Pirnazar, Nahid. "Biblical Epic Poetry." In Judeo-Persian Writings, 48–64. London ; New York : Routledge, 2020. | Series: Iranian studies ; 42: Routledge, 2020. http://dx.doi.org/10.4324/9781003031741-7.

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Thomson, J. A. K. "The Epic." In Classical Influences on English Poetry, 9–29. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-1.

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Gejin, Chao. "Mongolian oral epic poetry." In Oral Epic Traditions in China and Beyond, 121–29. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003258001-16.

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Partner, Jane. "Vision in Milton’s Epic Poetry." In Poetry and Vision in Early Modern England, 213–58. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71017-4_6.

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Conference papers on the topic "Epic poetry"

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Coin-Longeray, Sandrine. "The Lexicon of Wealth in Hellenistic Poetry: Between Continuity and Recomposition Τὸ Ἄφενος, and Ἀφνειός, η, ον." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.11-2.

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In my book Poésie de la richesse et de la pauvreté. Étude du vocabulaire de la richesse et de la pauvreté dans la poésie grecque antique, d'Homère à Aristophane : ἄφενος, ὄλβος, πλοῦτος, πενία, πτωχός (Publications de l’université de Saint-Étienne, 2014), the study in particular of the theme of wealth showed how closely its stylistic uses are connected to the socio-political contexts in which poetic practice is embedded. In the epic, wealth is glorifying for the hero and a marker of social status and quality: If the situation is comparable for the choral lyrics, in a context of sporting victory and tyrannical government, it appears very different in the Athenian theatre, where material prosperity questions inequalities and the democratic process. In Hellenistic poetry, the expression of wealth evolves in a world characterized by the extension of Greek culture, the restriction of political questioning and simultaneously the passage of «public» poetry made for the greatest number of people, and an elitist poetry largely based on a high cultural and literary level. I detail both the continuity (epic imitation with ἄφενος, tragic uses of ὄλβος) and the ruptures (remoteness of the lexical field of wealth for ὄλβος, and complete absence of πλοῦτος).
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Spencer, Herbert. "The epic and poetics of the Travesía as a space of resistance in design education." In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.193.

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The "Travesías" are an emblematic practice of the PUCV School of Architecture and Design, recognised as a radical element in the training of designers and architects. They originated not from a pedagogical intentionality but from an artistic impulse inherent in the poetry-craft relationship (and, within the framework of a school, in the teacher-disciple relationship). Their systematisation as a permanent part of the curriculum is a later phenomenon due to their resounding success in disciplinary apprenticeship. The theoretical and poetic foundations of the travesías are multiple and varied, each essential to the school. These include contemplative observation as the primary action of the craft, the permanent question about America and being American, the collective sense in the epic of undertaking a shared adventure and the sense of the Work from its inaugural and gratuitous sense. These elements coexist and intersect and amplify each other, constituting the rich complexity that defines the experience of the voyages. The contemporary context poses severe challenges to these fundamental principles, both in the installation of new subjectivities and new ethos and in institutional and normative aspects. Greater psychological fragility among young people results in a much lesser willingness to engage in physical adventures in wild environments, with less focus and much more fragmented attention. At the institutional level, the judicialisation of education and the right to free education commodify time, threatening the viability of travesías as an enterprise that exceeds mere instruction, to name but a few aspects that threaten them. Moreover, in an age that advocates tackling more significant practical challenges such as energy sustainability, access to clean water, climate change or social inequality, to name but a few, a "poetic purpose" is indeed an oxymoron. Furthermore, it risks being misunderstood as irresponsible: in times of urgency, there is no room for poetry, apparently. The sense of design as a problem solver does not necessarily reveal the depth and richness of the possible. This presentation seeks, first, to critically examine the meaning of travesías in the light of contemporary challenges and, second, to open a dialogue with the academic and professional community to discuss whether these fundamental principles are still recognised as valuable. Also, explore new ways and means of reinventing travesías, especially when their core values are threatened by the cultural and systemic transformations of our time.
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Mechidova, Shehla. "SABA (MORNİNGWIND), THE MESSENGER OF LOVE İN BABUR’S POETRY." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/tffz3934.

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The epic and lyrical works of Babur, who wrote and created excellent works in Cigatai after Alishir Navai,, have reached our time. Although Babur is more famous in the history of literature for his work "Baburnama", his lyrics have always been in the center of attention with their artistic features. Babur proved that he was not only a powerful ruler, but also a poet with delicate feelings and fragile feelings, by depicting human feelings and thoughts more powerfully and beautifully than they were, adding thousands of colors to them with the magic of words and creating beautiful works from each other. The innate talent of the poet plays an important role in the expression of this beauty andelegance, because at this time human feelings and experiences are compared with inanimate natural objects and abstract concepts. In these comparisons, the innate talent of the writer to express any idea in a figurative way is clearly evident. These works,which are expressions of the poetic power of the word and the mysterious world of colors, attract more attention due to the artistic expression style, have stood and are still standing above time.
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Rzasoy, Seyfəddin. "The Concept of “Imam Ali” in The Sufism Thinking System: Functional Structure of Epic-İrfani Code." In International Symposium Sheikh Zahid Gilani in the 800th Year of His Birth. Namiq Musalı, 2023. http://dx.doi.org/10.59402/ees01201818.

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Sufism is the philosophical-theoretical teaching and socio-cultural practice of the model of God-World-Human relations based on the Sharia-Creation-Truth-Evolution-based evolution scheme. The sufism forms the core of the Sufi teaching concept of "Imam Ali". This concept plays the role of nuclear and concentration center, covering all manifestations and expression levels of the system of sufism. The concept of "Imam Ali" plays a formulas of socio-cultural organization by bringing together all the elements of imaginative systems as a moral idea. The concept of "Imam Ali" shows itself in all the manifestation levels of the Islamic world. It is impossible to imagine medieval classical poetry beyond that. Even beyond the concept of "Imam Ali", the cultural manifestations contradicting him must also be based on literary-art traditions based on this concept. One of the cultural space and codes of use that all the artistic-psychological freshness of the concept of "Imam Ali" is Azerbaijan's love epics. The content, idea and shaping of the love epics of Azerbaijan are directly related to Imam Ali's cult. There are two heroes of this epic: Lover and Beloved. Lover and Beloved, and the opponent (Antihero), according to our own observations, are instructed by God-Human-Satan trixotomic model. On the basis of the functional structure stands the mechanism of the struggle between Truth and False, the Good and Evil, the Good and the Evil. Keywords: Sufism, Imam Ali, Code, Sharia, Sect, Enlightenment, Lover, Beloved.
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Ragchaa, B. "THE LITERARY MOVEMENTS IN THE TWENTIETH-CENTURY MONGOLIAN PROSE POETRY (THE GOBI OF POEMS BY B. YAVUUKHULAN AND B. LKHAGVASUREN)." In The Epic of Geser — the spiritual heritage of the peoples of Central Asia. BSC SB RAS, 2020. http://dx.doi.org/10.31554/978-5-7925-0594-0-2020-192-194.

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Makarova, S. "THE THEME OF CONQUERING THE ARCTIC IN THE POETIC EPIC OF ILYA SELVINSKY: MUSICAL CHARACTER OF ARTISTIC INTERPRETATIONS." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3759.rus_lit_20-21/346-350.

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The article discusses the history of creation, artistic and content features of two works by Ilya Selvinsky written at 1930-1950s on the topic of the conquest of the Far North - the epic poem«Chelyuskiniana» and the epic novel «Arctic»; a system of techniques is compared, revealing their musical character and the creative evolution of the poet.
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Boca, Raluca. "Arghezi’s epic poetic text in the volume "Una sută una poeme"." In the 39th American Romanian Academy of Arts and Sciences Congress. ARA Publisher, 2015. http://dx.doi.org/10.14510/39ara2015.3929.

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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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Dugarov, B. S. "GESERIADA: THE BURYAT ORAL POETIC MONUMENT AND THE CENTRAL ASIAN EPIC TRADITION." In The Epic of Geser — the spiritual heritage of the peoples of Central Asia. BSC SB RAS, 2020. http://dx.doi.org/10.31554/978-5-7925-0594-0-2020-3-6.

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Horka, Róbert. "Paradox as an expression of the inexpressible in Sedulius’ Paschal Song." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-13.

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In the middle of the fifth century, a relatively mysterious Christian poet, Sedulius, wrote his epic composition named Paschal Song. In terms of contents, it is notably a description of Christ’s miracles according to the four Gospels. The poet is facing the reality of something that transcends the common human experience – according to what was defined by the Council of Ephesus and Chalcedon regarding the real divine and human nature of Christ. For such reason, even his poetical language is adapted, in order to describe something that contravenes common reality. A useful and suitable means for reaching this purpose is the frequently employed paradox. The reader/listener can get closer to the indescribable, unprecedented, and inexpressible mysterious nature of Christ. In this way, the author creates a very specific and elegant mystic – and his epic composition becomes a meditative text.
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