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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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Reichl, Karl. "The search for origins." Journal of Historical Pragmatics 4, no. 2 (June 6, 2003): 249–67. http://dx.doi.org/10.1075/jhp.4.2.06rei.
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Although in some traditions (notably in India) oral epics are performed as part of a religious ritual, there is no overt ritual function of the epic in most oral traditions known today. However, even in a purely secular and seemingly non-ritual context, the performance of oral epics can have ritual dimensions. This is discussed with reference to the oral epic poetry of the Turkic peoples of Central Asia. It is argued that the performance of oral epics is a particular type of communicative event, of which the comparatively rigid act sequence can be seen as being on a par with the patterning of ritual. A second important aspect linking epic performance to ritual is that both events are meaningful in a similar way. It can be shown that in the performance of heroic epics tribal and cultural origins are explored and that hence the primary function of epic is not entertainment but the search for ethnic and cultural identity.
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Reichl, К. "TRANSLATING TURKIC ORAL EPICS INTO ENGLISH AND GERMAN: PROBLEMS AND INSIGHTS." Эпосоведение, no. 1(1) (November 29, 2017): 76–82. http://dx.doi.org/10.25587/svfu.2017.1.8093.
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It is a well-known fact that the Turkic-speaking peoples of Eurasia and Siberia possess a rich heritage of oral epic poetry. Much has been written down, and in some areas the oral tradition of epic poetry is still flourishing today. While a few of the early texts, written down in the 19th century, are available in older German translations (A. Schiefner, W. Radloff), the majority of these epics can only be accessed either in their original language or (in some cases) in Russian translation. Translations of Turkic oral epics into European languages such as English, German or French are urgently needed in order to familiarize epic scholars outside the Turkic- or Russianspeaking world with this important corpus. Translating Turkic epics into European languages poses, however, a number of problems. In the following some of these problems are identified and discussed with reference to my translations of the Uzbek oral epics Ravshan and Alpamysh into German, the Karakalpak epic Edige and the Kirghiz epic Manas both into English. ´The latter translation is still ongoing; two volumes have so far been completed. The translation problems concern basic methodological questions such as the choice between a literary and a literal translation and the strategies available to overcome differences in linguistic structure between the source languages and the target languages. An important element in translation is not only the linguistic, but also the stylistic level of the text. In addition, a translation has to pay attention to paralinguistic aspects (e.g., music and performance modes) and to the cultural world of the original. The translator is not only a mediator between languages, but also between cultures.
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Kuzmina, Evgeniya N., and Evgeniya N. Kuzmina, Lyubov N. Arbachakova. "Figurative Interpretation of Sound in the Heroic Epic Poetry of Peoples of Siberia." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 1 (2022): 9–22. http://dx.doi.org/10.15826/izv2.2022.24.1.001.
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The authors of the article analyse the specifics of the depiction of sound and music in the heroic epic poetry of peoples of Siberia, who have preserved their epic tradition until recently. The authors refer to a number of epic texts by Altaians, Buryats, Tuvinians, Khakassians, and Shors. As demonstrated by the review of theoretical works carried out in the article, the musical aspect of the epic, which has attracted the attention of scholars, was focused on the study of epic intonation, timbre, and the use of musical instruments to accompany the storytelling (V. I. Verbitsky, V. V. Radlov, N. P. Dyrenkova, A. V. Anokhin, N. A. Baskakov, L. P. Potapov, Yu. I. Sheikin, R. B. Nazarenko, G. B. Sychenko, O. E. Dobzhanskaya, etc.). The use of the typological method makes it possible to carry out a comparative analysis of text fragments from the epics of the Turco-Mongol peoples, based on which it is concluded that noise sounds are conveyed in texts using onomatopoeias and ideophones. Music is conveyed through the description of its impact on characters, animals, and natural objects. It can be healing and destructive. These descriptions contain a sound code, which, like all other techniques of the epic, is aimed at conveying epic images. The oral nature of the functioning of folklore works makes it possible to use expressive techniques and means that give life to a certain monotony in the performance of monumental epic texts. More particularly, these include various ideophones. Descriptions of sounds, singing, and music are presented in stable poetic stereotypes in heroic epic poetry, which constitute the fund of the “common places” of the epic. The comparison of these descriptions shows their similarity in the structural, poetic, and compositional form, as well as in the same set of artistic and pictorial means used to create images.
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Reichl, Karl. "L’épopée orale turque d’Asie centrale. Inspiration religieuse et interprétation séculière." Études mongoles et sibériennes 32, no. 1 (2001): 7–162. http://dx.doi.org/10.3406/emong.2001.1141.
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The first chapter provides a short introduction to the Turkic oral epic of Central Asia (Bref aperçu de l’épopée orale turque d’Asie centrale). Among the various traditions of Turkic oral poetry, this and the following chapters focus on the epics of what is termed the « central traditions », i.e. the oral poetry of the Uzbeks, Uighurs, Kazakhs, Karakalpaks and Kirghiz. In these traditions different types of singers can be distinguished: baxši, aqïn, žïraw, manasči and others; these singers are in general professionals who have acquired their art and their repertoire in the course of a more or less formal training with one or more master singers. Although there are many similarities between these traditions, there is also a fair amount of variety as to the form, the genre and the manner of performance of the epics. Epics can be in verse, they can be in a mixture of verse and prose; the verse can be in octosyllabic lines, often alliterating, or in lines of eleven/twelve syllables, often rhyming; in the singers’ repertoire there are both heroic epics and lyrical love romances (dastans); the singer might perform the epic in chanting without the accompaniment of an instrument (as the Kirghiz manasči), he might accompany himself on a plucked or bowed instrument, and he might be further accompanied by another musician or even a small ensemble. In the second chapter the influence of Islam on the Central Asian oral epics is discussed (Le héros et le saint: l’influence islamique sur l’épopée turque d’Asie centrale). Islamic influence is found in epics and oral narratives of an overtly religious persuasion as well as in secular heroic epics and romances. The former (called džañnāma in Uzbek) celebrate the deeds of the Prophet and his followers and successors, their wars against the infidels and their achievements as Moslem leaders. These narratives have also influenced non-religious epics such as for instance the Uzbek dastan of Yusuf and Ahmad. An important role in these and other epics is given to various helper saints, in particular to ‘Alī, the Forty Saints, the Twelve Imams, and various pirs and holy men. In discussing the heterodoxy in the invocations of these saints it is argued that the most important source of religious inspiration in the epics must be sought in the popular Islam of Central Asia, which incorporates many pre-Islamic elements. In the third chapter the pre-Islamic strata as found in the Central Asian epics are further examined (Le héros et le chamane: les strates archaïques de l’épopée turque). It is shown that there is an intimate connection between epic singer and shaman. This emerges from the use of terms like baxši for both the bard and the shaman, from the symbolism of the singer’s instrument, comparable to that of the shaman, and from initiation visions and sicknesses found both among bards and shamans. A closer view at two Altaian epics (Kögütey and Altay Buučay) shows that in this tradition the world of the pre-Islamic Turks is well preserved, but similar archaic strata can also be detected in the epics of the central traditions, among them the transformations of the hero and his horse, heroic adventures in the underworld, various mythological figures and the reanimation of the hero. The fourth chapter is concerned with questions of interpretation (“Sens” et “conjointure”: problèmes d’interprétation). With reference to the distinction between sens and conjointure as made in the introduction to Chrétien de Troyes’ Érec et Énide it is argued that an oral epic such as Qoblan or Manas should not only be interpreted on the textual level but must also be interpreted from a pragmatic point of view. While a close reading of the epic as a work of verbal art (plot, characterisation, style, narrative structure and narrative technique) is indispensable for its analysis, a fuller understanding presupposes a knowledge of the function an epic performance has in an oral (or partially oral) society and the place an epic occupies in its value system. Heroic epics like Qoblan or Manas are felt to be historical (by singer and audience) and they play an important role in identifying the roots of an ethnic group and in re-inforcing its identity. While these heroic epics are believed to reflect historical truth, they have nevertheless undergone considerable transformation in the course of their transmission, thus conforming in the plot and motif structure to mythic patterns as described by M. Eliade. The final chapter examines the actual performance of Central Asian oral epics (La voix vive: aspects de la performance). With the help of the terminological apparatus of the ethnography of communication the various constituents of an epic peformance are described and the event character of oral epic poetry is underlined. By the same token, the comments on the musical aspects of performance in the first chapter are elaborated, with examples from the various central traditions of Turkic epic poetry. While the recitation of epic contains many dramatic elements, the performance of Turkic epic poetry does not cross the borderline to drama as in some African or Asian traditions. It is stressed in concluding that as an oral art the performance aspects of Turkic epic are of the utmost importance for its full appreciation.
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Akhmedova, Shokhista. "Philosophy In "Why Me" By Omon Matjon's Epic." American Journal of Social Science and Education Innovations 03, no. 01 (January 17, 2021): 100–104. http://dx.doi.org/10.37547/tajssei/volume03issue01-19.
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This article is devoted to the study of philosophical issues in the works of Omon Matjon. In the article, the poet's "Why me ?!" the epic is analyzed and interpreted. The emergence of new interpretations of the work of Omon Matjon among the representatives of the Uzbek poetry of the twentieth century, their confirmation or denial, the escalation of debates on them can be considered a natural phenomenon in the world of science.
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Kushaev, Ilkhom Akhtamovich. "BAKHSHI ART SCHOOLS AND THEIR PERFORMING FEATURES." Scientific Reports of Bukhara State University 3, no. 3 (March 30, 2019): 295–99. http://dx.doi.org/10.52297/2181-1466/2019/3/3/4.
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The article deals with the art of bakhshi, a school that was formed, their performers, traditions of performance, repertoire, as well as contemporary issues of education of dastans. In the past, within the traditions of epic performance, there were schools of epic poetry, which differed from each other with certain peculiarities of performance. At present, there are Bulungur, Kurgan, Shakhrisabz, Kamay, Sherabad, Khorezm and other schools of epic poetry in Uzbekistan
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Lipka, Michael. "Aretalogical Poetry: A Forgotten Genre of Greek Literature." Philologus 162, no. 2 (October 25, 2018): 208–31. http://dx.doi.org/10.1515/phil-2018-0005.
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AbstractThe article deals with a hitherto largely neglected group of poetic texts that is characterized by the representation of the vicissitudes and deeds of a single hero (or god) through a third-person omniscient authorial voice, henceforth called ‘aretalogical poetry’. I want to demonstrate that in terms of form, contents, intertextual ‘self-awareness’ and long-term influence, aretalogical poetry qualifies as a fully-fledged epic genre comparable to bucolic or didactic poetry. In order not to blur my argument, I will focus on heroic aretalogies, and on Heracleids and Theseids in particular, because of their prominence in the minds of ancient literary critics. In the case of Heraclean aretalogies, it is expedient to distinguish further between aretalogies of ‘epic’ and ‘lyric epic’ (i.e. lyric poets such as Stesichorus, who writes ‘epic’ aretalogies).
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Kuzmina, Aitalina Akhmetovna. "Other space in the Yakut heroic epic poetry (based on Olonkho of Vilyuysky tradition)." Филология: научные исследования, no. 11 (November 2021): 9–18. http://dx.doi.org/10.7256/2454-0749.2021.11.36783.
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The subject of this research is the semantics, structure and plotline of other space in the Yakut heroic epic poetry. The object is the texts of the Yakut heroic epic poetry, namely Olonkho of Vilyuysky tradition. The goal lies in comprehensive analysis of the category of other space in the Yakut heroic epic poetry, particularly Olonkho of Vilyuysky tradition. The article employs the systemic analysis of Olonkho poetics, structural-semantic analysis, and comparative method. Special attention is given to construction of mythopoetic model of the world and correlation between space and plot of the epic poem. The acquired results can be implemented in folklore studies. The novelty of this research consists in the analysis of other space in Olonkho from the perspective of its semantics, structure, and narrative role. This article is first to describe the peculiarities of other space in the texts of Vilyuysky epic tradition. It is determined that other space in the Yakut heroic epic poetry Olonkho is depicted in form of the Lower and Upper worlds, “foreign country” in the Middle world, intermediate zones that hold an important place within the epic worldview and course of events in the plot of Olonkho. The author notes that the texts of Vilyuysky Olonkho preserve the traditional techniques depicting the three worlds; and the difference lies in emergence of the image of shaman dwelling in the intermediate zone, prevalence of the entry into the Lower world without demarcation of its boundaries.
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Goetz, Jake. "The Blue Hills Archipelago: Longform poetics & the ecological anti-epic." Axon: Creative Explorations 13, no. 2 (February 21, 2024): 92–110. http://dx.doi.org/10.54375/001/gungzusra7.
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This essay puts forth Laurie Duggan’s decades-long serial poem, Blue Hills (1980–), as a radical antimythic and ecological approach to longform ‘epic’ poetics – or what I term the ‘ecological anti-epic’. The essay first reflects on the mythic ambitions of twentieth century Anglo-American modernist epic poets, such as Ezra Pound and TS Eliot, before turning to what I call the North American ‘antiepic’ postmodernist serial poem tradition. Centring on Robert Duncan’s Passages – a key influence on Duggan’s own series – I argue this ‘anti-epic’ approach to the long poem replaced the ‘mythical method’ (Eliot 1923: 483) of early modernist epics with a compositional method. Reading Blue Hills through the guiding principle of Duncan’s series, ‘grand collage’ (2014: 298), the essay then posits that Blue Hills – as a localised re-deployment of Duncan’s grand collage method – can be read as both a continuation, and subversive settler Australian reimagination, of the North American anti-epic serial poem tradition. Drawing on Peter Minter’s archipelagic approach to reading Australian poetry, Blue Hills is then read as a type of archipelago of poetic islands, one which challenges not only the epiccum-mythic ambitions of modernist longform poetry, but also the racially charged environmental myth-conceptions of early settler Australian poetic movements, such as the Jindyworobaks. I conclude with a brief reflection on the links between the process-based aesthetics of post-modern anti-epics and what Connor Weightman calls the ‘ecological long poem’ (2020: 3), ultimately positing that Duggan’s Blue Hills refutes the modernist penchant for speaking declaratively about the world and instead affects a sense that the world is reveling in its own wording.
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Mitevski, V. "Three Epic Motifs from Homeric, Byzantine, and Macedonian Epic Poetry." Živa Antika 66, no. 1-2 (2016): 25–35. http://dx.doi.org/10.47054/ziva16661-2025m.
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Babayev, Yagub. "Epic motifs in our epic poetry of XIII-XIV centuries." Dede Gorgud, no. 01 (2024): 34. http://dx.doi.org/10.59849/2309-7949.2024.1.34.
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Gon, Oleksandr. "The Epic Mania: Pound’s Response to E. A. Poe and T. Hulme." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 39 (2021): 32–42. http://dx.doi.org/10.17721/2663-6530.2021.39.04.
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The article is devoted to the analysis of a specific component in the post-epic artistic picture of the world contextualized in the genre experiments with epic forms that symbolize the search for new ways to express the substantial unity of the individual with a society. It is important that in «The Poetic Principle» (1850) Poe appeals to the epic tradition and expresses an essential thesis about the paradigm of the epic and the lyrical in precedent texts and mentions a significant lyrical inderpinning in Homer's Iliad. In «A Lecture on Modern Poetry» (1908), Hume posits that the very assumption that in modern poetry there will appear an artist capable of synthesizing all the experience of modern peroson in the form of a great epic is an utter misunderstanding of the tendencies in modern poetry. Both Pound and Yuri Klen consider the creation of a modern epic in the coordinates of the continuum of the national poetic canon. The concept of «return» constitutes an omnipresent aesthetic program of the Pound’s epic. The poetics of repetitions in the Cantos is based on the versification models of the European fixed poetic forms that are extensively represented against the background of new emphases and reformatting of the ancient epic forms, making new their conventions and motives. Creative and receptive aspects of the innovative application of specific features in the epic composition (recurrent historical plots, the νόστος topos) deeply correlate with the artistic form of the modern epic.
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Barth, Vinicius. "CONTEMPLAÇÃO NAS SOMBRAS: O GUESA DE SOUSÂNDRADE E A MEIA-NOITE ÀS MARGENS DO SOLIMÕES." Revista Épicas 8, no. 2020 (December 30, 2020): 119–37. http://dx.doi.org/10.47044/2527-080x.2020v8.119137.
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This article aims to analyze the episode that narrates the Guesa's midnight dream on the banks of the Solimões River, a passage that is present in the first book of Joaquim de Sousândrade's pan-Indian epic O Guesa. This part, which anticipates the epic topic of the “descent into hell” that occurs during the Dance of Tatuturema in the second book, shows some of the literary influences over the poet's voice in formal and thematic aspects. This study will try to identify, through the poetic text, some of these influences, quite varied and assembling aspects of epic poetry - classical, renaissance and modern - of lyric and of romantic and Indianist literature, culminating in an object of singular value within Brazilian poetry. Guesa, a Muisca Indian, personification of the Sun-god and representative of the pan-Indian project of Sousândrade, undergoes a metamorphosis at midnight: he resembles Lucifer and Prometheus, and sings his melancholy just like Baudelaire on the banks of the mythical Lethe.
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R, Rajeshwari. "The linguistic personality of the poet Vali through Krishna Vijayam." International Research Journal of Tamil 3, S-2 (April 30, 2021): 46–49. http://dx.doi.org/10.34256/irjt21s29.
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Epics and Puranas are the most prominent elements of the language that show case the importance and importance of a language. These are the mirrors of time, and there are numerous epic stories. The legends of these legends, which have been written and written from time to time, are known to the stories and philosophies of literary taste. The purpose of this article is to explain the linguistic character of the poet Theerata viḷaiyattup pillai in the first part of the book Krishna Vijayam, written by the poet Vaali, with Krishna, the head of Villiparatham, the epic hero. Vaali, who has written over ten thousand film music albums, has made several achievements in the field of cinema but has also contributed to tamil films. His poetry, which had its own place in the history of Tamil poetry, has its own significance.
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Finkelberg, Margalit. "Homer and Traditional Poetics." Trends in Classics 12, no. 1 (June 25, 2020): 5–15. http://dx.doi.org/10.1515/tc-2020-0002.
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AbstractAlthough Homer refers to the art of poetry in terms closely similar to those used by oral traditional poets interviewed by Parry and Lord, his own poems do not follow the poetics of a point-by-point narrative succession that they themselves proclaim. This is not yet to say that in ancient Greece there were no epic poems for which such traditional poetics would effectively account. The poems of the Epic Cycle, whose incompatibility with the narrative strategies of the Homeric epics was highlighted as early as Aristotle, are one such example. The fact that, although he repeatedly refers to the practice of traditional poetry, Homer is silent on the matter of his own poetic practice which differs markedly from it, raises the question of whether the Iliad and the Odyssey can be considered traditional poems in the proper sense of the word.
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Roling, Bernd. "Victorious Virgin: Early Modern Mary Epics between Theological-Didactical and Epic Poetry (Virgo Victrix: Frühneuzeitliche Marienepik zwischen theologischem Lehrgedicht und Epos)." Daphnis 46, no. 1-2 (March 15, 2018): 30–64. http://dx.doi.org/10.1163/18796583-04601012.
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This paper deals with a neglected subgenre of biblical poetry, namely with epic poems on the life of the Blessed Virgin. After an introduction into the poetic treatment of Mary in early modern latin poetry in general, one single epic poem is discussed in detail, the Mariados libri tres of the Italian-German scholar Giulio Cesare Delfini. As it will be demonstrated, Delfini’s poem included long explanations of medico-theological problems, like the digestion of the Divine Virgin or her intellectual skills, which the poet treated in addition in separate glosses. As result the poem presents itself as hybrid between didactic and epic poetry. In addition the study contains as an Appendix a list of (approximately) all accessible Latin poems, written between 1550 and 1650, on the incarnation and birth of Christ.
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Mamyt, А. А. "Genesis of Poetry and Heroic Epic." Iasaýı ýnıversıtetіnіń habarshysy 131, no. 1 (March 30, 2024): 52–63. http://dx.doi.org/10.47526/2024-1/2664-0686.05.
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The article conducts a scientific analysis of the origin of poetry. On this issue, scientific examinations of opinions were carried out in works published at different times, and general patterns of the emergence of art as a whole were analyzed. Based on the research of scientists, an analysis is carried out of the manifestation of everyday needs and fantasies of man in the early era, which were prerequisites for the birth and formation of arts, including poetry. It is scientifically postulated that collective labor actions during primitive community construction, superstitions committed during the departure of hunters as a result of strong fear from the mysterious forces of nature, actions during the period of expulsion of harmful dark forces caused the rhythm of dance and melody. It is concluded that over time, these rhythms and melodies gave rise to initial samples of poetry. The genesis of the Kazakh heroic epic is associated with the emergence of poems. Poems of praise to hunters, forms of poetry reflecting heroic campaigns, served as the basis for the birth of epic. An analysis of works related to personalities who created early poetic samples and a heroic epic was carried out. In Kazakh folklore, conclusions related to the history of the emergence and formation of types of shaman (bucks) and storyteller (zhyrau) are differentiated. The attitude of bucks and zhyrau to the formation and development of the heroic epic is comprehensively analyzed and generalized scientifically.
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Williams, David. "Voltaire's "True Essay" on Epic Poetry." Modern Language Review 88, no. 1 (January 1993): 46. http://dx.doi.org/10.2307/3730790.
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Kostic, Nemanja. "Ethnoreligious dichotomization in Serbian epic poetry." Sociologija 61, no. 1 (2019): 113–32. http://dx.doi.org/10.2298/soc1901113k.
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By using certain theoretical settings of ethno-symbolic and interactionist approach to the phenomena of nation and nationalism, this paper?s aim is to explain and reconstruct various pre-modern forms of ethno-religious dichotomization widely present in Serbian folk epic poetry. In that purpose, the paper displays ideas about ?other? communities that were nurtured in the Serbian epic poetry, where these ideas were interpreted as a reflection and consequence of concrete socio-historical circumstances. Special attention was given to examining the interconfessional and inter-class relations, which could have vastly influenced the self-determination process for the members of Serbian ethnic community. In other words, the factors of religious affiliation, social ranking and ethnicity are recognized as key determinants in establishing ethnoreligious dichotomization in the epic literature. The findings of the study showed that the most pronounced and most represented ethno-religious boundary in the epic poetry was set in relations to the Ottomans and Islam. On the other hand, the scarcity, incoherency or the lack of distinction of the dichotomization in relations to non-Ottoman communities, Greeks, Bulgarians, Hungarians, ?Latins?, Albanians and Arabs show that this boundary was not particularly defined, unlike the one with the Ottomans, who were different not only in terms of ethnicity, but also in terms of religion and class.
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Gross, Nicolas, and Charles R. Beye. "Ancient Epic Poetry: Homer, Apollonius, Virgil." Classical World 88, no. 3 (1995): 218. http://dx.doi.org/10.2307/4351696.
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Yoo, Baekyun. "The Epic Elements in Yeats’s Poetry." Yeats Journal of Korea 48 (December 30, 2015): 109–24. http://dx.doi.org/10.14354/yjk.2015.48.109.
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BERMEJO BARRERA, JOSE CARLOS. "ON HISTORY CONSIDERED AS EPIC POETRY." History and Theory 44, no. 2 (May 2005): 182–94. http://dx.doi.org/10.1111/j.1468-2303.2005.00317.x.
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Spelman, Henry. "Pindar and the Epic Cycle." Journal of Hellenic Studies 138 (2018): 182–201. http://dx.doi.org/10.1017/s0075426918000113.
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AbstractThis article argues that Pindar refers to cyclic Trojan epics as fixed poems known to his audiences and discusses why this matters for our understanding of his poetry. Section I claims that Isthmian 4 alludes to the Aethiopis as the work of Homer. Section II examines how Nemean 10 closely engages with the Cypria. Section III argues that Nemean 6 and Isthmian 8 signal an intertextual engagement with the Aethiopis and the Cypria. A conclusion assesses how far we can extrapolate from the preceding arguments to generalize about Pindar's relationship to Trojan epic and then suggests one particular way in which recognizing allusions to lost epic can enrich our understanding of his preserved lyric.
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Ochilov, Nasim. "The Current State Of Preservation Of The Epic Tradition Of Epic Poetry Of South Uzbekistan." American Journal of Social Science and Education Innovations 02, no. 09 (September 10, 2020): 35–40. http://dx.doi.org/10.37547/tajssei/volume02issue09-06.
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Milosevic-Djordjevic, Nada. "A comparative review of the development of Serbian and Albanian folk epic poetry." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 79 (2013): 19–30. http://dx.doi.org/10.2298/pkjif1379019m.
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The paper discusses the continuity of Serbian folk epic poetry since the Early Middle Ages in relation to the discontinuity of Albanian folk epic poetry, in both cases determined by the historical and cultural setting. The research foregrounds the songs of Kosovo Albanians about the Battle of Kosovo, and a cycle of songs about borderland warriors (krajisniks) as well. In terms of motifs and ideological orientation, the former remained on the crossroads between the Serbian-Christian and Moslem-Turkish conceptions, whereas the latter conformed to the Moslem conception. The greatest similarities to the Serbian ?non-historical? epic poetry were demonstrated by the so-called Italo-Albanian songs, brought from Albania to Italy by the Albanian refugees fleeing the Turks. The paper is also an attempt at using scholarly arguments to refute the non-scholarly interpretations of epic techniques, characters and motifs, constructed for the purposes of political pretensions to the territory of the Serbian province as an exclusively Albanian land.
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Leporati, Matthew. "‘More than mortal fervour’: Patriotism and Democracy in John Thelwall's Epic The Hope of Albion." Romanticism 26, no. 1 (April 2020): 50–61. http://dx.doi.org/10.3366/rom.2020.0447.
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John Thelwall published extracts from his epic fragment The Hope of Albion (1801) during an unprecedented revival of epic poetry in Britain. The revival saw writers from across the political spectrum promoting various ideas of national identity and examining Britain's developing role as an imperial power. This article positions Thelwall's fragment alongside poems of his contemporaries, including epics by Joseph Cottle and Henry James Pye (both titled Alfred and published in 1800 and 1801). Examining how Thelwall differently revises tropes from classical and Miltonic poems, I argue that he uses the epic genre to explore how the nation could be transformed as an answer to tyranny and oppression. At the same time, formal tensions in the poem suggest the limitations of the very hope that comprises Thelwall's subject.
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LUSHNEVSKAYA, E. ""THE NIBELUNGENLIED" IN THE CONTEXT OF EUROPEAN EPIC TRADITION." Herald of Polotsk State University. Series A. Humanity sciences, no. 2 (February 28, 2024): 16–22. http://dx.doi.org/10.52928/2070-1608-2024-70-2-16-22.
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The article considers the German heroic epic "The Nibelungenlied" in the context of the Western European epic (on the example of "Beowulf" and "Song of Roland") and Old Russian byline epic. It is emphasised that the researched epics are characterised by commonality at the plot and thematic level. It is about historical convention; about the opposition of grief and joy, good and evil; about the motives of snake-fighting, betrayal and revenge; about the presence of difficult trials, which the hero is helped to overcome by strength, courage and honour; about material benefits and the hero's attitude to fate, as well as about the hero's death. The author concludes that these features are associated with the presence of elements of oral poetry in the epic genre, which are born from the synthesis of heathen and Christian worldviews. As a result, along with typological similarities, the differences were revealed, connected, on the one hand, with the specificity of culture, and, on the other hand, with the personality of the author of the epic, in particular "The Nibelungenlied".
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Ergashev, Abduolim. "Research Of The Epic “Amir Temur And Boyazid”." American Journal of Social Science and Education Innovations 2, no. 09 (September 14, 2020): 137–40. http://dx.doi.org/10.37547/tajssei/volume02issue09-19.
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The article is devoted to the creation of typical characters and conditions of historical realities and personalities in the epic, genre features and themes of the historical epic, the depiction of historical folk fiction in the epic in the shell of epic poetics, the artistic generalization of the historical period and image, the creation of a historical epic in the Kashkadarya-Surkhandarya epic features, including the role of the school of epic poetry and pedagogical traditions, the interpretation of images in the epic “Amir Temur and Boyazid”, his role in the all-Uzbek epic and ideological and artistic features.
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Stilling, Robert. "WARRAMOU’S CURSE: EPIC, DECADENCE, AND THE COLONIAL WEST INDIES." Victorian Literature and Culture 43, no. 3 (May 29, 2015): 445–63. http://dx.doi.org/10.1017/s1060150315000029.
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Despite the recent revival of interest in the Victorian epic, poems from the colonial periphery have played only a small role in the revised narrative of the epic's persistence across the nineteenth century. Part of the explanation for this may lie in the centralized imperial geography of the archives that inspired both nineteenth-century scholars and epoists. As Adelene Buckland and Anna Vaninskaya remark, “Britain was certainly the place to be for a nineteenth-century aficionado of epic poetry” (163). While scholars flocked to Oxford, Cambridge, the British Museum, and the Bodleian Library to pour over the texts of Gilgamesh or old Icelandic sagas, a number of nineteenth-century poets began to see the epic itself as a tool for excavating a more geographically and archeologically localized national story. As Simon Dentith notes, “the nationalism of the nineteenth century seized upon epics – especially the old vernacular primary epics . . . and made them an expression of the national spirit (Epic 67). William Morris's Sigurd the Volsung, for example, revives the mythology of the Old North to make a “Great Story” for the race of northern Europeans what the “Tale of Troy was to the Greeks” (Dentith, “Morris” 239).
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Park, Jongseong. "WHAT IS AN ORAL HEROIC EPIC POETRY? – OVERCOMING THE LIMIT OF THE ILIAD." International Journal of Korean Humanities and Social Sciences 5 (February 28, 2020): 57–65. http://dx.doi.org/10.14746/kr.2019.05.04.
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The ancient Greek epic Iliad, including the oral epic and the written epic, has enjoyed a solid status as a ‘heroic epic’ (or ‘narrative poetry’) of European literature. But if a reader takes look at the general aspects of the heroic epic of oral tradition, it turns out that Iliad is not a typical work of a typical epic, but rather an individual one. Because the birth, trials, performance, and ending of a hero’s life are divided relatively evenly, and the general pattern of transferring the hero’s life to the heroic epic of oral tradition can be found in such cases as Manas, Jangar, Gesar and Mwindo.
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Митевски [Mitevski], Витомир [Vitomir]. "The Akritic Hero in Byzantine and Macedonian Epic Poetry." Colloquia Humanistica, no. 7 (December 18, 2018): 10–31. http://dx.doi.org/10.11649/ch.2018.009.
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The Akritic Hero in Byzantine and Macedonian Epic PoetryComparative analysis of the most prominent heroic characters of Byzantine (Armouris and Digenes) and Macedonian (King Marko) epic poetry uncovers numerous contact points that reveal the close relation between these two cultures over a longer period of time. By using the term “akritic hero” or border warrior in Byzantine and the term kraishnik in Macedonian epic poetry, the paper analyses the relation between these two representations of the same type of epic hero. Complex concordance is explored on several levels which illustrate several characteristic features of the Byzantine akritic heroes Digenes and King Marko in traditional Macedonian epic poetry. Both Digenes and Marko are lone horsemen roaming in restricted territory (Cappadocia andMacedonia), they fight as individuals with distinguished opponents and even with armies, and win the fights, slay the dragon in identical manner, there are occurrences of child-heroes in the songs and the institution of avunculate is particularly emphasised in the act of initiation etc. Unlike monolithic character of Homeric heroes, in Byzantine and Macedonian epic poetry both Digenes and Marko are significantly more complex and occasionally inconsistent characters which is due to their centuries-long shaping in territories where different cultural influences are interwoven. Bohater z pogranicza w bizantyjskiej i macedońskiej poezji epickiejAnaliza komparatystyczna najbardziej wyrazistych postaci w bizantyjskiej (Armuris i Digenis) i macedońskiej (Królewicz Marko) epice ujawnia szereg punktów wspólnych, co świadczy o bliskich kontaktach pomiędzy tymi dwiema kulturami w długim okresie czasu. Na przykładzie pojęcia akryty, to znaczy żołnierza z pogranicza [Cesarstwa Wschodniorzymskiego], który w macedońskiej epice jest nazywany pogranicznikiem i jest nośnikiem takiego samego znaczenia (jak termin akryta), w artykule analizowany jest wzajemny stosunek tych dwóch odmian tego samego typu bohatera epickiego. Kompleksowa analiza uwidacznia podobieństwo na wielu poziomach, przy czym akryta - pogranicznik Królewicz Marko w macedońskiej tradycyjnej poezji epickiej odznacza się szeregiem charakterystycznych cech właściwych akrycie. Tak oto, i Digenis, i Karólewicz Marko są samotnymi wojownikami, którzy poruszają się po ograniczonej przestrzeni (Kapadocja i Macedonia), stają samotnie do dwuboju z wybitnymi przeciwnikami, a nawet z całymi armiami i wychodzą z nich zwycięsko, w ten sam sposób pokonują żmija, w pieśniach o nich występują dzieci-junacy, przy czym w obydwu kontekstach (bizantyjskim i macedońskim) jest kładziony akcent na instytucję awunkulatu (avunculus), co ma szczególne znaczenie w kontekście aktu inicjacji, itd. W przeciwieństwie do monolitycznego charakteru bohaterów homeryckich, w bizantyjskim i macedońskim eposie, Digenis i Królewicz Marko są postaciami o wiele bardziej kompleksowymi i wewnętrznie sprzecznymi, co wynika z ich wielowiekowego poetyckiego kształtowania się na terenach, na których krzyżują się najróżnorodniejsze wpływy. Акритскиот херој во византиската и македонскатаепска поезијаСпоредбената анализа на најистакнатите херојски ликови на византиската (Армурис и Дигенис) и македонската (Марко Крале) епика открива низа допирни точки што сведочи за блискиот контакт меѓу овие две култури во тек на подолг временски период. На примерот на поимот за т. н. акритски херој т. е. воин одграничните предели кој во македонската епика го носи називот краишник со идентично значење, во текстот се истражува меѓусебниот однос на овие две пројави на еден ист тип епски херој. Комплексното соодветство се развива на повеќе нивоа при што краишникот Марко Крале во македонската традиционална епска поезија се истакнуива со низа типични „акритски“ обележја. Така, и Дигенис и Марко се осамени коњаници кои се движат на ограничен простор (Кападокија односно Македонија), стапуваат како единка во двобои со истакнати противници, па дури и со цели војски и од нив излегуваат како победници, на идентичен начин го погубуваат змејот, во песните за нив се јавуваат деца-јунаци при што и на двете страни акцент се става на институтцијата на авункулат што особено важи во чинот на иницијација итн. Наспроти монолитниот карактер на хомерските херои, во византискиот и македонскиот еп Дигенис и Марко се многу покомплексни и понекогаш противречни фигури што е резултат на нивното повеќевековно поетско обликување на простори каде што се преплетуваат најразлични влијанија.
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Chui, Sergey. "Способи епізації лірики у творчості Василя Слапчука." Studia Ucrainica Varsoviensia 5, no. 5 (May 8, 2017): 0. http://dx.doi.org/10.5604/01.3001.0009.9098.
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This article reviews current basic methods of lyrics episation in the context of literary genres and forms evolution. The role of the poetry size accompanied by epic characteristics, such as diff erent descriptions, additional characters and plot elements are discussed. The study analyzes poetry peculiarities caused by narration, in particular, the narrator type and narrative. The author uses the narrator typology, proposed by W. Schmid. The poetry composition peculiarities related to the plot are defi ned. The article reveals the uniqueness of time and spatial relations and the function of descriptions and additional characters in poetry. It also investigates the infl uence of genres characters borrowed from traditional epic on the generic nature of poetry. The correlation of certain poetries with the genres of parables, fairy tales and fables are partially examined.
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Kireyeva, Elena V. "Genre focus in the works by professor T. M. Akimova." Izvestiya of Saratov University. Philology. Journalism 23, no. 1 (February 21, 2023): 55–61. http://dx.doi.org/10.18500/1817-7115-2023-23-1-55-61.
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The article provides the retrospect review of the works by professor T. M. Akimova (Saratov State University). It highlights the researcher’s interest in the poetic character of the folklore and literature genres both on a standalone basis and in their interaction. The existence of this interest is defined as the focus of T. N. Akimova’s research based on the review of the work carried out in the field of three types of philology: drama, epos, and lyric poetry, as well as on the appreciation of her work by her colleagues, specialists from other universities, and students. The article considers her contribution to the study of poetic genres of drama, epos, and lyric poetry starting from her first publications and including her last works in the year when she passed away – 1987. The review of her works began with the articles related to her PhD dissertation – folklore drama – which was presented in 1943. In the 1970−1980s, T. M. Akimova focused her research on the folklore character of A. N. Ostrovsky’s plays. Also, a review is presented, covering the author’s works, which demonstrate her contribution to the research of poetics of epic genres: prose (popular tales, the fairytales of Saratov Region, and Pushkins’s fairytales; non-fairytale prose – popular tales about Chapaev and P. P. Bazhov’s tales) and lyrical epics (Russian epic ballades (bylinas) and southern Slavic epic songs). Lyrical poetry is in the focus of Akimova’s study on genre poetics. T. M. Akimova is considered to have made a significant contribution to the study of almost all layers and variations of the lyrical poetry in 1940–1980s. It is confirmed that experts recognize T. M. Akimova’s particularly prominent contribution to the studying of male poetry. The list of references captures as fully as possible the works of T. M. Akimova on the folklore and literature genre poetics with the dates of their first publications.
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Gohil, Namrata. "‘Research Prospects in the peripheral view of Kartika Nair’s epic Retelling ‘Until the Lions’- Echoes from the Mahabharata’." Vidhyayana 9, si1 (December 1, 2023): 38–48. http://dx.doi.org/10.58213/vidhyayana.v9isi1.1579.
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Indian culture is based on two epics; The Ramayana and The Mahabharata. Every Hindu knows about these two epics, other religion people too. There is not any Hindu house which does not know and follow the rituals which are discussed in these two epics. The present generation takes interest to read Retellings of Indian myths which are written by the contemporary Indian English Writers. Indian women like to read Retellings of myths which are written by Indian women writers. Its reason is that it gives voice to marginalized women of the Indian myths. Females compare their unspeakable voice with the voice of marginalized women of the Indian myths which are discussed by Indian women writers through the retellings. This paper discusses the research prospects of one of the well-known epic retellings of Mahabharata Myth – ‘Until the Lions’. It is an experimental retelling of the epic Mahabharata; Karthika Nair writes poetry in the voices of those whose narratives remained untold. Through this epic, Nair attempts to conduct an “inquiry of power” through the eyes of those who do not possess it: most often, the women of the Mahabharata. The story of women we do not hear as much about who were either eulogized too much or were peripheral characters in the story or were powerless queens- Queen Satyavati, Yuyutsu’s Mother, Dushala, Kunti, Gandhari, Hidimbi are fascinating. This epic is the best example to get the knowledge about female experience through the female voice. The objective of this research paper is to discuss research prospects which are applicable to this epic of retelling by the researcher. The researcher applies the theory of feminism to discuss this epic of retelling. The research question is that; Is the peripheral view of Karthika Nair justified as the female voice of Female experience through this epic of Retelling?
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Bozieva, Naima Borisovna. "Poetry of Boris Kagermazov." Litera, no. 1 (January 2021): 64–73. http://dx.doi.org/10.25136/2409-8698.2021.1.34521.
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The subject of this article is the analysis of poetry of Boris Kagermazov. The object of this research is the genre, plot, composition, and thematic peculiarities the epic works of Boris Kagermazov. The goal of this article is to reveal the specific features of the poems, their compositional structure, novelties s in poetics, and role of this genre in the works of Boris Kagermazov. Detailed examination is conducted on peculiarities of the poems “Echo of the War”, “Grief and Anger”, “Harmonist”. Attention is given to the analysis of poetic theme and problematic of the poems, as well as to their composition and artistic skill of B. Kagermazov. The relevance of the selected topic is defined by the crucial role of B. Kagermazov in evolution of the genre of poem in the Kabardian-Circassian literature of the XX century, the depth of artistic conceptualization of the historical process, and embrace of the system of philosophical, spiritual- ethical, and aesthetic values of his ethnic group. The acquired results may serve as the theoretical foundation in the further examination of the works of B. Kagermazov and studying the Adyghe poetry, namely lyrical and lyrical-epic works; their practical application can be found in specialized courses, research works of the pedagogues, postgraduates and students. The conclusion is made on the novelties introduced by the poet in creation of original modifications of the poem, which is reflected in the diffusion of genres, simultaneous use of certain elements of lyrics, epic, and drama. The poet's artistic pursuits made significant contribution to enrichment of the national literature.
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Heynders, O. M. "Politics in poetry: epic poetry as a critique of Dutch culture." Literator 31, no. 3 (July 25, 2010): 79–100. http://dx.doi.org/10.4102/lit.v31i3.59.
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This article describes a Dutch volume of epic poetry, using a disciplinary strategy (concepts and devices from narrative studies) and a cultural analytical and rhetorical approach. The volume “Roeshoofd hemelt” by Joost Zwagerman (2005) is a political poetic text that raises fundamental questions on issues of mental illness and on consumerism in contemporary Dutch society.
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Pratt, William, and Brendan Kennelly. "Poetry My Arse: A Riotous Epic Poem." World Literature Today 70, no. 3 (1996): 696. http://dx.doi.org/10.2307/40042206.
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Langenbruch, Beate. "When Medieval Europe sang its Epic Poetry." Cahiers d études hispaniques médiévales 40, no. 1 (2017): 175. http://dx.doi.org/10.3917/cehm.040.0175.
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Thalmann, William G., and Johannes Haubold. "Homer's People: Epic Poetry and Social Formation." Phoenix 55, no. 1/2 (2001): 163. http://dx.doi.org/10.2307/1089030.
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Jovanovic, Dragana. "Ethical codex in Serbian folk epic poetry." Godisnjak Pedagoskog fakulteta u Vranju, no. 7 (2016): 327–35. http://dx.doi.org/10.5937/gufv1607327j.
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