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1
Brio, Valentina. "Osip Mandelstam in the Works of Polish Poets." Literatūra 62, no. 2 (2020): 112–28. http://dx.doi.org/10.15388/litera.2020.2.6.
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This article analyzes poems written by Polish authors about Osip Mandelstam. Fifteen poems by famous Polish authors, such as Artur Międzyrzecki, Wiktor Woroszylski, and Jarosław Marek Rymkiewicz, are examined. Polish poets perceive Mandelstam‘s tragic fate through the prism of the poet‘s image and significance of poetry as they appear in the context of the lives of the Polish literary and cultural tradition. These authors see Mandelstam as a martyr, an outstanding poet. To them, their mission is to bear testimony.
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Weems, Sandra, and Tom Bragg. "The Great War Poets and the Campaign for Empathy." Emotions: History, Culture, Society 2, no. 2 (2018): 236–55. http://dx.doi.org/10.1163/2208522x-02010021.
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AbstractThe British soldier-poets of the Great War (1914–1918) composed works that openly, intuitively sought empathy from civilians back home and commanders absent from the Western front. As a term coined only in 1909, empathy was derived, ironically, from German aesthetics (Einfühlung) by an English psychologist: two peoples imaginatively and intellectually engaged in peacetime, later locked in a prolonged, mutual slaughter. While most of the war poets had never heard the word, many of their poems demonstrate a variety of concepts and tropes that we recognise to be empathic. Examining lines by some of the war’s most famous poets – Edward Thomas, Thomas Sorley, Isaac Rosenberg, Charles Sorley, and Ivor Gurney – the authors illustrate ways the poets campaigned for empathy in verse.
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Widyastuti, Thera, and Banggas Limbong. "PESONA JAWA DALAM PUISI RUSIA." Paradigma, Jurnal Kajian Budaya 6, no. 1 (2016): 123. http://dx.doi.org/10.17510/paradigma.v6i1.85.
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This research will analyze Russian poems by using the approach of sociology of literature. Poetry is a popular form in Russian literature. The presence of the poets with their works make people in the world know Russian literature. The poets’s journey to all over the world provide experiences that inspire their works. Nusantara as a region famous for its natural resources has attracted Europeans, and has inspired the Russian poets Esperovich Esper Ukhtomsky, Konstantin Dmitriyevich Balmont, Valery Yakovlevich Bryusov and Vladimir Yurievich Elsner. They wrote poems the beauty of the natural and cultural heritage, especially in Java. Borobudur, traditional music, traditional dance, and Botanical Gardens became theme in their poetry.
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Bzinkowski, Michał, and Rita Winiarska. "Images of Sculptures in the Poetry of Giorgis Manousakis." Classica Cracoviensia 19 (December 31, 2016): 5–14. http://dx.doi.org/10.12797/cc.19.2016.01.
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The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.
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Scherr, Barry P. "Odd Stanzas." Studia Metrica et Poetica 1, no. 1 (2014): 28–54. http://dx.doi.org/10.12697/smp.2013.1.1.03.
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Stanzas with seven and nine lines have had a long tradition in English verse, but stanzas with an odd number of lines and longer than five lines occur relatively rarely in Russian. Indeed, Russian poetry has never developed a strong tradition of longer lines with an odd number of stanzas, despite two moments when they might have achieved wider acceptance. From the 1820s through the 1840s a few poets, including Lermontov and the less known Kjukhel’beker, composed some notable experiments with these forms. Even Lermontov’s famous Borodinskaja strofa did not attract many imitators, although a number of poets throughout that century and up to the present day have continued to write poems in stanzas with 7, 9 and even 11 or 13 lines. The second period occurred during the early 20th century, but among modernist poets the interest in stanzas was focused more on traditional forms, such as the sonnet. Perhaps because of their rarity, the odd stanzas found among Russian poets most often serve as the platform for complex and unconventional rhyme schemes, often accompanied by other striking formal features as well.
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Zareifard, Raha, and Mehdi Rezaei. "Jale Ghaemmaghmi: An Outstanding Social- Political Poet in Contemporary Persian." JOURNAL OF ADVANCES IN LINGUISTICS 9 (April 30, 2018): 1344–57. http://dx.doi.org/10.24297/jal.v9i1.7203.
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Jale Ghaemmaghmi is the late Ghajar and first Pahlavi poet who has social-political thought and is the outstanding poet among female poets. However, she is anonymous as the consequence of her limitation in her life. By studying her poems, it is found that her social-political thought is in line with some famous thinkers such as Dehkhoda, Bahar and Kasravi. She has more social poems in comparison to Forugh Farokhzad. This paper aims at investigating her thought by categorizing her poems to introduce the hidden layers of her thought to contemporary researchers in literature and sociology.
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Rizano, Gindho. "Analisis terhadap Dua Puisi Penyair Amerika Claude McKay: Penelusuran SelukBeluk Kekuasaan Ras." Journal Polingua : Scientific Journal of Linguistics, Literature and Education 3, no. 1 (2018): 25–29. http://dx.doi.org/10.30630/polingua.v3i1.11.
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This article discusses two representative poems by a famous African-American writer, Claude Mckay. It seeks to interpretthe poems, “If We Must Die” and “Enslaved”, which both explore the issues racism and mental slavery, in the light of politicalapproaches such as Marxist criticism and postcolonialism. The main findings of this article are: 1) that racism and violence that itentails are rooted in class conflict and 2) that McKay’s poems can be seen as a counter-hegemony of the ethnocentricity of whiteculture. Generally, it is hoped that this writing can promote historical and political readings of minority poets like Claude McKay.
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Beck, Charles R. "The Poets' Inner Circle: Gaming Strategies Based on Famous Quotations." English Journal 87, no. 3 (1998): 37. http://dx.doi.org/10.2307/822381.
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Dr. V.S. Bindhu, Rincy Philip,. "EXPLORING THE MYTHICAL INNER LIFE OF A BROKEN METROPOLIS: A COMPARISON OF GYAN PRAKASH’S MUMBAI FABLES AND JEET THAYIL’S NARCOPOLIS." Psychology and Education Journal 58, no. 1 (2021): 4476–78. http://dx.doi.org/10.17762/pae.v58i1.1537.
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Jeet Thayil is a versatile figure in Indian Literature whose contributions to world literature includes many poems, novels and music. His song collection include Gemini (1992), Apocalypso (1997), English (2004), These Errors Are Correct (2008). He also edited many books, which includes Divided Time: India and the End of Diaspora, The Bloodaxe Book of Contemporary Indian Poets and 60 Indian Poets. He is famous for his first novel Narcopolis, which is set in Mumbai. This work is shortlisted for Man Booker Prize for fiction in 2012.Gyan Prakash is another important figure in modern historic India whose handouts lead India through a focus of wealth and secured life. He is also a professor of history and included as a member of subaltern studies. Prakash’s writings mainly focus on problems of post colonialism. His famous work is Mumbai Fables: A History of an Enchanted City. This paper tries to find out the history of Mumbai Metropolis with the comparison study of Jeet Thayil’s Narcopolis and Gyan Prakash’s Mumbai Fables. Both these works shows the hidden history of Mumbai with its both positive and negative structures.
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A'yun, Loita Kurrota. "Gaya Bahasa Kiasan Dalam Puisi “Mansyūrātun Fidāiyyatun ‘Alā Judrāni Isrāīl”." Arabiyatuna : Jurnal Bahasa Arab 2, no. 2 (2018): 161. http://dx.doi.org/10.29240/jba.v2i2.549.
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A poet often uses the style of language in composing poetry in order to achieve the desired beauty. Likewise with one of the famous Arab poets in the modern era, namely Nizar Qabbani. He often uses language styles, one of which is the figurative language style, to compose verses in his poems. One of his works which contains a lot of this style of figurative language is his poem entitled "Mansyūrātun Fidāiyyatun ā Al Judrāni Isrāīl". This study aims to analyze the style of figurative language used in the poem. In this study, researchers used stylistic analysis, to be able to find out the types of figurative language used by poets. The results of this study indicate that poets use several kinds of figurative language styles, namely equation or simile (tasybīh), metaphor or isti’ārah, antonomasia or kināyah, pars pro toto (majāz mursal juz’iyyah), irony and cynicism. The most figurative style of speech used by poets is the style of equality or simile (tasybīh), irony and cynicism. This is because the poem is a criticism and representation of expressions of bitterness, anger, and disappointment of the Palestinian people both towards Israel, America, and other world communities.
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Locke, Terry. "Rotorua Mad Poets: Words of Their Own." Ethnographic Edge 2, no. 1 (2018): 43. http://dx.doi.org/10.15663/tee.v2i1.40.
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Abstract
 
 If truth is beauty, beauty truth
 Just as the poet said[i],
 Then patterned sense in research
 Can be sewed by lyric thread.
 
 Mad Poets Rotorua is
 The topic of this story,
 Acknowledging that all research
 Is largely allegory.
 
 The group has met religiously
 Since Nineteen Ninety-Four
 Enabling some to read their poems
 Who’d never read before.
 
 From my perspective many themes
 Emerge in all that follows,
 While these are mine, there will be those
 That you my reader hallows.
 
 [i] John Keats’ famous conclusion to “Ode on a Grecian urn”, slightly paraphrased.
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Gashi, Syzana Kurtaj. "Browning’s and Serembe’s Love Poems." SEEU Review 15, no. 2 (2020): 31–41. http://dx.doi.org/10.2478/seeur-2020-0015.
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Abstract Browning’s and Serembe’s love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the ‘By the Fire-Side’, one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe’s ‘Song for Longing’, considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning, to his love relationship with a famous poetess Elizabeth Barrett, their elopement and union in Italy, and Serembe to his love for a girl from his native village, who immigrated to Brazil and subsequently died. In these poems, both poets explore the intimate atmosphere they tried to establish for their beloved women, by describing the places that witnessed the birth and growth of their love. ‘By the Fire-Side’ and ‘Song for Longing’ comprise a common element; they are personal love poems that describe their ideal love, personal feelings, and passion of their love. While Robert Browning in his poem writes about a peaceful and satisfied married life, full of sweet memories and images of his wife, Zef Serembe’s poem is a picture of his sentiment, primarily of solitude and disillusionment. The comparative and descriptive research methods have been helpful while conducting this research paper.
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Chirchiglia, Domenico, Pasquale Chirchiglia, and Rosa Marotta. "When History Meets Neurology: Neurological Diseases of Famous People." Neuroscientist 25, no. 5 (2019): 388–93. http://dx.doi.org/10.1177/1073858419835542.
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This retrospective review focuses on some illustrious personalities of history, who have suffered from neurological illnesses. Neurological diseases represent about 10% of all illnesses, and therefore do not spare anyone, much less, famous people. In this review, we discuss the neurological disorders that have struck some celebrities throughout history. We briefly examine the lives of emperors, writers, poets, and musicians that have suffered from neurological diseases such as epilepsy, stroke, tumors, and other illnesses, and which caused death or disability. From a historical point of view, recollection of the lives of famous people afflicted by neurological disorders holds important lessons for future generations.
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Al-Afif, Ahmad Husein. "El Medio Ambiente Y Su Influencia En La Literatura De Mahmoud Darwich Y Juan Ramón Jiménez: Estudio Comparativo." European Scientific Journal, ESJ 12, no. 2 (2016): 237. http://dx.doi.org/10.19044/esj.2016.v12n2p237.
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This article is an attempt to make a comparative literary study on the impact of the environment on the poetry of Mahmoud Darwish and Juan Ramon Jimenez. Both of the famous authors treat the issue of the nature, place, time and environment in a wonderful way that gives us the opportunity to study them as special cases even that both poets didn't live in the same period, but in different times. We have chosen some fragments from their poetry as examples of both poets and we found as a conclusion that the two poets have many things in common, especially they way that they deal with the environment and nature.
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Fatah, Shokhan Mohammed. "Industrialization in William Wordsworth's Selected Poems." Journal of University of Human Development 5, no. 3 (2019): 116. http://dx.doi.org/10.21928/juhd.v5n3y2019.pp116-119.
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William Wordsworth (1770-1850) is undeniably one of the most significant Romantic poets. He is famous for his love for nature. He finds tranquility and solitude in the company of nature. For him, nature is everything, including faith and God. Wordsworth believes that God has mirrored himself through nature. The industrial revolution made life more complicated, yet productive. The industrial revolution solved some problems while it caused some others, violation of nature is among the most distressing one. As a worshiper of nature, Wordsworth has noticed this impairment and portrayed the two lives, one closer to nature and the other industrialized. This paper aims at presenting William Wordsworth's love for nature through standing against industrialization. His poetry preserves the persistence of nature without any destructive mechanization. From this perspective, three poems of Wordsworth are explained to elucidate the different ways of his approach to new technological innovations and urbanization. The poems include; "The World is Too Much with Us", "Steamboats, Viaducts, and Railways" and "On the Projected Kendal and Windermere Railway". Prior to describing industrialization in the poems, the industrial revolution and its outcomes are generally introduced. Besides, a brief account is given to the British Romanticism due to the fact that Wordsworth is one of the key poets of the movement.
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Doğru, İhsan. "Yahya Kemal and Nizar Qabbani: Two Poet-Diplomats in Spain and “Andalus” in their Poems." CLEaR 4, no. 2 (2017): 20–33. http://dx.doi.org/10.1515/clear-2017-0009.
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Abstract Yahya Kemal and Nizar Qabbani were two poets who served as diplomats in Spain in the past century on behalf of the governments of Turkey and Syria. Yahya Kemal wrote two poems about Spain, “Dance in Andalusia “ and “Coffee Shop in Madrid”. “Dance in Andalusia,” a poem written about the Flamenco dance, has become very famous. In this poem, he described the traditional dance of the Spanish people and emphasized the place of this dance in their lives and the fun-loving lives of the people of Spain. In almost all of the poems which Nizar Qabbani wrote about Spain, on the other hand, a feeling of sadness rather than joy prevails. He gives a deep sigh in his poems as he regards Andalusia as the one-time land of his ancestors. His most important poem with respect to Spain is the poem entitled “Granada”. This poem is considered to be one of the most significant odes in the Arab literature describing Granada, the pearl of Andalusia, Arab influences there, the Alhambra palace and the sadness felt due to the loss of the city by Arabs. This study analyzes the two most important poems written by Yahya Kemal and Nizar Qabbani concerning Spain, namely “Dance in Andalusia” and “Granada”. Whenever it is deemed appropriate, other poems of the two poets regarding Spain will be dwelt upon and what kind of an influence Andalusia left in their emotional world will be revealed.
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Mustafayeva, Nailya B. "Stanza form of mukhammas in Azerbaijan lyrics in 20th century." Neophilology, no. 21 (2020): 76–84. http://dx.doi.org/10.20310/2587-6953-2020-6-21-76-84.
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In Azerbaijan literature of the early 20th century mukhammas were created, they were distinguished by the search for new forms and the problematic range. For example, Sabir began mukhammas with beit (couplets) of tarji, repeated it at the end of each stanza. Many other poets repeated a similar technique afterwards. There are other features of the mukhammas of the specified period; the topic in general covered lyric and poetic, patriotic, social and political, philosophical, and religious issues. The patriotic mukhammas included a description of the nature beauties, the motherland defenders courage, the impulses of those who strove for the progress of the country, for its freedom. The number of satirical mukhammas increased. Takhmis (imitations) were written on classical poems, including Fuzuli’s ghazals. At the early 20th century in Azerbaijan, as well as in other places of the Russian Empire, political activity grew among the population. The famous poet Mahammad Hadi wrote in his mukhammas about the need to achieve freedom. After all, only free people can achieve true progress and prosperity. In Soviet times, a number of poets continued to write their poems in the classical style. Poets such as V. Abbaszade Hammal, M.S. Ordubadi, A. Nazmi, Mikayil Rafili, Ali Nazim, Suleiman Rustam, Mikayil Mushfig praised their native land in their mukhammas, at the same time they did not forget to note the role of the Communist Party in the prosperity of the country. A lot of poems were devoted to international events, criticism of the imperialist forces. During World War II, Aliaga Vahid in his mukhammas predicted German fascism an inevitable defeat, expressed admiration for the heroism of Soviet soldiers. In the second half and at the end of the 20th century, the number of mukhammas on religious themes is growing in Azerbaijan poetry. A number of poets have moved from writing poetry in the classical nazm style to the mukhammas genre.
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Zhumabekova, N. М. "LEXICO-STYLISTIC ANALYSIS OF THE JOE HARJO`S POEM “SUN RISE”." Vestnik Bishkek Humanities University, Issue 52-53 (October 21, 2020): 11–13. http://dx.doi.org/10.35254//bhu.2021.52.1.
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The article discusses the meaning of one of the poems of the most famous and outstanding contemporary American Indian poets Joe Harjo. The main purpose of the article is to interpret the topic of freedom, love to the traditions, and discontent with the present state of being of Native Americans through lexica -stylistic devices. It is indicated that many Indian American works are devoted to description of loss, and Joe Harjo`s poems search for some resolution of the situation. Though the Native Americans suffered the loss of their rights and freedom, the author calls for revival, for continuation of the fight, for gaining what was lost. Alongside with the ideas in the poem some stylistic devices as repetition, enumeration, epithet, irony have been identified revealing the emotional influence on the readers.
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McDiarmid, Lucy. "A Box for Wilfrid Blunt." PMLA/Publications of the Modern Language Association of America 120, no. 1 (2005): 163–80. http://dx.doi.org/10.1632/003081205x36921.
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This essay analyzes the testimonial occasion organized by Lady Gregory, Yeats, and Pound to honor the poet and anti-imperialist Wilfrid Scawen Blunt (1840–1922). On 18 January 1914, Blunt welcomed six younger poets to his house in Sussex, where they dined on a peacock culled from his flock. At the ritual center of the meal was the presentation to Blunt of a marble box containing his guests’ poems; on the top of the box, designed by Gaudier-Brzeska, was a reclining nude woman. The dinner had a double purpose: to construct a poetic genealogy that would give meaning to a distinctly masculine literary tradition and to make that genealogy visible. Accounts of the event were planted in four journals, and the famous photograph, with the tall, impressively bearded Blunt surrounded by his scions, appears in all the poets’ biographies. With its potent combination of homosocial intimacy and artistic glamour, the “peacock dinner” claimed an important place in its participants’ memories and resonated in their writing for many years.
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Peiu, Anca. "The Frost in Faulkner: Walls and Borders of Modern Metaphor." Acta Universitatis Sapientiae, Philologica 10, no. 1 (2018): 75–88. http://dx.doi.org/10.2478/ausp-2018-0005.
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AbstractMy paper discusses the dialogue between Robert Frost’s verse and William Faulkner’s works: from the first poems he published as a young writer, especially in his debut volume The Marble Faun (1924), to The Hamlet (1940), an acknowledged novel of maturity. Three world-famous poems: “Birches,” “Mending Wall,” “Nothing Gold Can Stay” will represent here Frost’s metaphorical counterpart. The allegorical borders thus crossed are those between Frost’s lyrical New England setting and the Old South of Faulkner’s Yoknapatawpha diegesis; between (conventional patterns of) Romanticism and Modernism – in both writers’ cases; between poetry and prose; between “live metaphor” and “emplotment” (applying Paul Ricoeur’s theory of “semantic innovation”); between (other conventional patterns of) regionalism and (actual) universality. Frost’s uniqueness among the American modern poets owes much of its vital energy to his mock-bucolic lyrical settings, with their dark dramatic suggestiveness. In my paper I hope to prove that Frost’s lesson was a decisive inspiration for Faulkner, himself an atypical modern writer. If Faulkner’s fiction is pervaded by poetry, this is so because he saw himself as a “poet among novelists.” Faulkner actually started his career under the spell of Frost’s verse – at least to the same extent to which he had once emulated the spirit of older and remoter poets, such as Keats or Swinburne.
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Mitaitė, Donata. "Alfonsas Aldonis: Writing a Soviet Poem." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 162–70. http://dx.doi.org/10.37384/aplkp.2021.26-1.162.
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The article studies the genesis of poems by one of the most famous Lithuanian poets of the Soviet era Alfonsas Maldonis (1929–2007). It follows the methodology of genetic criticism and compares versions of manuscripts and texts of poems that have already been published. The main attention is given to poems “Awakening from Sleep”, “White Mountains”, “Morning Wind”. The poet’s first manuscripts are usually more ordinary, containing everyday realities and even open critique of Soviet life. While editing the manuscripts, the author sometimes only deletes or replaces some words with neutral ones (names of religious holidays, realities reminiscent of Soviet repression), but more often, the image is fundamentally redesigned, the particulars are replaced with abstract images, creating a multifaceted reading. The original ideas do not disappear but seem to be taken into the poem’s underground layer. The manuscripts’ analysis reveals how Maldonis created his distinctive poem and how an internal censor is involved in the process, suggesting which words would never be printed in a book published by an official publisher. Rarely, but there are also opposite cases where Soviet symbols are inserted into an ideologically neutral text. Maldonis’s poetry, however, contains signs similar to what Czesław Miłosz called the “captive mind”. It is difficult to say whether those few sovietisms stem from internal conviction or external ideological pressure to write bright, optimistic texts.
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Redshaw, Thomas Dillon. "‘The Dolmen Poets’: Liam Miller and Poetry Publishing in Ireland, 1951–1961." Irish University Review 42, no. 1 (2012): 141–54. http://dx.doi.org/10.3366/iur.2012.0013.
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With the publication of The Dolmen Miscellany (1962) and the inception of Poetry Ireland the same year, Liam Miller's Dolmen Press came to represent artistically and commercially Irish poets and their works within the Republic of Ireland and abroad. In Miller's publishing practice, the liberal notion of ‘Poetry Ireland’ had come to supplant a narrower one: the idea of the ‘Dolmen Poets.’ As the nineteen fifties drew to a close, the Dolmen Poets were Padraic Colum and Austin Clarke (but not Patrick Kavanagh), Richard Murphy, John Montague, and especially Thomas Kinsella. In Dolmen's earliest years, however, the notion of the ‘Dolmen Poets’ had entailed other figures – David Marcus, Donald Davie, Valentin Iremonger – as well as a “group” editorial method and small, economical print format suited to Dolmen's elementary technical facilities. When, in the ‘Dolmen Poets” format Miller printed the programme for the famous, three-way reading by Murphy, Montague, and Kinsella at the Royal Hibernian Hotel on 3 February 1961, both the occasion and the souvenir programme signalled Miller's embracing of the concept of ‘Poetry Ireland’.
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Ivinskiy, Alexander D. "M.N. Muravyov and Ancient Poets: Unpublished Translations." Studia Litterarum 6, no. 2 (2021): 358–85. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-358-385.
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The article is devoted to the translations of M.N. Muravyov. We present more than ten unpublished texts from his Notebook, which is preserved at the Manuscripts Department of the Russian State Library: a number of works of Horace, Virgil, Anacreon, Martial, Callimachus, Lucretius and Lucan. Secondary in this context, but no less important, is the translation of a fragment from the famous poem Jerusalem Delivered by T. Tasso. These texts do not exhaust the subject (many of Muravyov’s translations still remain unpublished), but, along with others, may become the basis for the reconstruction of Muravyov’s literary position, which can already be characterized as oriented towards European “classicism.”
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Ivinskiy, Alexander D. "M.N. Muravyov and Ancient Poets: Unpublished Translations." Studia Litterarum 6, no. 2 (2021): 358–85. http://dx.doi.org/10.22455/2500-4247-2021-6-2-358-385.
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The article is devoted to the translations of M.N. Muravyov. We present more than ten unpublished texts from his Notebook, which is preserved at the Manuscripts Department of the Russian State Library: a number of works of Horace, Virgil, Anacreon, Martial, Callimachus, Lucretius and Lucan. Secondary in this context, but no less important, is the translation of a fragment from the famous poem Jerusalem Delivered by T. Tasso. These texts do not exhaust the subject (many of Muravyov’s translations still remain unpublished), but, along with others, may become the basis for the reconstruction of Muravyov’s literary position, which can already be characterized as oriented towards European “classicism.”
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Saddam, Widad Allawi, and Zainab Ibrahim Abbas. "Love that Binds." Al-Adab Journal 1, no. 132 (2020): 105–12. http://dx.doi.org/10.31973/aj.v1i132.608.
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Rumi is endorsed for being one of the most famous Persian Sufi poets. He is considered a poet of love for all creation. In his poetry, one finds a close admiration of natural world that comes from love and results in even a greater love for the creator of the natural forces. This study aims to analyze selected poems of Rumi to inspect his views on environment and nature knitted closely with love and spirituality. Ecospirituality, a rather new approach to inspect the relationship of the environment and literary works from a spiritual point of view was employed to comment on Rumi’s dealing with creation and love for God in his poetry.
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Baskins, Cristelle. "Writing the Dead: Pietro Della Valle and the Tombs of Shirazi Poets." Muqarnas Online 34, no. 1 (2017): 197–221. http://dx.doi.org/10.1163/22118993_03401p008.
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This essay explores the impact of the Shirazi poets Saʿdi and Hafiz on the famous Baroque traveler, Pietro della Valle. Hitherto unexplained features of the magnificent funeral he designed for his Syrian Christian wife, Sitti Maʿani Gioerida, in Rome (1627) can be related to the poets’ tombs he had seen in Shiraz immediately following her untimely demise. In Safavid Iran, Della Valle was impressed by the production of commemorative poetry as well as by the virtuosic calligraphy that functioned as both word and image. He approved of the funerary complexes that created a community of poets both living and dead. The Roman funeral of 1627 not only displayed Della Valle’s literary erudition, it also emulated social, poetic, and artistic elements of the tomb shrines he had seen on his travels.
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Wardah, Eva Syarifah, and Siti Rohayati. "Peranan Jalaluddin Rumi dalam Mendirikan Tarekat Maulawiyah di Konya Tahun 1258-1273 M." Tsaqofah 18, no. 1 (2020): 86. http://dx.doi.org/10.32678/tsaqofah.v18i1.3183.
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Jalaluddin Rumi is a teacher, poets, and famous Sufi order which came from Persia. Besides his famous works, Jalaluddin Rumi also founded Tarekat Maulawiyah in the year of 1258 M, based in Konya. Based on history, Tarekat Maulawiyah born since the establishment friendship between Jalaluddin Rumi with this teacher, Syamsuddin At-Tabrizi. Sama’ (spinning dance) from teachings Tarekat Maulawiyah raises pros and cons in the Konya community, because the teachings are considered strange. In developing Tarekat Maulawiyah, Jalaluddin Rumi make efforts like teaching, making Sama’ a basic characteristic Tarekat Maulawiyah, and writing poetry.
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Larcher, Pierre. "Le poème en lām d’Abū Kabīr al-Hudalī : introduction, traduction et notes." Arabica 58, no. 3 (2011): 198–209. http://dx.doi.org/10.1163/157005811x561541.
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AbstractThe lāmiyya is the most famous poem by Abū Kabīr al-Hudalī, who is one of the most famous poets of the Hudayl tribe. According to Blachère, it is an “exercice d’école”. If so, it is a successful one, both thematically and stylistically. Thematically, nostalgia for youth serves as a frame for the evocation of mankind’s great deeds, such as love and war. Stylistically, the poem is made up of parallelisms. The annotation consists mainly of a linguistic and literary commentary. We have opted for a poetic translation.
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Suleymanova, T. A. "Eschatological motifs in Rutul poetry." Язык и текст 5, no. 3 (2018): 46–55. http://dx.doi.org/10.17759/langt.2018050306.
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In Rutul's poetry, the famous story of which begins from XI-XII with the name of Zeinab Hinavi, the ashugs in the pre-revolutionary period and the poets of the post-revolutionary period developed several main themes - love lyrics, philosophical lyrics, spiritual lyrics. One of the main ones is philosophical lyrics, in which eschatological motifs occupy a special place.
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Cooney, William. "The Death Poetry of Emily Dickinson." OMEGA - Journal of Death and Dying 37, no. 3 (1998): 241–49. http://dx.doi.org/10.2190/8tkd-4v2f-j9fq-axd0.
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The topic of death is an important theme in the work of Emily Dickinson, one of America's greatest poets. Dickinson scholars debate whether her focus on death (one quarter of all her poems) is an unhealthy and morbid obsession, or, rather, a courageous recognition that life itself cannot be understood fully except from the vantage point of the grave (just as light cannot be fully appreciated without the recognition of its opposite, i.e., darkness). Following the latter view, Dickinson's penetrating insights into death are examined. Some of her best known death poems are presented and briefly discussed (reference is also made to many other Dickinson poems, and insights are also drawn from her many letters). Brief comparisons of Dickinson's views to certain philosophers (for example, Nietzsche) are made, in order to provide a wider context of exploration into these important themes. In the end, Dickinson contends that affirmation of life is impossible without an examination of death—the article therefore ends with her famous poem about that affirmation.
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Kartashkova, Faina, and Ekaterina Shilova. "The Image of Florence in Artistic and Mundane Perception of Russian People." Nizhny Novgorod Linguistics University Bulletin, no. 49 (March 31, 2020): 131–48. http://dx.doi.org/10.47388/2072-3490/lunn2020-49-1-131-148.
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The article treats the phenomenon of Florence as a cultural concept that affects the worldview of a person and a society. The authors try to find out whether the image of Florence in the minds of famous Russian writers and poets of the 19—20th centuries (A. Blok, A. Akhmatova, V. Bryusov, N. Gumilyov, J. Brodsky, etc.) differs from that in the minds of common people.
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Isaxanli, Isaxan. "Fragments of Azerbaijan-Russian literary relations: On Sergei Yesenin’s Baku visits." Khazar Journal of Humanities and Social Sciences 20, no. 2 (2017): 66–79. http://dx.doi.org/10.5782/2223-2621.2017.20.2.66.
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This article is devoted to Sergei Yesenin’s meetings while he visited Baku in 1924-1925; it explores his relations with Azerbaijani intellectuals, poets and writers. Here we also carry out analysis on the socio-political scene of the period during Yesenin’s sojourn to Baku. The article clarifies points related to Yesenin’s meeting with famous singer of Azerbaijan, JabbarGaryaghdioglu, as well as with popular Azerbaijani poet, AliaghaVahid, the events of which have been the subject of debate.Although many researchers consider the latter meeting to be a fact, the article emphasizes that there is no historical document to prove it. The article also contains information about Yesenin’s intermittent meetings with some famous Azerbaijani people which are still uncertain.
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Mahlmann-Bauer, Barbara. "Sigmund von Birken, der Literaturbetrieb, Netzwerke und Werkpolitik." Scientia Poetica 24, no. 1 (2020): 1–56. http://dx.doi.org/10.1515/scipo-2020-001.
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AbstractSigmund von Birken belongs to the »Trio of poets from Nürnberg«, together with Georg Philipp Harsdörffer and Johann Klaj whose posthumous fame is mainly due to their pastoral poetry with fullsounding verses in praise of peace and love. Birken started his career with an enormous upshot as organizer of multi-media spectacles during the peace ceremony in Nürnberg in 1650. Apart from his hymns and pastoral love poems, Birken’s poetry does not belong to the canon of early modern literature in Germany. If he had lived longer, he would probably have edited later all those poems which he had written on demand for special occasions and immediately published as separate brochures or leaflets in at least four huge volumes. He would have properly arranged love poems, odes in praise of friendship, poems dedicated to noblemen and civilians, hymns and secular songs, starting like his famous predecessors with his Latin verses. This ambitious publication project is outlined in his manuscript collections, but was not realized during Birken’s lifetime. To correct for this oversight, the commented edition of Birken’s complete poetic manuscripts, which was recently finished by Hartmut Laufhütte, gives a broad impression of his talents as a playful virtuoso in all kinds of genres, teacher of poetry, advisor, ›ghostwriter‹ and promotor of young poets, male and female alike. His diaries and correspondence account for his enormous productivity and versatility, thus enabling modern readers to watch him during the creative procedure more closely than any other German poet of his time. The edition of Birken’s manuscripts is on the same scale as a few other recently completed long term editions of early modern German ego-documents and poetry and sets high standards for further editions.
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Burmistrova, LARISA V. "PRAGMATIC CHARACTERISTICS OF HUMOROUS APHORISMS IN THE CONTEXT OF LIFE SPACE." HUMANITARIAN RESEARCHES 76, no. 4 (2020): 18–23. http://dx.doi.org/10.21672/1818-4936-2020-76-4-017-022.
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The analysis of pragmatic characteristics of humorous aphorisms in the context of life space. Author's humorous aphorisms of famous writers, poets, historians of the 17th, 18th, 19th centuries and modern humorous aphorisms posted on the Internet; collection of sayings, quotes and aphorisms “Big Book of Wisdom” (edited by Yuri Lavrov). The relevance of the research is determined by the interest in comic universal expressions, network discourse, comical texts. The research results are applicable when compiling a study guide for students or can be used to compile a psychological portrait of the hero of the work. The aim of the present study is to investigate the pragmatic characteristics of humorous aphorisms. It is analyzed that humorous aphorisms of famous writers, poets, historians of the 17th, 18th, 19th centuries and modern humorous aphorisms affect the main aspects of life. Pragmatic characteristics of humorous aphorisms are analyzed. It was found that the humorous aphorisms most vividly reflect the relationship and love between a man and a woman, the intellect of a woman and a man, care of women, the image of a strong, ambitious man, relationships in marriage, feelings (love and happiness), positive attitude (purposefulness, necessity of education), negative attitude (duplicity, laziness, stupidity, slight knowledge, exaggeration of material value), the contrary opinion of an optimist and a pessimist.
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Ótott, Noemi. "Siete voi qui, ser Brunetto?». I volti di Brunetto Latini: rappresentazione e autorappresentazione." Italianistica Debreceniensis 23 (December 1, 2017): 96–107. http://dx.doi.org/10.34102/italdeb/2017/4642.
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As in portrait (attributed to Giotto) of Brunetto Latini and Dante Alighieri, history has tended to pair the two poets, who were both exiled from their native Florence. The role played by Brunetto Latini in Florence’s history paralleled that of the orator Cicero in Republican Rome and Dante, his student, was Florence’s Virgil. The famous “Brunetto’s Song” (Canto XV of Inferno) has generated many controversies, determined and justified by an uninterrupted and secular reflection. The encounter between the protagonist-traveler and his master has great importance also from the point of view of the creation of The Divine Comedy. But the old florentine intellectual does not only appear in this canto: in fact, he is the author and, at the same time, the protagonist of the famous opera Il Tesoretto, a didactic-allegorical poem written in volgare. In my study I focus on the figure of Brunetto Latini and on his representation by Dante. At first I examine the protagonist Latini: how he appears in the canto and what his part is in The Divine Comedy. Then I concentrate on the author Latini and I try to identify the poet’s voices in the texts and descriptions according to the context.
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K.T. Kudaibergenova. "THE LITERARY IMAGE AND FIGURATION OF FAMOUS SYR-SULEI (POETS)- BAZAR ZHYRAU AND T. IZTLEUOV." SERIES OF SOCIAL AND HUMAN SCIENCES 2, no. 330 (2020): 202–11. http://dx.doi.org/10.32014/2020.2224-5294.57.
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Sarnowski, Michael. "Enemy Encounters in the War Poetry of Wilfred Owen, Keith Douglas, and Randall Jarrell." Humanities 7, no. 3 (2018): 89. http://dx.doi.org/10.3390/h7030089.
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While some war poets amplify the concept of anonymity for enemy soldiers, projecting an “us vs. them” mentality, other defining voices of war counter this militaristic impulse to dehumanize the enemy. This pivot toward describing the World Wars more like humanitarian crises than an epic of good and evil is most notable in poems that chronicle both real and imagined close-range encounters between combatants. The poem “Strange Meeting” by British First World War soldier Wilfred Owen uses the vision of two enemy soldiers meeting in hell to reinforce his famous notion that war is something to be pitied. As a result of technological advancements in the Second World War and the increasing distance of combat, the poems “Vergissmeinnicht” and “How to Kill” by British Second World War soldier Keith Douglas wrestle with dehumanizing the enemy and acknowledging their humanity. “Protocols” by American Second World War soldier Randall Jarrell is an imagined view of civilian victims, and is a reckoning with the horrors human beings are capable of committing.
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Nel, A. "Poësie en popkultuur: oor enkele gedigte van Joan Hambidge." Literator 24, no. 3 (2003): 139–62. http://dx.doi.org/10.4102/lit.v24i3.304.
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Poetry and pop culture: Some poems by Joan Hambidge The influence of pop culture as a general movement, as well as pop art as a specific art movement, can be seen in the work of Joan Hambidge. In a number of her poems Hambidge enters into conversation with Andy Warhol as the most prominent pop artist. She comments through poetry on Warhol’s life and work method and also presents her poems in the idiom of Warhol. This entails, inter alia, a repetition or duplication of the content, a deliberate intertextual conversation with verbal and visual artists and a reuse of existing material. Hambidge follows Warhol’s representation of popular cult figures from the pop era by creating a number of word portraits of famous people such as Marilyn Monroe and James Dean. This “gallery” of word portraits becomes part of the (well-known) literary conversation which Hambidge conducts with other poets and artists, and at the same time communicates her own poetics as well as her own view on the construction of identity and death. Ultimately this pre-occupation with cult figures becomes a mask for the self.
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Lavrač, Maja. "Li Shangyin and the Art of Poetic Ambiguity." Ars & Humanitas 10, no. 2 (2016): 163–77. http://dx.doi.org/10.4312/ah.10.2.163-177.
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Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems’ imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet’s character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem’s poetic landscape opens itself up to various interpretations.Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death.
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Lavrač, Maja. "Li Shangyin and the Art of Poetic Ambiguity." Ars & Humanitas 10, no. 2 (2016): 163–77. http://dx.doi.org/10.4312/ars.10.2.163-177.
Full textAbstract:
Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems’ imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet’s character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem’s poetic landscape opens itself up to various interpretations.Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death.
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Cormier, Raymond J. "Thibaut de Champagne, Les Chansons— Texts and Melodies. Bilingual edition prepared by Christopher Callahan, Marie-Geneviève Grossel, and Daniel E. O'Sullivan. Paris: Champion, 2018, pp. 848." Mediaevistik 32, no. 1 (2020): 441–42. http://dx.doi.org/10.3726/med.2019.01.107.
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Counted among the most original and prolific medieval French poets, Thibaut IV, count of Champagne and Brie, King of Navarre, was also called Thibaut the poet entertainer (1201–1253). This great-grandson of Eleanor of Aquitaine and great-grandfather of Marie de Champagne, was celebrated by Dante for the purity of his lyrics and widely admired for his mastery of all genres of the time. Remarkable as well for his interpretations of antique mythology and bestiaries, this grand prince and Crusade hero forged poems devoted to the Virgin, transmuting the lyrical lady into a celestial figura. The generous and capacious volume to hand, prepared by young scholars, one French and two Americans, is completely devoted to the famous poet; it is, since the long-respected 1925 edition by Wallensköld (SATF; just a single scholar), the first really complete one. It offers not only all the poems (love songs, debate poems, pastourelles, Crusade, and religious poems) accompanied by their melody, but also robust notes, concordant variants, and isolated melodies. The modern French translations are complemented by additional comments in the glossary, thus offering the reader a very generous and useful reference tool, the fruit of years of accumulated philological and musicological research.
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ANDRISHKO, Oleh. "COALESCENCES IN THE BOOK OF IVAN IOV “PERIODIC SYSTEM OF WORDS”." Culture of the Word, no. 92 (2020): 123–33. http://dx.doi.org/10.37919/0201-419x-2020.92.10.
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The article deals with the features of word-coalescences in the book of Ivan Iov «Periodic system of words», which is considered to be the most prominent in the author’s work. Ivan Iov belonged to the leading Ukrainian avant-garde poets to the 20th-21th centuries, leaving a significant trace both in syllabic tonic poetry and in experimental poetry (palindromes, graphic poems, acrostic, brachicolons, logogriphs, collage etc.). Ivan Iov was born in 1948 in the village of Kamianka, in the Apostolove District of the Dnipro region in a large family. He graduated from Kamianets-Podilskyi National Ivan Ohiienko University and then worked as a teacher and journalist. In 1997, he published his most famous and significant collection, «The Periodic system of words», where he continued the traditions of Ivan Velychkovskyi and which became the subject of our research. Particular attention deserves to occasionalisms by the author. In the research book you can identify several groups of coalescences-words, created lexico-syntactical method, on the basis of sued and subordinate phrases, residual phrases (most often prepositions). Also a feature of the creation of neologisms in Ivan Iov is the use of the names and surnames of famous people – friends of the poet, for example, Valerii Basyrov – the editor of this book; Hryhorii Huseinov – writer, laureate of the Taras Shevchenko National Prize; Mykola Zhulynskyi – Director of the Taras Shevchenko Institute of Literature of NAS of Ukraine. In the «Periodic system of words», the coalescences-palindromes (both commonly used and occasional) are also widely represented, which is a decisive feature of the creative manner of Ivan Iov compared with other avant-garde poets. The top of word-formation skill can be considered the poem that gave the collection its name; in it Ivan Iov showed the inexhaustible possibilities of word formation, which in combination with the original author’s style gave us a wonderful example of experimental literature.
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Amit, Mr. "Romanticism: Characteristics, Themes and Poets." SMART MOVES JOURNAL IJELLH 9, no. 5 (2021): 66–74. http://dx.doi.org/10.24113/ijellh.v9i5.11034.
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This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence.
 The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic development incorporates well known journalists, for example, William Wordsworth, Coleridge, Keats, Lord Byron, Shelley, Chatterton, and Hawthorne. ‘Romantic’ has been adjusted from the French word romaunt that implies a story of Chivalry. After two German scholars Schlegel siblings utilized this word for verse, it changed into a development like an epidemic and spread all through Europe.
 Romanticism in English writing started during the 1790s with the distribution of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "Preface" to the subsequent version (1800) of Lyrical Ballads, in which he portrayed verse as the spontaneous overflow of powerful feelings", turned into the statement of the English Romantic development in verse.
 The first phase of the Romantic movement in Germany was set apart by advancements in both substance and artistic style and by a distraction with the mysterious, the intuitive and the heavenly. An abundance of abilities, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. what's more, Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, have a place with this first phase.
 The second phase of Romanticism, involving the period from around 1805 to the 1830s, was set apart by a reviving of social patriotism and another regard for national roots, as bore witness to by the accumulation and impersonation of local old stories, people songs and verse, society move and music, and even recently disregarded medieval and Renaissance works. The resuscitated recorded appreciation was converted into creative composition by Sir Walter Scott, who is frequently considered to have imagined the verifiable novel. At about this equivalent time English Romantic verse had arrived at its peak in progress of John Keats, Lord Byron, and Percy Bysshe Shelley.
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Starčević, Mirko. "John Henry Newman and the Oxford Movement: A Poet of the Church." ELOPE: English Language Overseas Perspectives and Enquiries 12, no. 2 (2015): 129–45. http://dx.doi.org/10.4312/elope.12.2.129-145.
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The paper examines John Henry Newman and the extent to which his involvement with the Oxford Movement influenced his poetic endeavours. The analysis of the historical and theological background of the Movement from Newman’s perspective makes the task of presenting the genesis of Newman’s poetic conceptions much easier. Newman was famous for being a preternaturally gifted preacher and prose writer, while his poetic texts received less attention. The examination of poetry is carried out here by contrasting the Oxford Movement’s ideas, majorly Newman’s own ideas and poetry, with Romanticism as the high guardian of Imagination and furor poeticus. While the Romantic poets craved authenticity and defied the laws of imitative modes of expression, the devotional poets of that time oftentimes leaned on mimesis. The paper’s objective, therefore, is to help define the prominence of imitative elements in Newman’s poetry and their impact on the quality of his verse.
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Muhammad Jahanzaib, Samina Ashraf, and Ghulam Fatima. "Awareness Level of Visually Impaired College Students about Urdu Poets and Poetry in Punjab: A Qualitative Inquiry." Journal of Business and Social Review in Emerging Economies 6, no. 3 (2020): 1151–55. http://dx.doi.org/10.26710/jbsee.v6i3.1380.
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Language has been the most popular source of communication in human society since the start of civilization. The tradition of Folk Tales appeared as the foundation of literature in ancient times. Poetry is a significant way of expression in human literature. Urdu language possesses uncountable master pieces of prose and poetry. Visually impaired persons have proved themselves as literature lovers, good readers and visionary poets in past and present. This study is an effort to depict the awareness level of visually impaired college students about Urdu poets and their creations. The population of the study consisted of all visually impaired students enrolled in public and private sector colleges located in the district Lahore and Okara. A self developed and validated structured interview schedule containing 10 open ended questions was used to collect data from conveniently selected sample of 30 visually impaired students (males= 18, females=12). Descriptive statistics (percentages of responses) were calculated, collected information was coded; major themes were derived and interpreted by qualitative data analysis technique. The Study reflected that the visually impaired college students were having a lot of information about Urdu poets and their creations although there seemed a lack of in depth knowledge. They reported the lack of talking books and material in Braille on Urdu poetry of great and famous poets. They suggested the establishment of talking libraries throughout the country. Major findings were reported, conclusions were drawn and recommendations were made to Punjab Higher Education Department.
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Xu, Sufeng. "The Courtesan as Famous Scholar: The Case of Wang Wei (ca. 1598-ca. 1647)." T’oung Pao 105, no. 5-6 (2020): 587–630. http://dx.doi.org/10.1163/15685322-10556p03.
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Abstract This article examines the life and poetry of Wang Wei, one of the most distinguished courtesan poets of the Ming dynasty. Through an examination of her courtesan career, her friendship networks in literati circles, and her adoption of multiple identities such as xianren (person of leisure), daoren (person of the Dao), and shiren (poet), it seeks to illustrate what I believe is an important explanation for the flourishing of late Ming courtesan and literati culture. The rising prominence of learned and literary courtesans was strongly connected to a new social formation of nonconformist literati, the “men of the mountains” (shanren). These nonofficial urban elites of the prosperous Jiangnan region fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government service. In constructing an “artistic and hedonistic counterculture,” they encouraged the involvement of both courtesans and literary women of the gentry class.
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Armani, David, and Louise Gormley. "Persian Love Poetry." American Journal of Islam and Society 25, no. 1 (2008): 136–38. http://dx.doi.org/10.35632/ajis.v25i1.1503.
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This little book is a beguiling collection of Persian love poems drawn fromboth classical and modern poetry, but united by the theme of love in its myriadinterpretations. Included are poems that explore the spiritual lovebetween humans and God, the magical love between lovers or spouses, theaffectionate love between family members and between friends, and eventhe patriotic love for one’s homeland. Each poem is accompanied with a preciousPersian chef d’oeuvre from the British Museum and, in particular, numerous illustrations of Persian miniatures. The editors come to this subjectwith vast expertise: Vesta Sarkhosh Curtis is curator of Islamic andIranian coins in the British Museum, and Sheila R. Canby is an assistantkeeper in the British Museum specializing in Islamic Iran. Both have publishedon Persian art, art history, archaeology, and myths, among other topics.Their aim is not to produce a well-researched and exhaustive collectionof Persian love poetry, but rather “to encourage readers to delve further intothe wealth of Persian literature” (p. 5). With its modest aim of capturing theinterest of novice western readers, theirs is a delightful book that charms itsway to success.As explained in the “Introduction,” Iranians and other Persian (Farsi)speakers treasure poetry not only because of the beauty of the poetic languageitself, but also because they derive joy and comfort from the poets’ perspectivetoward the world. The most famous Persian poets often have a mystical(Sufi) viewpoint toward life, whereby passion is a path to reach God and thetruth. Interwoven into the people’s social consciousness, poetry holds arevered place in Persian culture. A single verse from the best-known Persianpoems can capture an idea with elegant brevity. Iranians and other Persian(Farsi) speakers still recite poetry as a succinct and powerful way to expressa point, thought, or emotion. To explain how deeply embedded poetry is inthe Persian psyche, many oft-quoted proverbs draw much of their meaningand message from Persian poetry ...
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Sasani, Samira, and Hamidreza Pilevar. "Modern Prometheus: Marry Shelley's Frankenstein and Rejection of Romanticism." International Journal of Applied Linguistics and English Literature 6, no. 2 (2017): 214. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.2p.214.
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The tool for Mary Shelley to criticize and satirize Romanticism is her famous character, Victor Frankenstein, or as the subtitle of the novel suggests: The Modern Prometheus. In Romantic beliefs, Prometheus was the symbol of limitless ability and freedom to whom many Romantic Poets pay tribute. In contrast, in Mary Shelley’s opinion, this ‘metaphysical revolt’ cannot go unpunished. The aim of this paper is to examine, through a Foucauldian reading, the mythic character of Prometheus in Romantic era, and the differences existing between Marry Shelley’s presentations of the modern version of the character and the Romantic version, and to show how Mary Shelley, belonging to other discourses rather than the dominant one, opposes the Romantic-related ideas. As Foucault believes there exist other discourses along with the dominant one all of which are in a constant struggle over power in a hierarchy. Mary Shelley follows some marginalized discourses, and her opposition to Romantic ideals stems from her relationship with other major Romantic Poets, and also from getting influence from some scientific experimentations of her day. She witnesses the harshness in her relationships with Romantic Poets, and their doomed aspirations, which agonizingly affect her life.Keywords: Foucault, Discourse, Romanticism, Prometheus, Mary Shelley, Frankenstein
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Birkholc, Robert. "Charlie Chaplin in the vernacular modernism of the Polish interwar period." Tekstualia 2, no. 57 (2019): 19–36. http://dx.doi.org/10.5604/01.3001.0013.3539.
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The article attempts to characterize „vernacular modernism” in the Polish culture of the interwar period on the example of the fi gure of Charlie Chaplin, which appears very often in Polish literature of that time. The famous comedian was an idol not only for the writers of popular novels, but also for the Skamandrits and futurist poets. In the interwar period low culture and high culture began to intermix. For the Skamandrits, like Julian Tuwim, Chaplin represented a new model of democratic art, in which the artist became a producer of entertainment. The futurist poets, in turn, saw Chaplin as an archetypal trickster, an anarchist who destroyed the social order and created a modern form of art. For writers like Leo Belmont, Charlie the tramp was a „wise fool”, a poor man who is rejected by the modern society. Chaplin was so useful for the Polish writers because he symbolized both bright and dark sides of modernity.
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West, M. L. "‘Eumelos’: a Corinthian epic cycle?" Journal of Hellenic Studies 122 (November 2002): 109–33. http://dx.doi.org/10.2307/3246207.
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AbstractThe author surveys the evidence for the three antiquarian epics commonly ascribed to Eumelos: the Titanomachy, Korinthiaka and Europia. He elucidates and restores details, and endeavours to grasp their poets' objectives. He argues that they were products of the Corinthian-Sikyonian sphere, and to a degree mutually complementary; that they were composed between the late seventh and the late sixth century, considerably after the supposed lifetime of Eumelos; and that they were perhaps attributed to him for lack of other claimants, he being famous as the Corinthian poet of the Messenians' treasured Prosodion.