Relevant bibliographies by topics / Formal poetry

Contents

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

Academic literature on the topic 'Formal poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Formal poetry"

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Abdullaeva, Gulnoza Vohidjonovna. "Formal Research In Children’s Poetry And The Poetic Mastery Of The Author." American Journal of Social Science and Education Innovations 03, no. 03 (March 27, 2021): 240–44. http://dx.doi.org/10.37547/tajssei/volume03issue03-34.

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The article examines and discusses the formal and semantic updates of children’s poetry, the poetry of Abdurahmon Akbar, geometric figurative, digital and inverted headings, taking into account the peculiarities of the individual style.
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Stern, Frederick C. "The Formal Poetry Reading." TDR (1988-) 35, no. 3 (1991): 67. http://dx.doi.org/10.2307/1146132.

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Keith, Jennifer. "The Formal Challenges of Antislavery Poetry." Studies in Eighteenth Century Culture 34, no. 1 (2005): 97–124. http://dx.doi.org/10.1353/sec.2010.0024.

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Oushakine, Serguei Alex. "Being In-between: Poetry for Children and Its Formal Method." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 10–26. http://dx.doi.org/10.31860/2304-5817-2020-2-18-10-26.

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This introduction to the archive bloсk on poetry for children as a critical object attempts to place the development of poetic literature aimed for children within a larger context of literary debates that were taking place at the same time. Throughout the 1920s, such formalist scholars as Yuri Tynianov and Boris Eikhenbaum persistently emphasized in their work that literature should be seen (and judged) as an autonomous field of creative activity. A similar trend could be easily traced in the field of poetic literature for children, too. In this case, the claim to artistic sovereignty was realized as a desire to develop a distinctive set of literary tools, specific for children’s poetry. As many critics maintained at the time, poetry for children should be distinguished not by its themes, but by the ways it organizes the poetic material. New, purposefully created methods of structuring the word mass were perceived as the key feature which could distinguish poetry for children from the rest of the Soviet literature. As a result, by the middle of the 1930s, the Soviet poetry for children gradually developed its own characteristic features: this poetry was playful, lyrical, and humorous. Poems created by K. Chukovsky and S. Marshak delineated the lyric-and-ludic pole of Soviet poetry for children, while poems by V. Mayakovsky and A. Barto would become the classical examples of the “didactic” poetry, in which satire and scorns would function as pedagogical tools. Consequently, the [position of the poet for children would evolve, too: lonely outsiders (like Chukovsky) would be overshadowed by “revolutionary poets” (like Mayakovsky), systemic “fellow-travelers” (like Marshak) and “class-conscious” Soviet children’s writers (like Barto).
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Rider, Jeff. "INTRODUCTION TO ROBERT GUIETTE: “Formal Poetry in France in the Middle Ages” and “The Adventure of Formal Poetry”." RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 8, no. 1 (September 29, 2014): 75. http://dx.doi.org/10.18352/relief.886.

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Norova, Nasiba. "TRADITION AND INNOVATION IN USMON KUCHKOR'S POEMS." Scientific Reports of Bukhara State University 5, no. 3 (June 30, 2021): 100–111. http://dx.doi.org/10.52297/2181-1466/2021/5/3/9.

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Introduction. The article discusses the poetic innovations, formal and stylistic peculiarities in the work of the talented poet Usmon Kuchkor. The poet's “muqarnas” are analyzed. The second half of the twentieth century and the period of independence have a special significance with Uzbek poetry, its charm, new tones and visual features. Methodological and formal research, the renewal of artistic thinking, the human heart and spiritual experiences, the vivid depiction of emotions form the basis of this poetry. In this, the importance of artistic thinking in particular is immeasurable. As the literary critic N. Rakhmonov noted: "The multifaceted and multilayered phenomenon - the concept of artistic thinking is a specific product of philosophical, ethical and political views, manifested in the way of thinking of the artist" [7,4]. Methods.
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Rose, Axel-Nathaniel. "Parallel Posts, Tumblr, and the Necessity of Poetry in the Digital Age: 'You are starved for it and you don't even realise you're hungry'." Axon: Creative Explorations 13, no. 2 (February 21, 2024): 29–44. http://dx.doi.org/10.54375/001/upj4lq3ogc.

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This article explores the emergent format of ‘parallel posts’ or ‘web weaving’, a practice of literary collage on blogging website Tumblr, and argues that they represent a new wave of poetry reception, unbound to formal literary education or to conventional spheres of cultural capital. Following Audre Lorde’s ‘Poetry is not a luxury’, I discuss parallel posts as a vital component of the broader digital literary sphere, a counterpoint to Instapoetry, and as a resurgence of commonplace book-keeping. I analyse the prevalence of users positioning poetry on Tumblr as akin to or superior to school-bound English education, and parallel posts as a humanist practice. I conclude by arguing that parallel posts represent a reclamation of poetry as a common resource and an ideology.
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Fateeva, Natalya А. "How “Formal” are Transformations in Modern Russian Poetry?" Izvestia of the Ural federal university. Series 2. Humanities and Arts 21, no. 1 (184) (2019): 115–33. http://dx.doi.org/10.15826/izv2.2019.21.1.009.

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Gärtner, Thomas. "Die Musen Im Dienste Christi: Strategien Der Rechtfertigung Christlicher Dichtung in Der Lateinischen Spätantike." Vigiliae Christianae 58, no. 4 (2004): 424–46. http://dx.doi.org/10.1163/1570072042596228.

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AbstractThe present article examines the arguments by which early Christian poets in Late Antiquity justify their attempt to combine Christian content and pagan poetical form. It focuses on the poetologically significant parts of their works, especially the proems. Whereas the earliest poets, i.e.Proba, Prudentius and Orientius, justify Christian poetry by its effects on the poet's personality and in the context of the poet's life, Juvencus prefigures another type of argument which is fully developed in Sedulius' Carmen paschale, according to which Christian poetry is justified by its material and formal qualities. This new type of argument has enormous reception in the Middle Ages and is especially adapted by Hrotsvith of Gandersheim who combines content and form as two coordinates of a more differentiated system.
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Heath, Malcolm. "Greek Literature." Greece and Rome 63, no. 2 (September 16, 2016): 251–55. http://dx.doi.org/10.1017/s0017383516000127.

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Let us begin, as is proper, with the gods rich in praise – or, more precisely, with The Gods Rich in Praise, one of three strikingly good monographs based on doctoral theses that will appear in this set of reviews. Christopher Metcalf examines the relations between early Greek poetry and the ancient Near East, focusing primarily on hymnic poetry. This type of poetry has multiple advantages: there is ample primary material, it displays formal conservatism, and there are demonstrable lines of translation and adaptation linking Sumerian, Akkadian, and Hittite texts. The Near Eastern material is presented in the first three chapters; four chapters examine early Greek poetry. Two formal aspects are selected for analysis (hymnic openings and negative predication), and two particular passages: the birth of Aphrodite in Theogony 195–206, and the mention of a dream interpreter in Iliad 1.62–4. In this last case, Metcalf acknowledges the possibility of transmission, while emphasizing the process of ‘continuous adaptation and reinterpretation’ (225) that lie behind the Homeric re-contextualization. In general, though, his detailed analyses tend to undermine the ‘argument by accumulation’ by which West and others have tried to demonstrate profound and extensive Eastern influence on early Greek poetry. Metcalf finds no evidence for formal influence: ‘in the case of hymns, Near Eastern influence on early Greek poetry was punctual (i.e. restricted to particular points) at the most, but certainly not pervasive’ (3). His carefully argued case deserves serious attention.
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Dissertations / Theses on the topic "Formal poetry"

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Edford, Rachel Lynn 1979. "“The Step of Iron Feet”: Formal Movements in American World War II Poetry." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11981.

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x, 237 p.
We have too frequently approached American World War II poetry with assumptions about modern poetry based on readings of the influential British Great War poets, failing to distinguish between WWI and WWII and between the British and American contexts. During the Second World War, the Holocaust and the bombings of Hiroshima and Nagasaki obliterated the line many WWI poems reinforced between the soldier's battlefront and the civilian's homefront, authorizing for the first time both civilian and soldier perspectives. Conditions on the American homefront--widespread isolationist and anti-Semitic attitudes, America's late entry into the war, the bombing of Pearl Harbor, the Japanese internment, and the African American "Double V Campaign" to fight fascism overseas and racism at home--were just some of the volatile conditions poets in the US grappled with during WWII. In their poems, war shapes and threatens the identities of civilians and soldiers, women and men, African Americans and Jews, and verse form itself becomes a weapon against war's assault on identity. Charles Reznikoff, Muriel Rukeyser, Gwendolyn Brooks, and Richard Wilbur mobilize and challenge the authority of traditional poetic forms to defend the self against social, political, and physical assaults. The objective, free-verse testimony form of Reznikoff's long poem Holocaust (1975) registers his mistrust of lyric subjectivity and of the musical effects of traditional poetry. In Rukeyser's free-verse and traditional-verse forms, personal experiences and public history collide to create a unifying poetry during wartime. Brooks, like Rukeyser, posits poetry's ability to protect soldiers and civilians from war's threat to their identities. In Brooks's poems, however, only traditionally formal poems can withstand the war's destruction. Wilbur also employs conventional forms to control war's disorder. The individual speakers in his poems avoid becoming nameless war casualties by grounding themselves in military and literary history. Through a series of historically informed close readings, this dissertation illuminates a neglected period in the history of American poetry and argues that mid-century formalism challenges--not retreats from--twentieth-century atrocities.
Committee in charge: Karen Jackson Ford, Chairperson; John Gage, Member; Paul Peppis, Member; Cecilia Enjuto Rangel, Outside Member
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Cogar, Jessica L. "Pearl Anthology: Prose Poems." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1492689133782808.

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Armstrong, Robert A. "Gleanings in French Fields: A Formal Approach to the Translation of French Poetry." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587646850156205.

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Michel, Christopher Joseph. "Searching Assurances." Miami University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=miami1150734392.

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Edwards, Stephanie Lorraine. ""Still House"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703404/.

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Still House is a poetry manuscript that explores the relationship between traditional gender roles and traditional poetic forms. The poems in this collections seek to revise the role of the homemaker and interrogate whether it is okay to take comfort and pleasure in tasks that are often labeled as feminine (i.e. cooking, baking, decorating, organizing, shopping, choosing outfits) while rejecting other parts of the homemaker archetype, such as subservience to and dependence upon men. Limited gender roles, patriarchy, sexist comments, capitalism, toxic masculinity, the cis-hetero-white-male gaze, trauma, physical pain, illness—these all can make it feel like we are not fully in control and ownership of our bodies, like something is encroaching. The poems in Still House are invested in using the poetics of embodiment (a poetics centered around telling stories about the body through immersive sensory details) to reclaim the body from trauma, patriarchy, and chronic pain and illness.
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Bosch, Sánchez Lluís. "La traducció al català de poesia en llengua anglesa (1990-2010): anàlisi formal i retòrica." Doctoral thesis, Universitat de Girona, 2017. http://hdl.handle.net/10803/666592.

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This PhD dissertation attempts to describe and value the translation into Catalan of English language poetry during the period that comprises the years 1990 to 2010. It is the aim of this thesis to consider a theoretical approach regarding the study of poetry translation based on rhetoric. As far as twenty translations are studied in order to offer quite an assorted, large and diverse collection of samples that supports the fulfillment of the pursued objective. All the English language poets that belong to the corpus have mostly published their work during the twentieth and twenty-first centuries. This chronological delimitation hinders the application of a historicist methodology that would not fit in the synchronic and theoretical goals of the current dissertation. Hence, the methodology employed is comparative, descriptive and empirical. It is impossible to avoid the comparative method when studying any translated text in depth, because translation needs to confront two texts: the source text and the target text. Whereas the descriptive and empirical methods allow to reach supporting conclusions, since the thesis always departs from texts that have been previously analyzed and described. Thus, this dissertation aims at showing that translated poetry texts can be described, studied and assessed from rhetoric, a discipline that, from its origins, has been linked to grammar and poetry and, for this reason, it is based on the knowledge of the language procedure that is characteristic of literature
Aquesta tesi doctoral es proposa descriure i valorar les traduccions al català de poesia en llengua anglesa durant el període comprès entre els anys 1990 i 2010. El propòsit de la tesi és plantejar un enfocament teòric per a l’estudi de la traducció de poesia basat en la retòrica. S’hi estudien fins a vint traduccions, a fi d’oferir un mostrari prou variat, ampli i divers que permeti assolir l’objectiu proposat. Tots els poetes en llengua anglesa que formen part del corpus han publicat, majoritàriament, la seva obra, durant els segles XX i XXI. Aquesta delimitació cronològica impedeix aplicar una metodologia historicista que no encaixaria amb els objectius sincrònics i teòrics d’aquesta tesi. Així doncs, la metodologia emprada és comparatista, descriptiva i empírica. El mètode comparatiu és del tot inevitable a l’hora d’aprofundir en l’estudi de qualsevol text traduït, perquè la traducció obliga a acarar dos textos: el text de partida i el text d’arribada. El mètode descriptiu i empíric permet arribar a conclusions contrastables, per tal com la tesi parteix sempre dels textos analitzats i prèviament descrits. La tesi es proposa demostrar que els textos de poesia traduïts poden ser descrits, estudiats i avaluats a partir de la retòrica, una disciplina que, des dels seus orígens, ha estat vinculada a la gramàtica i a la poètica, per la qual cosa es basa en el coneixement dels procediments del llenguatge característics de la literatura
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Davis-Allen, Pamela Marie. "Gypsy Soul, Wolf Spirit." Wright State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=wright1244129031.

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Gonçalves, Murilo de Almeida. "A poética de Paulo Henriques Britto: tensões entre subjetividade e forma." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-17072018-131338/.

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A presente dissertação tem como objetivo examinar alguns poemas que compõem a obra do escritor carioca Paulo Henriques Britto, a fim de que identifiquemos características que constituem sua poética. As análises irão recair sobre temáticas mais saliente de sua obra, como a questão do fazer poético, e as possibilidades de constituição de uma subjetividade. Acreditamos que observar cuidadosamente essa obsessão do autor por determinados temas nos ajudará a compreender características que constituem a lírica sua lírica.
The present dissertation aims at examining some poems that compose the work of the writer Paulo Henriques Britto, in order to identify characteristics that constitute his poetics. The analyzes will fall on the most salient themes of his work, such as the question of making poetic, and the possibilities of constitution of a subjectivity. We believe that carefully observing this author\'s obsession with certain themes will help us to understand the characteristics that constitute his lyric.
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Watanabe, Edna Atsué. "Vozes das formas na poesia concreta do Grupo Noigandres /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/86950.

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Orientador: Omar Khouri
Resumo: A proposta desta dissertação foi estudar as bases teóricas e os princípios formais apresentados no "Plano-piloto para a Poesia Concreta", 1958, que foi publicado em Noigandres 4 pelos poetas Augusto de Campos, Haroldo de Campos e Décio Pignatari, os quais conceberam a poesia como "uma arte geral da palavra" e "o espaço gráfico como elemento constitutivo estrutural do poema". A partir dos conceitos da semiótica desenvolvida por Charles Sanders Peirce, pretendeu-se compreender a forma como uma estrutura em movimento ou isomorfismo estrutural, que foi desenvolvido pelo grupo Noigandres na sua fase ortodoxa, entre 1955 a 1959, quando predominaram a forma geométrica e a matemática da composição. Finalmente, foram analisados cinco poemas representativos da Poesia Concreta Paulista elaborados entre 1955 a 1959.
Abstract: The proposal of this dissertation was to study the theoretical basis and formal principles set forth in the "Pilot-Plan for Concrete Poetry", 1958, published in Noigandres 4 by the concrete poets Augusto de Campos, Haroldo de Campos e Décio Pignatari, who used to conceptualize poetry as the "general art of the word" within which "the graphic space acts as structural agent of poem". On the basis of Charles Sanders Peirce's semiotics, we have hereby undertook to understand the concept of form as structural movement or structural isomorphism that has been worked out by the group Noigandres in their orthodox phase, between 1955 and 1959, when the geometric form and the mathematics of composition used to prevail in their poetry. Accordingly we have analyzed five representative poems by Concrete Poets from São Paulo, that were written by then.
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Abdo, Sandra Neves. "Fernando Pessoa: poeta cético?" Universidade de São Paulo, 2002. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-04062002-123640/.

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Ce travail est une réflexion sur la portée philosophique de la poésie de Fernando Pessoa. Son présuposé fondamental est l’idée que le sens premier de cette poésie, comme tutte poésie légitime, se développe au niveau de ses formes. L’analyse textuelle s’est révelée une procédure décisive qui permet de signaler la polyphonie en tant que principe constructif fondamental, par lequel Fernando Pessoa fait un discours poétique essentiellement dubitatif, interrogatif, suspensif, une véritable époche sceptique.
Este trabalho é uma reflexão sobre o alcance filosófico da poesia de Fernando Pessoa. Seu pressuposto fundamental é a idéia de que o significado primeiro dessa poesia, como de toda legítima poesia, desenvolve-se no nível de suas formas. A análise textual mostrou-se, assim, um rocedimento decisivo, permitindo apontar a polifonia como princípio construtivo fundamental, pelo qual Fernando Pessoa faz um discurso poético essencialmente dubitativo, inquisitivo, suspensivo, uma verdadeira epoché cética.
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Books on the topic "Formal poetry"

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Aldama, Frederick Luis. Formal Matters in Contemporary Latino Poetry. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9780230391642.

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Walter, Colin. Inhabiting poetry: A formal contribution to the debate on teaching poetry. London: Goldsmiths' College, University of London, 1989.

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1950-, Dresher Bezalel E., and Friedberg Nila 1972-, eds. Formal approaches to poetry: Recent developments in metrics. Berlin: M. de Gruyter, 2006.

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1956-, Finch Annie, ed. A formal feeling comes: Poems in form by contemporary women. Brownsville, OR: Story Line Press, 1994.

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Ezenwa-Ohaeto. I wan bi president: Poems in formal and pidgin English. [Nigeria?]: Delta, 1988.

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Press, Funtime, ed. Quiddities: Philosophical Poetry. 2nd ed. Conshohocken, Pa-Plymouth Meeting, Pa: Funtime Press, 2013.

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As/Is, ed. Cheltenham Elegy #412: As/Is group poetry blog. Conshohocken, Pa: As/Is group poetry blog, 2020.

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Shockley, Evie. Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry. Iowa City: University of Iowa Press, 2011.

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Fieled, Adam, ed. Ode On Exile. Conshohocken, Pa: P.F.S. Post, 2017.

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Fieled, Adam, ed. Ode On Exile. Conshohocken, Pa: P.F.S. Post, 2017.

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Book chapters on the topic "Formal poetry"

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Bogan, Louise. "The Pleasures Of Formal Poetry." In Contemporary Poetry: A Retrospective from the "Quarterly Review of Literature", edited by Theodore Russell Weiss, 128–38. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400871728-043.

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Williams, William Carlos. "Experimental & Formal Verse." In Contemporary Poetry: A Retrospective from the "Quarterly Review of Literature", edited by Theodore Russell Weiss, 124–28. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400871728-042.

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Aldama, Frederick Luis. "Introduction: On Matters of Form in Contemporary Latino Poetry." In Formal Matters in Contemporary Latino Poetry, 1–32. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9780230391642_1.

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Aldama, Frederick Luis. "Rafael Campo." In Formal Matters in Contemporary Latino Poetry, 33–64. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9780230391642_2.

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Aldama, Frederick Luis. "C. Dale Young." In Formal Matters in Contemporary Latino Poetry, 65–82. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9780230391642_3.

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Aldama, Frederick Luis. "Julia Alvarez." In Formal Matters in Contemporary Latino Poetry, 83–110. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9780230391642_4.

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Aldama, Frederick Luis. "Rhina P. Espaillat." In Formal Matters in Contemporary Latino Poetry, 111–33. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9780230391642_5.

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Aldama, Frederick Luis. "Coda." In Formal Matters in Contemporary Latino Poetry, 135–38. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9780230391642_6.

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Aldama, Frederick Luis. "Interviews." In Formal Matters in Contemporary Latino Poetry, 139–76. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9780230391642_7.

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Gervás, Pablo. "An Expert System for the Composition of Formal Spanish Poetry." In Applications and Innovations in Intelligent Systems VIII, 19–32. London: Springer London, 2001. http://dx.doi.org/10.1007/978-1-4471-0275-5_2.

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Conference papers on the topic "Formal poetry"

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Khugaev, Irlan Sergeevich. "Formal characteristics of translingual poetry by Kosta Khetagurov." In Proceedings of the 1st International Scientific Practical Conference "The Individual and Society in the Modern Geopolitical Environment" (ISMGE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ismge-19.2019.53.

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Ponomareva, Marina V. "THE BUSH IN ALEXANDER KUSHNER’S POETRY: SEMANTICS OF IMAGERY." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.15.

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The article deals with one of the most frequent imagery in Alexander Kushner’s poetry — the bush. The source of the research is the whole corpus of the poet’s lyrics — from Kushner’s first poetry collections in 1960s to his latest magazine publications. In studying the semantics of the imagery we strive to employ a complex approach, using elements of comparative historical, formal and structural methods. Among Kushner’s floral imagery (the garden, the tree, the bush) it is the bush that appears the most important and ambiguous. The article demonstrates the meaning of the imagery (as A. Ariev states it, the bush is the Kushner’s “main metaphor of life”) and its agreement to Kushner’s poetics (attention to the small, the private, the day-to-day. the proportionality to the man, the publicity waive. It is shown that there is a persistent comparison of the bush and the poet’s lyrical ego. For the first time, the following functions are revealed: 1) bush as a part of the landscape, including the urban one, and as a marker of Leningrad/Saint-Petersburg space; 2) bush as a limit between the worlds: a) between the mudane life and the death; b) between the mundate life and the higher divine existence; 3) bush as a metaphor of death: the imagery of a broken, fruitless and snow-covered bush symbolises the death as an oblivion; 4) bush as a metaphor of eternal life: the imagery of a flowery bush may be used as an icon of an “eternal spring” that awaits the human beyond the limits of earthly life. In addition, Kushner’s bush is tightly connected to the whole topic of creativity, seizing of speech and divine presence (the Burning Bush). The article shows complexity, ambivalence of the imagery. Refs 9.
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Ermakova, Olga S., and Aleksandra N. Livanova. "BIBLE IN LANDSMÅL AS CULTURAL AND HISTORICAL PHENOMENON." In Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063572.

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The article discusses the prerequisites for creating translations of the Bible into Norwegian and the history of its first translation into landsmål. The authors describe the evolution of the Bible translation and incorporation in the translation of Norwegian words and expressions, and show the influence of society in changing the biblical text. Particular attention is given to the impact of the Bible translation on the spread of New Norwegian as a cultural language in present-day Norway. The paper compares excerpts from translations of the Gospel of Mark into Norwegian riksmål (1904) and landsmål (1921) language varieties. The authors demonstrate the difference between formal and functional equivalence approaches to translating biblical texts and show that translators into landsmål, while trying to stick to the original source, considered it much more important to convey the poetry of the biblical language and to make it understandable to recipients. In conclusion, it is noted that Norwegian society accepted the new translation of the Bible, which in turn opened the way for the acceptance of nynorsk (the New Norwegian) as the language of the church.
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Демидова, М. В. "FORMATION OF THE VIDEO POETRY GENRE AND ITS INFLUENCE ON THE DEVELOPMENT OF MULTIMEDIA DESIGN." In Мультимедиа: современные тенденции IX Международная научно-практическая конференция. Crossref, 2024. http://dx.doi.org/10.54874/9785605054290_16.

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Способы репрезентации поэтических текстов в художественной культуре настоящего времени вызывают интерес дизайнера. Появление новых форм на экране, где они развиваются в формате «поэтических клипов» и «видеостихов», обусловлено не только развитием технологий. Понимание предпосылок становления видеопоэзии как уникального мультимедийного жанра становится значимым для развития новых творческих направлений дизайнерской деятельности, способствует поиску и созданию новых форм в моушн-дизайне. The ways of representing poetic texts in the artistic culture of the present time arouse the designer’s interest. The emergence of new forms on the screen, where they develop in the format of “poetry clips” and “video poems”, is due not only to the development of technology. Understanding the prerequisites for the formation of video poetry as a unique multimedia genre becomes significant for the development of new creative areas of design activity and contributes to the search and creation of new forms in motion design.
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Mello Simões Paiva, Alessandra. "SACUDINDO A POEIRA OCIDENTAL: A AESTHESIS DECOLONIAL E AS TEORIAS DA ARTE CONTEMPORÂNEA." In 32º Encontro Nacional da ANPAP - Formas de vida. Fortaleza, Ceará: Even3, 2023. http://dx.doi.org/10.29327/32anpap2023.667138.

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Faumuina, Cecelia. "'Asi - The presence of the unseen." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.110.

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This paper considers an indigenous, methodological framework developed for my doctoral thesis, ‘Asi: The Presence of the Unseen. Defined as ‘Ngatu’ the framework employs the heliaki (metaphor) of women’s collective crafting of indigenous fabric, to structure an artistic research project. Ngatu is cloth made from the bark of the paper mulberry tree. Used for floor mats, bedding, clothing and room dividers it is also often given as a gift at weddings, funerals and formal presentations. Ngatu is considered one of Oceania’s distinctive art forms and processes. Within the study, the position of the researcher is both a creator of artistic work and a reflector on the experience and practices of other collaborators. The Ngatu framework enables a practice-led inquiry that is underpinned by indigenous principles: uouongataha (the pursuit of harmony), mālie/māfana (warmth and beauty) and anga fakatōkilalo (being open to learning). Guided by these values, the methodology employs five distinct phases: TŌ (gestation) TĀ (harvesting knowledge) NGAOHI / TUTU (preparing and expanding ideas) HOKO/KOKA’ANGA (harmonious composition), and FOAKI (presentation). The Ngatu methodology may be seen in the light of a significant discussion in 2019, where a gathering of Oceanic scholars considered a proliferation of Indigenous models of inquiry that had been developed by Pacific researchers outside of conventional Western research paradigms. Although much of the discussion focused on research emanating from Health and the Social Sciences, the use of heliaki to describe methodological approaches to artistic inquiry also has a discernible history in doctoral theses in Aotearoa/New Zealand (Pouwhare, 2020; Toluta’u, 2015; Tupou, 2018; Vea, 2015). The Ngatu methodological framework was applied to the question, “What occurs when young Oceanic people work together artistically in a group, drawing on values from their cultural heritage to create meaningful faiva (artistic performances)?” In posing this question, the thesis sought to understand how, ‘asi (the spirit of the unseen), might operate as an empowering agency for endeavour and belonging. As such, the study proposed that ‘asi which is conventionally identified at the peak of artistic performance, might be also discernible before and after such an event, and resource the energy of artistic practice as a whole. The Ngatu methodology was applied to two bodies of work. The first was a co-created project called Lila. This was developed by a team of secondary school students who produced a contemporary faiva for presentation in 2019. This case study was used in conjunction with interviews from contemporary Oceanic youth leaders, reflecting on the nature and agency of ‘asi, as it appears in their artistic workshops with young people. The second work was a performance called FAIVA | FAI VĀ. This was the researcher’s artistic response to the witnessed nature of ‘asi. The performance integrated spoken word poetry, sound, illustration and video design.
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Rodríguez Navarro, María Victoria. "L’Amour à deux visages: el agua en Pernette du Guillet como reflejo del diálogo amoroso." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2913.

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Sumergirse en el agua, reflejo simbólico de virtudes, es volver a las fuentes de la vida para regenerarse, para saciar esa sed de conocimiento y también para recibir los rayos del sol que en ella se reflejan, como es el caso de la lionesa Pernette du Guillet quien, a diferencia de Louise Labé, ha persistido en la memoria de los hombres no sólo por su talento natural sino gracias a la irradiación de la que la inundó Maurice Scève, «son Jour», jefe incuestionable del Círculo de Lyon, en el que las mujeres poetas del Renacimiento tuvieron un papel de primer orden.La mayoría de sus «Rymes» responden a una especie de diálogo amoroso entre ambos en el que el elemento líquido tiene un papel primordial. Pernette se presenta tan límpida y pura «comme l'eau de la claire fontaine», mientras que en el fondo anima a su poeta a todo lo contrario, produciéndose, a veces, un auténtico diálogo de sordos: ambos se aman con un amor sincero y mutuo pero no de la misma manera.Analizaremos esos aspectos confrontando los versos de Scève y los de Pernette, en especial su Elegía II, para confirmar la oposición formal entre las ensoñaciones masculinas y femeninas.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2913
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Moreno-Jiménez, Luis-Gil, and Juan-Manuel Torres-Moreno. "Megalite: A New Spanish Literature Corpus for NLP Tasks." In 8th International Conference on Artificial Intelligence and Applications (AIAP 2021). AIRCC Publishing Corporation, 2021. http://dx.doi.org/10.5121/csit.2021.110109.

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In this work we introduce the Spanish Literary corpus MegaLite, a new corpus well adapted to Natural Language Processing (NLP), Computational Creativity (CC), Text generation and others studies. We address the creation of this corpus of literary documents to evaluate or design algorithms in automatic text generation, classification, stylometry and rhetorical analysis, sentiment detection, among other tasks. We have constituted this corpus manually in order to avoir genre classification errors. Near of 5 200 works on the genres narrative, poetry and plays constitute this corpus. Some statistics and applications of MegaLite corpus are presented and discussed. The MegaLite corpus will be available to the community as a free resource, under several adequate formats.
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Loh, Cassandra, Marcos Mortensen Steagall, and Tatiana Tavares. "Codificación lógica y poesía emocional: Una exploración de la expresión poética en lo digital." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.164.g216.

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Esta investigación de diseño orientada a la práctica investiga las oportunidades que tiene una expresión poética significativa dentro del medio digital. Su objetivo es crear poemas nacidos en formato digital que vinculen estrechamente el contenido con su forma, priorizando la presentación y el contenido textual del poema. Plantea la hipótesis de que el medio digital ofrece más oportunidades para la expresión personal que la impresión tradicional. Los poemas digitales pueden ser dinámicos, con animación, interactividad y descubrimientos. Pueden permitir que un poeta atraiga a los lectores más profundamente a su mundo, donde las acciones reaccionan y se convierten en parte de la expresión. Sin embargo, estos vienen con complejidades adicionales. Este espacio puede resultar intimidante para los creativos, ya que los profesionales deben aprender lenguajes de codificación para crear experiencias interactivas. Este proyecto se enmarca dentro de la poesía digital, pero toma prestadas ideas de otros ámbitos del conocimiento y la práctica, como el expresivismo estético (Collingwood, 2017) y el hipertexto (Landow, 2006). La práctica se centra en probar, reflejar y articular la expresión poética presente en tres características distintas del entorno digital: efimeridad, contenido oculto y no linealidad. Estos se derivaron inicialmente de la obsolescencia de la poesía digital (Angello, 2015), la falta de orientación dentro de los medios hipertextuales (Pope, 2006) y las definiciones del hipertexto (Landow, 2006). Estas características se investigan más a fondo a través de prototipos, donde la investigación prueba técnicas que reflejan sus cualidades para crear experiencias poéticas. Dentro de este proyecto, el investigador asume dos roles con diferentes visiones del mundo: el poeta y el diseñador. El primero aporta lentes expresivos y subjetivos, mientras que el segundo introduce objetividad y atención a las habilidades técnicas. Ambos son integrales y su relación es el núcleo de esta investigación. La investigación explora aquellos casos en los que la escritura poética ocurre en relación con la elección de técnicas del medio. A veces, las voces artísticas y técnicas resultaron disonantes. Sin embargo, ha habido destellos de simbiosis durante el proceso. Podría decirse que encontrar formas de fomentar la simbiosis entre estas dos voces puede garantizar una mayor sinergia y conexiones significativas entre el poema y su forma. Para investigar esto más a fondo, la investigación ha experimentado con flujos de trabajo de escribir poemas primero y priorizarlos, escribir poemas en segundo lugar y priorizar las técnicas, y finalmente desarrollar los poemas y las técnicas simultáneamente. Las evaluaciones de prototipos utilizan estas lentes para determinar la idoneidad de las técnicas hacia la expresión y sus características digitales asociadas. Como resultado, la investigación mapea una variedad de flujos de trabajo utilizados para abordar la poesía digital a través de las características descritas del medio. Se cree que sin una comprensión clara de lo que puede ofrecer el espacio digital, un poema no podría tener ninguna diferencia en su experiencia de lectura de su forma impresa escrita, o los practicantes podrían crear una experiencia discordante y sin sentido. El resultado final del diseño de esta investigación es una pequeña colección de poemas digitales sobre el tema de las relaciones en línea. Cada poema sirve para articular cómo se pueden aplicar y utilizar estas características, destacando las posibilidades de sustentar la expresión a través de sus relaciones con el poema.
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Lindinger, Stefan. "„Höhlender Wind wohnt zwischen dem kalten Gemäuer der Stadt“. Gottfried Kölwels ,Münchner Elegien‘ (1947)." In Form und Funktion. University of Ostrava, 2024. http://dx.doi.org/10.15452/fuflit2023.09.

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In 1947, Southern German poet Gottfried Kölwel (1889–1958) published a cycle of six poems under the title ,Munich Elegies‘, in which he laments the destruction of this city caused by the bombings of World War II. Kölwel makes use of the erudite literary form of the elegy and thus attempts to counteract the notions of chaos and destruction, which are inherent in his literary material, by imposing a formal structure upon it. In this contribution, the poems are contextualized within the literary history of the years immediately following the war as well as analyzed in a close reading.
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Reports on the topic "Formal poetry"

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Aguinis, Marcos, Salomón Lerner, and Darío Ruíz Gómez. The Essential Role of Ethics in the Developmen of Latin America: Convictions That Sabotage Progress: The Difficulty of Telling the Truth. Inter-American Development Bank, April 2004. http://dx.doi.org/10.18235/0007951.

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Salomón Lerner (1944-), Peruvian philosopher, Rector of Pontifical Catholic University of Peru (1994-2004), Angel Escobar Jurado National Human Rights Award (2003). Marcos Aguinis (1935-), Argentine physician, former Minister of Culture in Argentina, Planeta Prize (Spain), Grand Prize of Honor by the Argentine Society of Writers. Darío Ruiz Gómez (1935-), Colombian art and literary critic, former Professor of Architecture in Medellín, published four books of poetry and five books of short stories.
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Karlstrom, Karl, Laura Crossey, Allyson Matthis, and Carl Bowman. Telling time at Grand Canyon National Park: 2020 update. National Park Service, April 2021. http://dx.doi.org/10.36967/nrr-2285173.

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Grand Canyon National Park is all about time and timescales. Time is the currency of our daily life, of history, and of biological evolution. Grand Canyon’s beauty has inspired explorers, artists, and poets. Behind it all, Grand Canyon’s geology and sense of timelessness are among its most prominent and important resources. Grand Canyon has an exceptionally complete and well-exposed rock record of Earth’s history. It is an ideal place to gain a sense of geologic (or deep) time. A visit to the South or North rims, a hike into the canyon of any length, or a trip through the 277-mile (446-km) length of Grand Canyon are awe-inspiring experiences for many reasons, and they often motivate us to look deeper to understand how our human timescales of hundreds and thousands of years overlap with Earth’s many timescales reaching back millions and billions of years. This report summarizes how geologists tell time at Grand Canyon, and the resultant “best” numeric ages for the canyon’s strata based on recent scientific research. By best, we mean the most accurate and precise ages available, given the dating techniques used, geologic constraints, the availability of datable material, and the fossil record of Grand Canyon rock units. This paper updates a previously-published compilation of best numeric ages (Mathis and Bowman 2005a; 2005b; 2007) to incorporate recent revisions in the canyon’s stratigraphic nomenclature and additional numeric age determinations published in the scientific literature. From bottom to top, Grand Canyon’s rocks can be ordered into three “sets” (or primary packages), each with an overarching story. The Vishnu Basement Rocks were once tens of miles deep as North America’s crust formed via collisions of volcanic island chains with the pre-existing continent between 1,840 and 1,375 million years ago. The Grand Canyon Supergroup contains evidence for early single-celled life and represents basins that record the assembly and breakup of an early supercontinent between 729 and 1,255 million years ago. The Layered Paleozoic Rocks encode stories, layer by layer, of dramatic geologic changes and the evolution of animal life during the Paleozoic Era (period of ancient life) between 270 and 530 million years ago. In addition to characterizing the ages and geology of the three sets of rocks, we provide numeric ages for all the groups and formations within each set. Nine tables list the best ages along with information on each unit’s tectonic or depositional environment, and specific information explaining why revisions were made to previously published numeric ages. Photographs, line drawings, and diagrams of the different rock formations are included, as well as an extensive glossary of geologic terms to help define important scientific concepts. The three sets of rocks are separated by rock contacts called unconformities formed during long periods of erosion. This report unravels the Great Unconformity, named by John Wesley Powell 150 years ago, and shows that it is made up of several distinct erosion surfaces. The Great Nonconformity is between the Vishnu Basement Rocks and the Grand Canyon Supergroup. The Great Angular Unconformity is between the Grand Canyon Supergroup and the Layered Paleozoic Rocks. Powell’s term, the Great Unconformity, is used for contacts where the Vishnu Basement Rocks are directly overlain by the Layered Paleozoic Rocks. The time missing at these and other unconformities within the sets is also summarized in this paper—a topic that can be as interesting as the time recorded. Our goal is to provide a single up-to-date reference that summarizes the main facets of when the rocks exposed in the canyon’s walls were formed and their geologic history. This authoritative and readable summary of the age of Grand Canyon rocks will hopefully be helpful to National Park Service staff including resource managers and park interpreters at many levels of geologic understandings...
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