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Journal articles on the topic 'Formal poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Wellendorf, Jonas. "No need for mead." Grammarians, Skalds and Rune Carvers II 69, no. 2 (September 26, 2016): 130–54. http://dx.doi.org/10.1075/nowele.69.2.02wel.

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This paper will see Bjarni Kolbeinsson as a representative of the new kind of skaldic poetry that had developed around the turn of the thirteenth century. By then, formal skaldic poetry had become an art form cultivated by men who had received schooling and clerical ordination. Skalds such as Bjarni had turned their attention from the praise of kings of the present or the near past towards subjects of the more distant past and religious themes. In Jómsvíkingadrápa, Bjarni brushed aside the Odinic mead hailed by former skalds and preferred to apply techniques of poetic composition that he had learned through the formal study of Latin poetry. A tongue-in-cheek rejection of the traditional exordial topoi and a sensibility for love poetry allowed him to compose a poem that not only rejected the past but also pointed towards the future.

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Nandang, Ade, Heri Khoiruddin, and Jenal Bustomi. "Semantic Analysis of Poetry in Ibnu Katsir's Exegesis and Its Learning in Islamic Boarding School." Arabiyat : Jurnal Pendidikan Bahasa Arab dan Kebahasaaraban 10, no. 2 (December 28, 2023): 242–55. http://dx.doi.org/10.15408/a.v10i2.34062.

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This study explores the utilization of poetry in Ibn Katsir's tafsir riwayah and its instructional methods at Miftahul Huda Manonjaya Islamic boarding school in Tasikmalaya. Employing a qualitative approach, precisely the analytical descriptive research method, the research delves into integrating poetry in Ibn Katsir's exegesis and its pedagogical implementation in the mentioned Islamic boarding school. The findings reveal that Ibn Katsir employed poetry to interpret one hundred and eleven verses, highlighting the substantial role of poetic expression in his approach to tafsir riwayah. The study categorizes Tafsir learning at the pesantren into formal and non-formal learning. Seven formal learning methods are identified: lecture, question and answer sessions, demonstration, drill, problem-solving activities, recitation, and discussions. Simultaneously, non-formal learning comprises five methods: wetonan (traditional Javanese calendar-based activities), sorogan (group recitation), muhawarah (dialogue), mudzakarah (group discussion), and majlis ta'lim (religious study sessions). In conclusion, this study contributes to understanding poetry's role in Ibn Katsir's tafsir riwayah. It elucidates the diverse instructional methods applied in Tafsir learning at Miftahul Huda Manonjaya Islamic boarding school. Integrating formal and non-formal methods underscores the comprehensive educational approaches to impart Islamic knowledge in the pesantren environment. Recommendations for future research include exploring the impact of specific poetic elements on students' learning outcomes and evaluating the effectiveness of integrating technology into Tafsir teaching at Islamic boarding schools.

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13

Kipperman, Mark, and Susan Wolfson. "Formal Charges: The Shaping of Poetry in British Romanticism." Studies in Romanticism 39, no. 3 (2000): 471. http://dx.doi.org/10.2307/25601460.

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ÇOKYÜRÜR, Mehmet Zahid. "A Formal Structure in Ottoman Perıod Arab Poetry: Tatriz." Trabzon İlahiyat Dergisi 10, no. 2 (December 31, 2023): 169–94. http://dx.doi.org/10.33718/tid.1375724.

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Arap edebiyatında bedîî sanatlar kategorisinde yer alan tatrîz, ilk kez Ebû Hilâl el-Askerî’nin (ö. 400/1009’dan sonra) söz ettiği altı sanattan birisi olarak tarih sahnesine çıkmıştır. Devam eden süreçte ise mahiyet itibariyle kayda değer bir değişim dönüşüm geçirmiştir. Sanatın tarihi serencamı; ilk etapta secide ve vezinde denk olan kelimelerin kafiyeden önce sıralanması, daha sonra sözün baş tarafında birden fazla mübtedanın sıralanıp haber kısmında bir sıfatın mübtedalar sayısınca manayla da ahenkli olacak şekilde sıralanması olarak gelişmiştir. Özellikle Osmanlı dönemi Arap şiirinde tatrîzin bu öncül şekilleri uygulanmakla birlikte şiir dizelerinin baş kısımlarının bir şahsın isim veya künyesinin harfleriyle okunması şeklinde tanımlanan ve adına teşcîr de denilen yeni bir kimliğine daha şiirlerde bolca rastlanır olmuştur. Ağırlıklı olarak gazel, bazen de methiye türü şiirlere uyarlanan bu tür, diğer başka lafzî sanatlarla birlikte kimi modern dönem Arap edebiyatçılarınca anlamın lafza kurban edildiği veya mana zenginlik ve derinliğinin ikinci plana atıldığı gibi gerekçelerle ötelenmiştir. Bu araştırmanın ana temasını Osmanlı dönemi Aap şiirindeki tatrîz dokusu oluşturmakta olup, araştırmada dönemin yeni nesil tatrîz karakteri tespit edildiği gibi tatrîz sanatı gibi lafzî sanatlara karşı olan negatif bakış açısı bu sanat özelinde değerlendirmeye alınmıştır.

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15

Callaghan, Madeleine. "‘Chosen Comrades’: Yeats's Romantic Rhymes." Romanticism 23, no. 2 (July 2017): 155–65. http://dx.doi.org/10.3366/rom.2017.0322.

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Yeats's acute sense of the poet's labour, a labour that makes rhyme one of those ‘befitting emblems of adversity’ (‘My House’, Meditations in Time of Civil War, 30) energises his poetry. Rather than constricting poetry, rhyme can engender, if paradoxically, a kind of freedom for the poet; Yeats's choice of form reveals his Romantic influences while demonstrating his independence. Encompassing examples from Blake, Byron, Keats, and Shelley, this essay shows how Yeats learns from his chosen influences even as his mastery over their forms sponsors his ‘ghostly solitude’ (‘Nineteen Hundred and Nineteen’, 40). From his experimentation with trimeter to ottava rima and terza rima, Yeats's formal dexterity places rhyme centre stage as he emerges as a resolutely individual poet.

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16

Ferreira, Jean Fabricio Lopes, and Aulus Mandagará Martins. "A Geração Lula, de Alberto Pucheu: olhares para a poesia brasileira do século XXI / Alberto Pucheu’s Geração Lula: Glances Towards the 21st Century Brazilian Poetry." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 4 (January 6, 2022): 237. http://dx.doi.org/10.17851/2358-9787.30.4.237-253.

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Resumo: Uma nova geração de poetas, geralmente vindos de classes mais baixas e que experienciaram o acesso ao ensino superior, graças às políticas públicas dos governos petistas, entre 2003 e 2016, tem sido chamada, por Alberto Pucheu, de Geração Lula. Neste artigo buscou-se analisar um pouco da produção de alguns poetas desse grupo e entendê-los à luz do que Marcos Siscar e Celia Pedrosa concebem por poesia brasileira contemporânea. Observou-se nos poetas selecionados uma ligação com a ideia de a poesia apresentar-se em um prosaísmo narrativo, uma liberdade temática e formal que, por vezes, pode coincidir em um ambiente de coletividade.Palavras-chave: Geração Lula; poesia brasileira contemporânea; poetisas.Abstract: A new generation of poets, usually from the lower classes and who have experienced access to college education due to the public policies of PT governments, from 2003 to 2016, has been called, by Alberto Pucheu, Geração Lula. In this article it was sought to analyze some of the production of a few poets of this group and to understand them in the light of what Marcos Siscar and Celia Pedrosa conceive for contemporary Brazilian poetry. It was observed in the selected poets a connection to the idea of poetry presenting itself in a narrative prosaism, a thematic and formal freedom that, sometimes, can coincide in a collective environment.

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17

Lima, Marleide Anchieta de. "O lirismo gauche de Afonso Henriques Neto: reflexões sobre a poesia brasileira contemporânea." Brasiliana: Journal for Brazilian Studies 3, no. 1 (June 23, 2014): 184–218. http://dx.doi.org/10.25160/bjbs.v3i1.16765.

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This article intends to analyse the lyrical peculiarities in the poetry of Afonso Henriques Neto, placing them into the current Brazilian literary panorama. In addiction, it discusses the poet's gauche writing as a verbal-visual displacement observed in his formal and thematic imprecisions, in the problematization of his poetic heritage and in his relation with the "marginal" generation, with the beatniks and with the poets of the French modernism.

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18

AL-Thobaiti, Ghazyah. "Otherness In Miskin Al-Daramis Poetry." Journal of Umm Al-Qura University for Language Sciences and Literature, no. 32 (December 31, 2023): 196–210. http://dx.doi.org/10.54940/ll62137113.

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The research aims to study otherness Miskin Al-Darami's poetry by interrogating the poetic text and monitoring the relationship between the poet's self and the harmonious otherness at one time and the oppositional one at another, and to demonstrate the effectiveness of otherness as a semantic engine for the poetic text in its various formal and content manifestations. The results concluded that otherness contributed positively to the poetic creativity of Miskin Al-Darami, who was distinguished by diversity and richness, in addition to its association with the environment and the religious, cultural and societal aspects with which harmonized with it and contributed to its enrichment.

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19

Grace, Stephen. "13Poetics." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 242–60. http://dx.doi.org/10.1093/ywcct/mbz013.

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Abstract This review is divided into three sections. The first, ‘Poet-Critics and Criticizing Poets’, considers the accounts of poetry traced in Robert Hass’s A Little Book on Form: An Exploration of the Formal Imagination of Poetry and Don Paterson’s The Poem: Lyric, Sign, Metre. The second section, ‘(Dis)embodied Sound’, examines the different ways that Peter Robinson and Angela Leighton (themselves both prominent critics and poets) approach sound in poetry in The Sound-Sense of Poetry and Hearing Things: The Work of Sound in Literature, while the third section, ‘Hybrids and Remnants’, explores the eccentric, hybrid forms of prose poetry and ecopoetics, as described in Jane Monson’s essay collection British Prose Poetry: The Poems Without Lines and Margaret Ronda’s monograph Remainders: American Poetry at Nature’s End.

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20

Duma, Mihai. "Pentru O Poetică A Ritmurilor Discursive În Lirica Blagiană." Lucian Blaga Yearbook 20, no. 1 (June 1, 2019): 119–25. http://dx.doi.org/10.2478/clb-2019-0012.

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AbstractLucian Blaga’s writing merges into the boundaries of the European modernism both if we refer to the formal and the theoretical aspects of his work. His poetry shows us the deconstruction of the typical rhymed verse through the use of the white one. But as soon as poetry deconstructs the concepts of rhyme or meter as a necessity to define the formal aspects of writing, there is the resistant concept of rhythm which shows himself a plural concept. The aim of this paper is to investigate rhythm in the poetical creation of Lucian Blaga not as the asset of formal constructions, but as it was proposed by Henri Meschonnic a discursive rhythm which is in a tight relation with the subject of speech.

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21

Nurhidayah, Vibry Andina. "Penerjemahan Puisi." Diglossia: Jurnal Kajian Ilmiah Kebahasaan dan Kesusastraan 9, no. 2 (April 18, 2018): 123. http://dx.doi.org/10.26594/diglossia.v9i2.1142.

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Vibry Andina NurhidayahIAIN PontianakVibry_AN @yahoo.com AbstrakDalam menerjemahkan puisi seorang penerjemah harus mampu menyampaikan isi dan makna yang ada didalam bahasa sumber, Menerjemahkan puisi tergolong penerjemahan tersulit karena dalam prosesnya, sedapat mungkin dipertahankan suasana batin dari karya itu (mood, tone). Pada saat yang sama, penerjemah harus mencari padanan atas bentuk formal puisi itu sendiri secara tepat, misalnya jumlah baris (terutama untuk jenis sonnet), rhyme (persajakan) dan syllable (jumlah suku kata). Untuk menjaga supaya wajar, perpindahan isi dan pesan (content, message) puisi tetapharus dibawa. Semua kualifikasi ini sangat ditentukan oleh kepekaan seorang penerjemah-sastrawan.Kata kunci: karya sastra, puisi, terjemahan AbstractOn the translation of poetry, a translator must be able to deliver content and meaning in the source language. Translating poetry classified as the hardest translation because of the process must be able to keep inner mood from its creation (mood, tone). At the same time, a translator must find the equivalent of right formal poetry, for example amount of line (especially kinds of sonnet), rhyme and amount of syllable. Besides, displacement content and message of poetry must keep it reasonable. These qualifications determined by sensitivity of a translator-writer. Keywords: literary work, poetry, translation

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22

Raz, Yosefa. "Robert Lowth’s Bible: Between Seraphic Choirs and Prophetic Weakness." Modern Language Quarterly 81, no. 2 (June 1, 2020): 139–67. http://dx.doi.org/10.1215/00267929-8151546.

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Abstract Between 1741 and 1750 Robert Lowth, Oxford’s fifth chair of poetry, presented a series of groundbreaking lectures that reimagined the Hebrew Bible as literature, emphasizing its artful formal qualities. Today he is best known for rediscovering the parallelism of ancient Hebrew poetry, which he imagined as originating in the responsive singing of the seraphim. At a time when the divine authority of the Bible was waning, the reclassification of large swaths of prophecy as poetry helped Lowth extol the human figure of the prophet as a literary genius. Lowth idealized the prophetic-poetic text as “strong”: artful, controlled, ordered, and balanced. He responded to an anxiety about the place of the Bible and biblical prophecy in eighteenth-century English society by disavowing or minimizing the irregularities, stutters, and fissures in prophecy. But by introducing prophecy into poetry, Lowth—with much ambivalence—also ushered more passion, enthusiasm, and subjectivity into neoclassical English poetry. Despite his attempts to minimize the formal and theological weaknesses he found in the prophetic text, his scholarly project also transmitted them into English literature, allowing Romantic poets like William Blake to draw on biblical prophetic weaknesses in constructing their own complex prophetic positions.

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Padreda, Sara Buendía. "EXPLORING THE INTERPLAY OF MEMORY AND POETRY IN RIVE GAUCHE CINEMA: A STUDY OF MURIEL AND HIROSHIMA MON AMOUR." REVISTA FOCO 17, no. 3 (March 25, 2024): e4714. http://dx.doi.org/10.54751/revistafoco.v17n3-119.

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This article examines the interrelations between memory and poetry, focusing on the films Hiroshima mon amour and Muriel, directed by Alain Resnais. It explores how memory and poetry are intertwined in the narrative and formal construction of these films, using logical principles shared between the two fields. The analysis of fragmentation, invention and associationism present in the cinematic narratives, reveals how memory and poetry influence personal identity and artistic creation. These films serve as outstanding examples of how cinema can explore the depths of human consciousness through the conscious use of memory and poetry.

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Gordanpour, Yazdanmehr, and Tahereh Rezaei. "Form and perception of nature in Elizabeth bishop’s “questions of travel”." Revista de Estudios Norteamericanos, no. 25 (2021): 281–96. http://dx.doi.org/10.12795/ren.2021.i25.14.

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Elizabeth Bishop’s poetry is acutely form-conscious and human perception informs its descriptions of nature; critics who study Bishop’s poetry refer to her use of poetic artifice and note in passing the ethics of restraint and impersonality in her poetry. However, Bishop’s poetry is rarely discussed in the sphere of ecocriticism; and the formal significance of human perception infused with the descriptions of nature in her poetry is conveniently overlooked. Likewise, anthropogenic climate change is underrepresented in traditional ecocriticism which insists on removing form—and with it, any trace of the human—from the text. This article proposes that a study of Bishop’s travel writing and exploring the significance of concern for nature in conjunction with form-consciousness can contribute to a more profound understanding of both human-nature relationship and Bishop’s ecopoetic sensitivities. “Questions of Travel” is one of Bishop’s poems that directly grapples with the ethics of human presence in nature. The article explicates the textual and formal features of this poem to elucidate the function of form in its ecopoetic descriptions. The article shows how Bishop accepts the inevitability of human perception of nature and its literary corollary in ecopoetry as form-consciousness, and, thus, by implication, points to the importance of such poetry for a deeper understanding of the relationship between human beings and nature in the context of climate change.

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Manin, Dmitrii Yurievich. "The right word in the left place." Scientific Study of Literature 2, no. 2 (December 31, 2012): 273–300. http://dx.doi.org/10.1075/ssol.2.2.05man.

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This work describes a large-scale empirical study that quantifies two aspects of lexical foregrounding in literary texts: the unpredictability (unexpectedness) and constrainedness (irreplaceability) of individual words in context. The data are generated by a Web-based literary game where players guess words in fragments of real texts. The results shed new light on the nature of the distinction between poetry and prose and on the role of formal constraints in poetry. In particular, traditional poetry tends to have higher constrainedness than prose and comparable unpredictability, while avant-garde poetry is characterized by higher unpredictability than prose and comparable constrainedness.

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Guiette, Robert. "THE ADVENTURE OF FORMAL POETRY [1946] Translated by Jeff Rider." RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 8, no. 1 (September 19, 2014): 92. http://dx.doi.org/10.18352/relief.888.

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27

Pérez, Ricardo F. Vivancos. "Formal Matters in Contemporary Latino Poetry by Aldama, Frederick Luis." Romance Notes 54, no. 3 (2014): 433–35. http://dx.doi.org/10.1353/rmc.2014.0075.

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28

Gervás, Pablo. "An expert system for the composition of formal Spanish poetry." Knowledge-Based Systems 14, no. 3-4 (June 2001): 181–88. http://dx.doi.org/10.1016/s0950-7051(01)00095-8.

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29

Smethurst, James. "Review Essay: The Black Arts Movement and the Aesthetic Framing of 21st Century Anthologies of African American Poetry." Journal of Foreign Languages and Cultures 4, no. 2 (December 28, 2020): 47–56. http://dx.doi.org/10.53397/hunnu.jflc.202002005.

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When considering anthologies of African American poetry in the 21st century, it is noteworthy how much the legacy of the Black Arts Movement of the 1960s and 1970s both positively and negatively shapes their aesthetic politics, framing, and reception. This essay considers how these anthologies use the Black Arts Movement to frame their version of Black poetry and the way they come at questions of literary and cultural lineage, the relationship of Black poetry to African American experience, and formal tradition and innovation.

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Siti Maryam & Agus Supriatna, Ibna Ul Izzati,. "The Ability of Using Diction in Junior High School Students’ Poetry." Alinea: Jurnal Bahasa, Sastra, dan Pengajaran 2, no. 1 (April 16, 2019): 36. http://dx.doi.org/10.35194/alinea.v2i1.444.

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This article discusses students' ability in using word choices (diction) on the poetry of students of SMP Negeri 3 Cianjur. The method used in this research is descriptive qualitative method. The techniques used are test and questionnaire. The population of the study is 25 students of class VIII-4. This study concludes that the students’diction ability is 78 (it can be categorized as good). In terms of diction aspects, formal aspect has very good criteria, synonymy has good criteria, and polysemy has sufficient criteria. Obstacles experienced by students in writing poetry that includes diction aspect and its problem solving.Keywords: diction, formal aspect, polysemy, synonymy.

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Iskhakova, Saida Z. "Eastern and Western Influences in the Cantus Publicus Tradition of the 12th and 13th Centuries." Observatory of Culture, no. 5 (October 28, 2014): 66–72. http://dx.doi.org/10.25281/2072-3156-2014-0-5-66-72.

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Considers the impact of MuslimArab culture (via Andalusia) on the one hand and of the Church poetry and music on the other on the troubadours’ art. The author argues that though troubadours’ love poetry was quite alike Arabic lyrics, the formal structure of the songs created in the South of France was directly related to the Church Latin poetry and music of the second half of the 11th century. However, the ambiguity about the issue is rooted in the poetic Arab influence on these Church “songs” that spread during the 9th and the 10th centuries.

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Gardner, Kevin J. "Parish of the Dead." Religion and the Arts 20, no. 5 (2016): 637–62. http://dx.doi.org/10.1163/15685292-02005004.

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This essay offers an introduction to the poetry of Peter Scupham. Through close readings of individual poems, I demonstrate the beauty and formal accomplishment of his work, and I argue that his poetry embodies his sense of a living Christian tradition, one that also inheres in the English landscape. I further argue that this tradition connects the dead to the living, and the remote in time to more recent English history. The particular Christian ethos of Scupham’s poetry is one in which tradition, order, design, meaning, and essence are paramount.

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Jeong, Yu Ji. "A Brief Study Sijo Formal." Taegu Science University Defense Security Institute 7, no. 2 (April 30, 2023): 135–49. http://dx.doi.org/10.37181/jscs.2023.7.2.135.

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Sijo is a literary genre with a 700-year history. The first founder is <Tanloga (1313)> of “Utak”. Wutak created a form of sijo based on Neo-Confucianism. Chojang, Jungjang, and Jongjang symbolize “the path of heaven”, “the path of man”, and “the path of land”. This fact was revealed by Kim Cheon-taek in the late Joseon Dynasty. In his <Cheongguyeongeon>, Utak's “Tanroga” was discovered. Sijo was passed down as a song from the late Goryeo Dynasty to the late Joseon Dynasty. From the late Joseon Dynasty to 1894 (Gapo Gyeongjang), it went through the revival of Sijochang and Sajo. From 1894 to 1910, the progenitor of the enlightenment period was prevalent in the form of a progenitor. From 1910 to 1945, modern poetry in a modern form was created. Sijo is an independent genre and is an attractive genre with a beautiful and perfect Yulmun structure.

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Manalu, Kartini Ruth Maduma, G. R. Lono Lastoro Simatupang, and Nyak Ina Raseuki. "Indonesian Poetry Song Composition in Musicology Perspective." Jurnal Kajian Seni 8, no. 2 (April 10, 2022): 117. http://dx.doi.org/10.22146/jksks.73079.

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This research is an attempt by the author to answer various debates that exist to this day. This debate is often a stumbling block for musicians and also in the field of formal and non-formal education. They are in a confusing position because of the various terms that exist and the identification of the concept of Indonesian vocal music composition which is less comprehensive. Therefore, there is a personal selfishness that tends to reduce the true meaning of the work itself. The author uses a musicological perspective as an entry point to provide a new discourse regarding the composition of Indonesian vocal music. This musicological approach is a process of study, investigation and reflection while still paying attention to the relationship between context and compositional work. The author is also aware of the limitations of the space and time of the research, so that this research is not possible to fully cover all vocal music works composed by Indonesian composers. However, the author believes that the research approach carried out can be used to discuss other vocal music works.

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Viner, C. B. "The Formal Deviant: The Innovative Features of E. E. Cummings’s ‘next to of course god america i’." Westcliff International Journal of Applied Research 3, no. 1 (November 1, 2019): 17–21. http://dx.doi.org/10.47670/wuwijar201931cbv.

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This article explores the modernist American poet, E. E. Cummings, and his experimentations with the traditional sonnet form in poetry. E. E. Cummings was an influenced by cubism and used the principles of this form to stylize his poetry. He changed the nature of the sonnet form, as seen in his political poem and satire, ‘Next of course god america i’, which this article will explore through close reading and literary analysis.

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Haverkort, Marco, and Jan H. de Roder. "Poetry, language, and ritual performance." Journal of Historical Pragmatics 4, no. 2 (June 6, 2003): 269–86. http://dx.doi.org/10.1075/jhp.4.2.07hav.

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In line with the proposal of de Roder (1999), we will draw an analogy between the structure of ritual, poetic language and natural language, exploiting Frits Staal’s conception of ritual as a set of recursively applicable formal procedures, and the biological ramifications of the Chomskyan postulate of Universal Grammar. The central hypothesis is that, in terms of evolution, poetry takes a position between age-old rituals and natural languages, as a sort of missing link. We will argue that the building blocks and mechanisms of natural language developed out of ritual acts and the associated rhythmic sound sequences. The formal principles underlying rituals turned out to be useful for communication and thus natural language could evolve, an example of exaptation in the sense of Gould and Vrba (1982). Under this view, the rhythmic layer of poetry — like syntactic structure — is a semantically empty, autonomous pattern, going back to the structural principles underlying ritual. Rhythmic patterns in poetry are thus instances of pure acts in the ritual sense, and as a consequence poetry is a form of language use in which the ritual basis of language is experienced. This puts T.S. Eliot’s famous dictum “Genuine poetry can communicate before it is understood” in a new perspective. The paper thus focuses on the ritualistic substrate of language, not on the synchronic role of ritual in language. We will also discuss neurological evidence which independently supports this idea: Broca’s area — an area in the left hemisphere of the brain that has traditionally been associated with language comprehension and production — is activated when syntactically complex sentences are being processed, but it is also activated in tasks involving the perception of rhythmic patterns in music, thus supporting the idea that both (and by implication ritual too) have the same origins evolutionarily.

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Morton, John. "Science in Neo-Victorian Poetry." Victoriographies 6, no. 2 (July 2016): 131–46. http://dx.doi.org/10.3366/vic.2016.0228.

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This article considers the work of three contemporary poets and their engagement, in verse, with nineteenth-century science. Beginning with the outlandish ‘theories’ of Mick Imlah's ‘The Zoologist's Bath’ (1983), it moves on to two works of biografiction – Anthony Thwaite's poem ‘At Marychurch’ (1980), which outlines Philip Henry Gosse's doomed attempts to unite evolution and Christianity, and Ruth Padel's Darwin: A Life in Poems (2009). Starting off with John Glendening's idea that science in neo-Victorian fiction, if fully embraced, provides an opportunity for self-revelation to characters, this article explores the rather less happy resolutions of each of these poems, while in addition discussing the ways in which the poems perform the formal changes and mutability of nature.

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Aroui, Jean-Louis. "Formal approaches to poetry : Recent developments in metrics (review)." Canadian Journal of Linguistics / La revue canadienne de linguistique 52, no. 3 (2007): 313–16. http://dx.doi.org/10.1353/cjl.2008.0027.

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Behrendt, Stephen C. "Formal Charges: The Shaping of Poetry in British Romanticism. Susan Wolfson." Wordsworth Circle 28, no. 4 (September 1997): 204–5. http://dx.doi.org/10.1086/twc24044711.

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Abu Lubdeh, Samer. "Reading in the Poetry of Ibn-Alzaqaq Al-Balansi according to Rhtoricstandard and its InformaiveVaule." Dirasat: Human and Social Sciences 49, no. 5 (December 28, 2022): 47–60. http://dx.doi.org/10.35516/hum.v49i5.3113.

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This research deals with the rhetorical standards that Andalusians relied on based in their critical discourse, and their impact in Ibn Al-zaqqaq Al-balansi poetry from the informative view, in terms of their approval his psychological and emotional stamina. and the faces of their impact on the receiver. The study has relied on the descriptive an analytical method to reveal these criteria and their impact on the poetic formation of ibn al-zaqqaq. The research concluded that the authentication of ibn al-zaqqaq with the rhetorical criteria in their formal frame has caused a big loss of rhetorical value of his poetry in terms of influencinc the receiver as emotion and interaction with all of his imaginative discourse as well as a sincere expression from the intersecting emotional and psychological dimensions with his emotional experience, so a part of his poetry stayed restricted with in the prospects of Tendencies Public that era, and emulating the standards of rhetoric in its formal dimension without genuine prejudice in the truth of the expeience.

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Hughes, Janette Michelle, Laura Jane Morrison, and Cornelia Hoogland. "You Don’t Know Me: Adolescent Identity Development Through Poetry Performance." in education 20, no. 2 (October 24, 2014): 59–77. http://dx.doi.org/10.37119/ojs2014.v20i2.160.

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Our study concerns adolescents using poetry writing as an interrogative and creative means of shaping and creating “voices” or “identities.” Toronto-based high school students were challenged to be creators (rather than solely consumers) of available social practices within a digital landscape using mobile devices and social networking platforms. The students engaged in the processes of creating poetry that included experimentation with form (including spoken word, found, and rhyming couplet poetry), research, and writing-induced challenges of received ideas. Their creations of their multiple “Resonant Voices,” which in some cases were powerful statements of self-discovery and social criticism, were further amplified because they occurred in a formal educational setting.Keywords: adolescents; identity; digital literacies; multiliteracies; poetry; social practices; social networking sites; Facebook; pedagogy; mobile devices; Android app; poetic inquiry; metacognitive

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Barth, Vinicius. "CONTEMPLAÇÃO NAS SOMBRAS: O GUESA DE SOUSÂNDRADE E A MEIA-NOITE ÀS MARGENS DO SOLIMÕES." Revista Épicas 8, no. 2020 (December 30, 2020): 119–37. http://dx.doi.org/10.47044/2527-080x.2020v8.119137.

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This article aims to analyze the episode that narrates the Guesa's midnight dream on the banks of the Solimões River, a passage that is present in the first book of Joaquim de Sousândrade's pan-Indian epic O Guesa. This part, which anticipates the epic topic of the “descent into hell” that occurs during the Dance of Tatuturema in the second book, shows some of the literary influences over the poet's voice in formal and thematic aspects. This study will try to identify, through the poetic text, some of these influences, quite varied and assembling aspects of epic poetry - classical, renaissance and modern - of lyric and of romantic and Indianist literature, culminating in an object of singular value within Brazilian poetry. Guesa, a Muisca Indian, personification of the Sun-god and representative of the pan-Indian project of Sousândrade, undergoes a metamorphosis at midnight: he resembles Lucifer and Prometheus, and sings his melancholy just like Baudelaire on the banks of the mythical Lethe.

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DOVBNYA, K. "Types of poetry figures (shabdalankar) of Mira Bai's poetry." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 26 (2020): 55–57. http://dx.doi.org/10.17721/1728-242x.2020.26.55-57.

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This article addresses the issue of the types of poetic figures (shabdalankar) in the poetry of the famous poetess of the medieval socio-religious movement bhakti Mira Bai, namely, an important category of Hindi poetry – alankars, which help to express aesthetic emotion – racu. Therefore, their study is of great importance for characterizing the work of Mira Bai in general. Alankars are usually called rhetorical figures, and their close translation – "decorations" – corresponds to the most important European rhetorical category fully, which covers the concept of figures and paths ornatus. They adorn the sound and meaning of the word and help to show aesthetic emotion – racu. It was suggested to study the types of shabdalankar (form decorations) in the poetry of Mira Bai. It was reviewed such shabdalankars as anupras (alliteration), yamaka (lexical repetition – "consonance"), vacrocti and shlesha (some types of paronomasia – "combination"). It was found that in the verses of Mira Bai there are mainly two of them – anupras and vipsa. A feature of the formal side of Mira Bai's works is miserly use of poetry adornments, since the poetry's verses are a cry of the soul, they reflect the unbearable pain of separation from her beloved Krishna. In such a state of mind, Mira Bai was not up to artificial decoration and play on words. If individual alancars appear in her poetry, it happens completely at ease. Only one of several shabdalankar dominates in the verses of Mira Bai, namely: anuprasa, which helps the poetess through the melody of the verse to create the mood she needs and clearly show the aesthetic emotion of love – the shringar's racu.

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Khosravishakib, Mohammad. "Social Function of Poetry From View of New Criticism." International Journal of Applied Linguistics and English Literature 6, no. 2 (January 4, 2017): 14. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.2p.14.

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The standards, morality and function of poetry lie in its correctness and truthfulness to the state of mind it is trade with, not in its themes. The matter of decency and correctness in poetry and poems is a controversial one. Commonly seen as a fictional category which have a tendency to toward subjectiveness and perception, it is frequently tough to conclude whether the moral sense of poetry is to be found in its content, its method, in the feelings transported, or in the linking of these features. Here this subject is scrutinized as it appears in the supposed of faultfinders linked to the so titled New Criticism school. Prominent during the mid-20th Century, this school was recognized for its emphasizing on the reading of interior and formal possessions of the literary manuscript. On the other hand, the authors related to it had sumptuous philosophies on morality in poetry and poem. Here some of these concepts are conversed.Keywords: Winter, Eliot, Tate, Poetry, New Criticism, Morality

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Munir, Moh, and Rizka Eliyana Maslihah. "Takwīn al-Bīah al-Lughawiyyah Litarqiyah al-Mahārah al-Intājiyyah fī al-Ma’āhid al-‘Aṣriyyah bi Ponorogo." LISANIA: Journal of Arabic Education and Literature 5, no. 2 (December 3, 2021): 237–51. http://dx.doi.org/10.18326/lisania.v5i2.237-251.

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This qualitative research aimed to find out: 1) the formation of formal and natural language environment to improve students' speaking skills in various modern Islamic boarding Schools at Ponorogo. 2) the formation of formal and natural language environment to improve students' writing skills in various Modern Islamic Boarding Schools at Ponorogo. The results indicate that: 1) Students' speaking skills are improved through the following Arabic language environmental activities: using Arabic in daily conversation, Arabic learning, the use of language laboratory, adding new daily vocabulary, annual language competition, listening to foreign language news, language error correction, speech competition, poetry reading, debate, and Arabic storytelling. 2) Students' writing skills are improved through the following Arabic language environmental activities: writing foreign-language articles, speeches, debate, English storytelling, poetry, songs, drama texts, and Arabic news texts, weekly writing exercises, and writing Arabic articles competition.

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Marklew, Naomi. "Remembering and Dismembering: Ciaran Carson's Elegies for Belfast." Irish University Review 45, no. 2 (November 2015): 352–68. http://dx.doi.org/10.3366/iur.2015.0181.

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This essay considers poems from two of Ciaran Carson's recent volumes of poetry, Breaking News and Until Before After, both in terms of their poetic form and their relationship to the traditional genre of elegy. The themes of memory and memorialisation are explored within poems that are often formally fragmentary and can seem to be dismembering rather than remembering the city of Belfast. The essay suggests that Carson's poetic techniques, particularly in his repeated use of the trope of cartography or mapping, might reflect psychological theories of ‘cognitive mapping’ as a method of memorialising Belfast. Following Edna Longley's suggestion that Carson writes as a ‘post-traditional’ poet, it explores his unique contribution to the development of the contemporary elegy, by tracing the lines of inheritance and subversion from the traditions of the genre. Furthermore, by focusing on work from the mature stage of the poet's career, it also considers how Carson's poetic identity is linked to the city, and how the formal development of his poetry takes place alongside an increased awareness of the poet's need for memorialisation in the face of the dismembering threat of death.

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Liberti, Giuseppe Andrea. "Oltre Marechiare." Polisemie 3 (April 13, 2022): 1–22. http://dx.doi.org/10.31273/polisemie.v3.914.

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This paper describes some of the routes taken by Neapolitan poetry during the 21st century, paying particular attention to the most recognizable literary experiences and to authors whose works have been relevant for the evolution of the local poetic language. The paper traces a linguistic and formal path of the main tendencies of Neapolitan poetry: starting from the persistence of dialect, it continues by addressing experimentalism in Italian poetry written in Naples. Then, it focuses on the junction of performance and spoken strategies with long poems and narrative compositions, which I compare to the current directions of contemporary lyric poetry. The purpose of this paper is to offer a preliminary recognition of what happened in Neapolitan poetry from 2000 to 2020, overcoming the critical boycott of an area which has always expressed an outstanding literary and cultural vivacity. Pur senza pretendere di restituirne un quadro completo, il contributo intende descrivere alcuni percorsi della poesia del Duemila prodotta a Napoli. L’attenzione è rivolta alle scritture maggiormente riconoscibili e ad alcuni casi singoli di autrici e autori significativi per l’evoluzione della lingua poetica (non solo) locale. In particolare, l’articolo traccia un itinerario formale e linguistico delle tendenze più marcate della poesia partenopea: partendo dalla resistenza della linea dialettale, si passa allo sperimentalismo nella poesia in lingua italiana; la performatività e le possibilità esecutive del testo poetico si intrecciano poi con la forma-poemetto e le non poche narrazioni in versi, alle quali si contrappone un esame degli orientamenti della produzione lirica contemporanea. L’obiettivo è quello di offrire una prima ricognizione di quanto si è mosso nel primo XXI secolo in area napoletana, superando in questo modo un certo ostracismo critico nei confronti di una zona più che mai in fermento sul fronte poetico e letterario. English title Beyond Marechiare. First notes on Neapolitan poetry of the 21st century

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de Bakker, Mathieu, Niels Koopman, Paul van Uum, and Saskia Willigers. "Poëzie op steen in Athene." Lampas 54, no. 1 (January 1, 2021): 11–37. http://dx.doi.org/10.5117/lam2021.1.003.bakk.

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Abstract This contribution discusses a selection of remarkable verse inscriptions from the city of Athens. Such inscriptions should not be evaluated as subliterary pieces of poetry exclusively relevant within their local, spatial context. Instead, we argue that it makes sense to compare them with other poetry known from antiquity. We point at formal and thematic relationships between poems known from stones and via manuscripts, and also analyse a few Athenian verse inscriptions from Roman times that clearly reflect literary developments known from Hellenistic and Second Sophistic periods.

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Zheng, Xinning. "The Reproduction of Visual Pictures in Poetry Translation." English Language Teaching 15, no. 4 (March 16, 2022): 16. http://dx.doi.org/10.5539/elt.v15n4p16.

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It is generally recognized that poetry is the most difficult genre of literature to translate because linguistic competence alone does not guarantee an overall transference of all poetic factors. The soul of poetry is its aesthetic sense which can be conveyed in the light of picture reproduction to achieve aesthetic harmony and evoke similar emotional response in target readers. To achieve this goal, a descriptive analysis of translated poems from two perspectives, namely, reproduction of formal beauty and inner beauty, reproduction of static and motional pictures, are discussed in this paper.

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Georgiou, Nadia. "Regarding Symbolic Capital: Poetry Translators from Modern Greek into English." HERMES - Journal of Language and Communication in Business, no. 58 (December 22, 2018): 99–115. http://dx.doi.org/10.7146/hjlcb.v0i58.111676.

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The research object of this study is the symbolic capital of poetry translators and how it shapes and is being shaped by the current practices and self-descriptions of translators of Modern Greek poetry into English. A number of case studies indicate that people who translate poetry come from a variety of backgrounds, including those of a poet and an academic, which often do not include any formal translation training (Hofstadter 1997; Waldinger 2003; Bullock 2011; Isaxanli 2014). It also appears to be common that translators of poetry have a number of complementary roles, with that of ‘poetry translator’ not always central. The study draws on data consisting of Modern Greek into English poetry translators’ responses to a survey, of paratexts created by Modern Greek into English translators and of ten interviews. Cultural and educational capitals are examined in their institutionalized, objectified and embodied form as bearers of symbolic capital. Three overlapping categories are explored: the translators’ connection to poetry and the source culture, translator education and translator self-description. The translators’ “extratextual visibility” (Koskinen 2000 as cited in Chesterman 2018: 446) is also analyzed as it forms part of the translators’ embodied cultural and symbolic capital. This empirical exploration offers insights into the variety of attitudes and approaches to poetry translation; the emerging patterns map out profiles of a group of contemporary poetry translators, investigate the realities of the craft and re-position poetry translation practitioners with respect to other translation professionals.

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