Relevant bibliographies by topics / French poetry

Contents

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

Academic literature on the topic 'French poetry'

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

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Journal articles on the topic "French poetry"

1

Wagstaff, Emma, and Nina Parish. "Translating Contemporary French Poetry." Irish Journal of French Studies 18, no. 1 (2018): 163–94. http://dx.doi.org/10.7173/164913318825258347.

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This article examines a bilingual anthology edited by the authors and published in 2016. It argues that the process of editing an anthology of contemporary poetry with multiple translators is a form of re-writing that not only introduces new writers into the target-language poetic system, but also recasts their positions in the poetic system of the source culture by giving them new readers who have no or few preconceptions about the writers' place in that system. Anthologizing operates in tandem with translating in this instance, and we additionally use the notions of inference and cognitive stylistics to discuss the particular habitus of academic translators who are not poets, and the opportunities those approaches offer to produce a creative translation. Style is an appropriate lens through which to consider poems included in this anthology because it is a contested question in contemporary French poetic practice. The article therefore treats the question of présence that this special issue addresses in three ways. It discusses, on the most literal level, the new or more visible presence that French poetry can acquire in the anglophone context through translation and anthologies. Moreover, it examines the ways in which the presence of new or decontextualized voices affects poetic systems. Finally, it considers whether an approach to translation that sees it as an embodied, interpretative process may allow some access to the présence of the 'original' poetic work.
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Lawall, Sarah, David Kelley, and Jean Khalfa. "The New French Poetry." World Literature Today 71, no. 4 (1997): 758. http://dx.doi.org/10.2307/40153320.

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Felicia Olufemi, Olaseinde, and Sefiu Salami. "Relevance of Poetry: Catalyst of Moral Education in Sustaining Literacy for National Development in Teaching and Learning French Language." international journal of Education, Learning and Development 11, no. 8 (2023): 1–17. http://dx.doi.org/10.37745/ijeld.2013/vol11n8117.

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This paper attempts to show the relevancy of French poetry as catalyst of moral education in sustaining literacy for national development in teaching and learning the Language French. French poetry is one of the literary works that is used in giving moral education and promoting literacy in the teaching and learning French language. Education and moral are related to the needs of the society, it is what the students need to utilize in their daily life and should be given to them so as to have a brighter future. French language contains materials that deal with cognitive aspects likewise literacy education in form of prose and poetry which deal with the moral values should be imparted on the students during teaching process. French poetry, like other branches of literature is a work of imaginable deep thoughts, feelings and human experiences. Many people or teacher who are concerned about poetry teaching emphasise quite rightly the need to produce a lively atmosphere in the class so that poetry can be seen to be a source of pleasure and bring about the desired value change in our society. Descriptive research of a survey type was used for the study. The sample consisted of selected 50 French language students in two private Universities and 10 French language teachers in different institutions. The questionnaire was designed on the ability of the students towards teaching and learning French poetry as a catalyst of moral education in sustaining literacy for national development. The instrument used was a questionnaire for the teachers to generate information from them on the activities of the students towards learning French poetry and the provision of instructional materials during the Teaching and Learning of French poetry. Data collected were analysed using frequency count, percentage and ANOVA.
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Kim, Junhyun. "Multilingualism and Poetic effect in Medieval French Poetry." Comparative Literature 80 (February 28, 2020): 45–77. http://dx.doi.org/10.21720/complit80.02.

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Korchagin, Kirill M. "Bureau “Transatlantic”: French and US Poets on Rendezvous." Literature of the Americas, no. 12 (2022): 261–73. http://dx.doi.org/10.22455/2541-7894-2022-12-261-273.

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Since the middle of the 19th century, American literature has been perceived by French poets as a kind of Other, at the same time alien and attractive, capable of teaching the experience of liberation, which the French poets themselves lack. Nevertheless, the situation is more familiar when other poets of the world are looking for inspiration in French poetry. French poetry for American modernists of the first quarter of the 20th century was synonymous with everything that expands the horizons of literature. At the same time, the reverse situation, when French poetry is saturated with outside influences, in particular, American ones, is studied much worse. Abigail Lang's book tries to fill this gap, considering the transformations that the new, “post-Surrealist” French poetry is experiencing under the impression of the new American poetry. The book is divided into three chapters: the first one deals with the reception of objectivism since the 1970s to the present, the second one deals with the problem of the “transatlantic” poetic community, which manifests itself in various forms and genres, and, finally, the third one tells about the “speech turn,” which, from the author's point of view, takes place in French poetry of recent decades.
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Jefferson, Ann. "Collected French Translations: Prose / Collected French Translations: Poetry." Common Knowledge 23, no. 2 (2017): 359–60. http://dx.doi.org/10.1215/0961754x-3816026.

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Zuo, Li, Dengke Zhang, Yuhai Zhao, and Guoren Wang. "Automatic Generation and Evaluation of French-Style Chinese Modern Poetry." Electronics 13, no. 13 (2024): 2659. http://dx.doi.org/10.3390/electronics13132659.

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Literature has a strong cultural imprint and regional color, including poetry. Natural language itself is part of the poetry style. It is interesting to attempt to use one language to present poetry in another language style. Therefore, in this study, we propose a method to fine-tune a pre-trained model in a targeted manner to automatically generate French-style modern Chinese poetry and conduct a multi-faceted evaluation of the generated results. In a five-point scale based on human evaluation, judges assigned scores between 3.29 and 3.93 in seven dimensions, which reached 80.8–93.6% of the scores of the Chinese versions of real French poetry in these dimensions. In terms of the high-frequency poetic imagery, the consistency of the top 30–50 high-frequency poetic images between the poetry generated by the fine-tuned model and the French poetry reached 50–60%. In terms of the syntactic features, compared with the poems generated by the baseline model, the distribution frequencies of three special types of words that appear relatively frequently in French poetry increased by 12.95%, 15.81%, and 284.44% per 1000 Chinese characters in the poetry generated by the fine-tuned model. The human evaluation, poetic image distribution, and syntactic feature statistics show that the targeted fine-tuned model is helpful for the spread of language style. This fine-tuned model can successfully generate modern Chinese poetry in a French style.
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Rothwell, Andrew, Russell King, and Bernard McGuirk. "Reconceptions: Reading Modern French Poetry." Modern Language Review 92, no. 3 (1997): 739. http://dx.doi.org/10.2307/3733447.

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Sinclair, F. E. "The Making of Poetry: Late-Medieval French Poetic Anthologies." French Studies 63, no. 2 (2009): 202–3. http://dx.doi.org/10.1093/fs/knp012.

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Sarah Lee, Sze Wah. "Anglo-French Poetic Exchanges in the Little Magazines, 1908–1914." Modernist Cultures 16, no. 3 (2021): 340–66. http://dx.doi.org/10.3366/mod.2021.0338.

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This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.
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Dissertations / Theses on the topic "French poetry"

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Attwood, Catherine. "The poetic #I' in fourteenth- and fifteenth-century French lyric poetry." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260509.

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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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Longwell, Ann E. "France, man and language in French Resistance poetry." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/13376.

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The Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.
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Higgins, J. A. "French poetry in England 1880-1930 : translation and mediation." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604037.

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My thesis explores the influence of French poetry in England during those years, taking translations into English as its focus. This provides the basis for examination of ideas, attitudes and even forms and structures that were ‘transferred’ from France into English poetry by translators from varied literary backgrounds. Alongside the exigencies of publishers and editors, the aims and ambitions of the translators influenced their choice of texts and modes of translation. Changing perceptions of the literature and culture of France influenced the choices of translators (or commissioning publishers) wishing to express an affinity with, or to appropriate aspects of the reputation of, the source text and culture. Cultural emulation becomes particularly significant in the case of, for example, the translator-poets of the 1890s, whose fascination with French poetry of the late nineteenth century was inextricably linked to their perceptions of Parisian literary café culture and its ‘decadent’ associations. The thesis has at its core close readings of translations alongside their source texts. It will also draw upon aspects of translation theory and cultural studies for its exploration of motivation, influence and hierarchy surrounding the translation process. Small literary magazines are a fundamental source material, for the translations they contain, but also the context in which they place these translations. Some appear in magazines in which the same author contributes criticism or other commentaries: these juxtapositions can reveal much about the inspiration for the translations. However, the research is not limited to translations published in magazines, nor to well-known writers or translators: It also takes into account translations by non-professional translators.
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Vilain, Robert. "The poetry of Hugo von Hofmannsthal and French symbolism /." Oxford : Clarendon press, 2000. http://catalogue.bnf.fr/ark:/12148/cb38906418n.

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Whiting, George H. ""Je ne m'occupe plus de ça" [I am not concerned with that anymore] : the poetic silence of Arthur Rimbaud /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1177308010.

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Higgins, Jennifer Anne. "English responses to French poetry 1880-1930 : translation and mediation." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612206.

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Leitch, Paul M. "T.S. Eliot and French poetry : la plaie et le couteau'." Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442354.

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Frendo, Maria. "T.S. Eliot and the music of poetry." Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4565/.

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This thesis is a study of T.S. Eliot's poetry in the light of the different ways in which it can be considered 'musical'. Two concerns central to the thesis are: (1) Eliot's enduring interest in the musical quality of poetry; (2) the critical usefulness and viability of drawing analogies between his poetry and music. The thesis considers three important related topics: (1) Eliot's preoccupation with language, its inevitability and its inadequacy; (2) the figure of the seeker in his poetry; (3) his interest in mysticism. The thesis begins by exploring affinities between music and literature in the context of Wagner’s ideal of the 'Gesamtkunstwerk' and its influence on French Symbolist writers. It goes on to trace the development of T.S. Eliot's poetic style as influenced by the French Symbolist poets, by Dante and the mediaeval mystics, and by the music of Wagner, Stravinsky and other composers. Throughout, Eliot's poetry presents variations on the theme of detachment and involvement in relation to the figure of the seeker: consciousness is most engaged and challenged when it journeys. In the early poetry, music serves to emphasize failed relationships: the closer the physical proximity between protagonists, the greater the psychological distance. From The Waste Land on, Eliot makes use of myth and leitmotif to portray consciousness in the role of seeker urged on by the need for meaning. After his conversion to Anglo-Catholicism in 1927, Eliot's characters embark on a journey inward, where music, now "unheard", no longer signifies neurosis and despair, but becomes the only language for the ineffable.
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Ryland, C. A. "Memorialisation and metapoetics in Paul Celan's translations of French surrealist poetry." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1445830/.

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Contrary to assumptions within existing scholarship on Paul Celan's poetics, this thesis demonstrates that surrealist aesthetics were a significant discourse within Celan's poetics, in particular in die theories articulated in his Buchner Prize speech (1960). By mapping the points of convergence and divergence between specific surrealist ideas and particular elements of Celan's poetics, it demonstrates that the most significant point of contact between die two sets of aesthetics lies in the surrealist idea of a sustained tension between the unconscious and conscious realms, and between the past and die present, which elucidates Celan's well-known 'meridian' metaphor. The study thus develops new interpretations of Celan's theories, in particular in its assertion of the primacy of unconscious impulses in Celan's view of poetic language. Its conclusions thereby impact on an understanding not only of the specific status of the surrealist discourse in Celan's aesthetics, but also of the shifting relationship between poetic language and die poet's and readers' conscious and unconscious realities and of the intentional and unintentional cultural encounters that impact on linguistic and literary7 signification. The inquiry' focuses on verifiable and concrete points of contact between Celan's writings and surrealist texts, in the form of his translations of surrealist poems, his poetological notes and his correspondence. Recently published correspondence and theoretical writings by Celan reveal that he considered poetry to be composed in part as a result of unconscious impulses, which become visible during translation. Close readings of Celan's versions of surrealist poems demonstrate that these translations both illustrate and thematise this textual Unconscious, and so exhibit the metapoetic content of Celan's translations. By focusing in particular on the surrealist aspects of the original poems translated by Celan, and on Celan's transformation of these features into metapoetic figures, these readings therefore demonstrate the poetological significance of Celan's encounter with surrealism, and culminate in a new conceptualisation of his poetics of translation.
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Books on the topic "French poetry"

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Stanley, Appelbaum, ed. Introduction to French poetry. Dover Publications, 1991.

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1941-, Kelley David, and Khalfa Jean, eds. The New French poetry. Bloodaxe Books, 1996.

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Michael, Bishop. Nineteenth-century French poetry. Twayne Publishers, 1993.

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Balabanova, Violeta. Poetry & pictures: English-French-Arabic. s.n., 2002.

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Russell, King, McGuirk Bernard, and University of Nottingham, eds. Reconceptions: Reading modern French poetry. University of Nottingham, 1996.

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Marija, Petrovska, ed. A Brief anthology of French poetry. P. Lang Pub., 1985.

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Braunrot, Bruno. Anthology of 16th-century French poetry. Molière & Co., 2010.

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Harold, Bloom, ed. French poetry: The Renaissance through 1915. Chelsea House Publishers, 1990.

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Lisa, Neal, ed. Treasury of French love poems: In French and English. Hippocrene Books, 2000.

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William, Rees, ed. French poetry, 1820-1950, with prose translations. Penguin Books, 1990.

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Book chapters on the topic "French poetry"

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Fetzer, Glenn W. "The Fate of French Poetry." In Literature and the Renewal of the Public Sphere. Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230595514_10.

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Vautrin, Éric. "Performance and Poetry: Crossed Destinies." In Contemporary French Theatre and Performance. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305663_12.

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Hausmann, Frank-Rutger. "French—German and German—French Poetry Anthologies 1943–45." In Translation Under Fascism. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230292444_8.

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Blakesley, Jacob S. D. "French-Language Poet-Translators." In A Sociological Approach to Poetry Translation. Routledge, 2018. http://dx.doi.org/10.4324/9780429462511-4.

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Matlak, Richard E. "French Heroes and a Poet Recluse, 1795." In Wordsworth’s Trauma and Poetry. Routledge, 2024. http://dx.doi.org/10.4324/9781003152507-2.

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Singh, G. "Pound on Modern French Poetry and Prose." In Ezra Pound as Critic. Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23502-5_9.

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Blakesley, Jacob S. D. "Comparing English, French, and Italian Poet-Translators." In A Sociological Approach to Poetry Translation. Routledge, 2018. http://dx.doi.org/10.4324/9780429462511-2.

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Lombez, Christine. "Translating German poetry into French under the Occupation." In Translation in Anthologies and Collections (19th and 20th Centuries). John Benjamins Publishing Company, 2013. http://dx.doi.org/10.1075/btl.107.17lom.

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"French Romantic Poetry." In The Quest of the Absolute. University of Notre Dame Press, 2013. http://dx.doi.org/10.2307/j.ctvpj78t8.7.

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Hawcroft, Michael. "Poetry." In Rhetoric: Readings in French Literature. Oxford University Press, 1999. http://dx.doi.org/10.1093/acprof:oso/9780198159841.003.0006.

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Conference papers on the topic "French poetry"

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Liu, Yuxin. "French Romance in Late Medieval Poetry." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.083.

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Попова, Наталья Борисовна. "LIMOLOGICAL MARKERS OF POETIC METAPHOR ON THE POETRY OF FRENCH ROMANTICISM." In СЛОВО, ВЫСКАЗЫВАНИЕ, ТЕКСТ В КОГНИТИВНОМ, ПРАГМАТИЧЕСКОМ И КУЛЬТУРОЛОГИЧЕСКОМ АСПЕКТАХ. Челябинский государственный университет, 2022. http://dx.doi.org/10.47475/9785727118047_270.

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Amalia, Farida, Dudung Gumilar, and Riswanda Setiadi. "Poetry in Teaching French Descriptive Texts Writing." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.039.

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Chystiak, D. O. "Reception of Ukrainian Poetry in Contemporary French-speaking Press." In THE INTERACTION OF JOURNALISM, ADVERTISING AND PR IN THE MODERN MEDIA SPACE. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-250-0-11.

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Şəmsi qızı Məmmədova, Xumar. "Nakhchivan literary atmosphere and literary translation." In OF THE V INTERNATIONAL SCIENTIFIC RESEARCH CONFERENCE. https://aem.az/, 2021. http://dx.doi.org/10.36719/2663-4619/2021/02/03.

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The presented article discusses the issues of Nakhchivan literary environment and literary translation. It is noted that translation is a creation in itself, and the activities of representatives of the Nakhchivan literary environment in this area are exemplary. In general, during the independence period, some experience was gained in the literary environment of Nakhchivan, translations from German, English and French by our poets and writers Hamid Arzulu, Shirmammad Gulubeyli, Shamil Zaman who is famous as poet, prose-writer and translator were delivered to readers in the form of books and works were published in the press. The examples presented in the article once again prove the perfection of the writers' translation activities, their translations from German, English and French provide the Azerbaijani reader with full information about the society, people and their life of these peoples. Key words: Nakhchivan, literary atmosphere, literary translation, prose, poetry
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Артемьева, Ирина Николаевна, and Дарья Валерьевна Коротаева. "NATURE AND WEATHER IN THE POEM OF A. PUSHKIN «WINTER EVENING». THE DIFFICULTIES OF TRANSLATION INTO FRENCH." In Наука. Исследования. Практика: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Апрель 2020). Crossref, 2020. http://dx.doi.org/10.37539/srp290.2020.70.18.020.

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Статья посвящена трудностям перевода на французский язык пейзажной лирики А. С. Пушкина на примере стихотворения "Зимний вечер". The article deals with translation difficulties of landscape poetry of A. S. Pushkin into French using the example of the poem "Winter Evening".
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Chystiak, D. O. "Verbalization of cosmology in the conceptual system of Ukrainian and French Speaking Belgian Symbolist poetry." In PHILOLOGICAL SCIENCES, INTERCULTURAL COMMUNICATION AND TRANSLATION STUDIES: AN EXPERIENCE AND CHALLENGES. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-073-5-1-74.

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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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10

MEHMETALI, bekir. "VIII. International Congress of Humanities and Educational Research." In VIII. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress8-8.

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Abstract:
Arabic poetry, ancient and modern, remains a feature distinguished by the Arabs, and a distinguishing mark for which they were known, as it flows on the tongues of their poets the flow of water in the river, and flows from their mouths the flow of fresh water from the spring, as it is twittering on their tongues, and hymns that delight the speaker, the listener, the narrator, the reader, and the student Alike, he is the flame that ignited in their world hundreds of years ago, and is still glowing in every country of theirs, and in every age. The Arabic poetry that we are talking about is nothing but words organized into sentences, and not sentences organized into verses only. The contemplator of ancient Arabic poetry stands on wonderful poetic images that the poets installed in whatever form they were, and formulated them in whatever form, so that some of them, or even most of them, were unique in producing these poetic images without others, so this wonderful poetic image became specific to his wonderful poetic experience. I chose to write on this topic because of its importance in the world of poetry and the production of the poem, as a poem devoid of a poetic image is not considered a complete poem. In this research, I will present, study, and analyze some of the wonderful poetic images of some ancient poets, hoping to write another research in which I will deal with examples of the poetic image in modern Arabic poetry. The objective of the research is evident in its importance, and in the research I will approach the methods of description, induction, and analysis.
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Reports on the topic "French poetry"

1

Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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Abstract:
The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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