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Journal articles on the topic 'French poets'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Chepiga, V. P. "Yasnov, M. (2019). The nursery of French poetry. Translations. Portraits. Encounters. Moscow: Tsentr knigi Rudomino. (In Russ.)." Voprosy literatury, no. 3 (July 29, 2020): 295–300. http://dx.doi.org/10.31425/0042-8795-2020-3-295-300.

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M. Yasnov’s book attempts to bridge the cultural gap between France and Russia. Showcasing Yasnov’s talents as a poet, writer of children’s books, translator, and commentator of French poetry collections and anthologies, the book continues the cycle of his works dedicated to French poetry and its Russian translations and interpretations. The bilingual edition of 16th–20th-cc. French poetry published in 2016 started the series and included the works of La Pléiade and La Fontaine, Baroque and Rococo poets, as well as poètes maudits and the poems of La Belle Époque. In addition to the collected p

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Rasul, Hawkar Qadir, and Rebaz Mohammad Amin. "The Technique of Repetition in the Poems of Farhad Pirbal and Foroughi Forukhzad." Journal of University of Raparin 10, no. 1 (2023): 329–44. http://dx.doi.org/10.26750/vol(10).no(1).paper16.

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This research is entitled "The Technique of Repetition in The Poems of Farhad Pirbal and Foroughi Forukhzad" by benefiting from the principles of the French school in the science of literature comparison, one of the most important elements of poetry is the poetry of both poets, the technique of repetition, as a prominent principle and embodiment of the structure of inner music in new poems in general and the poetry of both poets in particular. The comparison between the two poets seems to be due to the fact that, despite the fact that the poetry experiences of both poets are very similar in ma

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Peeters, L. "Digterskap en poëtíkale besinning by vier Franse Simboliste." Literator 13, no. 1 (1992): 119–34. http://dx.doi.org/10.4102/lit.v13i1.729.

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When one studies the influence of French Symbolism on contemporary Western poetry it is necessary to define both Symbolism and influence. The first term is problematic not only because it is difficult to delimitate the reality it designates but because of the nature of the movement itself Rather than defining from the outside we will try to understand the genesis of the work of the four great 'symbolist’ poets in France, namely Nerval, Baudelaire, Rimbaud, and Mallarme. We do not consider the notion of influence as causal but as a confrontation from one poet’s work with that of another, the pr

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4

Jiajing, Song. "Affinity and Influence of Federico García Lorca on the Poetry of Dai Wangshu." Sinología hispánica 7, no. 2 (2019): 133. http://dx.doi.org/10.18002/sin.v7i2.5734.

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As one of the most representative modern poets in China, Dai Wangshu not only contributs a lot to the development of the modern Chinese poetry, but also plays an important role in introducing western poetics to China. Dai’s translation of western poetry has a profound influence on his poetic creation. Dai, throughout his poetic career, was at first influenced by the French romanticism, then was fascinated by the French symbolism and post-symbolism. The years of Disaster, a collection of poems in his later years, however, demonstrates an inclination to the Spanish modernist poetry, especially t

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Cranston, Mechthild, and Michael Bishop. "Contemporary French Women Poets." World Literature Today 70, no. 3 (1996): 661. http://dx.doi.org/10.2307/40042145.

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Cranston, Mechthild, and Jean-Yves Reuzeau. "French Poets of Today." World Literature Today 74, no. 1 (2000): 117. http://dx.doi.org/10.2307/40155341.

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7

Rizwan Sheikh, Dr Mohammad. "The Impact of French Revolution on Romantic Poets." Paripex - Indian Journal Of Research 3, no. 8 (2012): 1–2. http://dx.doi.org/10.15373/22501991/august2014/63.

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8

Atta Salman, Mohammed. "Wordsworth’s Lucy poems as the Reflections of the French Revolution: A New Historicist Study." Journal of Education College Wasit University 2, no. 45 (2021): 513–46. http://dx.doi.org/10.31185/eduj.vol2.iss45.2321.

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Abstract The current study takes a New Historic outlook toward William Wordsworth’s the “Lucy Poems” and believes that by a minute scrutiny of these poems we can expose the power structure and the dominant discourses that according to New Historicism have shaped the poet’s character, society and world. Accordingly, the paper suggests that the poet through symbolic and non-symbolic ways has embedded historical and political facts in these poems. To do so, the research will reveal some controversial correspondences among these poems, William Wordsworth’s life and historical facts of the Fr

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Abed, Elaf Hussein. "The nominal style in the modern French poetry." Al-Adab Journal, no. 133 (June 15, 2020): 7–14. http://dx.doi.org/10.31973/aj.v0i133.866.

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Using the nominal style in the poetry writing is considered a turning point in the history of French poetry, which has witnessed major changes since the mid-nineteenth century, weather at the level of language and form or at the level of subjects. That this method based on the omission of the verb taken from the name the basic core in expressing the topic of the sentence formed a great controversy for linguists in theory because it raises the issues of the difference between the name and the verb. In this study, we tried to analyze the nominal style and its most used linguistic methods s

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10

Tengour, Habib, and Teresa Villa-Ignacio. "The Mediator Serving Two Mistresses." Romanic Review 115, no. 1 (2024): 110–14. http://dx.doi.org/10.1215/00358118-11012041.

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Abstract This essay is an Algerian-French poet-translator’s personal reflection on the indispensable role that translation has played in his poetic creativity. Emphasizing in particular his bilingual education in the colonial Algerian context, he observes that his translation of poets from English, Arabic, and German into French is thus “doubly foreign” because his French is steeped in his Arabic culture and language. The essay advocates for the peaceful coexistence of any two languages, and especially the postcolonial coexistence of Arabic and French, as one of mutual enrichment. Tengour show

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11

Muresan, Maria Rusanda. "Wittgenstein in Recent French Poetics: Henri Meschonnic and Jacques Roubaud." Paragraph 34, no. 3 (2011): 423–40. http://dx.doi.org/10.3366/para.2011.0034.

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Two recent French poets, Henri Meschonnic and Jacques Roubaud, have found in Wittgenstein's philosophy an alternative to post-structuralist poetics. Meschonnic's poetry and his theoretical writings show a sustained critical engagement with Wittgenstein, whom he reads in conjunction with Emile Benveniste. The writers inform his theory of poetic rhythm and his practice of biblical translation. Roubaud's use of Wittgenstein, by contrast, here examined in the collection Quelque chose noir (1984), is linked partly with the poet's grief following the death of his wife Alix Cléo Roubaud, a photograph

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12

Meenu. "Contribution of Indian English Poets towards Indian Freedom Movement." Research Review Journal of Social Science 3, no. 02 (2023): 38–41. http://dx.doi.org/10.31305/rrjss.2023.v03.n02.006.

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The idea of independence has always captivated the minds of the poets. Poets all around the world have always supported the cause of freedom of different countries. They have even served in wars for the same purpose. English Romantic poets were inspired by the French Revolution. There were war poets who served in the world wars and filled the hearts of people with patriotism. Some fought for the liberation of Greece and Spain. India had also been colonized by the Britishers for over a century. Freedom for India was brought about by the supreme sacrifice of many brave souls. The contribution of

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13

Shamilova, Shahnaz. "MODERN FRENCH AND AZERBAİJANİ POETRY AT THE LEVEL OF COMPARATİVİSTİCS." Scientific Journal of Polonia University 62, no. 1 (2024): 104–14. http://dx.doi.org/10.23856/6214.

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In the article, the stages of development of Azerbaijani poetry from the 19th century to the 20th–21st centuries, which were accompanied by fundamental changes, were reviewed. It has been noted that the wars that took place at the beginning of the 20th century and the strict rules and regulations applied by the Soviet regime had an undeniable influence on our literature. It was at that time, during the years of Repression, prominent representatives of Azerbaijani poetry were subjected to political oppression and persecution, exiled and shot. The names of the poets who played a special role in

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14

Pack, R. "Symbolism in French literature." Literator 11, no. 1 (1990): 67–76. http://dx.doi.org/10.4102/lit.v11i1.794.

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To talk of Symbolism in French literature may be ambiguous, as two different categories of writers have been grouped under this generic term: the symbolists stricto sensu, such as Moréas or Viélé-Griffin, who were mostly minor poets, and some great figures of French literature. The aim of this article is to show that, although Symbolism as an organized movement did not produce any important contribution, the nineteenth century witnessed indeed the emergence of a new trend, common to several poets who were inclined to do away with the heritage of the classical school. These poets - of whom Baud

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15

Belavina, Ekaterina M. "French poems of Nikolay Gumilyov." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (2022): 428–33. http://dx.doi.org/10.18500/1817-7115-2022-22-4-428-433.

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Paris, regarded for centuries as the literary capital of the world, the literary ‘homeland of choice’, gave shelter (permanently or temporarily) to many great writers. Poets all over the world have dreamed of gaining access to the French reader; it has tacitly been considered a special stepping stone to global recognition. At the turn of the nineteenth and twentieth centuries, the paths of many Russian poets crossed in Paris. It was there that Gumilyov met A. Tolstoy, M. Voloshin, A. Bely and others. Most of his poems were written in his native language and translated from the foreign language

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16

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 Guillau

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17

Zecher, Carla. "The Gendering of the Lute in Sixteenth-Century French Love Poetry*." Renaissance Quarterly 53, no. 3 (2000): 769–91. http://dx.doi.org/10.2307/2901497.

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Blame not my lute for he must sound Of this or that as liketh me.Sir Thomas WyattLute-poems came into vogue in France in the 1540s and 1550s. Because of the lute's shape, it could be gendered either as masculine or feminine; male and female poets therefore made use of lute imagery in different ways. Their references to the lute are informed by the gendered culture surrounding the instrument in this period and by the etiquette and technicalities of lute playing. Even more than painters and engravers, poets could invest the lute with human qualities, conflating it with bodies and body parts. It

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18

Constantine, Peter, and Emily Graham. "My Virtual French Summer: Encounters with Millennial French Poets." Contemporary French and Francophone Studies 24, no. 5 (2020): 555–63. http://dx.doi.org/10.1080/17409292.2020.1848156.

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19

Marcinkiewicz, Paweł, and Daniel Pietrek. "German Romantic Tradition in John Ashbery’s "Where Shall I Wander"." Anglica Wratislaviensia 57 (October 4, 2019): 75–88. http://dx.doi.org/10.19195/0301-7966.57.6.

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In popular critical and readerly reception, the New York School of poetry was shaped mostly by what Marjorie Perloff calls the tradition of indeterminacy. This was started by Arthur Rimbaud and, a few decades later, developed by Dadaists and Surrealists. Therefore, the tradition of French modernism seems to have been vital for John Ashbery, Frank O’Hara, James Schuler, and Barbara Guest, and the poets themselves appeared to confirm this fact. They often visited France privately and as scholars, and lived there for extended periods of time. In the case of John Ashbery, his year-long Fulbright f

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20

Ford, Philip. "Homer in the French Renaissance*." Renaissance Quarterly 59, no. 1 (2006): 1–28. http://dx.doi.org/10.1353/ren.2008.0159.

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AbstractAlthough the works of Homer remained unknown in Western Europe for much of the Middle Ages, their reappearance was welcomed enthusiastically in France toward the end of the fifteenth century by the small band of scholars capable of reading Greek. The founding of the Collège des lecteurs royaux in 1530 gave a fillip to Homeric studies, and partial editions of Homer were printed in Paris, aimed at a student audience. French translations also helped to bring the poems to a wider audience. However, the question of the interpretation of Homer was central to the reception of the two epics, a

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21

Julio, Maryann De. "The New Generation of French Poets." World Literature Today 59, no. 2 (1985): 233. http://dx.doi.org/10.2307/40141461.

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22

Fernández, Thais. "Poetic Translation as a Trans-Cultural Process of Enrichment: When Julio Herrera y Reissig Translated Albert Samain." Accueillir l’Autre dans sa langue. La traduction comme dispositif de médiation, no. 103 (September 17, 2021): 136–45. http://dx.doi.org/10.31861/pytlit2021.103.136.

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This work focuses on the unusual, poetic affinity between the Uruguayan poet, Julio Herrera y Reissig (1875–1910), and the French poet, Albert Samain (1858–1900), that took shape in Julio Herrera y Reissig’s Spanish translation of some of Samain’s poems from his 1898 volume of poems Aux flancs du vase. Our objective is not to write a critical review of Herrera y Reissig's translations. Instead, we aim to identify the similarities between the two poets. Thus, our contrastive analysis will demonstrate the affinities between the French author and his Uruguayan translator. In this collection, Sama

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23

Mishra, Indira Acharya. "Voice of Protest in Nepali Poetry by Women." Molung Educational Frontier 10 (December 31, 2020): 51–62. http://dx.doi.org/10.3126/mef.v10i0.34057.

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This article explores feminist voice in selected poems of four Nepali female poets. They are: "Ma Eutā Chyātieko Poshtar" ["I, a Frayed Poster"] by Banira Giri, "Pothī Bāsnu Hudaina" ["A Hen Must not Crow"] by Kunta Sharma,"Ma Strī Arthāt Āimai"["I am a Female or a Woman"] by Seema Aavas and "Tuhāu Tyo Garvalai" ["Abort the Female Foetus"] by Pranika Koyu. In the selected poems they protest patriarchy and subvert patriarchal norms and values that trivialize women. The tone of their poems is sarcastic towards male chauvinism that treats women as a second-class citizen. The poets question and ri

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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

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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 (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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Edzard, Alexandra. "A Judeo-French Wedding Song from the Mid-13th Century: Literary Contacts between Jews and Christians." Journal of Jewish Languages 2, no. 1 (2014): 78–98. http://dx.doi.org/10.1163/22134638-12340022.

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The subject of this article is a bilingual Judeo-French wedding song, edited by David Simon Blondheim in 1927. It is studied in its linguistic (Hebrew and French) and cultural (Jewish and Christian France) context. In the Jewish tradition, the song belongs to a widely used form of poetry in which two or more languages alternate. A similar bi- and multilingualism can also be found in medieval Christian poetry in France and in Muslim poetry in Moorish Spain. The present study concentrates on poems in which French can be found together with other languages. The article demonstrates influence from

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Tomalin, Marcus. "French Poets and British Reviewers, 1814–30." Romanticism 19, no. 1 (2013): 57–76. http://dx.doi.org/10.3366/rom.2013.0113.

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Roberts-Jones, Philippe. "Ania Staritsky et la poésie partagée." Bulletin de la Classe des Beaux-Arts 6, no. 1 (1995): 31–44. http://dx.doi.org/10.3406/barb.1995.20261.

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A substantial part of the work of Russian-born painter and engraver Ania Staritsky (1908-1981), who worked in Brussels before moving to Paris, is devoted to painting-poems, object-poems and book-poems. This marriage of text and painting is part of a tradition which certainly goes back to Francis Picabia, and whose exponents in French-speaking Belgium are de Broodthaers, Alechinsky and Lacomblez. Playing with paint, collage, engraving and writing, Ania Staritsky's work in this area offers a very personal vision. The artist's texts are chosen from contemporary poets, including Michel Butor, Gast

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Quesada, Sarah M. "Latinx Internationalism and the French Atlantic: Sandra María Esteves in Art contre/against apartheid and Miguel Algarín in “Tangiers”." Cambridge Journal of Postcolonial Literary Inquiry 9, no. 3 (2022): 353–80. http://dx.doi.org/10.1017/pli.2022.17.

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AbstractThis article interrogates the South-South internationalism of two renowned US Latinx poets: Miguel Algarín’s abjection in Morocco in his poem “Tangiers” and Sandra María Esteves’s anti-apartheid poetry for the French Art contre/against apartheid project, which included the controversial participation of Jacques Derrida. Although these poems focus on different contexts of African liberation, both react to French coloniality. For Algarín, his Orientalist evocations of underage child prostitution operate under a French hegemony, coming into crisis when a third world alliance fails. In Est

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Piechucka, Alicja. "Possessed by Poe: Hart Crane’s Tribute to il Miglior Fabbro in a Symbolist-Modernist Context." Polish Journal for American Studies, no. 11 (Spring 2017) (August 30, 2023): 27–40. http://dx.doi.org/10.7311/pjas.11/1/2017.03.

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The article explores the ways in which Hart Crane, Stéphane Mallarmé and Mina Loy pay homage to Edgar Allan Poe in their respective poems. A comparative exegesis of the tributes in question reveals the connections as well as the differences between the ways the two American modernist poets and the French symbolist approach the legacy of their eminent American predecessor. A critical juxtaposition of Crane’s, Mallarmé’s and Loy’s poetic texts seems particularly worthwhile in view of the fact that Poe is regarded as one of the fathers of both French symbolism and American modernist poetry, which

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Khilaif, Sawsan Aziz. "Concept of Time in the Poetry of Abdulhaq Hamid." Journal of the College of languages, no. 46 (June 1, 2022): 265–75. http://dx.doi.org/10.36586/jcl.2.2022.0.46.0265.

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After Organization literature era, two literary schools appeared in Turkey and Abdulhaq Hamid is one of this period most prominent poets. During his stay in France with a group of colleagues sent by Turkish Government, he was greatly influenced by the French modern literature and the French modern literary authors. The study discusses the concept of time in the poetry of Abdulhaq Hamid. Reading his poetry, it can be noticed that time is important where he frequently refers to day and night, morning and evening as time insinuations. Hence, the present paper gives a brief study of the poet’s lif

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Belotti, Michael. "Gottfried Finckelthaus." Daphnis 49, no. 1-2 (2021): 111–47. http://dx.doi.org/10.1163/18796583-12340006.

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Abstract According to a remark made by Constantin Christian Dedekind, Gottfried Finckelthaus was not only a writer, but also a singer of songs. Starting from the less-known early pastorals, the present article tries to define the poet’s position in the civic, academic, and literary networks in Leipzig during the 1630s. Special attention is given to the adaptation of French song and dance melodies by poets in Central Germany, and the metrical innovations resulting from it.

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Hatton, Stephen. "Elemental Air in French Poetry and American Nature Writing." Janus Head 21, no. 1 (2023): 20–23. http://dx.doi.org/10.5840/jh20232114.

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This article discusses elemental air in twentieth-century French poetry and American nature writing, focusing on a comparison of human breathing to wind. Beginning with an overview of Pre-Socratic philosopher Anaximines, it examines select French poets’ expressions about wind. It turns to American nature writers' extensive experiences in the air outdoors. It looks at wind in the desert, prairie, forest, and Alaskan Sierra. Gaston Bachelard’s observations of air in motion serve as a segue to a discussion of elemental phenomenology. Building on the written expressions and experiences of French p

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Cormier, Raymond J. "Thibaut de Champagne, Les Chansons— Texts and Melodies. Bilingual edition prepared by Christopher Callahan, Marie-Geneviève Grossel, and Daniel E. O'Sullivan. Paris: Champion, 2018, pp. 848." Mediaevistik 32, no. 1 (2020): 441–42. http://dx.doi.org/10.3726/med.2019.01.107.

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Counted among the most original and prolific medieval French poets, Thibaut IV, count of Champagne and Brie, King of Navarre, was also called Thibaut the poet entertainer (1201–1253). This great-grandson of Eleanor of Aquitaine and great-grandfather of Marie de Champagne, was celebrated by Dante for the purity of his lyrics and widely admired for his mastery of all genres of the time. Remarkable as well for his interpretations of antique mythology and bestiaries, this grand prince and Crusade hero forged poems devoted to the Virgin, transmuting the lyrical lady into a celestial figura. The gen

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Boutin, Aimée, and Adrianna M. Paliyenko. "Nineteenth-Century French Women Poets: An Exceptional Legacy." Women in French Studies 2002, no. 1 (2002): 77–109. http://dx.doi.org/10.1353/wfs.2002.0052.

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Probstein, Ian. "European and Russian Literature and the Poets of the Second American Avant-Guard / The New York School." Literature of the Americas, no. 12 (2022): 51–65. http://dx.doi.org/10.22455/2541-7894-2022-12-51-65.

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The article explores the influence of European and Russian Literature on the poets of the Second American Avant-Gard and The New York School, as was coined by John Myers, the artistic director of the Tibor de Nagy Gallery, as David Lehman stated in The Last Avant- Garde. The Making of New York School of Poets [Lehman 1999: 24–25]. The paper mainly focuses on the work of the first generation of the New York School: John Ashbery (1927–2017), Frank O’Hara (1926–1966), Kenneth Koch (1925–2002), and James Schuyler (1923–1991), who edited the first and the last issues of the literary magazine Locus

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37

Tidjani, Ridwan Adewale. "Al muqaranah Al Adabiyah Baina Imru Al Qais wa Lord Alfred Tennysson." (الطموحات ) EL-THUMUHAT 2, no. 1 (2020): 1–13. http://dx.doi.org/10.25299/elthumuhat.2019.vol2(1).2340.

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Abstract Imru-l-qais remains an idol in the ancient Arabic poem. He had transformed it by introducing some new metaphor and rhetoric, which Arabian poets stayed on for decades after. Also, Imru-l-qais poem has been able to move outside Arabian peninsula into other international literature. This paper focused on one of his greatest poem (Almuhalaqoh) and how influencial this work was received by poets in their different literature - English, French, Dutch, and Russian. Alfred Lord Tennyson's _Locksley_ _Hall_ (1892) was was inspired by Imru-l-qais' poem. He read it, diggest it, and reprod

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Duffell, Martin J. "The Italian line in English after Chaucer." Language and Literature: International Journal of Stylistics 11, no. 4 (2002): 291–305. http://dx.doi.org/10.1177/096394700201100401.

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This article argues that the English iambic pentameter (EIP) has other important features in addition to the five parameters identified by Hanson and Kiparsky’s (1996) parametric theory ( position number and size, orientation, prominence site and type). One of these features is that EIP contains a mixture of pausing (French) and running (Italian) lines, as determined by whether the syllable in position 4 is word-final. A study of the frequency with which the Italian line is used in the two centuries after Chaucer’s death reveals that Hoccleve and the Scots poets, Henryson, Dunbar and Douglas,

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Savina, Anfisa D. "“After All, They Don’t Know Anything About Us...”: Russian Literature in French Periodicals of the Early 20th Century. Reviews by Valery Bryusov, Zinaida Gippius, Yakov Povolotsky." RUDN Journal of Studies in Literature and Journalism 27, no. 2 (2022): 345–58. http://dx.doi.org/10.22363/2312-9220-2022-27-2-345-358.

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With the considerable attention paid to Russian-French cultural ties, the topic of the French reception of the Silver Age literature still remains poorly studied. In this paper, we consider three review articles that rarely come to researchers’ attention. These are texts written by Russian authors in French for French magazines: “Letter on Russian Literature” by V.Ya. Bryusov (“Le Beffroi”, 1905), “Notes on Russian Literature of Our Time” by Z.N. Gippius (“Mercure de France”, 1908), and “Russian poets” Ya.M. Povolotsky (“La Grande Revue”, 1911). All the cases are not a part of regular cooperat

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Radó, Győrgy. "A propos du bicentenaire de la Révolution Française." Babel. Revue internationale de la traduction / International Journal of Translation 36, no. 4 (1990): 223–28. http://dx.doi.org/10.1075/babel.36.4.04rad.

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To the Bicentenary of the French Revolution The Bicentenary of the events of the French Revolution, 1789 is considered as a national jubilee of France, but the Declaration of Human Rights, the basis of the French Constitution merits commemoration on international level. From Hungary three poets-translators, who are enthusiasts of the French Revolution, are presented: Ferenc Verseghy, translator of La Marseillaise, Jânos Batsânyi, translator of Napoleon's appeal to the Hungarians, and Sândor Petôfi.

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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 s

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Schabert, Ina. "Regendered in Translation: From ‘Lyric I’ to Je lyrique." Translation and Literature 33, no. 2 (2024): 177–97. http://dx.doi.org/10.3366/tal.2024.0586.

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Whereas first-person speech is not marked for the speaker’s gender in English, in French particular linguistic forms identify a speaker as female. This conflicts with the intention of those female authors, poets in particular, who want to speak not from a gendered point of view but as human beings. A similar problem arises in translations of anglophone poetry by women into French. The routine method of rendering the generic ‘lyric I’ by a female ‘je lyrique’ does not reflect the implicit claim women poets often make to universal relevance. With regard to French versions of texts ranging in tim

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Bourdeau, Marc. "A Quantification Of Phoneme Productions." ITL - International Journal of Applied Linguistics 74 (January 1, 1986): 17–45. http://dx.doi.org/10.1075/itl.74.02bou.

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Using continuous variables derived in information theory and from a Markovian model of phonemic chaining, we have anamysed some strings of jar-gonic speech of French speakers (glossolalics, schizophasics, aphasies, poets) and of natural French2. These anamyses give a quantitative meaning to the concept of phonological plane. Discriminant anamyses separate our groups in a clear-cut fashion. Elementary numerical cmustering provides a meaningful interpretation. This type of approach could bring, in its future developments, further insights into the phonological systems of languages.

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Mashao, Elizabeth Thadeus. "The Cutting Age Literature, from Romanticism to Victorian Age: A Study on Victor Hugo and Alfred Tennyson." Indonesian Journal of English Language Studies (IJELS) 4, no. 1 (2018): 31–38. http://dx.doi.org/10.24071/ijels.v4i1.1632.

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This study compares the features of poetry works of Victor Hugo from the Romantic Movement to those of Alfred Lord Tennyson from the Victorian Age of literature who lived in cutting age of the two periods of literature. These two ages experienced great expansion of industrial and agricultural revolutions, expansion of British as a super power nation with many colonies and the French revolution which to a great extent influenced the writings of these authors. Romanticism style of portraying themes of imagination, natural beauty and individual emotions over reasoning and sense of intellect influ

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Blakesley, Jacob. "Examining Modern European Poet-Translators ‘Distantly’." Translation and Literature 25, no. 1 (2016): 10–27. http://dx.doi.org/10.3366/tal.2016.0235.

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Despite the flourishing of Translation Studies as a discipline, there has been little comparative assessment of modern European poet-translators, much less from a quantitative perspective. This article illustrates the use of statistical analysis of modern European poet-translators to understand literary currents and translation trends within and among national European literatures. Statistical results reveal fundamental differences in the practice of translation among European poets, specifically, twentieth-century Italian, French, Spanish, and English-language poets. It becomes clear which Eu

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Popova, Olga V. "THE MOTIF OF VIOLATING THE BAN IN MEDIEVAL POEMS ABOUT THE SWAN KNIGHT." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2022): 258–70. http://dx.doi.org/10.28995/2686-7249-2022-6-258-270.

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The article considers the transformation of the motif of violating the ban in the medieval versions of the “plot of the Swan Knight” in the French and German traditions. While in the French sources the heroine’s violation implies the theme of the struggle between God and the devil, in the Germanlanguage versions the individual motivations of the characters’ behavior are emphasised. The article suggests a possible borrowing by the creators of German poems of the plot-forming motif of a folklore anecdote or urban schwank about Clever Elsa – the motif of the heroine’s thoughts about the future of

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Khan, Saima Yousaf, Dr Saima Manzoor, and Dr Zainab Akram. "Poetical Contribution of Shelley in the French Renaissance." International Journal of Social Science & Entrepreneurship 2, no. 2 (2022): 375–82. http://dx.doi.org/10.58661/ijsse.v2i2.67.

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Political injustice, absolute power, and an economic catastrophe contributed to the French Revolution in 1789. The French society attacked the Bastille prison in July 1789, marking the beginning of the French Revolution. The Liberte, Egalite, and Fraternize values that the society fervently upholds create a republican state inspired by J.J. Rousseau. The idea was swiftly abandoned since it made people thinks of warfare. That becomes the ethos of democrats and liberals who promote democracy to defeat tyranny and an oppressive government. English Romantic poets were influenced by this idea to dr

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Hasan, Mariwan. "Robert Herrick’s Daffodils, Percy Bysshe Shelley’s Flower and Abdulla Goran’s Ivy Flower: A Comparative Study." JOURNAL OF LANGUAGE STUDIES 6, no. 4, 1 (2023): 239–52. http://dx.doi.org/10.25130/jls.6.4.1.15.

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This paper intends to highlight the similarities in three poems by three different poets coming from different times and places - Robert Herrick’s poem, “To Daffodils”, Percy Bysshe Shelly’s poem, “The flower that smiles today” (mutability), and Abdulla Goran’s poem, “To the Ivy Flowers”. It endeavours to depict the influence that Shelly and Herricks’ poems had on the Kurdish poet Goran in composing his poem. Herrick’s poem was first published in the 17th century in English Language, although Shelley’s Poem was published in the 19th century in England, yet its language is English, too. The inf

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Mahdi, Lecturer Muhammed Hussain. "Commitment in the Poetry of Al-Nabiga Al-Dhibyani." Thi Qar Arts Journal 1, no. 37 (2022): 59–82. http://dx.doi.org/10.32792/tqartj.v1i37.285.

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One of the most important issues that have been raised in Arabic literature, past, and present, is the issue of subjectivity and collective, and this issue has expanded as a result of the circumstances of the expansion of human societies and the increase of links between them. As a way to express collective or national issues, the term (Commitment) is adopted by the French philosopher Rousseau, and in ancient literature we find Expressing collective issues (Commitment) for a number of poets, the most prominent of whom is Al-Nabigha Al-Dhubyani, which he adopted in his explicit and implicit poe

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Rothwell, Andrew, and Serge Gavronsky. "Six Contemporary French Women Poets: Theory, Practice and Pleasures." Modern Language Review 94, no. 2 (1999): 553. http://dx.doi.org/10.2307/3737186.

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