Relevant bibliographies by topics / Hard poems

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

Academic literature on the topic 'Hard poems'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Hard poems"

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Tarman, Bulent, and Emin Kılınç. "Poetry in the Social Studies Textbooks in Turkey." Journal of Culture and Values in Education 1, no. 1 (June 25, 2018): 50–62. http://dx.doi.org/10.46303/jcve.01.01.4.

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The purpose of this paper is to examine social studies textbooks to investigate the use of poetry in the social studies textbooks in Turkey. This paper also examines whose poets have been represented in the textbooks. The authors applied content analysis to evaluate social studies textbooks. Content analysis is a research method that uses a set of procedures to make valid inferences from text. It is also described as a method of analyzing written, verbal or visual communication messages. Content analysis allows the researcher to test theoretical issues to enhance understanding of the data. The results showed that very few poems were used in the social studies textbooks. The finding of the study revealed that poems in the 4th grade textbooks relate to topics that were interest to students the nature and humanism. Poem about Şavşat, described the beauty of Turkish homeland in the four seasons. Vetch Field poem in the 5th grade social studies textbook, described a bride who has to work in the field. This poem seems to be written for girls since the language indicates ‘girls’ several times. It emphasizes how hard to be a bride in the vetch field. Remaining poems were used to promote students’ patriotic values. These poems emphasizes flag, homeland, heroism etc.
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Berezkina, Svetlana. "S. P. Shevyrev’s Poems for сhildren (1857–1858)." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 337–59. http://dx.doi.org/10.31860/2304-5817-2021-1-19-337-359.

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The article is concerned with the analysis of S. P. Shevyrev’s poems for children that had been written in 1857–1858. These years were hard for the poet; the majority of magazines were rejecting his works. The reason for this was S. P. Shevyrev’s run-in with gr. V. A. Bobrinsky (cousin of Alexander II), which turned into a fist-fight. In 1857–1858 his poems regularly appeared only in two magazines: “Zvezdochka” and “Luchi, a magazine for girls”, published by A. O. Ishimova for the schoolgirls of noble boarding schools. The article considers two themes in S. P. Shevyrev’s poems for children. He was writing religious poems for the children who were thoroughly familiar with the Bible and that allowed him to keep complexity of his plots. His second theme was the working life of Russian peasantry, which he depicted with exceptional love. S. P. Shevyrev in his poems always merges deep piety of Russian peasants and their hard labors. The article offers the poet’s unpublished poem about the fate of a poor orphan boy.
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Hercock, Ned. "Hard Objects in George Oppen's Discrete Series." Modernist Cultures 13, no. 4 (November 2018): 496–517. http://dx.doi.org/10.3366/mod.2018.0227.

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This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.
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Garnida, Susie Chrismalia, and Mateus Rudi Supsiadji. "METHODISM IN WILLIAM BLAKE'S THE CHIMNEY SWEEPER." ANAPHORA: Journal of Language, Literary and Cultural Studies 1, no. 1 (July 31, 2018): 29–32. http://dx.doi.org/10.30996/anaphora.v1i1.2087.

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This article explores one of Blake's poems entitled The Chimney Sweeper which sees gloomily the condition of child labour during the industrial revolution in Britain. In the poem, it seems that Blake critizes the use of children to work for family income. Especially, this article discusses Blake’s ironical discussion on the Methodism's teaching to work hard in order to have the eternal life in the poem.
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Popova, Matrena. "Eastern forms in Yakut poetry: transformation features (the works of A. Parnikova-Sabara-Ilge as a case-study)." SHS Web of Conferences 134 (2022): 00092. http://dx.doi.org/10.1051/shsconf/202213400092.

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This article attempts to comprehend the innovations of Yakut poets in the creation of small-form genres in modern Yakut poetry, namely forms borrowed from the Eastern poetry, to be more exact, the poetry created by Anna Parnikova-Sabaray-Ilge as a case-study. The tendency of the poetess in her poetic stylization of the Eastern genres is to enrich the modern genre systematizing the examples from the treasury of world literature. As early as the 1960s and 1970s, Yakut poets sought to master oriental forms. However, in their poems they did not strictly follow the requirements of certain oriental forms. Only in the early 2000s young poet A. Parnikova managed to keep to the special requirements of the hard forms, namely the eastern ghazals. Although the author managed to nationalize the imagery, for example, the author used lilies instead of tulips, we consider her poem a model of oriental forms in the Yakut style.
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Goldhill, Simon. "Framing and polyphony: readings in Hellenistic poetry." Proceedings of the Cambridge Philological Society 32 (1986): 25–52. http://dx.doi.org/10.1017/s0068673500004818.

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‘Then babble, babble words, like the solitary child who turns himself into children, two, three…” Beckett.In this paper, I intend to discuss three central Hellenistic poems: Callimachus' Hymn to Zeus, Theocritus' Idyll 11 and Idyll 7. Each of these poems holds a privileged position in the discussion of the Hellenistic era as well as in each poet's corpus. I am certainly not offering here what could be called complete or exhaustive readings of these works – that would be far beyond the scope of a paper of this length; rather, I want to focus on a key point of interpretation in each poem. In the Hymn to Zeus, I am going to investigate the language of truth; in Idyll 11, the poem's structure of frame and song; and in Idyll 7, the poem's programmatic force. There are two aims in this strategy: the first is to investigate the topic of the ‘poet's voice’ in Hellenistic poetry. The three poems and the three topics of my discussion are linked in the concern for how a poet places himself within his poetry – ‘Who speaks?’, as Roland Barthes put it. The interest in poetry and how a poet relates to his poetry is a constant and fascinating theme through these works, and each of the topics I have chosen to discuss will illuminate this interest from a different aspect. Secondly, through a consideration of these three key moments of interpretation, I shall be arguing for an increased awareness of the complexity and subtlety of Hellenistic poetry. I intend to show how critics' approaches and decisions with regard to these nodes of interpretation, which may be regarded as paradigmatic, have led to a worrying oversimplification of Hellenistic poetry. I hope to show in some measure how the intellectual complexity which makes these poems so hard to read and to criticize, can also be a source of their continuing interest and delight for us.
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Wiman, Christian. "Three poems: Interior; Hard Night; Rhymes for a Watertower." Critical Quarterly 43, no. 3 (October 2001): 65–66. http://dx.doi.org/10.1111/1467-8705.00377.

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Horn, Fabian. "DYING IS HARD TO DESCRIBE: METONYMIES AND METAPHORS OF DEATH IN THEILIAD." Classical Quarterly 68, no. 2 (December 2018): 359–83. http://dx.doi.org/10.1017/s0009838819000053.

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Homer'sIliadis an epic poem full of war and battles, but scholars have noted that ‘[t]he Homeric poems are interested in death far more than they are in fighting’. Even though long passages of the poem, particularly the so-called ‘battle books’ (Il.Books 5–8, 11–17, 20–2), consist of little other than fighting, individual battles are often very short with hardly ever a longer exchange of blows. Usually, one strike is all it takes for the superior warrior to dispatch his opponent, and death occurs swiftly. The prominence of death in Homeric battle scenes raises the question of how and in which terms dying in battle is being depicted in theIliad: for while fighting can be described in a straightforward fashion, death is an abstract concept and therefore difficult to grasp. Recent developments in cognitive linguistics have ascertained that, when coping with difficult and abstract concepts, such as emotions, the human mind is likely to resort to figurative language and particularly to metaphors.
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Mengjiao, Wang, and Tatiana A. Ponomareva. "“Keep silence to poetry”: “silence” in M.S. Petrovykh’s life and writing." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 101–10. http://dx.doi.org/10.22363/2312-9220-2020-25-1-101-110.

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The motive and image o “silence” in M.S. Petrovykh’s lyrics is connected with her poetic worldview, understanding of the creative nature and social reality. Image “silence” defines the lyrical plot of the conceptual poem “One thing I want to say to poets...”. The poem reveals the type of creative and life behavior that the author professes. One the basis of some biographical facts of M. Petrovykh, which are confirmed in verse, the lexical and semantic level of poems in which the image and motive “silence” are presented is analyzed in this paper. “Silence” was the theme not only of M. Petrovykh, A. Akhmatova, but also of other writers of the era of the 1930s and 1950s, which is due to the atmosphere of the time. External and internal censorship dictated the style of behavior. But the poet must get to the hard core of what is happening and recreate the true reality, write the truth. The meaning of “keep silence to poetry” is precisely this. This is not just an aphorism, but the meaning of genuine creativity.
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Pearce, S. J. "Bracelets are for Hard Times: Economic Hardship, Sentimentality and the Andalusi Hebrew Poetess." Cultural History 3, no. 2 (October 2014): 148–69. http://dx.doi.org/10.3366/cult.2014.0068.

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Of thousands of poems written in Hebrew between the closure of the canon of the Hebrew Bible and the dawn of modernity, a single exemplar is identified as having been written by a woman, known only as the wife of her husband, Dūnash ben Labrāṭ. Modern scholarship on this poem has primarily been interested in it as a unique and curious artefact of a woman writer working in Hebrew. The present article will reconsider that poem in light of documents in the Cairo Genizah that deal, from a documentary perspective, with the same concerns and activities that the poet treats in verse, specifically the ways in which women supported themselves financially in the absence of their husbands. This study will argue that the work of the supposed Andalusi Hebrew poetess reflects economic and social realities faced by women in Muslim Spain and more broadly in the Mediterranean society documented in the Genizah. The exchange of personal effects between the woman depicted in the poem and her husband stands as a literary comparison for records of similar exchanges and calls for a more historicized reading of Genizah poetry that moves beyond the question of the poet's gender.
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Dissertations / Theses on the topic "Hard poems"

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Zhang, Wenyu. "Poems easily written in a hard life." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/7054.

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Poems Easily Written in a Hard Life is an English-language translation of Yun Dongju’s 40 poems. This work of literary translation is proceeded by a translator’s preface which seeks to situate the work in its specific social and linguistic context and to render the translator’s work visible.
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Dyer, Gregory A. "Playing Jonah's Hand: Poems." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2472/.

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Playing Jonah's Hand: Poems is a collection of poems with a critical introduction. The introduction consists of two independent essays, both of which examine intersections between poetry and Christian theology. In the first essay I identify the imaginative faculty as the primary source of agency for the speaker in John Donne's "Holy Sonnets." Working upon Barbara Lewalski's assertion that these sonnets represent "the Protestant paradigm of salvation in its stark, dramatic, Pauline terms," I consider the role of the imagination in the spiritual transformation represented within the sequence. Donne foregrounds a Calvinistic theology that posits both humanity's total depravity and God's grace and mercy as the only avenue of transcendence. Whatever agency the speaker exhibits is generated by the exercise of his imagination, which leads him to a recognition of his sinfulness and the necessity of God's grace. In the second essay I investigate the presence of a negative theology within "Lachrimae, or Seven Tears Figured in Seven Passionate Pavans," a sonnet sequence by Geoffrey Hill. In this sequence, Hill demonstrates the possibilities that surface through an integration of negative theology with postmodern theories of language, both of which have been influenced by the philosophical writings of Martin Heidegger. The two inform and transform each other while producing a tension that is productive ground for poetry. The main body of the manuscript includes a collection of poems built upon thematic parallels with the Biblical account of Jonah, acknowledging the character's continued frustration with God in Chapter Four of Jonah, which is commonly forgotten in popular and religious representations of the story. The four sections in the manuscript include poems that struggle to negotiate the tensions between the will of a compelling God and the will of the individual.
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Baker, Susan Fortune Ron Morgan William Woodrow. "Thomas Hardy's "Figure in the carpet" a study of the "Poems of 1912-13" /." Normal, Ill. Illinois State University, 1996. http://wwwlib.umi.com/cr/ilstu/fullcit?p9720804.

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Thesis (D.A.)--Illinois State University, 1996.
Title from title page screen, viewed May 30, 2006. Dissertation Committee: Ronald Fortune, William W. Morgan (co-chairs), Janice Neuleib. Includes bibliographical references (leaves 152-159) and abstract. Also available in print.
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Kronsbein, Kari Denise. ""Had we our senses": Emily Dickinson's Envelope Poems and Materiality." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1611.

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This essay stresses the importance of the visual and material aspects of these manuscripts. By examining her work in relation to collage practices, it highlights Dickinson's role as an avant-garde figure in both American poetry and material culture. Rather than write interlocking theses that connect each reading, I aim to demonstrate the ways in which an art historical consideration of Dickinson's envelope manuscripts complicates the already open-ended nature of her poetry through associating the texts with the cultural phenomena of the scrapbook. Additionally, I will foreground the importance of the materiality of these works through emphasizing the role of correspondence in Dickinson's life.
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Van, Der Watt Gerhardus Daniël. "The songs of Gerald Finzi (1901 - 1956) to poems by Thomas Hardy." Online version, 1996. http://bibpurl.oclc.org/web/27859.

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Bell, Susan. "Verse into Song Composers and their settings of poems by Thomas Hardy: 1893 - 1928." Thesis, Loughborough University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492734.

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This thesis explores the work and lives of composers who set Hardy's verse to music during his lifetime and seeks to identify the place of Hardy song settings in English musical history and in the personal history of their composers. It also gives evidence that Hardy possessed an extraordinary musical memory, and that, to an extent that has not been appreciated, he consciously wrote various poems for musical settings.
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Tait, Adrian Geoffrey. "From 'Wessex Poems' to 'Time's Laughingstocks' : an eco-critical approach to the poetry of Thomas Hardy." Thesis, Open University, 2010. http://oro.open.ac.uk/54660/.

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The aim of this thesis is to re-evaluate the poetry of Thomas Hardy from an ecocritical perspective, and in so doing, show how and in what ways Hardy's poetic oeuvre represents a revealing response to the environment, and an important and still relevant comment on humankind's relationship to it. As the Introduction explains in more detail, the thesis concentrates on the verse drama and verse collections published between 1898 and 1909. However, Chapter 1 opens with an eco-critical analysis of Hardy's earliest surviving poem, 'Domicilium', written 1857-60; the Chapter develops into a discussion of the origins of eco-criticism as a theoretical approach with a political edge. Chapter 2 discusses the complex Victorian concept of 'Nature', which shaped Hardy's own response to the environment. Chapter 3 engages with Hardy's career as a novel writer, and notes the way in which it informs his later poetry. Chapter 4 extends the eco-critical analysis to Hardy's poetry, focusing on Wessex Poems, his first verse collection. Although short, the collection shows how Hardy was already shaping his own poetic sense of the natural world. This theme is developed in Chapter 5, on Poems of the Past and Present, a collection notable for a series of poems with a bio-centric focus on the natural world in general and bird life in particular. Chapter 6 deals with The Dynasts, a retelling of the Napoleonic Wars through which Hardy dramatized his belief that all life on earth is connected by the workings of the 'Immanent Will'. Chapter 7 discusses Time's Laughingstocks, Hardy's bleakest reading of the human condition. The Conclusion analyses another individual poem, 'The Convergence of the Twain', written following the loss of the Titanic in 1912, and summarises Hardy's distinctive contribution to our emerging sense of what might constitute a meaningful 'eco-poetic'.
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Dickson, Lesley. ""A silence that had to be overcome" : 50 poems and a personal statement on poetics." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=192181.

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‘Scottish’, ‘woman’, ‘lesbian’; these words are markers of identity and a starting point in my attempt to place myself within a poetic tradition. This study towards a statement of poetics considers ideas of identity and tradition as they relate to the public and private spheres. The first chapter considers how traditions are built and the external factors which impact upon them by looking at both physical and more ideological notions of place and space as they relate to nationhood and a sense of belonging. The focus then narrows to consider the situation of female poets as marginal. There is an interrogation of whether female poets are marginalised by the predominantly patriarchal literary canon or if they seek out these liminal borders and hinterlands. This is considered in the context of Elizabeth Bishop’s ‘forced exile’ and the more voluntary travels of Kathleen Jamie. The study then turns to consider the theoretical history behind women’s writing and how this impacts upon their varied ways of ‘reading the map of tradition’. In considering the private, or personal, sphere there is a discussion of the internal impulses which the poet acts upon in order to look at the nature of poetic imperative. This section begins with the statement that ‘every poem breaks a silence which had to be overcome’, and this in turn opens up questions of how external silencing might affect the internal impulse to assert and/or disclose. With specific focus on mid-twentieth century American Confessional poetry, further questions are asked regarding the ‘worth of art’ and the poet’s decoding and self-censorship of their own work in order to both hide and break taboos surrounding sexuality and privacy. The study then becomes more specifically personal in the reflective chapter which deals thematically with a selection of my own poems from the folio. This is in order to chart not only the evolution of my work but also the evolution of my own poetic imperatives. The final chapter reflects upon my use of free verse, looking briefly at the history of the form from the early twentieth-century onwards before going on to consider how the various theories and poetics which have grown out of the broadly vernacular, ‘free verse revolution’ have impacted formally upon my own work.
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Tamai(Nagamori), Akemi. "Thirteen Ways of Looking at a Victorian Woman: Representation of Sexuality in Thomas Hardy's Last Three Novels and Balladic Poems." Kyoto University, 2019. http://hdl.handle.net/2433/245326.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第22131号
人博第914号
新制||人||218(附属図書館)
2019||人博||914(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生文明学専攻
(主査)教授 水野 眞理, 教授 桂山 康司, 准教授 池田 寛子, 教授 金子 幸男
学位規則第4条第1項該当
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Greve, Curt Michael. "Raw." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1311189062.

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Books on the topic "Hard poems"

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Hard evidence: Poems. Columbia: University of Missouri Press, 1990.

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Philip, Miller. Hard freeze: Poems. Kansas City: BkMk Press, 1994.

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Hard candy: Poems. Victoria, B. C: Sono Nis Press, 1994.

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Hard candy: Poems. Toronto: Insomniac Press, 1997.

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Keillor, Garrison. Good Poems for Hard Times. New York: Penguin USA, Inc., 2009.

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Meredith, William. Poems are hard to read. Ann Arbor: University of Michigan Press, 1990.

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Garrison, Keillor, ed. Good poems for hard times. Waterville, Me: Thorndike Press, 2005.

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Poems are hard to read. Ann Arbor: University of Michigan Press, 1991.

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Alive in hard country: Poems. Huron, OH: Bottom Dog Press, 2004.

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1934-, Sanchez Sonia, ed. Black girls learn love hard: Poems. Atlanta, Ga: Moore Black Press, 2005.

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Book chapters on the topic "Hard poems"

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Howe, Irving. "The Lyric Poems." In Thomas Hardy, 160–86. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-18007-3_8.

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Gibson, James. "Wessex Poems, 1898." In The Achievement of Thomas Hardy, 105–16. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-65271-6_7.

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Johnson, Trevor. "Love Poems II: Poems about Emma." In A Critical Introduction to the Poems of Thomas Hardy, 199–243. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21221-7_8.

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Palmer, Andrew. "Akrostich Poems: Restoring Ephrem's Madroshe." In The Harp (Volume 15), edited by Geevarghese Panicker, Rev Jacob Thekeparampil, and Abraham Kalakudi, 275–88. Piscataway, NJ, USA: Gorgias Press, 2011. http://dx.doi.org/10.31826/9781463233037-023.

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Johnson, Trevor. "Poems about People." In A Critical Introduction to the Poems of Thomas Hardy, 55–97. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21221-7_4.

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Johnson, Trevor. "Poems about Ideas." In A Critical Introduction to the Poems of Thomas Hardy, 129–69. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21221-7_6.

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Johnson, Trevor. "Love Poems I." In A Critical Introduction to the Poems of Thomas Hardy, 170–98. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21221-7_7.

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Morgan, William W. "Hardy's Poems: The Scholarly Situation." In A Companion to Thomas Hardy, 395–412. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324211.ch26.

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Armstrong, Tim. "Thomas Hardy: Poems of 1912-13." In A Companion to Twentieth-Century Poetry, 357–68. Malden, MA, USA: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470998670.ch28.

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Cain, Tom, and Ruth Connolly. "To Brain-Hardy." In The Poems of Ben Jonson, 269. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315696195-64.

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Conference papers on the topic "Hard poems"

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إبراهيم أحمد العزّي, يونس. "Halabja in Poetic Memory: The Crime and the Case." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/55.

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"Abstract The Halabja case, and the genocide to which the people of this city were subjected, represented an international crime with all the dimensions and connotations of the word, and thus left a wound in the memory of the human conscience, the effects of which were reflected in various forms politically, socially, and culturally. The Halabja crime constituted intellectual and literary foundations for many Iraqi and Arab poets and writers, and it became an artistic theme for many poems and literary works in the contemporary creative achievement. Among these writers was the Iraqi poet (Ahmed al-Hamd al-Mandalawi), whose poem (Execution of a City in My Country) is regarded as an artistic painting that recorded the details of this tragedy, and depicted its bloody events, in a high literary style, and a language far from complex, embodied the poetry of sadness and the memory of pain. This is what makes it a rich sample in technical and objective terms, and worthy of research and study. The stylistic approach was adopted as a method of reading and a mechanism for analysis, to reveal the aesthetics of this poem, and the mechanisms of its artistic formation, according to a critical and analytical vision, highlighting the poetics of the text and the poeticity of the creator on the one hand, the depth of tragedy and the connotations of sadness and sorrow On the other hand, the text. The study methodology necessitated dividing the research into an introduction and three sections. The introduction formed a methodological threshold - including (Halabja - the poem - and the poet), which collectively represents the external / theoretical framework of the research. As for the research sections, it was devoted to the study of the three levels of the poem - according to the mechanisms of the stylistic approach - which are respectively: the structural level, the phonemic level, and the semantic level, which the poet was able through his employment of the elements of formation and artistic construction to highlight these stylistic levels and their poetics that tempt the researcher to approach the text and critically debate it what reveals its aesthetic beauty secrets."
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عبد الرزاق أيوب, ضياء. "Kurdish-Arab coexistence in Iraqi contemporary poetry." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/56.

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" One of the best manifestations of the ego is in its relation to the other as an identifiable equivalent. This relation is basically and culturally determined by the nature of the observant ego, both dialectically and dialogically. The other serves as an inspiring stimulus that produces a desirable effect on an expressive ego which is aiming at self-expression and actively shaped by that equivalent other. This article investigates the poetic ego in its constant, variable interaction with the Kurds as reflected in the poems of contemporary Iraqi poets who showed sympathy with and support to the Kurdish cause. Exemplary poems will be chosen to depict this reciprocal relationship, shedding light on its unified representation. The article is divided into an introduction and five sections. The concept of the other and its origin, diversity of meanings, and its interdisciplinary suggestiveness are all discussed in the introduction. The five sections, on the other hand, are a study of the various depictions of the Kurds in contemporary Iraqi poetry. These depictions are shown in the Kurdish brotherhood, the commemoration of famous Kurdish figures, the celebration of the Kurdish place and festivities and their role in identity formation, and remembering its setbacks and inculcating it in the collective memory"
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Ho, Chi-chu. "THE AWAKENING AND TRANSFORMATION OF SENSATION IN PU SONGLING’S ILLNESS POETRY." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.08.

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This article takes Pu Songling’s illness poetry as research subject to dig out his illness feeling about the five perceptions of the eyes, ears, tongue, and body. From deeply reviewing his four sensations in his poems, we have found the transformation of his life from sadness to glee. Due to the disease of his legs around his forty, he had spent much time lying down on the bed but he had strong feelings of the seasonal changes through his vision, hearing and touch to create a cold and lonely world around himself. After his sixty years old, the illness of his teeth had brought more severe transformation of the feeling of taste and touch. Finally, Pu Songling had accepted all of these sensations and lived with the painful feelings. The plentiful experience of feeling of illness and the fading desire for imperial examination had made huge transformation of Pu Songling’s sensations. The author would review these sensations item by item and through the real characteristic of describing the illness feelings in his poems to analyze deeply the emotional connotation of Pu Songling.
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Que, Jun. ""Daddy, I Have Had to Kill You": Sylvia Plath's Father Poems." In 2016 2nd International Conference on Education, Social Science, Management and Sports (ICESSMS 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icessms-16.2017.127.

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Narayanaswami, Sundaravalli. "A Novel Learning Heuristic Applied for Computationally Hard Managerial Decision Making and Transportation Operations Control." In 2018 International Conference on Production and Operations Management Society (POMS). IEEE, 2018. http://dx.doi.org/10.1109/poms.2018.8629467.

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Kiiashko, Daria. "LINGUOSTYLISTIC PECULIARITIES OF THE POEM «THE VOICE» BY THOMAS HARDY." In EDUCATION AND SCIENCE OF TODAY: INTERSECTORAL ISSUES AND DEVELOPMENT OF SCIENCES. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-29.10.2021.v1.35.

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Dozaki, Koji, Hiroyuki Kobayashi, Hiroyuki Adachi, Katsuhide Muraoka, and Yusuke Kono. "Rules for Temporary Repair Techniques in JSME Fitness-for-Service Code and Their Challenges." In ASME 2015 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/pvp2015-45903.

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Chapter of Repair, Replacement Activities (RRA) in Fitness-For-Service (FFS) Code of the Japanese Society of Mechanical Engineers (JSME) includes rules of article RB-3000 for temporary repair techniques in the use of covering leakage during operation of a Nuclear Power Plant (NPP). Temporary repair techniques are RB-3010 Plating, RB-3020 Adhesion and RB-3030 Infill. In this paper, rules of these temporary repair techniques are summarized as well as the meaning of ‘temporary’, intention and benefit of them. On the other hand, these rules of temporary repair techniques were provided by Thermal and Nuclear Power Engineering Society (TENPES) at first in 1986, about thirty years ago. “Plant Operation and Maintenance Standards (POMS) Plan” developed by Japan Power Engineering and Inspection Corporation (JAPEIC) in 1996 incorporated those rules of temporary repair techniques, then JSME FFS Code has taken over them from POMS. Because the design rules of these temporary repair techniques have had much margin since origin, it may result in excessive design, or time-consuming procurement of parts. Especially, since these temporary repair techniques are often applied to the leakage around valve gland and flange, simpler and more practical modified rules could provide more benefit for effective repair activities. In this paper, an orientation of possible revision is described on temporary repair techniques rules in JSME FFS Code.
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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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Шестакова, Анастасия Егоровна, and Людмила Софроновна Заморщикова. "LINGUISTIC AND CULTURAL CHARACTERISTICS OF THE TRANSLATION IN THE FRENCH LANGUAGE OF THE POEM M. KOLESOV "I HAD DREAMS - I AM SNOW..."." In Всероссийская научно-практической конференция с международным участием, посвященной 100-летию со дня рождения выдающегося ученого-североведа И.С. Гурвича (1919-1992). Электронное издательство Национальной библиотеки РС (Я), 2019. http://dx.doi.org/10.25693/gurvich.2019zamorshikovals.

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Pons Moreno, Álvaro Máximo. "EL RETO DE LA POESÍA GRÁFICA: ANÁLISIS DE LA OBRA DE BEGOÑA GARCÍA-ALÉN." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9597.

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La poesía gráfica se ha consolidado en los últimos años como uno de los campos de experimentación del cómic más activo y fructífero. La exploración de las posibilidades del cómic alejadas de la tradicional narratividad secuencial ha permitido entroncar la narración visual con la poesía concreta y caligramática, encontrando una relación cuya naturalidad y potencialidad resulta sorprendente (McHale, 2010). Aunque las primeras experiencias de la poesía gráfica pueden ser rastreadas en la obra de George Herriman y en la fundacional Poema en viñetas de Dino Buzzatti, en la última década se ha producido un desarrollo espectacular desde el espacio de libertad que representa la autoedición y el fanzinismo. Autores y autoras como Bianca Stone, Warren Craghead o Tom Hart han marcado un camino que en España ha sido seguido por una activa generación de jóvenes autores y autoras entre los que destacan Cynthia Alfonso, Klari Moreno, Julia Huete, María Medem, Óscar Raña, Begoña García-Alén, Andrés Magan o Roberto Masso, entre otros. En este trabajo, analizaremos la obra de García-Alén (Pontevedra, 1989), estudiando la evolución que se ha producido desde sus primeras publicaciones autoeditadas en su sello Noche Liquida, como Lujo Infinito (2015), La máscara de oro (2016), Orden y Forma (2016), Unha Gran Dama (2017) y Nueva Mística de Vigo (2018), a las publicadas por editoriales alternativas, como Perlas del Infierno (Fosfatina, 2014) o Nuevas estructuras (Apa Apa Cómics, 2017). Nos centraremos especialmente es esta última, examinando sus estrategias de narración visual a través del simbolismo, la composición espacial y cromática y el montaje analítico como estructura temporal interna de la página. McHale, B. (2010) Narrativity and Segmentivity, or, Poetry in the Gutter. En M. Grishakova y M.L Ryan (eds.), Intermediality and Storytelling, (p 27-48). Berlin: Walter de Gruyter.
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Reports on the topic "Hard poems"

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

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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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