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Journal articles on the topic 'Historical poetry'
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Chang, Haoxiang, Beitong Li, Fengwei Wang, and Yue Bin. "Thematic classification of ancient Chinese poetry using TwinEmbedAttentionNet." Applied and Computational Engineering 39, no. 1 (February 21, 2024): 302–14. http://dx.doi.org/10.54254/2755-2721/39/20230619.
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Ancient Chinese poetry, a reflection of Chinas rich cultural and philosophical fabric, encapsulates the evolving socio-cultural nuances of its historical epochs. Despite its cultural significance, there remains an evident lacuna in comprehensively classifying its recurring themes, due in part to the conciseness and polysemy intrinsic to the language and the essentiality of embedded cultural and historical contexts. Addressing this challenge, this study introduces TwinEmbedAttentionNet, a pioneering method tailored for the thematic classification of ancient Chinese poetry. This approach synergistically integrates pretrained word and sentence embeddings with an attention mechanism, ensuring the nuanced representation of the poetrys intricate details. Our results showcase its superior performance over existing models. Furthermore, an in-depth examination of model components offers insights into their respective thematic categorization efficacies. This research not only advances the academic understanding of ancient Chinese poetry but also underscores the potential of innovative neural networks in processing historically rich textual data.
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Owen, Stephen. "Poetry and Its Historical Ground." Chinese Literature: Essays, Articles, Reviews (CLEAR) 12 (December 1990): 107. http://dx.doi.org/10.2307/495226.
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Hyungdae Lee. "Historical Semantics in the Enlightenment Period Poetry." Korean Classical Poetry Studies 37, no. ll (November 2014): 7–32. http://dx.doi.org/10.32428/poetry.37..201411.7.
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Vadena, Gábor. "Sándor Petőfi: the Story of a Literary Career in Nineteenth-Century Hungary." Central-European Studies 6 (2023): 63–86. http://dx.doi.org/10.31168/2619-0877.2023.6.3.
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Sándor Petőfi (1823–1849) is the best-known Hungarian poet. It was not only the innovative poetic tools of his poetry that caused a stir among his contemporaries, but also his radical political thinking. In recent decades, three trends have dominated literary research: close readings of the poems by Petőfi have shown what radical poetic tools he used to create the language of modern Hungarian poetry. The second direction deals with the influence of Petőfi and reveals how the Hungarian national memory policy conjured him up as a historical figure. The third direction explores the poet's biography in various socio-historical contexts. Through the analysis of Petőfi's career, it is also possible to examine what opportunities nineteenth-century Hungarian intellectuals had to advance their careers. This essay presents Petőfi’s career from a socio-historical perspective, while also touching on issues of cult history and literary history poetry.
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Prins, Yopie. "“What Is Historical Poetics?”." Modern Language Quarterly 77, no. 1 (March 1, 2016): 13–40. http://dx.doi.org/10.1215/00267929-3331577.
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AbstractIn posing questions about what is “historical” and what counts as “poetics,” historical poetics cannot separate the practice of reading a poem from the histories and theories of reading that mediate our ideas about poetry. While nineteenth-century verse cultures revolved around reading by generic recognition, a reading of poetry as a form of cognition emerges among later critics like I. A. Richards, who illustrates how a line from Robert Browning is read in the mind’s eye, as if in the present tense. But Browning was already doing a version of historical poetics, in writing “Pan and Luna” as a poem about reading other poems about Pan, among them “A Musical Instrument,” by Elizabeth Barrett Browning. In the composition and reception of her poem, we see how Victorian poetry foregrounds its multiple mediations, including the mediation of voice by meter as a musical instrument. The recirculation of her popular poem through citation and recitation, illustration and anthologization, prosody and parody, demonstrates a varied history of thinking through—simultaneously “about” and “in”—verse.
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Salar Abdulqadr, Kizhan, Roz Jamal Omer, and Ranjdar Hama Sharif. "Ezra Pound's Poetry between Victorianism and Modernism: A Historical-Biographical Analysis." Technium Social Sciences Journal 21 (July 9, 2021): 826–32. http://dx.doi.org/10.47577/tssj.v21i1.3817.
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This paper examines the short poems of Ezra Pound, a group of works that have long been the subject of academic discussion in the field of literary analysis. Although Ezra Pound is typically considered a Modernist poet, some clear elements of Victorianism can be discerned within his revolutionary forms of poetry. The paper will offer a historical and biographical background to Pound's work before moving on to an analysis and discussion of the poet's short poems. While previous studies of Ezra Pound's poetry have adopted various critical approaches, we believe that this is the first study that compares the influence of Modernism and Victorianism on the work of this important figure in English verse of the early twentieth century.
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Maulidya, Fitra, and Ninuk Lustyantie. "DEVIATION IN POETRY GUILLAUME APOLLINAIRE'S POETRY COLLECTION." IJLECR - INTERNATIONAL JOURNAL OF LANGUAGE EDUCATION AND CULTURE REVIEW 5, no. 2 (December 31, 2019): 173–79. http://dx.doi.org/10.21009/ijlecr.042.20.
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This research intends to describe the types of deviations contained in the collection of poems Calligrammes by Guillaume Apollinaire. The approach used is a qualitative approach with content analysis method. The data collection technique used is Miles and Huberman. The theory used as the main reference is the deviation theory according to Geoffrey N. Leech which divides the deviation into eight types, namely lexical deviation, phonological deviation, grammatical deviation which includes morphological and syntactic, graphological deviation, semantic deviation, dialectal deviation, deviation of register, and deviation of historical period. The result of data analysis from 7 poems found 5 out of 8 types of deviation which are diffused in each poem, including 24 semantic deviations, 18 graphological deviations, 4 deviations of register, 3 syntactic deviations and 2 lexical deviations. While the types of phonological deviation, morphological deviation, dialectal deviation, and deviation of historical period are not found in any of the data in this collection of poems Calligrammes.
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Prins, Yopie. "Historical Poetics, Dysprosody, and The Science of English Verse." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 229–34. http://dx.doi.org/10.1632/pmla.2008.123.1.229.
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“The sound of poetry, the poetry of sound” resonated as Marjorie Perloff's theme for the 2006 MLA Convention, where one could hear about this topic at panels, poetry readings, and the Presidential Forum. Addressing a large audience at the forum, Charles Bernstein tapped the microphone and loudly intoned, “Is this working? Can you hear me?” The moment was a self-conscious performance, perhaps parody, of lyric utterance addressed to “you” from “me”: even before beginning his speech, Bernstein called our attention to the amplification of voice. Instead of addressing any particular you, singular or plural, he seemed to address the microphone, a mediating apparatus that makes possible but also interrupts the intimacy of address that lyric poetry (after John Stuart Mill) invites us to overhear. Through the microphone, Bernstein gave new overtones to Mill's definition of poetry as “overheard,” which could also mean hearing it too much, making it too loud, overworking the metaphor of the voice that we think is speaking directly to us. Although we tend to think of sound as immediate (is it?), the sound of poetry is never heard without mediation, and we should attend to the medium.
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Tebegenov, Т., and S. Asilbekuli. "ARTISTIC CHARACTER OF ZHUMEKEN NAZHIMEDENOV'S POETRY." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 344–52. http://dx.doi.org/10.51889/2020-4.1728-7804.70.
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The article analyzes the artistic features of lyrical and ethical works in the poetry of the outstanding poet, laureate of the State prize of the Republic of Kazakhstan Zhumeken Nazhimedenov. The poet's poetry is dominated by civil-Patriotic lyric poetry, psychological and philosophical integrity of the sung questions: the native land of the great Steppe, the sacred homeland, the continuity of generations, respect for ancestors, etc. At the same time, the author analyzes the poetic and aesthetic semantic features of artistic images in lyrical poems about nature in the poet's poetry (personification, metaphor, epithet, comparison, symbol, allegory, psychological parallelism, etc.). the Lyrical and psychological nature of civil dedications to things and phenomena in nature is determined by text analysis. We also analyzed critical motives expressed by images of irony and sarcasm in the poet's poems, which assessed gaps and shortcomings in the system of relations in the domestic and social environment. Differentiated features of the historical-philosophical, aesthetic-poetic artistic solution of the poem in the epic poetry of the poet in the generalization and reflection of the reality of life with artistic reality. The research is highlighted in the context of a new consideration of the text analysis of the poetic features of works in the poet's poetry.
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Muhammad Safiyyu Abdul Kadir. "Athar al-Shi‘r fī Tadwīn al-Aḥdāth al-Tārīkhīyah fī al-Qarn al-Tāsi‘ ‘Ashar: Qaṣīdat al-Shaykh Muhammadu Bello ibn al-Shaykh Usman ibn Fodio fī Ghazwat Kano Unmūdhajān." Al-Ma'rifah 17, no. 1 (April 30, 2020): 87–97. http://dx.doi.org/10.21009/almakrifah.17.01.09.
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Poetry is a notable record for historical events, a tool for arousing enthusiasm and a capability of emotional expression that drives society. The objective of this article is to investigate and appraise the degree for special literary description on poetic influence in the recording of historical events in the 19th century in Nigeria. The article contains a biography of the poet Shaykh Muhammadu Bello bin Sheikh Usman bin Fodio and preamble that will assist in understanding the meaning of historical Arabic poetry. The theme of this article comprises the meaning of historical Arabic poetry, word expression, skills in the language of poetry, the poet’s artistic doctrine, and the belief of the poet feels. The poetry of historical events is counted among the best poems in Arabic literature of the past and present period. The author collected lots of data and will use the descriptive and analytical methods in carrying out the research.
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Svyatoslavsky, Alexey V. "Nature Images in Russian Odic Poetry of the 18th – Early 19th Centuries: Functional Role and Influence on the Further Literary Process." Two centuries of the Russian classics 3, no. 2 (2021): 40–61. http://dx.doi.org/10.22455/2686-7494-2021-3-2-40-61.
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The article is devoted to the functional role of nature images in the formation of the imaginary structure of Russian odic poetry of the 18th – early 19th centuries. Examples are taken from the odic poetry of Mikhail Lomonosov, Vasily Trediakovsky, Alexander Sumarokov, Mikhail Kheraskov, Gavrila Derzhavin, Dmitry Khvostov. An attempt was undertaken to answer two questions: the place nature images occupied in odic poetry in the era of its pride and, secondly, the possibility to find in the poetry of classicism, despite the condescending attitude towards it that developed later in the history of Russian literature, something that constituted an organic part of the Russian classics of the 19th and 20th centuries. The functional role of nature images in the odic genre is shown, which, as it seemed, by definition is alien to natural themes, being organically connected with the pathos of civic consciousness and the appeal to the themes of heroism, great personalities, and historical events. However, as it turns out in a number of cases, the very objects of nature evoke the poet's admiration as an impressive work of the Creator, in others, nature is a background that in a certain way enhances the impression of the very historical events that constitute the subject of odic poetry. The conclusion is made about a certain continuity in the depiction of nature – from odic poetry to Russian lyric poetry and prose of the 19th and 20th centuries.
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YILMAZ, Tuğba. "UZBEKISTAN AND NATIONAL IDENTITY IN THE POEMS OF HURSHID DEVRAN." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (November 15, 2022): 67–74. http://dx.doi.org/10.31567/ssd.793.
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Hurshid Devran was born on January 20, 1952 in Samarkand, Uzbekistan. H. Devran; he became one of the leading poets and writers of Uzbek Literature with his works written in epic, poetry, drama, theatre, story and translation. In the works he wrote in the field of poetry, homeland, nation, flag, language, independence, historical figures, poet, poetry, spring, autumn, nature etc. themes are often included. He frequently emphasized the historical, geographical and cultural characteristics of Uzbekistan in order to create national consciousness among the Uzbek people in his works on Uzbek Literature of the Independence Period. However, Kashgarli Mahmud, Alisher Nava’i, Zahiriddin Muhammed Babur, Musa Aybek, Maksud Shehzada, Mirtemir, Osman Nasir, Abdülhamid Süleyman Cholpan etc. He mainly gave place to historical and literary figures in his poems. In the study, the concepts of Uzbekistan and national identity that Hurshid Devran used in his poems about homeland, nation, language, flag and independence were evaluated. In addition, a detailed analysis of H. Devran’s poems in which he describes the cultural characteristics of the geography he lived in and historical cities was made. At the same time, the poet's works were analyzed in terms of literary theories and stylistic features. Based on this study, detailed information about the life of the artist and the structure of the society he lived in was obtained.
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Choi, Jong-Gil. "Poetry for Historical Reconciliation in East Asia." Korean Association For Japanese History 51 (April 30, 2020): 295–328. http://dx.doi.org/10.24939/kjh.2020.4.51.295.
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Harrison, G. "Wordsworth's Historical Imagination: The Poetry of Displacement." Modern Language Quarterly 48, no. 4 (January 1, 1987): 392–96. http://dx.doi.org/10.1215/00267929-48-4-392.
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Muth, Marcia Finley, and Nancy A. Gutierez. "English Historical Poetry, 1476-1603: A Bibliography." Sixteenth Century Journal 16, no. 2 (1985): 280. http://dx.doi.org/10.2307/2540920.
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Ernazarova, Gulnoza. "MEDIATIC HISTORICAL FUNDAMENTALS OF MODERN UZBEK POETRY." INTERNATIONAL JOURNAL OF WORD ART 6, no. 3 (June 30, 2020): 63–67. http://dx.doi.org/10.26739/2181-9297-2020-6-9.
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This article analyzes with examples of works by Yusuf Xos Hojib, Ahmad Yassaviy the fact that meditative lyricism is a national phenomenon. This is reflected in the historical basis of the meditative lyric in the modern Uzbek poetry
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Bell, Hazel K. "Subject Indexes to Poetry: Historical : (See Patriotism. )." Journal of Scholarly Publishing 38, no. 3 (2007): 162–68. http://dx.doi.org/10.1353/scp.2007.0012.
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Macduff, Colin. "A brief historical review of poetry’s place in nursing." Journal of Research in Nursing 22, no. 6-7 (November 2017): 436–48. http://dx.doi.org/10.1177/1744987117729724.
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The relationship between nursing and poetry is not necessarily obvious and may often be seen as marginal to mainstream nursing activities. This review paper seeks to examine this relationship by taking primarily an historical perspective, starting from Nightingale and the development of mainstream professional nursing. Through an indicative rather than exhaustive literature review, the ebb and flow of this relationship is traced. This provides both an overview and specific insights into the ways that poetry can manifest within nursing, highlighting some recent developments and the potential for further applications. As such the paper argues that poetry in its various forms should have more central consideration within nursing practice, education and research.
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Hu, Zhe. "Analysis of the Historical Origin of Ancient Chinese Poetry and Art Songs." Journal of Innovation and Development 3, no. 1 (May 17, 2023): 76–78. http://dx.doi.org/10.54097/jid.v3i1.8425.
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The successful combination of poetry and dynamic beauty in poetry and dynamic beauty in music often brings vitality to people with transcendent aesthetic enjoyment. Classical poetry is an important cultural treasure in ancient Chinese literature, and it also has a relatively broad cultural value in the context of the current era, and is a brilliant pearl of Chinese culture. Ancient Chinese poetry and art songs refer to a relatively unique form of music genre produced by taking the poetry of Chinese literati and scholars as the singing content, adding scores and soundtracks by composers, and skillfully integrating poetry, rhyme and vocal emotion. After thousands of years of development, Chinese modern art songs combine literary art and musical art, precipitating thousands of years of cultural connotations of the Chinese nation; It embodies the spiritual feelings of thousands of people and is an important part of the excellent traditional culture of the Chinese nation. It is not only a perfect combination of traditional culture and elegant art, but also the symbiotic link between poetry and music. It has been spread for thousands of years in the long river of literature and art of the Chinese nation for a long time, and has profound historical connotation and high research value.
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Chiu, Yi-hsuan. "Esoteric Writing through Historical Allusions." European Journal of East Asian Studies 19, no. 2 (December 4, 2020): 237–62. http://dx.doi.org/10.1163/15700615-01902008.
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Abstract This paper investigates the poetry of Qu Xuanying, a literatus who remained in the city of Beiping (now Beijing) following its occupation by the Japanese in 1937. Through historical allusions in his poetry, Qu communicated with friends about the ethical dilemmas that he faced under occupation, and reflected upon the choices that literati in earlier eras had made when facing dynastic transitions and foreign conquest. Qu’s ‘esoteric writing’ during the occupation contained a complex set of historical allusions which referenced various points in the Chinese past. Since Qu served in the collaborationist north China regime, he has often been perceived as a ‘traitor’ or a ‘collaborator’. Through this in-depth analysis of his literary works, however, this paper seeks to reveal the special exegetical strategies adopted by literati such as Qu under occupation.
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조세형. "The Expressional Characteristic of late Gasa(후기가사) and its Literary Historical Meaning." Korean Classical Poetry Studies ll, no. 22 (May 2007): 241–68. http://dx.doi.org/10.32428/poetry..22.200705.241.
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Nasrullah, Nasrullah, and M. Bahri Arifin. "POSTCOLONIALITY IN ERWIN CLARKSON GARRET’S THE DYAK CHIEF BALLAD." CaLLs (Journal of Culture, Arts, Literature, and Linguistics) 8, no. 1 (June 30, 2022): 87. http://dx.doi.org/10.30872/calls.v8i1.8029.
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This research would analyze the postcoloniality of Erwin Clarkson Garret’s The Dyak Chief Ballad. This research using the elements of poetry theory, poetry and history and postcolonial theory. The method of this research using structural approach and postcolonial analysis. This research analyze the elements of poetry, the translation into Bahasa Indonesia, the historical context of the poetry, and postcolonial aspect of the poetry is the elements. The result of this research are the identification of intrinsic elements of this ballad, the translation into Bahasa Indonesia, the historical context of this ballad that related to early first world war, and the representation of the native (the East) by the West.
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Shahida, Salma, and Shagufta Nasreen. "A-1 A Historical View on the compilation of Poetry in Dewans." Al-Aijaz Research Journal of Islamic Studies & Humanities 4, no. 1 (June 30, 2020): 1–10. http://dx.doi.org/10.53575/a1.v4.01.1-10.
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The process of compiling and collecting poetry, that started during the Umayyad period and reached its climax in the Abbasid era , was a remarkable effort in Arabic literature. It depicts and portrays the true picture of Arabs and Muslims in the pre-Islamic and Islamic periods. These collections are the history of Muslim Nation. The name of Diwan on Poetry was unknown during the first three centuries, but is spread in the fourth century AH. In this period, many Diwans and poetry collections were compiled and prepared. This article illustrates the complete history of the compilation of poetry collection in the form of Diwaan
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Mąkowska, Joanna. "The Architecture of Love in the Poetic Thinking of James Baldwin and Jericho Brown." James Baldwin Review 9, no. 1 (September 26, 2023): 70–88. http://dx.doi.org/10.7227/jbr.9.4.
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By situating Baldwin’s Jimmy’s Blues and Other Poems in conversation with Jericho Brown’s 2019 poetry collection The Tradition, this article examines the theory of love in their poetic thinking. It argues that in their poetry, love emerges as a multifaceted mode of knowing and feeling, grounded in corporeal intensity and imbued with sociopolitical and historical meanings. Both Baldwin and Brown view love as integral to the understanding of queer sexuality and racial politics, foregrounding at the same time the challenges of loving and being loved in a historically anti-Black society. Their poetics of love coalesces the intellectual and the affective, the erotic and the political, moving beyond the conventions of inward-bound and personal lyric toward what Martinican philosopher and novelist Édouard Glissant termed a “poetics of relation.” Such transgenerational reading also allows us to explore Baldwin’s and Brown’s poetry as acutely attuned to historical moments which seem strikingly similar: Reagan’s and Trump’s presidencies.
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Li, Wei. "Cognitive Analysis of Metonymy in Classical Chinese Poetry." International Journal of Linguistics 15, no. 3 (June 9, 2023): 28. http://dx.doi.org/10.5296/ijl.v15i3.21061.
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Although metonymy is widespread in poetry, it has been ignored compared to the attention that has been paid to metaphor. Metonymy is not only a figure of speech, but also a cognitive means by which one conceptual entity offers mental access to another conceptual entity. In poetry, metonymy, as a linguistic device, is able to construct rich meanings and aesthetic effects and thus highlight the theme. What’s more, metonymy is able to reveal the cognitive process by which the poet perceives and thinks about the world. As for readers, their decoding of poetry is partly dependent on their mental processing of metonymy. Metonymy in classical Chinese poetry is culturally and historically situated. Thus, metonymy is a vehicle for cultural and historical information. The exploration of metonymy in classical Chinese poetry is aimed to offer a new perspective of metonymy for literary studies.
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Zhalelov, Daulet, Amanzhol Altay, Zhanar Abdigapbarova, Zhanbota Karipbayev, and Zhanbota Sekey. "Poetry of Kazakh zhyraus of the khanate period." Scientific Herald of Uzhhorod University Series Physics 2024, no. 55 (February 16, 2024): 1298–305. http://dx.doi.org/10.54919/physics/55.2024.129fr8.
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Relevance. Zhyrau poetry is an important part of Kazakh literature, reflecting the historical and socio-political events of the Kazakh Khanate period from the 15th to 18th centuries. This poetry provides valuable insights into the struggles and aspirations of the Kazakh people during a complex and turbulent period in their history.Purpose. This paper aims to analyze the historical aspects and role of zhyrau poetry in Kazakh literature, examining its thematic content, artistic features, and the influence of zhyraus on the social and political life of the Kazakh Khanate.Methodology. The study reviews existing research on zhyrau poetry, drawing on literary criticism, historical analysis, and close readings of selected poems. It examines the development of zhyrau poetry, the classification of its genres, and the syncretic nature of this art form, which combines elements of improvisation, music, performance, and philosophical reflection.Results. The paper demonstrates that zhyrau poetry was closely tied to the political and social realities of the Kazakh Khanate period. Zhyraus acted as advisors to khans, openly expressing their views and providing guidance on issues of national importance. Their poems reflect themes of land defense, heroism, unity, and the struggles against foreign invasions, particularly the Dzungar and Chinese forces. The study also highlights the role of zhyrau poetry in preserving Kazakh cultural identity and history during a tumultuous era.Conclusions. Zhyrau poetry is a fundamental part of Kazakh literary heritage, reflecting the complex historical and socio-political conditions of the Kazakh Khanate period. By analyzing the thematic, artistic, and chronotopic features of zhyrau poetry, researchers can gain a deeper understanding of the struggles, aspirations, and worldview of the Kazakh people during this pivotal era. Further research and cultural initiatives, such as feature films, are recommended to promote the study and appreciation of this important literary tradition.
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Scheyer, Lauri, and Zanyar Kareem Abdul. "THE FUNCTION OF POETRY IN THE MODERN WORLD: A CASE STUDY OF WALT WHITMAN AND AUDRE LORDE’S POEMS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 6, no. 2 (December 27, 2022): 245–50. http://dx.doi.org/10.30743/ll.v6i2.5226.
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Lyric poetry has historically referred to a genre that we think of as brief, musical, and personal as well as subjective. This article addresses the role of lyric poetry in the modern world, and how critical analysis enables us to better appreciate the potential impact of poetry today. Specifically, we will offer brief contrastive assessments of two landmark exemplars of American poets, Walt Whitman and Audre Lorde. These two figures demonstrate some of the varied ways of the American poetry tradition. We compare Walt Whitman, a canonical white male poet from the 19th century, with an equally important 20th century African American woman poet, Audre Lorde. These American poets differ in historical periods, sex, race, and other factors, yet both uphold the conventional functions of lyric poetry and prove its continuing relevance to a global readership. The results show that as the reflection of human life, poetry could represent honesty, realism, democracy and even power.
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Ivanovic, Aleksandra. "Serbian medieval poetry: 20th-century literary-historical and theoretical interpretations." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 88 (2022): 79–92. http://dx.doi.org/10.2298/pkjif2288079i.
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This paper examines how national literary histories written in the twentieth century define medieval Serbian poetry. Grounded in the canon of Byzantine liturgical poetry and dedicated to cult practice, hymnography often did not conform to modern poetic principles, originality, and metrical form. Formalist approaches to poetry shaped the anthologies of Serbian medieval literature published in Yugoslavia in the 1960s. The editors transformed sequences from narrative prose into poetic texts, thus creating medieval poems. These cases draw attention to the importance of textual criticism and the social context in defining medieval literary genres. Exploring hymnography as a linguistic and liturgical event - a poem sung to an engaged audience - introduces new perspectives on its interpretation.
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Loginov, Alexandr Vladimirovich, and Artem Aleksandrovich Trofimov. "Solon’s poetry in light of comparative-historical linguistics." Филология: научные исследования, no. 4 (April 2020): 13–30. http://dx.doi.org/10.7256/2454-0749.2020.4.32783.
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The subject of this research is the heritage of Indo-European poetics in works of the Ancient Greek poet Solon. The object of this research is the elegies and fragments of his hexametric oeuvres. The authors examine such aspects of the topic as: 1) retention in Solon’s poetry of the structures similar to exposition of hymns in Ancient Greek and Ancient Indian traditions; 2) preservation of stylistic figures widely represented in the poetry of ancient Indo-European peoples; 3) preservation of poetic expressions and mythological ideas that may date back to Indo-European times. For achieving the set goals, the author employ the methods of text hermeneutics, semantic analysis, and comparative-historical linguistics. The following conclusions are made: in the corpus of Solon’s texts there are fragments very similar to expositions of hymns in the Ancient Greek and Vedic traditions; Solon’s poetry contains stylistic approaches that can be reconstructed to the level of Indo-European poetics; poetic expressions and mythological representations dated back to Indo-European times are retained in Solon’s texts.
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Peluritytė-Tikuišienė, Audinga. "Lithuanian Literature in Search of Historical Truth: Three Decades of Independence." Literatūra 63, no. 1 (December 31, 2021): 8–28. http://dx.doi.org/10.15388/litera.2021.1.1.
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The article focuses on the beginning of the Singing Revolution in Lithuanian culture and tries to identify the most significant dominant features in order to understand the entirety of the new changes in literature. In the face of political upheaval, such a dominant feature was the question of truth; however, the well-established poetry tradition – romantic, neo-romantic, modern neo-romantic, which coexisted with social realism in Soviet times, and experimental – did not raise such questions of truth but only reflected the nation’s collective expectations. The evolution of Lithuanian literature, which was highly fragmented during all the decades of the Soviet occupation, united the country through the expatriate poet Bernardas Brazdžionis while he was visiting Lithuania in the summer of 1989. Poetic texts predominated during the first demonstrations of Sąjūdis (the Reform Movement), but while trying to understand their position in the general Lithuanian culture and literature discourse, one needs to acknowledge the leading nature of poetry throughout the Soviet times: having its niche in the cultural system, poetry posed a large number of vexed questions, sought philosophical profundity, and was able to constantly address the deepest metaphysical questions even in strict censorship conditions. Lithuanian prose, which evaded the requirement by the doctrine of social realism to portray the world and characters engaged in class struggles, also found support in the poetry system and created a non-linear but coherent narrative where metaphors prevail. Lithuanian prose poetry became a sign of esthetic quality in independent Lithuania too, where the question of truth, which was important for achieving independence, found a way similar to that of poetry – through memoirs and essays to esthetics and little prose. At the beginning of independence, poetry, which had fed Lithuanian prose with its ideas, themes, conception of the world and esthetic solutions, also merged with memoirs and essays, thus being part of the discourse of telling the truth.
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Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.
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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.
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Davronova, Mahfuza I., Charros B. Kurbanova, Dilafruz E. Jabborova, and Gulbahor Ernazarova. "Mythology in Abdulla Oripovʼs Poetry." Journal of Law and Sustainable Development 11, no. 12 (December 26, 2023): e2665. http://dx.doi.org/10.55908/sdgs.v11i12.2665.
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Objectives: This section outlines the primary goals and intentions of the article, focusing on the examination of Abdulla Oripov's contribution to 20th-century poetry, specifically his skill in incorporating mythology. The objectives include understanding the poet's unique approach to mythological concepts, analyzing the influence of myth in his work, and exploring the evolution of his style during the period of independence.
Methods: This part details the methodology employed in the study, explaining how the analysis of Abdulla Oripov's poetry and its mythological elements was conducted. It may involve a review of the poet's works, an examination of critical commentaries, and an exploration of the historical context to provide a comprehensive understanding of how mythological images are utilized in his verses.
Results: In this section, the article presents the findings derived from the analysis of Abdulla Oripov's poetry. This includes insights into the poet's unique style of incorporating mythological elements, the evolution of his approach during the period of independence, and specific examples highlighting the use of traditional images such as the apocalypse, Satan, Javrail, and the angel. The results aim to shed light on the poet's innovation and the significance of these mythological references in the broader context of world literature.
Conclusion: The conclusion summarizes the key findings and insights gathered from the study of Abdulla Oripov's poetry and its connection to mythology. It may discuss the broader implications of the poet's work, the impact of myth on his moral concepts, and the establishment of his own literary phenomenon. Additionally, the section may highlight the poet's contribution to the understanding of traditional images in the context of world literature, emphasizing the depth and breadth of his worldview.
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Kabylov, A. D. "Ideological and Artistic Features of the Poetry of Svetkali Nurzhan." Iasaýı ýnıversıtetіnіń habarshysy 127, no. 1 (March 30, 2023): 69–86. http://dx.doi.org/10.47526/2023-1/2664-0686.06.
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Svetkali Nurzhan (Aitman) is one of the outstanding poets who came to the world of poetry with their style, won the hearts of readers, determined their place in modern Kazakh poetry. His poems and stories depict various problems of the historical era and the present with a special artistic manner and deep socio-philosophical overtones and give rise to their own thoughts. The poet's desire to reveal the deep layers of social reality and human nature is distinguished by its ideological scope and poetic innovation. In addition to the subtle lyricism that penetrates deep into the human soul, epic poetry is clearly visible in his works, mixed with lofty thoughts and sharp civic wisdom. This article highlights the themes, ideological and artistic features of the poetry of the famous Kazakh poet Svetkali Nurzhan. Various themes in the poet's poems are depicted in a broad artistic and ideological manner. The poet's poetry is analyzed through the concepts of the Great Steppe and the native land, which are the main conceptual core and invariable poetic orientation of the poet's work. Whatever topic the poet approaches, it is noted that he sings from the standpoint of the national spirit and national identity, Kazakh traditions, from the point of view of his civic position. The poet brings his unique character and thoughts into his lyrical character, thereby revealing his poetic personality. On specific examples, it is proved that the images, captivating the reader and evoking the real thought and reality of life, philosophical thought, leading to deep reflection, reveal the poetic individuality of the author and show the originality of his poetry.
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Yong, Ping. "The Imagination of Romantic Poetry under Different Regional and Cultural Backgrounds: Comparison and Analysis of Kubla Khan and Mount Skyland ascended in a Dream-A Song of Farewell." Communications in Humanities Research 3, no. 1 (May 17, 2023): 340–47. http://dx.doi.org/10.54254/2753-7064/3/20220335.
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Romanticism is an important branch of the literary genre, and imagination is an important feature of it. From different historical backgrounds, Both British poets and Chinese have each profound insight into the imagination in their romantic poetry creations. Samuel Taylor Coleridge, as a pioneer of English Romantic poetry, his dream fragment Kublai Khan established an unshakable position in the poet's literary circle, while Li Bai was a well-known romantic poet in the prosperous Tang Dynasty. His representative work, Mount Skyland ascended in a Dream-A Song of Farewell, shocked the entire Chinese poetry circle as soon as it came out. This essay analyzes the poets' poetic thoughts on imagination by studying the different backgrounds of the two poets, the cultural traditions they contacted, and the philosophical thoughts they infected and meanwhile compares and analyzes the image characteristics of the two poets' representative works to explore the concrete expression of the poet's imagination in the poems. It is found that there are similarities and differences spatially and emotionally in terms of imagery. Moreover, the imagination in romantic poetry not only creates a series of illusory images and casts a phantom veil on the whole poem but also insinuates the poet's poetic thought and inner emotional appeal.
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Dr. Abdul Wajid Tabassum and Sadia Aziz. "Iqbal's Concept Of Shaheen: Historical Perspective( In the eyes of Saleem Ahmed)." Dareecha-e-Tahqeeq 2, no. 3 (March 21, 2022): 95–102. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i3.22.
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Salim Ahmad is a renowned Urdu poet, essayist and critic of Urdu literature. He is famous for his creative writings in which he analyzes the classical poets in different ways. One can disagree with his point of view but his questions can not be denied which he raises about the poetry of Meer,Ghalib,Hali and Iqbal.Iqbal is his favorite poet. In his writings and poetry we can see the influence of Iqbal’s poetry and thought. He has written the book “ Iqbalakshair” in which he has raised many questions about the poetry and thought of Iqbal. This book is considered to be the most controversial in the history of Iqbal studies. The article is also a critical review of one of the essays of Salim Ahmad’s “ Iqbal ka aksharikardar—shaheen” included in his book “ Iqbal akshair
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JURAYEVA, Nazokat. "OBSERVATION OF THE POETIC UNITY OF THE VERSE IN THE POETRY OF MUHAMMAD RIZA OGAKHI." Art and Design: Social Science 02, no. 01 (February 1, 2022): 9–12. http://dx.doi.org/10.37547/ssa-v2-i1-4.
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This article presents scientific and analytical ideas on the definition of types in Uzbek literature in terms of the structure of the byte and its function in the structure of the poetic work. Also, in our literature on the relationship of bytes and genres, historical sources have been studied and the correct theoretical foundations have been formed. The level of application, types, and functions of genres such as chiston, the problem is analyzed. This article examines in detail the use of the poetic unity of the byte in the poetry of Muhammad Rizo Ogakhi, a unique representative of Uzbek classical poetry, in the genres created by various poets. that the development of meaning and word movement between verses (tadmin) later led to the development of poetic thinking in the byte, meaning that the bytes, although independent in meaning and lexical expression, the fact that they always have a relative logical connection with each other is shown in the example of Ogakhi’s work. It also explores the relationship between bytes and genres, historical sources, and forms the correct theoretical foundations. Such a relative interrelationship between the bytes serves to ensure the development of poetic imagery, the reaction to the existence of artistic determinism between byte verses in Eastern poetry through scientific considerations and proved by examples that it is the leading law of byte creation for all poets. based on a combination of weight, word, and rhyme. The combination of words and weights in each byte is cedar, hash, aruz in the byte; The rhyme serves not only the function of uniting the verses by creating a melody but also serves to form the content of the byte and to express the idea as a whole.
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Bohdanova, M. "Memory of the historical past in resistance poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 16, no. 29 (2023): 5–14. http://dx.doi.org/10.34079/2226-3055-2023-16-29-5-14.
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The article examines the memory of the historical past in the poetry of the Resistance. This research contributes to debunking the myths created by Soviet propaganda, restoring historical justice, and overcoming national complexes and traumas. In this regard, the process of forming a culture of historical memory during the years of independence and the contribution of the Ukrainian Institute of National Memory (established on 31 May 2006) have been analysed. Literature of the unconquered, in particular: Marko Boieslav, Marta Hai, Petro Volosh- Vasylenko - Petro Hetmants, Myroslav Kushnir, Yuriy Lypa, Oleh Olzhych, Olena Teliha, etc., diaries and memoirs of the participants of the events and their families are an inexhaustible source for clarifying the historical truth and restoring the memory of the heroic struggle of the Ukrainian people during the Second World War. The article shows that in Ukrainian literary criticism, the literature of the Ukrainian Insurgent Army participants has several definitions: "poetry of resistance", "Ukrainian poetry of resistance", and "poetry of the unconquered". The article analyses the peculiarity of the interpretation of the past based on the works of Petro Volosh-Vasylenko - Petro Hetmants (My Insurgent Marches), Marko Boieslav (Disobedient Words), and Myroslav Kushnir (Words from the Book of Battle). Historical memory in the poetry of the insurgents is represented by image symbols of the times of Kyiv Rus and the Cossack era. The authors also include the heroic struggle of the Ukrainian Insurgent Army under the leadership of the Organisation of Ukrainian Nationalists in this historical framework. The Ukrainian struggle is also expressed through symbolic traumas, losses that sharpen the collective experience of Ukrainians, help establish the logic of the national liberation struggle and motivate the lyrical hero to armed resistance, which develops into a vigilante revolt for the sake of justice. National traumas are expressed through the voices of people who witnessed the Holodomor and totalitarian repressions. The symbolic function is performed by the image of betrayal, which we have traced at the general and personal levels. The analysis of memoir literature by first-hand participants of the events made it possible to trace the spiritual dimensions of the UIA poets, whose key values are Christian: love for the Motherland, God, and neighbour. Betrayal of the Motherland is equal to betrayal of God. Each of the artists saw their life and social mission in serving God, the Motherland, and the Ukrainian people. That is why all the works are permeated by the motive of performing a certain "duty". The study is of literary, cultural, and historical significance, as it fills a certain gap in understanding the artistic originality of the texts at the level of analysing external and internal factors of influence; it contributes to the disclosure of falsified facts of the past about the insurgency. The study proves that the poetry of the Resistance represents the nation's ability to the collective resistance and refutes the image of a victim nation created by Soviet propaganda. Keywords: historical memory, image, symbol, Resistance literature, Ukrainian Insurgent Army, Organisation of Ukrainian Nationalists, traumatic memory, totalitarianism.
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Deair, Raghad Shakir. "Fadwa Tuqan's Anti-War Poetry: A Cry against Zionism." Galore International Journal of Applied Sciences and Humanities 6, no. 1 (May 10, 2022): 44–52. http://dx.doi.org/10.52403/gijash.20220107.
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Modern Palestinian resistance poetry has, since the late 19th century, been an expression of the national culture of the Palestinian people and their historic self-determination and homeland battle. This study explores Palestinian poetry of Resistance written for the ten years after the June 1967 War that triple the territory of the State of Israel. The popular Palestinian poet, Fadwa Tuqan, has been translated into English, with commentaries on Palestinian history before 1967 and on the occupation of Palestine after 1977. Her poetry is a mirror to the historical struggle against Zionism. Through this study of the historical context of Palestinian resistance Fadwa Tuqan's poetry, readers can gain a deeper understanding of the ties between Palestinian national culture and their struggle for homeland. Keywords: resistance poetry, diaspora, Fadwa Tuqan, exile, attachment to the land, loss and hope.
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Hunarikova, Petimat Hamidovna, and Inna Bisoltovna Bachalova. "The historical theme in the poetry of Esenin." Interactive science, no. 1 (March 21, 2016): 105–7. http://dx.doi.org/10.21661/r-17334.
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김종태. "Teaching on Poetry and Problem of Historical Criticism." 한국문예비평연구 ll, no. 26 (August 2008): 291–316. http://dx.doi.org/10.35832/kmlc..26.200808.291.
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Grossman, Marshall. "Literary Forms and Historical Consciousness in Renaissance Poetry." Exemplaria 1, no. 2 (January 1989): 247–64. http://dx.doi.org/10.1179/exm.1989.1.2.247.
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Bramberger, Andrea. "Enhancing literacy through poetry: Two historical initiatives—revisited." Journal of Poetry Therapy 28, no. 4 (October 2, 2015): 237–49. http://dx.doi.org/10.1080/08893675.2015.1083248.
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Nadenicek, Daniel Joseph. "The poetry of landscape ecology: an historical perspective." Landscape and Urban Planning 37, no. 1-2 (June 1997): 123–27. http://dx.doi.org/10.1016/s0169-2046(96)00377-5.
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Humble, Nicola. "The Poetry of Architecture: Browning and Historical Revivalism." Victorian Literature and Culture 25, no. 2 (1997): 225–39. http://dx.doi.org/10.1017/s1060150300004757.
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In book five ofsordello(1840), Browning images the process of historical change in architectural terms. History is a building to be destroyed and rebuilt by successive generations:… at his arm's wrench,Charlemagne's scaffold fell; but pillars blenchMerely, start back again — perchance have beenTaken for buttresses: crash every screen,Hammer the tenons better, and engageA gang about your work, for the next ageOr two, of Knowledge, part by Strength and partBy Knowledge! (5: 221–28)The metaphor engages with the nineteenth century's great preoccupation with the historically-determined nature of architectural form — its sense that, as Owen Jones declared in 1856, “architecture is the material expression of the wants, the faculties, and the sentiments, of the age in which it is created” (5). The Classical-Gothic opposition that structured most contemporary debates about aesthetic value in architecture is economically encapsulated by Browning in the mutation of the collapsed Classical pillars into Gothic buttresses. It is the economy of the reference that indicates Browning's easy familiarity with those contemporary architectural debates. He makes use of architectural images and ideas in a number of poems, a fact that has gone relatively unremarked in Browning studies. The theme occurs throughoutSordelloand is a major element in “Old Pictures in Florence” and “Bishop Blougram's Apology.” His interest in architecture, I contend, derived, like that of most of his contemporaries, from his preoccupation with history. I intend to examine the precise manifestation of that interest and the ways in which he illuminated, synthesized, and rejected elements of the architecture debates, which reveal much about the particular nature of his concern with history.
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Smith, David Nowell. "The Fate of Poiesis." Heidegger Circle Proceedings 50 (2016): 119–29. http://dx.doi.org/10.5840/heideggercircle20165010.
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“The fate of poiesis” raises the question of whether poetry is a thing of the past that now must be resigned to lamenting its lost vocation. This sense of loss can be understood through the devocalization of language, i.e. the historical movement from oral to literate cultures, or from language as an event to language as a sign, that alters the space of poetry, making it a place of fictions rather than aletheia. Yet poetry and politics both confront the limits of the sayable that determine our historical being-in-the-world. The ability of poetry to seek a different reality and a different language mean we must submit to the poem and take its challenge of ‘making’ into our own lives.
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Siregar, Kartika, Djono Djono, and Leo Agung Sutimin. "The Implementation of Willem Iskandar’s Thought in the Historical Learning." International Journal of Multicultural and Multireligious Understanding 5, no. 3 (June 9, 2018): 234. http://dx.doi.org/10.18415/ijmmu.v5i3.346.
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The presented research elucidates the values of Willem Iskandar’s books, Si Bulus Bulus Si Rumbuk Rumbuk, and those functions in commemorating the student’s memory about the character education, religiosity, and nationalism. Descriptive qualitative was employed as research approach. The data were collected through literature reviews and content analysis of Si Bulus Bulus Si Rumbuk Rumbuk. The analysis focuses on the description of values inside of the Willem Iskandar’s poetry and contextual aspect that underlying it. The result of research portrays that the Willem Iskandar’s poetry contains the norms that construct the behavioral pattern of Mandailing society. The proses have a function in shaping the character and evolving the movements against the Dutch colonialism. In the educational dimension, the values inside of Willem Iskandar’s poetry become important to be studied in line with the problem of global capitalism that stimulates identity turmoil in any aspect of human life.
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Kadyrov, Zh T., Zh T. Koshanova, and K. Berdimurat. "ARTISTIC FEATURES OF ZHANAT ASKERBEKOVNA'S POETRY." Vestnik of M. Kozybayev North Kazakhstan University, no. 1 (61) (March 20, 2024): 161–67. http://dx.doi.org/10.54596/2958-0048-2024-1-161-167.
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The article scientifically examines the artistic features of the poetry o f akyn - Zhanat Askerbekovna, who came to the world of Kazakh poetry in the mid-80s. The personal writing style of Zhanat Askerbekovna and the news that led to the art of writing poetry are analyzed. The themes and main ideas of the poet's poems are determined. The themes of Zhanat Askerbekovna's poems are reflected in her native land, nature, family, historical poems and groups "Kultegnin mourning Bilge Kagan", "kustik birgen kerimsal", etc., and the features of the use of artistic means are described. The poetic character of folklore and mythological elements in the works of a master of words and a qualified teacher is differentiated, the order of use and meaning are determined. In the work of Zhanat Askerbekovna, cultural and national values are studied, and a final thought is expressed about the contribution to the development of Kazakh poetic art.
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Friese, Elizabeth E. G., and Jenna Nixon. "Poetry and World War II: Creating Community through Content-Area Writing." Voices from the Middle 16, no. 3 (March 1, 2009): 23–30. http://dx.doi.org/10.58680/vm20097002.
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Two educators and a classroom of fifth grade students integrated poetry writing into social studies curriculum focusing on World War II. Several strategies and approaches to writing poetry are highlighted including list poems, writing from photographs and artifacts, and two voice poems. The study culminated in a poetry reading and the creation of a class poetry anthology. Through poetry, students were able to demonstrate historical understandings while engaging with difficult issues through writing, sharing, conferencing, and performance.
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Ahmed, Dilman Qadir. "Moral aspects of despair: Kamran Mukri's Ethical Analysis of the Text (For Awareness)." JOURNAL OF LANGUAGE STUDIES 8, no. 5 (May 31, 2024): 213–32. http://dx.doi.org/10.25130/lang.8.5.11.
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This paper examines Kamran Mukri's poem “For Awareness” within the framework of Kurdish literary criticism and highlights the moral aspects of despair in the text. It investigates the motivation behind the poem and its intentions. The study points to the role and importance of poetry as a tool in raising awareness about the suffering of the poor and oppressed. It analyzes the historical context, explores the relationship between women, country, and nature, and emphasizes the poet's inner struggle. The study uses a descriptive-analytical method and makes use of an ethical approach to understanding despair. The aim is to contribute to the Kurdish critical discourse on Kamran Mukri's poetry.
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Beeston, A. F. L., and Lawrence I. Conrad. "On Some Umayyad Poetry in the History of al-Ṭabarī." Journal of the Royal Asiatic Society 3, no. 2 (July 1993): 191–206. http://dx.doi.org/10.1017/s1356186300004260.
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Ancient Arabic poetry in general is rightly regarded in Arab circles as one of the paramount monuments of Arabic literature, and it is of course also held in esteem among Western scholars. For the most part, however, this admiration does not, in effect, extend to the specifically historical poetry quoted – sometimes in vast quantities – in the works of such historians as Ibn A‘tham al-Kūfī, al-Balādhurī, and al-Ṭabarī. It is readily apparent that this verse is often of extraordinary difficulty, that some represents retrojections from later times, and that many poems (in particular the later forgeries) are of an inferior quality; but the often-heard views holding that the historical poetry is, as a whole, of no particular historical importance or literary merit are simply false.