Academic literature on the topic 'Inspirational poems'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Inspirational poems.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Inspirational poems"
1
Fallon-Ludwig, Sandra. "Narrative inspiration in Liszt’s symphonic poems: The cases of Hunnenschlacht and Tasso, Lamento e Trionfo." Studia Musicologica 54, no. 4 (December 1, 2013): 367–78. http://dx.doi.org/10.1556/smus.54.2013.4.3.
Full textAbstract:
Although Franz Liszt’s symphonic poems were inspired by works of literature, poetry, and painting, the resulting works are not mere replicas of the inspirational source. Rather, Liszt concentrates on themes of importance gleaned from the sources and uses these ideas to create a musical narrative. In this paper, I explore two distinct musical narratives in Liszt’s symphonic poems: the “conflict and resolution” narrative evident in Hunnenschlacht and the “suffering and redemption” narrative of Tasso, Lamento e Trionfo. Through these examples, I demonstrate that musical narrative is an organizing force in and of itself within Liszt’s symphonic poems; a narrative progression towards apotheosis propels the music forward and suggests Liszt’s programmatic inspiration in each work. Although some seek to fit the musical structure of Liszt’s symphonic poems into a preexisting model, this paper proposes that the program is their integral part, and that only through a combination of programmatic and formal analyses can one gain a deeper understanding of these works as a whole.
2
Jiang, Wei, and Rainer Marggraf. "Ecosystems in Books: Evaluating the Inspirational Service of the Weser River in Germany." Land 10, no. 7 (June 24, 2021): 669. http://dx.doi.org/10.3390/land10070669.
Full textAbstract:
Attempts at assessing the monetary value of cultural ecosystem services has proven challenging due to their non-material and non-market characteristics. Innovative methods are needed to fill this methodological gap. In this paper, a novel approach is developed for evaluating the inspirational service, one type of valuable cultural service, of a specific ecosystem embodied in published books. Taking the Weser River in Germany as an example, a breadth of evidence found in 19 books shows the strong inspiration of the river to people living around it who create plenty of literary and artistic works that represent different faces of the river, such as novels, poems, folklore and paintings. Based on the prices of these books and the estimated number of persons who have read these books, the total value of the inspirational service provided by the Weser River is calculated as 168,499 € from 1980 to 2019, leading to the annual value of 5616.63 €/year and the unit value of 0.24 €/ha/year with the water surface area of 23,123 ha and the period of 30 years. The advantages and shortcomings of this approach are discussed, and suggestions for the improvement and further research are made.
3
Jihan Abdul Rahman Ali Oshiesh. "Al Baradouni .. Clairvoyant of Yemen Sighted in the Blind Time." Albaydha University Journal 2, no. 2 (September 29, 2020): 231–40. http://dx.doi.org/10.56807/buj.v2i2.65.
Full textAbstract:
Al-Baradouni is a great inspirational revolutionary poet with his disappointment, his art and his genius glow. Although Al Baradouni (1929 – 1999) was born to a miserable family, in a miserable age, and grew up as a blind boy, and received education with great hardship, but he had the early poetic talent, to be an influential figure to attract the attention of decision centers, and it was natural to contact these centers like other great poets within a good friendly relationship. He is one of the few poets who remained conservative in the form of the old poem, and at the same time renewed in its themes, and in its architecture intended to build the poem, where they established new linguistic relations at the level of significance, expressive form and poetic wording, all with strict preservation of the line system and traditional rhythm. Al Baradouni, who was following all the new in the volatile Arab poetry movement, and read the translated international literature, benefited from his readings in his poetry, renewed in language and in the picture, in the metaphor, and used narrative techniques in his poems, which were drafted poetic stories, as well as dialogue and drama, especially in his diwaniya City of Tomorrow and Smoky Faces in the Mirrors of the Night. This article will shed the light on Al Baradouni’s life, his personality, his people and his ages. The paper will examine to which extent the poet is physically disable but mentally intellectual than all his age artists. He was like the candle among all the literati of the first half of the 20th century in Arabic literature and revolutionary discipline.
4
Haft, Adele J. "Imagining Space and Time in Kenneth Slessor’s “Dutch Seacoast” and Joan Blaeu’s Town Atlas of The Netherlands: Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas, Part Three." Cartographic Perspectives, no. 74 (January 3, 2014): 29–54. http://dx.doi.org/10.14714/cp74.1199.
Full textAbstract:
“Dutch Seacoast” by the acclaimed Australian poet Kenneth Slessor (1901–1971) is thecenterpiece of The Atlas the five-poem sequence opening his 1932 collection Cuckooz Contrey. Like the other four poems, “Dutch Seacoast” pays tribute to cartography’s “Golden Age,” Toonneel der Steden van de vereenighde Nederlanden being the poem’s epigraph and the title that Joan Blaeu gave to one of two volumes comprising his Town Atlas of the Netherlands (1649). While focusing on Blaeu’s exquisitely ordered map of Amsterdam, Slessor suggests that he is gazing at the map described by his poem and invites us to consider how poets and cartographers represent space and time.An intensely visual poet, Slessor was also attracted to lyrical descriptions of objects: his inspiration for “Dutch Seacoast” was a particularly poetic, but sparsely illustrated, catalogue of maps and atlases. After reprinting the poem and describing its reception, my paper traces the birth of “Dutch Seacoast” (and The Atlas generally) in Slessor’s poetry notebook, the evolution of the poem’s placement within the sequence, and the complex relationships between the poem, the catalogue, and Blaeu’s spectacular atlas. Comparing Blaeu’s idealistic view of Amsterdam with that city’s dominance during the Dutch“Golden Century,” Slessor’s darker obsessions with the poem’s ending, and his “other countries of the mind” with his native Australia, we come to understand why “Dutch Seacoast” remained for the self-deprecating poet one of his eight “least unsuccessful” poems.
5
Cusmano, Liana. "George Amabile on War, Trauma, the Creative Process, and His Latest Collection Martial Music." Italian Canadiana 34 (September 17, 2021): 175–79. http://dx.doi.org/10.33137/ic.v34i0.37477.
Full textAbstract:
Liana Cusmano’s interview with poet George Amabile focuses on his prize-winning 2018 collection Martial Music and the art of writing in general. He offers insights on the poetic process, how to research and produce a collection of poems. Amabile’s poetry is inspired by what he has experienced or witnessed. He talks about dealing with war and trauma. He shares his frustration with daily life getting in the way of the creative process. “Life is the subject and the inspirational/ motivational source of our work, but it also sucks up our time and frustrates our ability to give our unstinted attention to our creative efforts,” says George Amabile.
6
İÇLİ, Ahmet. "Traces Of The I And The Other In The Nazires (=Similar Poetry): The Journey Of I To We In The Example Of Mustafa Ali's Poetry And The Nazires written for his poetry With "We" Redıf (=Rhyme)." Akademik Dil ve Edebiyat Dergisi 6, no. 3 (October 30, 2022): 156–65. http://dx.doi.org/10.34083/akaded.1169198.
Full textAbstract:
It is known that the same or similar poems/works were written within the scope of nazire tradition in classical Turkish poetry. Such poems are basically based on writing a similar or better example of a sample or model poem. It is also important that these poems, which are similar in many ways, show the same feelings, dreams, thoughts and goals. In one aspect, the model poem; It can be thought that it was a source of inspiration or an interpreter for other poets who tried to write a similar poetry. The content of the model poem is a guide for other poets trying to express themselves. In addition, defining and positioning oneself through this model poem is a reflection of different emotions and feelings. It is historically significant that the poems, are a mirror of the living world, can deal with similar subjects. It is important that a poet conveys information about himself, that others find traces of themselves around the same poem, and that they express themselves in this way, in terms of being a manifestation of the reality of the information and feelings given by the poets and the reactions they receive. In the context of nazire poetries, it is possible for each poet to describe her/his "I=self" with "we". In one sense, the " personalities" united around the model poem, form the we-consciousness. While this situation establishes a network of relations in terms of togetherness, they actually convey/describe the others around them There are many signs and indications in the poems in terms of containing the information about the poet. The expressions in which the words "I" and "we" are used are at the forefront of the issues that explain the characteristics of the poets, Gelibolulu Mustafa Ali's poem with "we" redif (rhyme, repeated voices), can be evaluated in this context and can be supported by historical data. This poem also carries clues about Ali's personal attitudes and behaviors, worldview, dreams and emotions. The poems written similar to this poem of Ali are important in that both carry traces of their poets and contain the elements of "I" and "other" around the "we" redif. In this article, the poem of Gelibolulu Mustafa Ali from and the nazires written to his poem will be evaluated in terms of conveying the self/I and other elements within the framework of the nazire tradition and then the content analysis.
7
Thomas Baby, Kappalumakkel. "The Skylark: A Symbol of Poetic Inspiration for Generations with Special Reference to Shelley and Hughes." Pertanika Journal of Social Sciences and Humanities 30, no. 2 (June 15, 2022): 723–42. http://dx.doi.org/10.47836/pjssh.30.2.16.
Full textAbstract:
The skylark is a tiny brown bird with a small crest on its head. It is slightly larger than a sparrow and is popularly known for its uninterrupted song during its upward flight. The bird is found in most parts of England and many European countries. A closer examination of English poetic tradition reveals that several English poets have anthologised this tiny bird, including famous poets such as Wordsworth, Shelley, Hopkins, Meredith, Rossetti, Rosenberg, and C Day-Lewis. The late poet laureate Ted Hughes also wrote about the skylark in our times. Even Shakespeare and Goethe have eulogised the skylark in their plays. Since Thomas Hardy has written a poem about ‘Shelley’s skylark,’ it is evident that traditionally ‘To a Skylark’ by Shelley is the most popular of all ‘Skylark’ poems. However, Hughes’s poem on skylark merits our attention because it is entirely different from the general trend of all other skylark poems written until his time. Therefore, this study explores how the skylark became a symbol of poetic inspiration for different generations of poets by analysing the two famous poems on skylark written by Shelley (1792–1822) and Hughes (1930–1998). While Shelley depicts the skylark as a pure spirit of joy, Hughes considers it an embodiment of cosmic energy resulting from the bird’s struggle for flight against the earth’s gravitational pull. Therefore, the different perceptions of Shelley and Hughes about the skylark constitute the essence of this discourse.
8
Hussein, Ali Ahmad. "Two Sources for Abu Dhuʾayb al-Hudhali's Famous Elegy." International Journal of Middle East Studies 53, no. 2 (May 2021): 213–33. http://dx.doi.org/10.1017/s0020743821000027.
Full textAbstract:
AbstractThis article considers the celebrated elegy by the classical 7th-century Arabic poet, Abu Dhuʾayb al-Hudhali — his ʿayniyya, which ends with ʿayn as a rhyming letter. Analyzing the poem's structure and comparing it with that of two poems composed by Abu Dhuʾayb's teacher, Saʿida b. Juʾayya al-Hudhali, leads to the conclusion that Saʿida's two poems were the main sources on which the pupil drew to create his poem. The sophisticated changes that Abu Dhuʾayb introduced in structure and content, however, made his poem more memorable than those of his teacher. The article raises another question, to which there is, as yet, no definitive answer: what was the true inspiration for Abu Dhuʾayb's poem? Was it the death of his sons, as is traditionally believed, or was it literary: to surpass his teacher in composing a more skillful poem?
9
Haft, Adele J. "The Poet As Map-Maker: The Cartographic Inspiration and Influence of Elizabeth Bishop’s “The Map”." Cartographic Perspectives, no. 38 (March 1, 2001): 37–65. http://dx.doi.org/10.14714/cp38.794.
Full textAbstract:
New Year’s Eve of 1934 found Elizabeth Bishop recuperating from the flu. Out of her isolation, the recently orphaned 23-year-old created “The Map.” Inspired by a map’s depiction of the North Atlantic, Bishop’s exquisite poem alludes in part to the “seashore towns” and coastal waters of her childhood home, Nova Scotia. A seminal twentieth-century poem about maps, Bishop’s “The Map” has inspired a host of other mappoems since it opened her Pulitzer prize-winning collection, Poems: North & South—A Cold Spring, in 1955. My paper, the third in a series advocating the use of poetry in the teaching of geography, will attempt to elucidate Bishop’s masterpiece and introduce the map that, I believe, inspired her poem. The paper also will present two works influenced by “The Map”: Howard Nemerov’s “The Map-Maker on His Art” (1957) and Mark Strand’s “The Map” (1960). Linking these three acclaimed American poets even further is their recognition of an intimate and explicit connection between poets and cartographers.
10
O’Halloran, Kieran. "Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis." Language and Literature: International Journal of Stylistics 28, no. 2 (May 2019): 133–58. http://dx.doi.org/10.1177/0963947019828232.
Full textAbstract:
A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.
Dissertations / Theses on the topic "Inspirational poems"
1
Hobbs, Mary Etta. "An Investigation of the Traditional Cante Jondo as the Inspiration for the Song Cycle Five Poems of Garcia Lorca by Elisenda Fabregas." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4512/.
Full textAbstract:
The traditional cante jondo is a song unique to Andalusia as it developed from the "mosaic" of cultures that have inhabited its borders, including Arabs, Jews and Gypsies. The genre expresses the history of the region, reveals the typography of the landscape and cries the tears of its people. "Deep song," the translation for cante jondo, is the forerunner of the flamenco, but it is a communication of a dark soul rather than an exuberant entertainment. The original folk idiom is a medium less concerned with beauty than the cathartic release of pain of every day life. It expresses the soul of Andalusia. This study explores the history and the poetic and musical forms Andalusian cante jondo as the inspiration for the poetry of Federico Garcia Lorca set by Elisenda Fabregas in the song cycle, Five Poems of Garcia Lorca (1992). Lorca felt the validity of "deep song" and he was disturbed that it was being corrupted by commercialism and was afraid it would be lost to posterity. His goal was to preserve the essence of the song and lift it to an artistic plain. He saw folk music as the core of the national musical and literary identity in Germany, France and Russia and worked to establish Spain as an artistic equal. Lorca's writings were not imitations of the traditional cante jondo. They echoed the history, the landscape and the tears, but they did so through symbolism and vivid imagery. The poet communicated on several levels, one as a voice of Andalusia, Spain and ultimately mankind and another with his own private message. His life was short, but his legacy is long. Fabregas, like Lorca, has taken a folk medium and expanded it beyond its original boundaries. Being of Spanish heritage, but not Andalusian, she is less committed to the local musical constraints. She felt the humanity in Lorca's poetic cries and expressed them through her own language. As a result her songs are intensely dramatic and are exciting pieces to perform.
2
Hobbs, Mary Etta García Lorca Federico Fábregas Elisenda. "An investigation of the traditional cante jondo as the inspiration for the song cycle Five poems of Garcia Lorca by Elisenda Fábregas." connect to online resource, 2004. http://www.unt.edu/theses/open/20041/hobbs%5Fmary%5Fetta/index.htm.
Full textAbstract:
Thesis (D.M.A.)--University of North Texas, 2004.Accompanied by recitals, recorded in 1992, Apr. 23, 2001, and Nov. 17, 2003. Includes analysis by Fábregas. Includes bibliographical references (p. 72-74).
3
Shiel, Erin Patricia. "Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15995.
Full textAbstract:
During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem. My exegesis considers these different forms and draws some links between the creative processes of the artists interviewed and the writing of poetry.
4
Theinová, Daniela. "Meze a jazyky v poezii současných irských autorek." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-327433.
Full textAbstract:
Filozofická fakulta Univerzity Karlovy v Praze DISSERTATION ABSTRACT Daniela Theinová LIMITS AND LANGUAGES in Contemporary Irish Women's Poetry "Irish poetry" is an inherently equivocal concept characterized by two fissures, one linguistic (Irish-English; standard English-Hiberno English) and the other chronological (oral-written; Old Irish-modern Irish). Central to my project is to show how this bifurcate cultural identity, prominent in Irish literature due to Ireland's history and the politicized concept of "national language," figures in poetry by Irish women of the last forty years. While I account for the significance of the hyphen in Anglo-Irish as well as in Gaelic-Irish poets, contradictory tensions are traced not only across and along the linguistic divide. In attending to the shift from feminism (Eavan Boland, Eiléan Ní Chuilleanáin, Paula Meehan, Medbh McGuckian, and Nuala Ní Dhomhnaill) to post-feminism in Irish poetry (Biddy Jenkinson, Vona Groarke, Caitríona O'Reilly, and Aifric Mac Aodha), I illustrate the role that the border between English and Irish has played in these processes. The dissertation falls into two parts each of which consists of two chapters. Part One explores some of the ways in which poets have confronted the inherited tradition and the feminine stereotypes therein. My...
Books on the topic "Inspirational poems"
2
Walker, George B. Blessed assurance: Inspirational poems. Belfast: Multiple Sclerosis Society, 1992.
Find full text
3
Bauske, Gloria K. Against the grain: Inspirational poems. Flandreau, S.D: Booster & Advertising Agency, 1999.
Find full text
4
Millman, Selena. Something to think about: Inspirational poems. Prospect, Conn: Biographical Pub. Co., 2000.
Find full textBook chapters on the topic "Inspirational poems"
1
Stambaugh, Tamra, and Emily Mofield. "Inspiration in Moon Art and Poems." In Space, Structure, and Story, 117–26. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238102-11.
Full text
2
O’Donoghue, Bernard. "Inspiration and Narrative in the Short Poem." In Genesis and Revision in Modern British and Irish Writers, 59–83. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50277-5_4.
Full text
3
Crawford, Joseph. "‘Ah! let me not be fool’d’: Delusion and Inspiration in the Poems of Browning and Tennyson, 1832–1840." In Inspiration and Insanity in British Poetry, 59–105. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21671-9_3.
Full text
4
London, Bette. "Material Boys." In Posthumous Lives, 33–71. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501762352.003.0002.
Full textAbstract:
This chapter discusses the material culture of World War I, focusing on the objects of commemorative biography—the memorial volumes, collected, curated, and often privately published, that became familiar relics in so many mourning households. It considers both the materials that went into these volumes, including the soldiers' own writings, and the volumes themselves as material objects. The chapter therefore differs in its methodology from a strictly literary reading of the text but also from a strictly materialist one of the artifact. Patched together out of scraps and fragments—letters and poems by the deceased; memoirs by family members; tributes from others; snippets of inspirational literature; photographs and drawings; diary fragments—these commemorative volumes deploy a proliferation of materials to make up for lives that lacked recognizable fullness and dimension. In doing so, these volumes created a new kind of biographical hybrid, occupying an ambiguous place between text and object and an ambiguous place in a rapidly changing genre.
5
Phillips, Catherine. "Hopkins and the Lost Beloved." In Poetry in the Making, 167–87. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198784562.003.0008.
Full textAbstract:
This chapter examines the development of two poems by Gerard Manley Hopkins: the first, ‘A Voice from the World’, was written as a response to Christina Rossetti’s ‘The Convent Threshold’ and Dante Gabriel Rossetti’s ‘The Blessed Damozel’. The extant fragments of Hopkins’s poem suggest his undergraduate poetic ambition to rival the Rossettis in tackling metrical and emotional complexities. The second poem examined is ‘Binsey Poplars’, which belongs to 1879, when Hopkins was a parish priest in Oxford. In it Hopkins struggles to express deep feelings about the destruction of nature, absorbing ideas from poems written by his father, R. W. Dixon, and John Clare. ‘Binsey Poplars’ is also of interest at present because a new holograph, with unique readings, has recently been purchased at auction by the Bodleian. In examining both poems, the chapter explores the concatenation of sources of inspiration and something of Hopkins’s development in handling emotional subjects.
6
Allnutt, Gillian. "The Quickening." In Voices in Psychosis, 39—C4.P35. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192898388.003.0004.
Full textAbstract:
Abstract A poem, produced in response to the Voices in Psychosis study transcripts by award-winning poet Gillian Allnutt. Gillian was Poet in Residence with Hearing the Voice at Durham University from 2016 to 2020. During that time she was embedded within the research team and produced a number of original works, including five poems as part of the international exhibition, Hearing Voices: Suffering, Inspiration, and the Everyday. The Quickening is a new poem which draws upon both the experiences described in the Voices in Psychosis study and the poet’s own experiences of other voices.
7
Tyler, Daniel. "Poetry in the Making." In Poetry in the Making, 1–31. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198784562.003.0001.
Full textAbstract:
The introduction to the volume proposes that composition is a dynamic process and that ideas of effortful labour and sudden inspiration are equally suggestive as ways to understand (or experience) the process of composition. The chapter argues that it is necessary to understand (and recover) the dynamics of composition, a process that is concealed when changes of mind and swerves of thought and expression, are flattened out into editorial lists of variants. The verbal adjustments to draft poems that the period’s poetic manuscripts reveal again and again, testify to the careful attention to wording by these poets in the process of composition and they demonstrate the scale of attention that the poems reward for readers and critics. This introductory chapter and the chapters that follow take up this invitation to respond to poems with careful regard for their verbal textures alongside other structural, technical and thematic qualities. This chapter offers a case and a methodology for reading draft poetic manuscripts for literary-critical ends.
8
Clark, Walter Aaron. "Celedonio and Angelita, the Poet and his Muse." In Los Romeros, 153–62. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041907.003.0010.
Full textAbstract:
Celedonio was a poet of the guitar. Though he dedicated his life to the guitar, as a performer, teacher, arranger, and composer, he was also an inspired poet who often accompanied poets in concert during the early years in Spain. He wrote poetry and published a volume of his poems. Angelita was the inspiration for much of his verse. She was a devotee of Spanish literature and often read to the family, on trips or at bedtime. She was also a virtuosa castanet player and appeared with the quartet in concerts.
9
O’Neill, Michael. "‘Like a Flash of Inspiration’: Byron’s Marginalised Lyricism in Hebrew Melodies." In Byron and Marginality, 143–65. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474439411.003.0008.
Full textAbstract:
Despite intensive critical work on Byron’s Hebrew Melodies, they tend to be marginalised in Byron’s work. While there is a great deal of art in Byron’s lyrics, they often have an effect of a flash of inspiration. The essay (re-)examines the lyric art and imaginative force of poems frequently marginalised in accounts of Byron’s poetic career, involving comparisons with the lyricism of other poets, including Wordsworth, Shelley and Moore. Moore’s relations with Ireland are evident, Byron’s with Jewish suffering are less so, except that in his act of virtuosic empathy he can summon up Biblical cadences and imply an obscure, but deep link between apparently remote subject matter and private feeling.
10
Blasing, Molly Thomasy. "Poetic Mothers in the Photo Frame." In Snapshots of the Soul, 179–215. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753695.003.0005.
Full textAbstract:
This chapter analyzes the function of photographic motifs in two lyric poems by Bella Akhmadulina, each of which focuses on a description of a photographic image of one of Akhmadulina's “poetic mothers.” The chapter displays a photograph of Marina Tsvetaeva which is described at the opening of her 1968 “I Swear” (Klianus). The other poem is Akhmadulina's 1973 lyric “A Snapshot” (Snimok), which describes an existing photographic portrait of Anna Akhmatova. It argues that the photographic images written into these poems operate as points of departure for Akhmadulina's meditations on the relationship of text and image, and problems of historical memory and poetic lineage. Ultimately, the chapter explores theoretically how poetic writing unfolds when the object of ekphrastic inspiration is not a real photograph but an imagined one.
Conference papers on the topic "Inspirational poems"
1
Liu, Qinyun, Lin Zou, Hongming Che, Haiyun Wang, Yunzhi Jin, and Hongji Yang. "A Creative Computing Based Inspiration Assistant to Poem Generation." In 2017 14th International Symposium on Pervasive Systems, Algorithms and Networks (ISPAN), 2017 11th International Conference on Frontiers of Computer Science and Technology (FCST), & 2017 Third International Symposium of Creative Computing (ISCC). IEEE, 2017. http://dx.doi.org/10.1109/ispan-fcst-iscc.2017.63.
Full text
2
Constantinescu, Roxanasorina. "THE CHALLENGE OF CREATIVITY FOR THE STUDENTS OF THE DIGITAL AGE." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-009.
Full textAbstract:
Is the young generation creative? Can we still talk about creativity for a generation that is described as being multi tasking? If the answer is yes, what do the young generation create? Do they actually create or re- create? In the past, being creative meant especially writing poems, composing music or drawing amazing landscapes, in other words, mastering a talent. Thus, creativity was perceived as a gift for a certain group of people who were subjects of inspiration that might come no matter how long it would take. As the digital age has changed people's lives, the outlook regarding creativity has also acquired new meanings due to the challenges of the contemporary world which demands creativity in order to find the best solutions in the shortest time to the new situations from all fields of activity. Everything is changing at a very fast pace, new technologies appear, the social environment becomes different, the labor market offers new opportunities and people need to think creatively in order to face them and to adapt to them. Educating the young generation also means today preparing them to meet the challenges of the contemporary world in which generating new ideas and adapting to them have become absolutely necessary The purpose of this paper is to investigate the opinions of teachers of language and literacy and of teachers of informatics regarding the idea of creativity at the contemporary students and to offer suggestions of encouraging creativity of the students in the digital age. The research method was the interview with both closed- ended and open- ended questions.
Reports on the topic "Inspirational poems"
1
Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.
Full textAbstract:
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.