Relevant bibliographies by topics / Love poetry

Contents

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

Academic literature on the topic 'Love poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 August 2024

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Journal articles on the topic "Love poetry"

1

Purwaningsih, Yuni Ratna. "Semiotic Analysis of the Poetry “I Want” by Sapardi Djoko Damono." Journal on Education 5, no. 3 (February 17, 2023): 9678–81. http://dx.doi.org/10.31004/joe.v5i3.1847.

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The aim of this research was to analyze the poetry by Sapardi Djoko Damono on the title “I Want” with a semiotic method. The type of this research was descriptive qualitative and took the data by note of the poetry. The data was collected and analyzed by taking several phrases of the poetry. The results of the semiotic analysis of the poem "I Want" which was written in 1989 has the theme of love and was written by Sapardi Djoko Damono. Written with the meaning of a love that is really simple, knowing the true meaning using the semiotic method, along with the discussion. Therefore it could be concluded that the meaning of the poetry is closely related to the theme of love which conveys the poet's desire to love his lover sincerely and lovingly, not about conveying sweet and great words through real actions.
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Purwaningsih, Yuni Ratna. "Figurative Language Analysis of the Poetry “I Want” by Sapardi Djoko Damono." Journal on Education 5, no. 3 (February 16, 2023): 9488–91. http://dx.doi.org/10.31004/joe.v5i3.1819.

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The aim of this research was to analyze the poetry by Sapardi Djoko Damono on the title “I Want” with a figurative language method. The type of this research was descriptive qualitative and took the data by note of the poetry. The data was collected and analyzed by taking several phrases of the poetry. The results of the figurative language analysis of the poem "I Want" which was written in 1989 has the theme of love and was written by Sapardi Djoko Damono. Written with the meaning of a love that is really simple, knowing the true meaning using the figurative language method, along with the discussion. Therefore it could be concluded that the meaning of the poetry is closely related to the theme of love which conveys the poet's desire to love his lover sincerely and lovingly, not about conveying sweet and great words through real actions.
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Rebronja, Semir. "Uzrit motifs of love and love longing in Bosniak and Serbian romanticists." Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), no. 21 (December 15, 2023): 399–421. http://dx.doi.org/10.51728/issn.2637-1480.2023.399.

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Created in the 7th century, Uzrit love poetry or desert love poetry is inspired by love. It is named after the tribe to which poet Džemil (Ğamīl), one of the most famous love poets, belonged. In these poems, a lover spends his whole life in longing and absence, yearning for his beloved one. At the end of the 19th and the beginning of the 20th century, European romanticists sang and composed songs following, among others, Uzrit poets. Thus, Heinrich Heine sang the song Der Azra, writing down the Arab tradition of the Banu ʻUzra (Banū ʻUḏra) tribe that "for love lose their heads and die when they kiss". Hajne also influenced romanticists, such as Bašagić and Kostić. We can assume that Bašagić was directly influenced by the Arab love poetry of the desert because he knew the Arabic language, studied at university, and translated numerous poems from the Arabic language. However, when it comes to Kostić, the influence was indirect. A factor that should not be excluded from the research on the influence of Uzrit love, as a phenomenon, on romanticism, but also on the entire literature of the Balkan peoples, is folk poetry, which is filled with motifs from the East, and especially the Uzrit understanding of love. We witness the unavoidable influence of numerous folk songs, which later grew into songs sung with musical instruments, sevdalinkas, which the poets of the Balkans, regardless of national-confessional affiliation were exposed to. That folk lyric sang about exactly what Uzrit poetry sang about and it often drew its motifs from the Uzrit understanding of love. Keywords: comparative literature, Uzrit poetry, romanticism, Safvet-beg Bašagić, Laza Kostić
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ATIYA, Ali Hussein Hteem. "INTERPRETATION OF CULTURAL METHODS IN THE IRAQI FAMILIES AND ITS EFFECTS ON THE CULTURE OF THE CHILD (A SOCIAL ANTHROPOLOGICAL STUDY)." RIMAK International Journal of Humanities and Social Sciences 04, no. 04 (July 1, 2022): 373–91. http://dx.doi.org/10.47832/2717-8293.18.24.

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The pure spiritual experience affected by the spirit of Islam and its purity appeared in the poet Qurashi hermit, modernist, jurist, and preacher, and he was Urwa bin Uthaina. Madinah, he was in good contact with the Umayyads and the supporters of Abdullah bin Al-Zubayr, he chose not to play with politics or play with it, because he had a clear commitment to poetry, especially what was from it in spinning. He did not only say poetry, but he was making melodies and dissolving them for others to sing, and at the same time he was composing and arranging the sung poetry, as far as we know that the singer Ibn Aisha asked him for verses in jest. Where do you say? There are a number of singers who praised his poetry and sang a lot about it, and in the Book of Songs there are many voices of his poetry, and some hadith books devoted pages to him according to what is known from the science of wound and modification by Ibn Hatim and the great history of Imam al-Tabari and acceleration of benefit by Ibn Hajar alAsqalani and among the most famous who narrated from him Abd Allah bin Omar and Obaid Allah bin Omar (may God be pleased with them) as narrated by Imam Malik (may God have mercy on him). Here he presents us with a flirtatious text that is unique in its kind and pious in its performance, and begins with a clear mobilization, because it obeys the sea and the rhyme, and the poem starting is an equation of a true love experience that he embraced and tortured with, either he lived it, or from a figment of the imagination, or he was tormented with this love because there was no matter His heart is something, but he is on his piety and piety. He lived in a society that could not comprehend his position on this love, and for this he had to deal with what he calls (covering), but that his beloved herself fears for him, so she addresses him by doing the matter (hiding) that he loved in his own way. Our poet has loved a pure and chaste love, rather he has risen above the lover when he has not made himself known and who he loves. Love for him - as it is said - is a test and a test from God for people to take themselves with the obedience of those they love, and to be an entrance to a greater love that is the love of God Almighty, and perhaps this confirms it History is ours, and it does not stop us with the one who loves a name or attributes, for it is a state that was expressed as “seeing light for light in light.”
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AL-KHATIB, Qusay Fadel. "PURITY OF THE SPIRITUAL EXPERIENCE IN THE POEM URWA BIN UTHAINA." RIMAK International Journal of Humanities and Social Sciences 04, no. 04 (July 1, 2022): 363–72. http://dx.doi.org/10.47832/2717-8293.18.23.

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The pure spiritual experience affected by the spirit of Islam and its purity appeared in the poet Qurashi hermit, modernist, jurist, and preacher, and he was Urwa bin Uthaina. Madinah, he was in good contact with the Umayyads and the supporters of Abdullah bin Al-Zubayr, he chose not to play with politics or play with it, because he had a clear commitment to poetry, especially what was from it in spinning. He did not only say poetry, but he was making melodies and dissolving them for others to sing, and at the same time he was composing and arranging the sung poetry, as far as we know that the singer Ibn Aisha asked him for verses in jest. Where do you say? There are a number of singers who praised his poetry and sang a lot about it, and in the Book of Songs there are many voices of his poetry, and some hadith books devoted pages to him according to what is known from the science of wound and modification by Ibn Hatim and the great history of Imam al-Tabari and acceleration of benefit by Ibn Hajar alAsqalani and among the most famous who narrated from him Abd Allah bin Omar and Obaid Allah bin Omar (may God be pleased with them) as narrated by Imam Malik (may God have mercy on him). Here he presents us with a flirtatious text that is unique in its kind and pious in its performance, and begins with a clear mobilization, because it obeys the sea and the rhyme, and the poem starting is an equation of a true love experience that he embraced and tortured with, either he lived it, or from a figment of the imagination, or he was tormented with this love because there was no matter His heart is something, but he is on his piety and piety. He lived in a society that could not comprehend his position on this love, and for this he had to deal with what he calls (covering), but that his beloved herself fears for him, so she addresses him by doing the matter (hiding) that he loved in his own way. Our poet has loved a pure and chaste love, rather he has risen above the lover when he has not made himself known and who he loves. Love for him - as it is said - is a test and a test from God for people to take themselves with the obedience of those they love, and to be an entrance to a greater love that is the love of God Almighty, and perhaps this confirms it History is ours, and it does not stop us with the one who loves a name or attributes, for it is a state that was expressed as “seeing light for light in light.”
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Rahmani, Gul Rahman, and Mujtaba Nael. "Sparks of Platonic Love in Pashto Poetry." Sprin Journal of Arts, Humanities and Social Sciences 3, no. 5 (May 20, 2024): 64–68. http://dx.doi.org/10.55559/sjahss.v3i5.319.

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Platonic love is a word used by psychologists to describe illusory love and connection. It is typically a one-sided love that revolves around the axis of imagination, with no objective and genuine interaction between the lover and the beloved. Many societies, people, and values, particularly psychologists, refer to this type of love as original and pure love. It is also known as divine love, while the opposite is earthly or bodily love. Plato, the Greek philosopher and thinker, preached a love that was solely spiritual and ideal, with no regard for the body, particularly sexual impulses. The lover and the adored have no relationship and do not make a connection. It is known as Platonic love since Plato cannot be held responsible for its defeat or failure. This love was not previously known as Platonic love, as it is today, but researchers of our time, who studied Plato's norms and values for love, attributed this view of love to him in Pashto poetry. There are several examples of such love, and the purpose of this article is to explore a few of them.
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Armani, David, and Louise Gormley. "Persian Love Poetry." American Journal of Islam and Society 25, no. 1 (January 1, 2008): 136–38. http://dx.doi.org/10.35632/ajis.v25i1.1503.

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This little book is a beguiling collection of Persian love poems drawn fromboth classical and modern poetry, but united by the theme of love in its myriadinterpretations. Included are poems that explore the spiritual lovebetween humans and God, the magical love between lovers or spouses, theaffectionate love between family members and between friends, and eventhe patriotic love for one’s homeland. Each poem is accompanied with a preciousPersian chef d’oeuvre from the British Museum and, in particular, numerous illustrations of Persian miniatures. The editors come to this subjectwith vast expertise: Vesta Sarkhosh Curtis is curator of Islamic andIranian coins in the British Museum, and Sheila R. Canby is an assistantkeeper in the British Museum specializing in Islamic Iran. Both have publishedon Persian art, art history, archaeology, and myths, among other topics.Their aim is not to produce a well-researched and exhaustive collectionof Persian love poetry, but rather “to encourage readers to delve further intothe wealth of Persian literature” (p. 5). With its modest aim of capturing theinterest of novice western readers, theirs is a delightful book that charms itsway to success.As explained in the “Introduction,” Iranians and other Persian (Farsi)speakers treasure poetry not only because of the beauty of the poetic languageitself, but also because they derive joy and comfort from the poets’ perspectivetoward the world. The most famous Persian poets often have a mystical(Sufi) viewpoint toward life, whereby passion is a path to reach God and thetruth. Interwoven into the people’s social consciousness, poetry holds arevered place in Persian culture. A single verse from the best-known Persianpoems can capture an idea with elegant brevity. Iranians and other Persian(Farsi) speakers still recite poetry as a succinct and powerful way to expressa point, thought, or emotion. To explain how deeply embedded poetry is inthe Persian psyche, many oft-quoted proverbs draw much of their meaningand message from Persian poetry ...
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Risden, E. L., and John Cherry. "Medieval Love Poetry." Sixteenth Century Journal 38, no. 3 (October 1, 2007): 836. http://dx.doi.org/10.2307/20478544.

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Adhea Tsabitah Sulistiyo and Syihabuddin Syihabuddin. "Cinta: Objek dan Puisi (Konsep Cinta Erich Fromm dalam Puisi-puisi Karya W.S Rendra)." Jurnal Pendidikan, Bahasa dan Budaya 2, no. 1 (December 19, 2022): 01–18. http://dx.doi.org/10.55606/jpbb.v1i2.883.

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Love can be used as an answer to the question of human existence. So many philosophers from the west and east offer concepts about love, Erich Fromm is one of them who considers that love is an art. The purpose of this study is to classify five objects of love from Erich Fromm's thoughts in poems by W.S Rendra. Poetry was chosen as the object of research because poetry can be used as a means for someone to express love. This research method is a literature study as well as a literature review. The results of this study are five titles of poems that represent the five objects of love. First, object of brotherly love entitled "Aku Mendengar Suara" because this poem contains Rendra who loves his oppressed brothers. The object of maternal love titled "Ibunda" contains a mother's love that is like the earth that provides its fertility for her children to grow and sacrifices everything a mother has for her children, truly loving even though she does not get anything from the child. The object of erotic love with the title "Barangkali Karena Bulan" is about exclusive love to one person, namely the poet's love for a woman. Self-love with the poem titled "Orang Biasa" contains Rendra's love for himself. Last, the object of God's love titled "Tuhan, Aku Cinta Padamu" is about Rendra's desire to return to Him and achieve unification between the servant and his God.
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Martin, Anthony. "Herbert's "Love" Sonnets and Love Poetry." George Herbert Journal 17, no. 2 (1994): 37–49. http://dx.doi.org/10.1353/ghj.1994.0008.

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Dissertations / Theses on the topic "Love poetry"

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Bourgeois, Wendy Renee. "Love(Other)." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/1398.

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The following manuscript is a collection of poems composed largely as direct address to an idealized reader, "the Beloved Other." The poems enact and describe the vagaries of relationship, familial and romantic as well as mystical and intrapersonal.
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Quintanilla, Octavio. "Love Poem with Exiles." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28465/.

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Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.
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Warwick, Claire Louise Harrison. "#Love is eloquence' : Richard Crashaw and the development of a discourse of divine love." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338019.

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Buturović, Amila 1963. "Love in the poetry of Ibn Quzmān." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63925.

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Al-Shalabi, Marwa. "Caroline love poetry and the Renaissance tradition." Thesis, Bangor University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.331953.

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Nikoloutsos, Konstantinos P. "The male beloved in Roman love poetry." Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411118.

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Clemenzi-Allen, Benjamin. "Epic." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/983.

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This thesis consists of a collection of poems: two thematic-translations that engage source material for their composition and two anaphoric poems. “A Seeson in Heckk,” an epyllion (or mini-epic), engages Arthur Rimbaud's "A Season in Hell," as it echoes his syntax and translates some of his themes into a portrait of a troubled young speaker familiar but strange to Rimbaud's. “Love Poem,” the first anaphoric poem in the collection, explores the arc of a relationship through surreal, bizarre, and lyrical images that chart the experience of falling in and out of a tumultuous love affair. “THE BOOK OF CLAY” is composed in relation to “The Narrative of the Captivity and the Restoration of Mrs. Mary Rowlandson.” These poems form a surreal, pastiche, thematic-translation of the early American's accounts of her experience during the King Philip's War. “Transplant: Final Lines from a Poem Titled, Cardiology” also uses anaphora, while it explores emotional identity, authenticity, and an overused poetic trope: the heart.
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McCullough, Eleanor G. ""Except you ravish me" [microform] : the images of Christ as courtly knight, bridegroom, and mother of the soul as woven through the religious love lyric "In a valey of this restles mynde" /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p048-0326.

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Cook, Méira. "Speaking in tongues, contemporary Canadian love poetry by women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/NQ31971.pdf.

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Deters, Joseph Michael 1967. "Love and the postmodern: The poetry of Angel Gonzalez." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289422.

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This dissertation considers the discourse of love in Angel Gonzalez's poetry and the affinity that the poet's amorous verse has with a postmodern aesthetic. Beginning with his first collection and continuing through his last, the study focuses on how the amorous sentiments of the poet are manifested in his work. The evocation of love is quite varied throughout Gonzalez's poetic trajectory. In chapter one, the foundation of the study is set as the poetry of Aspero mundo (1956) is revealed to exhibit some early signs of a postmodern bent. The theoretical works of Julia Kristeva, Roland Barthes and Catherine Belsey are used in order to illustrate and support the relationship of the poetry with postmodernism. Chapter two examines Sin esperanza con convencimiento (1962) and Palabra sobre palabra (1965). Here, the manifestation of a markedly postmodern irony and the apparent fusion of love, language and poetic creation is studied. Among the critical references employed in this chapter are the ideas of Ihab Hassan, Jean Francois Lyotard, and others. Tratado de urbanismo (1967) is the focus of chapter three. Specifically, this chapter considers the use of intertextual elements and their manifestation in the love poetry of this work. The critical ideas of Kristeva, Barthes, Jonathan Culler and Mikhail Baktin form the theoretical underpinnings of this chapter. In addition, the revelation of the manner in which Gonzalez uses love poetry as a tool for social commentary is also explored as the poet assumes a more public voice within the discourse of love. Chapter four studies the next three books of the poet, Breves acotaciones (1967), Procedimientos narrativos (1972) and Muestra (1977). Here, the poet examines his ability to control the linguistic medium, parodies traditional love poetry and many times employs what Michael Riffaterre has termed "ungrammaticalities." In the fifth and final chapter of this dissertation, Prosemas o menos (1985) and Deixis en fantasma (1992) are studied. The importance of poetic ordering as well as the poet's retrospective views on his own mortality and the immortality of his amorous verse are investigated in these final works.
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Books on the topic "Love poetry"

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1948-, Powell Neil, ed. Gay love poetry. London: Robinson, 1997.

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Jane, Portal, ed. Chinese love poetry. London: British Museum Press, 2004.

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Company, Perfection Form, ed. Classic love poetry. Des Moines, Iowa: Perfection Form Co., 1991.

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Clarke, Cheryl. Experimental Love: Poetry. Ithaca, USA: Firebrand Books, 1993.

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Clarke, Cheryl. Experimental love: Poetry. Ithaca, N.Y: Firebrand Books, 1993.

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Gray, Erik. The Art of Love Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198752974.001.0001.

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Love begets poetry; poetry begets love. These two propositions have seemed evident to thinkers and poets across the Western literary tradition. Plato writes that “anyone that love touches instantly becomes a poet.” And even today, when poetry has largely disappeared from the mainstream of popular culture, it retains its romantic associations. But why should this be so—what are the connections between poetry and erotic love that lead us to associate them so strongly with one another? An examination of different theories of both love and poetry across the centuries reveals that the connection between them is not merely an accident of cultural history—the result of our having grown up hearing, or hearing about, love poetry—but something more intrinsic. Even as definitions of them have changed, the two phenomena have consistently been described in parallel terms. Love is characterized by paradox. Above all, it is both necessarily public, because interpersonal, and intensely private; hence it both requires expression and resists it. In poetry, especially lyric poetry, which features its own characteristic paradoxes and silences, love finds a natural outlet. This study considers both the theories and the love poems themselves, bringing together a wide range of examples from different eras in order to examine the major structures that love and poetry share. It does not aim to be a comprehensive history of Western love poetry, but an investigation into the meaning and function of recurrent tropes, forms, and images employed by poets to express and describe erotic love.
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Lockwood, Trevor. Love Poetry. Rhapsody, 2003.

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Jha, Shamik. Love Poetry. Independently Published, 2021.

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Coles, Christine L. Love Poetry. Lulu Press, Inc., 2013.

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Love Poetry. Ramboro Books PLC, 1998.

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Book chapters on the topic "Love poetry"

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Henderson, Diana E. "Love Poetry." In A Companion to English Renaissance Literature and Culture, 378–91. Malden, MA, USA: Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998731.ch34.

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Henderson, Diana E. "Love Poetry." In A New Companion to English Renaissance Literature and Culture, 249–63. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch58.

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Okada, Sumie. "Poetry in Love." In Edmund Blunden and Japan, 56–92. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-09467-7_4.

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Csokits, János. "János Pilinszky’s ‘Desert of Love’." In Translating Poetry, 9–15. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-10089-7_2.

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Maynard, John. "Sexuality and Love." In A Companion to Victorian Poetry, 543–66. Oxford, UK: Blackwell Publishers Ltd, 2008. http://dx.doi.org/10.1002/9780470693537.ch30.

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Phillips, Helen. "Chaucer's Love Visions." In A Companion to Medieval Poetry, 414–34. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch23.

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Duerksen, Roland A. "The Emphasis on Love." In Shelley’s Poetry of Involvement, 32–65. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19631-9_3.

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Morgan, Llewelyn. "2. Love poetry." In Ovid: A Very Short Introduction, 18–38. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198837688.003.0002.

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'Love poetry' examines Ovid’s ventures into the sub-genre of love-elegy and describes the development of this exclusively Roman literary form over the previous two generations, and the conventions that Ovid had inherited. Ovid wrote three books on the subject of love, these are Amores (Loves), Ars Amatoria (Art of Love) and Remedia Amoris (Cures for Love), a meeting of love-elegy and the popular ancient tradition of didactic poetry. The Amores was the collection that launched Ovid’s poetic career, and it set the terms for the rest of it, marking him out as the leading proponent of elegiac verse in Rome. In his approach to love-elegy we also see a style that will characterize much of his later work, playful and intensely self-aware. The Amores is less poetry about love than poetry about love poetry, its primary appeal lying in witty manipulation of poetic convention. Meanwhile, the Ars Amatoria teaches men and women how to find and keep a lover, and then the Remedia Amoris explains how to ‘unlearn’ the lessons of the Ars.
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"Love poetry." In The Cambridge Introduction to Spanish Poetry, 132–54. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511606328.008.

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"Love poetry." In The Cambridge Introduction to Russian Poetry, 95–109. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511606700.009.

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Conference papers on the topic "Love poetry"

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Breslavets, Tatiana, and Tatiana Vinokurova. "LOVE STANZAS IN SOGI’S POEM." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.33.

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The article is devoted to the peculiarities of the work of Iyo Soga, the author of “connected stanzas” (renga). The ways of presenting love lyrics in the poem Sogi dokugin nanihito hyakuin (One hundred stanzas of the poet Sogi, 1499) are highlighted. The issues of the influence of the previous classical literature on the poet’s work, the specifics of intra-literary continuity in the history of medieval Japanese verse are discussed. The implicit meanings of love stanzas are revealed. Precedent texts with which the stanzas of the poem establish associative links are found. Intertextuality acts as the meaning-forming beginning of renga poetry.
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Sonntag, Inna. "Любовная лирика как предмет коммуникативного анализа." In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.19.

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The article considers the specifics of love lyrics from the point of view of rhetorical positions: the features of appropriate speech analysis of love poetry, as well as the genre repertoire (external and internal) of love poems are characterized.
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Mechidova, Shehla. "SABA (MORNİNGWIND), THE MESSENGER OF LOVE İN BABUR’S POETRY." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/tffz3934.

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The epic and lyrical works of Babur, who wrote and created excellent works in Cigatai after Alishir Navai,, have reached our time. Although Babur is more famous in the history of literature for his work "Baburnama", his lyrics have always been in the center of attention with their artistic features. Babur proved that he was not only a powerful ruler, but also a poet with delicate feelings and fragile feelings, by depicting human feelings and thoughts more powerfully and beautifully than they were, adding thousands of colors to them with the magic of words and creating beautiful works from each other. The innate talent of the poet plays an important role in the expression of this beauty andelegance, because at this time human feelings and experiences are compared with inanimate natural objects and abstract concepts. In these comparisons, the innate talent of the writer to express any idea in a figurative way is clearly evident. These works,which are expressions of the poetic power of the word and the mysterious world of colors, attract more attention due to the artistic expression style, have stood and are still standing above time.
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Gherman, Oxana. "Ion Vatamanu: the Poetry of Vegetal Pulsations." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.21.

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The article proposes a hermeneutic approach to the vegetal motifs and symbols in Ion Vatamanu’s poetry. The author explores the ideational space of the great themes of the poetry of his times (love, homeland, maternal spirit, death, eternity etc.) and transposes into concrete visual or acoustic, olfactory or tactile images, man’s reactions to the greatness of divine creation, the revelation of the macrouniverse pulsating movements reflected in the microuniverse. The system of meanings of the symbolic elements of flora and the phenomenon of cyclical regeneration of living matter configure a new myth of anthropogenesis, based the idea of the vegetable origin of the human being. An impressive range of feelings is reflected in the images that capture the euphonies of nature’s metamorphoses. The leitmotif of the leaf, in the creation of Ion Vatamanu, triggers the creative energies, generates the artistic word, the significant nucleus of which concentrates the history of the entire universe becoming.
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Shemetova, T. "KOMAROVO VILLAGE IN THE LITERARY SERIES OF “KELLOMÄKI” BY JOSEPH BRODSKY AND “ANNO IVA” BY VICTOR SOSNORA." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3750.rus_lit_20-21/309-312.

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The writers’ village of Komarovo holds a significant place in poetry series of Joseph Brodsky and Victor Sosnora. Komarovo represents an integral part of the literary myth of Saint Petersburg’s role as a “cultural capital city” of Russia. Brodsky’s “Kellomäki” poem tells a story of an artistic resurrection of love with by the will of memory. Victor Sosnora’s “Anno Iva” poetry series contains a reference to Anna Akhmatova. Akhmatova was and remains an idiomatic “genius of the place”, “genius loci” of Komarovo village and the city of Saint Petersburg. Depending on the level of poetical comprehension, literary semantics of the area changes.
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Gherman, Oxana. "Sacred and profane perspectives on eros in contemporary Bessarabian poetry." In Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.15.

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The article studies the artistic representations of eros in contemporary Bessarabian poetry (Emilian Galaicu-Păun, Dumitru Crudu, Leo Bordeianu, Irina Nechit, Moni Stănilă, Silvia Goteanschii, Virgil Botnaru, Dan Negară, Hose Pablo, Artur Cojocaru). The author finds that the vision of love is determined either by sacred thinking, through which the erotic experience carries various spiritual meanings, restoring the primordial unity, awareness and harmonizing oppositions etc., or by profane thinking. Attributed exclusively to the physical and oriented towards sensuality, carnal voluptuousness, eros decays from the sphere of ontological mysteries, is lowered to the level of survival and perpetuation instincts, becoming the source of an irremediable existential tragedy.
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Rzasoy, Seyfəddin. "The Concept of “Imam Ali” in The Sufism Thinking System: Functional Structure of Epic-İrfani Code." In International Symposium Sheikh Zahid Gilani in the 800th Year of His Birth. Namiq Musalı, 2023. http://dx.doi.org/10.59402/ees01201818.

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Sufism is the philosophical-theoretical teaching and socio-cultural practice of the model of God-World-Human relations based on the Sharia-Creation-Truth-Evolution-based evolution scheme. The sufism forms the core of the Sufi teaching concept of "Imam Ali". This concept plays the role of nuclear and concentration center, covering all manifestations and expression levels of the system of sufism. The concept of "Imam Ali" plays a formulas of socio-cultural organization by bringing together all the elements of imaginative systems as a moral idea. The concept of "Imam Ali" shows itself in all the manifestation levels of the Islamic world. It is impossible to imagine medieval classical poetry beyond that. Even beyond the concept of "Imam Ali", the cultural manifestations contradicting him must also be based on literary-art traditions based on this concept. One of the cultural space and codes of use that all the artistic-psychological freshness of the concept of "Imam Ali" is Azerbaijan's love epics. The content, idea and shaping of the love epics of Azerbaijan are directly related to Imam Ali's cult. There are two heroes of this epic: Lover and Beloved. Lover and Beloved, and the opponent (Antihero), according to our own observations, are instructed by God-Human-Satan trixotomic model. On the basis of the functional structure stands the mechanism of the struggle between Truth and False, the Good and Evil, the Good and the Evil. Keywords: Sufism, Imam Ali, Code, Sharia, Sect, Enlightenment, Lover, Beloved.
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Ahmed SALIH, Sura. "TIME IN THE POETRY OF JAMIL BUTHAINA." In III. International Congress of Humanities and Educational Research. Rimar Academy, 2022. http://dx.doi.org/10.47832/ijhercongress3-3.

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Then Believing in the need of our Arab heritage for a second reading that shows its creativity and originality, we chose Jamil Buthaina, who is considered one of the most important poets of virgin Spinning in the Umayyad era, where his name was associated with the name of his beloved. The Arab in general and beautiful poetry in particular. We notice the dominance of time over Arab poetry and the poets’ gaze. The research is divided into several axes:. - Time in Arabic poetry: which we talked about about the element of time in poetry as it is one of the elements of forming the dramatic structure of the poetic text, and that time is associated with poets even in the poetry industry itself in time. - Time in the virginal spinning poetry We talked about the poets’ view of time and considering it responsible for everything that befalls the poet and for the separation of the beloved and the sadness. Time in jamil poetry Buthaina: In this axis we studied time in beautiful poetry, which he highlighted through dialogue. Beautiful poetry is based on dialogue that shows the life of poetry with its lover, its previous and current status, and its complaint about time. In conclusion, we hope that we have succeeded in presenting an adequate summary of our subject, and that it will be in the service of our Arabic literature and the service of scholars
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Andreeva, Ekaterina. "ANCIENT RUSSIAN MOTIFS AND IMAGES IN THE POEMS OF ARSENY TARKOVSKY 1941-1945." In FIRST KULAKOV READINGS: ON THE FIELDS OF RUSSIA'S MILITARY. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3637.khmelita-19/149-159.

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The article examines the functioning of ancient Russian artistic images and motifs in the poetry of Arseny Tarkovsky during the Great Patriotic War. The appeal to this motives and images fits modern events into the historical context, helps to create a general picture linking the past and present of the country. The author is particularly in demand for the images of Igor and Yaroslavna from “The Word about Igor's Regiment”, he reinterprets and re-creates images taking into account the new situation. Yaroslavna turns into a symbol of love, sadness, longing, memory, in her image everything opposes war and cruelty. In the poems of 1941-1946 there are references to the Horde invasion. Images of invaders appear in the lines of the poems associatively, intuitively: these are mongols, “tatarva”, Mamai. Poems about the war are devoid of pictures of battle, descriptions of cruel and destructive consequences, their main theme is the theme of love (not only between a man and a woman, but also love for the motherland) and memory, the connection of the past, present and future. Overestimating the cultural and historical material Arseny Tarkovsky fills the famous images with a new, universal sound.
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Useinov, T. B. "Display of love for a male object in a figurative system of medieval Crimean Tatar Ashyk poetry." In Scientific Trends: Philology, Culturology, Art history. ЦНК МОАН, 2019. http://dx.doi.org/10.18411/spc-26-11-2019-06.

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Reports on the topic "Love poetry"

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Hotsur, Oksana, and Anastasiia Bila. Епістолярна спадщина Олени Теліги як виразник творчої особистості. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11723.

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The scientific research considers and analyzes the epistolary heritage of Olena Teliha. Excerpts from her correspondence are presented, which testify to the formation of a brilliant woman, a creative personality who played an extremely important role in the struggle for the formation of Ukrainian statehood. It is from the letters that we learn that for her letters are almost an ideal way of communication. The epistolary heritage of Olena Teliha allows us to reveal the vision of the main processes in her personal life against the background of the general historical discourse. In addition, the main communicative visions that determine her creative personality are highlighted: communicative vision of friendship, love, creation of literary talent, perseverance and strength, resistance to rejection. Attention is focused on the importance of studying and researching the epistolary heritage of creative personalities in the context of social communications. From the quoted letters, which are distinguished by their sincerity and accuracy of expression, it is possible to determine and formulate what positions and ideas the civic activist, poet and publicist adhered to. In addition, we can see the line of consistency in the formation of a creative personality who not only lives and writes, but acts – creates history, its moment, the value of which is felt and understood by future generations. It is found that the life path in its interconnection with historical circumstances and social environment influenced the formation of the creative personality of the genius poet and publicist. The peculiarities of the epistolary of Olena Teliha are determined by the circumstances, people and personalities that she had to face in life. The promising areas of research are the letters of Olena Teliha, which are in the archives of other countries and the allocation of journalistic and documentary aspects of her epistolary heritage. Keywords: epistolary heritage, letters, public figure, journalism, creative personality.
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