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1
Lesik, Ksenia A. "The Motif of Journey in Kunwar Narain’s Poetry." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 4 (2020): 521–33. http://dx.doi.org/10.21638/spbu13.2020.404.
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The article is focused on the motif of a journey in the works of a modern Indian poet, Kunwar Narain, a representative of New Hindi poetry. This motif of a journey is extremely important in Indology studies. Starting with the Indian epic poems “Mahabharata” and “Ramayana”, the motif of pilgrimage has been one of the significant plot lines. During the Medieval period, the motif of a journey became an allegory of individuality cognition. In modern Hindi literature writers introduce innovation in the image of travel, remaining within the established Indian tradition. The research in this article is based on the bilingual collection of poems by Kunwar Narain “No other world”. The article argues that a journey becomes the leitmotif in the poet’s lyrics. As a result, the Indian poet writes a kind of a travel literature, which is based on the image of the way with two semantic motives: a journey as a hero’s movement in space and a hero’s search for his essence, including a peculiar path as an allegory of his spiritual formation. The article focuses on the compositional distribution of poems in the “Journey” section of the book. This distribution expresses the movement of the author’s thoughts. The analysis of the literary techniques, symbolic images and allusions was conducted in the frames of not only Indian literature, but also American poet Walt Whitman’s creations, which had a great influence on Kunwar Narain’s lyrics. Literary influences are identified that contributed to the formation of the Indian poet’s worldview.
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Perry, John Oliver, and Vidya Niwas Misra. "Modern Hindi Poetry." World Literature Today 65, no. 2 (1991): 365. http://dx.doi.org/10.2307/40147316.
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Devi, Pramila. "Modern Hindi Poetry and Women." International Journal of Research -GRANTHAALAYAH 5, no. 6 (June 30, 2017): 693–95. http://dx.doi.org/10.29121/granthaalayah.v5.i6.2017.2102.
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In the field of Hindi literature, along with men, women writers have also contributed significantly with their valuable works. Here the pages of the history of the past India are filled with specific works of Indian women. At that time they had an opportunity to get education like men. In the course of time, bad practices in the society started increasing. Along with the independence of the country, the freedom of women was also abducted. It also stripped them of the right to equality and education.
हिंदी साहित्य के क्षेत्र में पुरूषों के साथ-साथ नारी साहित्यकारों ने भी अपनी बहुमूल्य कृतियों से उल्लेखनीय योगदान दिया है । यहाँ अतीत भारत के इतिहास के पृष्ठ भारतीय महिलाओं की विशिष्ट कृतियों से भरे पड़े हैं । उस समय उन्हें पुरूषों के समान शिक्षा प्राप्त करने का अवसर मिलता था । कालांतर में समाज में कुप्रथाएँ बढ़ने लगी । देश की आज़ादी के साथ-साथ स्त्रियों की आज़ादी का भी अपहरण हुआ । इसमें उनसे समानता और शिक्षा का अधिकार भी छीन लिया गया ।
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Mineshwari. "Place of 'Saket' in Hindi-poetry." International Journal of Research -GRANTHAALAYAH 7, no. 11 (June 10, 2020): 82–84. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2020.335.
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Maithilisharan is such a seeker of Gupta Indian Manisha, who has been successful in connecting with the ancient Indian ideology and modern thought and way of life dedicated to the protection of humanity and culture. Saket was his successful attempt. It is a best-management poem that added an emotional tone to Indian beliefs and beliefs. The ancient content is presented in a new environment. The origins of the creation of 'Saket' were two inspirations - "(1) Rambhakti, (2) the desire to see and understand the Indian life in a holistic way." 1 Rambhakti naturally refers to Ramakavya, life-daring life- Towards poetry.
मैथिलीषरण गुप्त भारतीय मनीशा के ऐसे साधक हैं, जो मानवता और संस्कृति के रक्षार्थ प्राणपन समर्पित रहे भारतीय प्राचीन विचारधारा व आधुनिक विचार और जीवन-पद्धति से जोड़ने में सफलता हासिल किए हैं। ‘साकेत’ इनका सफल प्रयास रहा। यह एक सर्वोत्तम प्रबंध-काव्य है, जो भारतीय आस्थाओं और मान्यताओं को भावनात्मक स्वर मिला। प्राचीन विशयवस्तु को नए परिवेष में प्रस्तुत किया है। ‘साकेत’ के सृजन के मूल दो प्रेरणाएँ थी- ‘‘(1) रामभक्ति, (2) भारतीय जीवन को समग्र रूप में देखने और समझने की लालसा।’’1 रामभक्ति स्वभावतः रामकाव्य की ओर संकेत करती है, जीवन-दर्षन जीवन-काव्य की ओर।
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Peterson, Indira Viswanathan, and Karine Schomer. "Mahadevi Varma and the Chhayavad Age of Modern Hindi Poetry." Journal of the American Oriental Society 105, no. 1 (January 1985): 188. http://dx.doi.org/10.2307/601583.
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Barz, Richard, and Karine Schomer. "Mahadevi Varma and the Chhayavad Age of Modern Hindi Poetry." Pacific Affairs 58, no. 1 (1985): 156. http://dx.doi.org/10.2307/2758044.
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Naved, Shad. "Teaching Indo-Islamic poetry: Sexuality in the global classroom." Thesis Eleven 162, no. 1 (February 2021): 46–61. http://dx.doi.org/10.1177/0725513621990989.
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The article argues that a critical encounter with pre-modern literatures from the national past is long overdue under the impact of a globalized discourse of sexuality. Its effects are already felt at the level of both pedagogy and literary reading, one reconstituting the other, in the ‘global classroom’, a self-conscious pedagogical space imagined by the new educational policy to bring about a globally accredited cultural homogeneity. The case study comes from teaching erotic poetry at an Indian university, from the joint literary complex of Hindi and Urdu in South Asia, a theme uncomfortably located in national culture not just because of its sexuality but its association with non-national linguistic elements which the article terms ‘Indo-Islamic’. The overlapping of the sexual modern with the Indo-Islamic resurfaces a tension in the nationalized body of literary writing in Hindi/Urdu, the major ‘national’ languages of South Asia. This encounter of erotic poetry in old Hindi and Urdu with globalized sexuality, the article shows, offers a chance to reflect on how literary studies are being reshaped by the assumptions of a monolingual, monocultural global sexuality in our nationalist times.
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Czekalska, Renata. "The idea of freedom and the expression of artistic protest in modern Hindi poetry." Politeja, no. 31 (2014): 111–31. http://dx.doi.org/10.12797/politeja.11.2014.31_1.06.
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Gargesh, Ravinder. "Stylistics and Stylistic Analysis of a Modern Hindi Poem." Journal of Indian Studies 12, no. 1 (May 2007): 267–313. http://dx.doi.org/10.21758/jis.2007.12.1.267.
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Parakh, Jawarimal. "The Whole World is a Family—Modern Hindi Poetry and the Larger Cause of Humanity." Procedia - Social and Behavioral Sciences 2, no. 5 (2010): 7435–45. http://dx.doi.org/10.1016/j.sbspro.2010.05.109.
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Khan, Muhammad Yaseen. "Edit distance-based search approach for retrieving element-wise prosody/rhymes in Hindi-Urdu poetry." Indian Journal of Science and Technology 13, no. 39 (October 24, 2020): 4189–201. http://dx.doi.org/10.17485/ijst/v13i39.1489.
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Background: Prosody (rhyming words) is a connatural element of poetry, throughout its reach, across thousands of languages in the world. Since medieval era, the Indic poetry (principally the Hindi/Urdu poetry) has created an impactful flamboyance w.r.t the subjects, styles, and other creative aspects in poetry. Besides the message of heartfelt poetry, we see the Qafiya (i.e., rhyming words) is the core element, without which we may not consider anything Hindi/Urdu poetry but merely a piece of writing; alongside it, Radif (i.e., a phrasal suffix to qafiya) is also considered next to the intrinsic part in Ghazals. In this regard, the contributions of this paper are one–the development of an optimal technique for the prosodic (qafiya) suggestions/retrieval in Hindi/Urdu poetry; and two–the qafiya suggestions based on the attached subsequent radif. Methods: The work in this paper involves usage of a 13.46 M tokens tri-script corpus of poetry. Instead of phonetic value matching, the proposed methodology employs four different Edit Distances (i.e., Levenshtein, Damerau–Levenshtein, Jaro–Winkler, and Hamming distance) as the comparison measures for prosodic suggestions. Findings: The proposed work shows better results in comparison to ‘Qaafiya Dictionary’ powered by rekhta.org. Moreover, w.r.t the inter-metric similarity and running time Jaro–Winkler appears to be the most optimal algorithm for the rhyme suggestion, whereas the Levenshtein distance is the laziest technique. Novelty/Applications: This work benefits researchers of Indic natural language processing for lexical look-ups and analysis of creative literature, especially poetry.
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Karnad, Girish. "Performance, Meaning, and the Materials of Modern Indian Theatre." New Theatre Quarterly 11, no. 44 (November 1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.
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Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporary problems of its society. The interviewer, Aparna Dharwadker, is Assistant Professor of Drama and Eighteenth-Century British Studies at the University of Oklahoma. Her essays and articles have appeared or are forthcoming in PMLA, Modern Drama, and The Sourcebook of Post-Colonial English Literatures and Cultural Theory (Greenwood, 1995). She has also published collaborative translations of modern Hindi poetry in major anthologies, including The Oxford Anthology of Modern Indian Poetry (1994), and is currently completing a book-length study of the politics of comic and historical forms in late seventeenth-century drama.
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Devi, Asha. "NATURE IN HINDI LITERATURE." International Journal of Research -GRANTHAALAYAH 3, no. 9SE (September 30, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i9se.2015.3264.
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The love of nature of Hindi writers is well known. Poetry has been composed on nature in all times during the ancient, medieval and modern times. The famous cinematic poet Jayashankar Prasadji writes-Let me forget my sailor slowly - where in the uninhabited deep-tinged love story in the ears of Sagar-Lahiri-Ambar - Avni of Taj BabelThe poet has here pointed out the peace of man. Humanity is not noisy, nor does he want such an earth. Nature has loved human as (wave of ocean) and (abar). This is what it is like, why is it, who is destroying the unbreakable relationship between human and nature. What are the conditions that are making the earth persist? A terrible environmental crisis is looming over us all. What should we do now .We all know that in Indian culture, nature is like a necklace in the bracelet, but when the great crisis is showing the destruction of this culture, then our values of life, which teach us to love nature, should be cherished in Vedic era It is happening in the verses of the Vedas that we see the feeling of gratitude towards fire, sun, moon, air, water, earth, sky and clouds. Sanskrit literature is full of beautiful scenes of nature. There nature is companion, friend and its all.
हिंदी साहित्यकारों का प्रकृति-प्रेम सर्वविदित है। आदिकाल , मध्यकाल और आधुनिककाल सभी कालों में प्रकृति पर काव्य-रचनाऐं होती रहीं । प्रसिद्ध छायावादी कवि जयशंकरप्रसादजी लिखते हैं-ले चल मुझे भुलावा देकर मेरे नाविक धीरे-धीरे-जहाँ निर्जन में सागर-लहरी-अंबर के कानों में गहरी-निच्छल प्रेमकथा कहती हो--तज कोलाहल की अवनि कवि ने यहाँ मानव की शांतिप्रियता को इंगित किया है ।मानव कोलाहलप्रिय नहीं है, और न ही वह ऐसी धरती चाहता है।( सागर की लहर) और (अबंर) के रूप में प्रकृति ने भी मानव से प्रेम ही किया है ।आज विचारणीय विषय यह है कि फिर ऐसा क्या है, क्यों है, कौन है जो मानव और प्रकृति के अटूट संबंधों को तहस-नहस कर रहा है । वे कौन सी परिस्थितियाँ लगातार बनती रही हैं जो धरती विदीर्ण कर रही हैं । एक भयावह पर्यावरणीय संकट हम सब पर मँडरा रहा है । अब हमें क्या करना चाहिए ।हम सभी जानते हैं कि भारतीय संस्कृति में प्रकृति कंगन में नग की भाँति जडी है पर जब बड़ा संकट इस संस्कृति के विनाश का दिखाई दे रहा है तो ऐंसे में वैदिककाल से सँजोए हमारे जीवन-मूल्य, जो हमें प्रकृति से प्रेम करना सिखाते हैं, समाप्त हो रहे हैं वेदों की ऋचाओं में हमें अग्नि,सूर्य, चंद्र, वायु, जल, पृथ्वी, आकाश और मेघों के प्रति कृतग्यता का भाव दिखाई देता है । संस्कृत-साहित्य तो प्रकृति के मनोहारी दृश्यों से भरा पड़ा है ।वहाँ प्रकृति मानव की सहचरी,सखी और उसका सर्वस्व है ।
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Шарма Брахма Дутта. "Vowel Phonemes in Hindi." East European Journal of Psycholinguistics 5, no. 2 (December 28, 2018): 71–91. http://dx.doi.org/10.29038/eejpl.2018.5.2.bsh.
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An analysis of the present day Hindi, as spoken in the northern part of India, brings to light the fact that this language has at least twenty vowel phonemes, and not simply thirteen. Twelve of these twenty vowel phonemes are oral while eight of them are nasalized. Eighteen of them are pure vowels (monophthongs) while two of them are diphthongs. Two of the thirteen vowels included in the current list of alphabet have given place to two consonants with the result that they have ceased to exist. Most of these vowel phonemes occur in all the three positions, namely initial, medial and final, in the Hindi words.
References
Agnihotri, Rama Kant. (2007). Hindi: An Essential Grammar. London: Routledge.
Chatterjee, Suniti Kumar. (1942). Indo-Aryan and Hindi: Eight Lectures. Ahmedabad: Gujarat Vernacular Society. Retrieved from: https://archive.org/details/in.gov.ignca.2478.
Duncan Forbes. (1846). A Grammar of the Hindustani Language in the Oriental and Roman Character, London: W. H. Allen & Co. Retrieved from: https://ia801408.us.archive.org/ 27/items/agrammarhindstn00forbgoog/agrammarhindstn00forbgoog.pdf.
Dwivedi, Kapildev. (2016). Bhasha Vigyan Evam Bhasha Shastra [Philology and Linguistics]. Varanasi: Vishvavidaya Prakashan.
Greaves, Edwin. (1921). Hindi Grammar. Allahabad: Indian Press.
Guru, Kamta Prasad. (2009 rpt. [1920]). Hindi Vyakaran [Grammar of Hindi]. New Delhi: Prakashan Sansthan.
Koul, Omkar N. (2008). Modern Hindi Grammar. Springfield: Dunwoody Press.
Pahwa, Thakardass. (1919). The Modern Hindustani Scholar; or, The Pucca Munshi. Jhalum: Printed at the Baptist Mission Press, Calcutta and published by the author.
Shakespear, John. (1845). An Introduction to the Hindustani Language. Comprising a Grammar, and a Vocabulary, English and Hindustani. London: Wm. H. Allen & Co. Retrieved from: https://archive.org/details/introductiontohi00shakrich.
Sharan, Ram Lochan. (1920). Hindi Vyakaran Chandrodaya [Chandrodaya Hindi Grammar]. Darbhanga: Hindi Pustak Bhandar.
Sharma, Aryendra. (1994). A Basic Grammar of Hindi. Delhi: Central Hindi Directorate.
Tiwari, Bhola Nath. (1958). Hindi Bhasha ka Saral Vyakaran [A Simple Grammar of Hindi]. Delhi: Rajkamal.
Tiwari, Uday Narayan. (2009). Hindi Bhasha ka Udgam aur Vikas [Origin and Development of Hindi Language]. Allahabad: Lok Bharati, 2009.
Tweedie, J. (1900). Hindustani as It Ought to be Spoken. London: W. Thacker. Retrieved from: https://archive.org/details/hindstniasitoug00tweegoog/page/n6.
Verma, Ram Chandra. (1961) Manak Hindi Vyakaran [Standard Grammar of Hindi]. Varanasi: The Chaukhambha Vidya Bhawan.
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Callewaert, Winand M. "Indian manuscripts without autograph? A computer analysis." Indo-Iranian Journal 30, no. 3 (1987): 177–83. http://dx.doi.org/10.1163/000000087790082667.
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AbstractThe computer count establishes that, in the case of Nāmdev's poems, there is no consistent relation between two manuscripts of the same ‘recension’. We noticed also that, when looking at variants from different angles, no consistent relation even between manuscripts is seen throughout. This suggests a very nebulous interaction between singing traditions and the fact that we should not look for a ‘critical line’ of Nāmdev or try to prepare an edition of the original version of Nāmdev's poetry. This hypothesis is a challenge to existing ‘critical editions’ of Early Hindi Poetry, in which generally the ‘original’ version is reconstructed after constructing a stemma based on (scribal) variants. If there is no stemma and no justified ‘critical’ line, then what do we have? We have the conviction that, possibly for centuries, a Nāmdev enthusiasm was enchanting people in Rajasthan and Punjab (North-West India), linked vaguely to Nāmdev's hymns of the 14th century.
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Sultangalyeva, Zh. "MODERN KAZAKH POETRY AND LYRICS F.UNGARSYNOVA." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 330–35. http://dx.doi.org/10.51889/2020-4.1728-7804.67.
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The article presents a detailed analysis of the multifaceted poetic work of the famous poetess F. Ungarsynova. This is the indissoluble unity of the lyrical hero and author, and the poet's finest poetic speech, and the variety of the genre of her works, and the complex world of the image of the lyrical hero. The article attempts to describe the aesthetic worldview and work of F. Ungarsynova in a comparative manner. Particular attention is paid to the artistic world and the linguistic means of F. Ungarsynova, who have her own poetic style. Also considered is the enormous influence of the poet's work on modern Kazakh poetry. The article draws attention to the fact that the poetess managed to combine such principles as open citizenship and piercing lyricism, purity and nobility of human relations and the tragedy of unrequited love, lines about sacred friendship and wise thoughts about the poet’s craft. Her poems are an impressive picture of modern reality.
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Hansen, Kathryn. "Languages on Stage: Linguistic Pluralism and Community Formation in the Nineteenth-Century Parsi Theatre." Modern Asian Studies 37, no. 2 (May 2003): 381–405. http://dx.doi.org/10.1017/s0026749x03002051.
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The Parsi theatre was the dominant form of dramatic entertainment in urban India from the 1860s to the 1930s. Named for its Bombay-based pioneers, the Parsi theatre blended certain European practices of stagecraft and commercial organization with Indic, Persian, and English stories, music, and poetry. Through the impact of its touring companies, it had a catalytic effect on the development of modern drama and regional theatre throughout South and Southeast Asia. Moreover, Parsi theatre is widely credited with contributing to popular Indian cinema its genres, aesthetic, and economic base. With Hindi films now the major cultural signifier for the middle classes and the ‘masses’ in South Asia and its diaspora, documentation and evaluation of the Parsi theatre is much needed, especially to connect it convincingly to the cinematic medium that followed.
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Antonina Łuszczykiewicz. "Dealing with Colonial Past." Politeja 16, no. 2(59) (December 31, 2019): 123–38. http://dx.doi.org/10.12797/politeja.16.2019.59.08.
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This paper is dedicated to reconstructing the image of the British colonial rule in India in modern Hindi cinema. The main stress in the analysis is laid upon the depiction of the political and cultural impact of the British rule on common Indian people, as well as the colonizers’ attitude towards the independence movement. Consequently, the author intends to enquire, how movies made after 2000 – among which Lagaan: Once Upon a Time in India (2001), Mangal Pandey: The Rising (2005), Water (2005) and Rang De Basanti (2006) are given special attention – deal with the difficult colonial past from an over 50-year-long perspective. Moreover, the author explains, how modern Hindi cinema shapes Indian viewers’ opinions on the British rule, intending to strengthen their patriotic feelings and national pride.
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Kuchina, Tatiana G. "MODERN RUSSIAN POETRY IN OLYMPIAD ASSIGNMENTS IN LITERATURE." Philological Class 26, no. 2 (2021): 212–20. http://dx.doi.org/10.51762/1fk-2021-26-02-18.
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The article discusses approaches to a holistic analysis of poetic texts of the 21st century at Literature Olympiads. The main aim of this academic activity of senior schoolchildren is to teach them to demonstrate their own understanding of a poem through considering it as an integral unity of elements and analyzing the most essential features of its artistic structure. The author answers the following questions: what knowledge, skills, competences are tested by assignments on contemporary poetry? What poetics features of modern literature require special attention and how to teach senior schoolchildren to carry out analysis correctly? How can “Olympiad” poetry be of interest to a modern secondary schooler? On the material of the poems by Polina Barskova, Alexei Tsvetkov and Vladimir Gandelsman the article shows possible ways of text analysis that have formed in practical work – primarily in the Sirius educational center (Sochi). The author uses P. Barskova’s poem “Happiness” (2001), included in the tasks of the final stage of the 2019 Literature Olympiad, to show the methods of work with subtext / intertext and subject structure. The relationship between the object-based and symbolic plans, of the empirically “true-to-life” plot and the biblical subtext are in the focus of attention during the analysis of A. Tsvetkov’s poem “The experience of the end of the world” (2019). V. Gandelsman’s poem “In the morning, right after dawn, I am at the foot…” (2018) was offered to students at a trial competition in “Sirius”. The article contains excerpts from the works of secondary school students, showing how they interpreted the poem.
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Kerimova, Rowset A. "Features of bilingualism in modern Karachay-Balkar poetry." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 414–23. http://dx.doi.org/10.22363/2312-9220-2019-24-3-414-423.
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The article presents the phenomenon of bilingualism in modern Karachai-Balkarian poetry. The study is conducted based on Russian-language works of poets, whose creative maturity came to the post-perestroika era, and artists of the newest generations, entered the literary process at the junction of the XX-XXI centuries. The aim of the study is to identify the main trends and features of this phenomenon in the poetic discourse of the Karachay-Balkar masters of the word of indicated period. In the course of the analysis, the author revealed heterogeneous models of artistic expression, manifested in the same verse culture each generation differently. The research centers on the poetic works of modern Karachay-Balkar poets of the turn of the late XX - early XXI centuries: Arthur Bakuev, Shahriza Bogatyreva, Aishat Kushcheterova, Nauruz Bairamkulov, Ismail Baituganov. For the first time new names are introduced into scientifi circulation, and the Russian-language creativity of two generations of poets is gradually considered. As a research method an integrated approach is used, combining elements of comparative-typological, system-integral and historical-literary analysis. The results contribute to the development of the theory of text and discourse in the aspect of considering the phenomenon of bilingualism in the latest Karachay-Balkar literature.
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Abed, Elaf Hussein. "The nominal style in the modern French poetry." Al-Adab Journal, no. 133 (June 15, 2020): 7–14. http://dx.doi.org/10.31973/aj.v0i133.866.
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Using the nominal style in the poetry writing is considered a turning point in the history of French poetry, which has witnessed major changes since the mid-nineteenth century, weather at the level of language and form or at the level of subjects. That this method based on the omission of the verb taken from the name the basic core in expressing the topic of the sentence formed a great controversy for linguists in theory because it raises the issues of the difference between the name and the verb.
In this study, we tried to analyze the nominal style and its most used linguistic methods such as the exclamations noun sentence, presentation methods and isolated vocabulary by having poems known to be poets of modernity such as Baudelaire, Rambo, Apollinaire and others ....
This analysis sheds light on the characteristics of the nominal style addressed at the beginning of the research and reveals to us why poets chose this method as a form of modernity that contributed to the perpetuation of their poems that we are still reading to this day.
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Khramushina, O. S. "About phonetic transformations of words in modern Russian poetry." Russian language at school 82, no. 2 (March 19, 2021): 49–56. http://dx.doi.org/10.30515/0131-6141-2021-82-2-49-56.
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This article aims to determine the types and role of phonetic transformations of words as an active tactics applied in modern Russian poetry. This problem has not received sufficient theoretical attention, which is significant for an adequate analysis of artistic speech. The methods of functional and contextual analysis were applied allowing the phenomenon under study to be considered as an element of an integral literary text. As a result, the functions of phonetic transformations of words in poetic speech were revealed, in particular: 1) rhythmic (primary associated with the nature of poetic speech); 2) iconic, including the function of creating sound imagery (contributing to an enhanced expression of the author’s intention and ensuring the participation of phonetic transformations in certain types of stylisation); 3) compressive (reflecting the tendency towards speech economy, focused on spoken speech and incomplete pronunciation style); 4) text-forming (sound transformations as the main expressive means of a text can determine its structure); 5) euphemistic (the transformed version of the word constructs a phonetic allusion to its original version); 6) comic (the original sound can generate new versions including game, ironic and other meanings). It is concluded that there is a tight connection between phonetic experiments and the semantic accents made in poetic texts. The results of the study contribute to the existing scientific literature on phonemic transformations. The results can be applied when conducting a philological analysis of a text and at Russian language and literature lessons.
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Sultanmuratovich, Nurmatov Sirojiddin. "Etymological and semantic analysis of lexical units formed from the numeral word “one” in modern literary Hindi." ACADEMICIA: An International Multidisciplinary Research Journal 11, no. 5 (2021): 19–25. http://dx.doi.org/10.5958/2249-7137.2021.01347.1.
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Kerimova, R. A. "The ethnic-cultural space of modern Karachay-Balkar poetry." Voprosy literatury, no. 4 (August 22, 2019): 247–59. http://dx.doi.org/10.31425/0042-8795-2019-4-247-259.
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The article is devoted to the problems of ethnic-cultural perceptions in contemporary Karachay-Balkar poetry. It defines criteria for shaping an ethnic and civic self-identity. The paper discusses how cultural globalization affects the ideology of the Karachay-Balkar people. In a detailed analysis of works by N. Bayramkulov and A. Bakkuev, two poets of a younger generation, the author argues that fundamental values and stereotypes take priority in the poetic mentality of younger artists. Closely examining the themes of the poets’ works – philosophy, religion, history, society and politics – the author specially describes the way each poet deals with the nation’s artistic memory. Another focus is on the analysis of poetics. It is suggested that the young poets’ creative method is found at convergence of realism and mythopoeia. Their poetry centers around the mythical images of stone, water, mountains, and ‘taulu’ (‘a man of the mountains’).
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Moskvichova, Oksana. "Poetical Text as the Specific Way of the Reflection of Reality." Studia Linguistica, no. 13 (2018): 215–27. http://dx.doi.org/10.17721/studling2018.13.215-227.
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The article is dedicated to the embodiment of reality in the poetic model of the world of the British poetry by means of the linguistic and poetic analysis of tropes as the way to actualize cognitive processes in the formation of the world model. By means of linguistic, poetic and cognitive analysis the cognitive aspect of the poetry of the British romantic, modern and post-modern periods is investigated. From the position of cognitive linguistics and cognitive poetics poetry is analyzed as the embodiment in the poetical works the result of cognition of a poet and his interpretation of reality on the background of his physical, social and cultural experience. Reconstruction of the poetical model of the world on the base of British poetical texts is accentuated on the notion of poetry and poetic texts, on the reflection of reality in poetry, on esthetic aspect of poetry and on linguistic and communicative peculiarities of poetry. The article is actual as the generalization of linguistic, poetic and cognitive paradigms aimed to the construction of the model of the world of different cultural and historic periods. The aim and the results of investigation are determined by the specification of the poetical viewpoint embodied in the British poetry of romantic, modern and post-modern periods.
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Feng, MAO, LIU Ying, ZHANG Jiandong, YI Miaomiao, and Wu Biyu. "A Study of Du Fu’s Poetry in the West in Modern Times." International Journal of Linguistics, Literature and Translation 4, no. 6 (June 30, 2021): 134–40. http://dx.doi.org/10.32996/ijllt.2021.4.6.15.
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Chinese classical literature has attracted much attention in the Western world. As an important part of Chinese classical literature, Du Fu’s poetry, also as an important carrier, plays a great role in the international communication of cultural confidence. In recent years, some domestic research institutions and scholars have also written literature reviews on the research progress of Du Fu, but few works of literature comprehensively review related western research results. With the combination of big data and visualization tools, this study uses the title keyword “Du Fu Poetry” to search the English literature of Google scholar. VOSviewer is used to make visual analysis and draw a knowledge map from the aspects of literature quantity, authors, research institutions, co-citation, keyword clustering, etc., to analyze the research situation and hotspots of the Western study of Du’s poetry. The following conclusions are drawn: 1) In recent decades, western translation of Du Fu’s poetry have emerged constantly, attracting more and more famous international publishing houses to cooperate; 2) The study of Du’s poetry abroad mainly focuses on the English translation of Du’s poetry as well as the interpretation and evaluation of poets' thoughts; 3) The study of Du’s poetry abroad ignores the dynamic study of Du's poetry development, and there are some obvious cultural errors or omissions in translation. In a word, this study objectively reflects the development, theme and hotspots of modern western Du Fu poetry research, which has certain significance for fully understanding the general situation of Du Fu research field in Western countries and help to deepen Du Fu’s research.
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Gadzhilova, Shanisat Magomedovna. "Sonnets by Magomed Akhmedov and the development of sonnet genre in modern Avar poetry." Филология: научные исследования, no. 11 (November 2020): 19–31. http://dx.doi.org/10.7256/2454-0749.2020.11.34056.
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The subject of this research the artistic distinctness of the sonnets by M. Akhmedov in the context of evolution of sonnet genre in modern Avar poetry. The sonnets of M. Akhmedov represent a significant part of his poetic path, and are viewed as a new phenomenon in modern Avar poetry, the origin of which is associated with the works Of R. Gamzatov and M. Abasil. The object of this research is the sonnet genre in Avar literature. The goal consists in determination of the sonnet in multigenre poetry Of Magomed Akhmedov, as well as comprehension of their artistic content and form in conjunction with development of the genre in modern Avar poetry. Special attention is turned to the stages of evolution of the indicated genre in Dagestan, and namely Avar, literature. Emphasis is placed on the artistic distinctness of M. Akhmedov's sonnets, their comparative analysis, imagery structure, and ideological- thematic peculiarities. The scientific novelty lies in the fact that this is first to review M. Akhmedov’s sonnets, which hold a special place in development of the sonnet genre in modern Avar poetry. The acquired results demonstrate that the examination of M. Akhmedov's sonnets allow revealing not only the range of his poetic pursuits, but also richness of the genre system of modern Avar poetry. The sonnets by M. Akhmedov draw attention by synthesizing the old and new traditions of the poet's precursors and contemporaries. The authors’s special contribution is defined by carrying out a comprehensive analysis of the sonnets M. Akhmedov that fill the gap in studying the evolution and development of this genre in particular, and poetry of M. Akhmedov overall.
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Kuchumova, Galina V. "MODERN POETIC DISCOURSE: THE LINGUISTIC NATURE OF HERMETICISM." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 99–108. http://dx.doi.org/10.17072/2073-6681-2021-1-99-108.
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The paper provides review of the monograph by Ekaterina Evgrashkina The Semiotic Nature of Semantic Uncertainty in Modern Poetic Discourse (based on German and Russian poetry), published in the Russian language as part of the series NEUERE LYRIK. Interkulturelle und interdisziplinäre Studien. Herausgegeben von Henrieke Stahl, Dmitrij Bak, Hermann Korte, Hiroko Masumoto und Stephanie Sandler. BAND 5. Berlin: Peter Lang, Internationaler Verlag der Wissenschaften, 2019. 173 s. ISBN 978- 3-631-78193-7. The monograph deals with the main trends of German and Russian poetry of the last decades. The focus is on the phenomenon of hermetic poetry. Modern authors consciously choose writing strategies such as literary improvisation, language play, and various intermedial inclusions. The first chapter ‘The problem of poetic meaning’ provides a theoretical framework for the field of research. It introduces the definitions of discourse, the concepts ‘language games’ (developed by L. Wittgenstein), ‘text / discourse’, ‘text / work’, dialogical dimensions of poetic text. The second chapter ‘Semiotics of modern poetry’ covers the concept ‘mobile semiosis’ (J. Baudrillard) and some others. In hermetic poetic discourse, generation of meaning is based on mobile semiosis, in which the relationship of stability between the signifier and the signified is called into question. In The Role of the Reader, Umberto Eco describes two models of the reader, different strategies for interpreting text. Susan Sontag denies the possibility of final interpretation of a text, she suggests eroticism of art instead of hermeneutics. The third chapter ‘Linguistic installations’ considers various manifestations of poetic Hermeticism in modern poetry, the experience of concrete and visual poetry in German: Timm Ulrichs (1940), Klaus Peter Dencker (1941), Barbara Köhler (1959), Werner Herbst (1943–2008), Anatol Knotek (1977), Herta Müller (1953). The final chapter ‘The self-reflexive discourse’ deals with the trend of modern poetry towards free verse and construction of new complex poetic forms. The process of occasional word formation is shown in the lyrical texts by German poets Thomas Kling (1957–2005), Lutz Seiler (1963), Konstantin Ames (1979), Lioba Happel (1957), Thomas Böhme (1955), and by Russian authors Polina Andrukovich (1969), Alexander Ulanov (1963), Dmitry Vorobyov (1979). In poetic discourse, the constitution of the poetic subject correlates with the introduction of new elements of culture into the poetic text. Such innovations do not lead to a mechanical increment of the elementary meaning, but to a structural transformation of the whole picture. The reviewed monograph is significant in that it provides theoretical understanding of individual poetic practices and the analysis of specific empirical material – the latest German and Russian poetry.
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Soltic, Jorie. "The Late Medieval Greek Vernacular Πολιτικὸς Στίχος Poetry: A Modern Linguistic Analysis into Intonation Units." Journal of Greek Linguistics 14, no. 1 (2014): 84–116. http://dx.doi.org/10.1163/15699846-01401004.
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The Late Medieval Greek “vernacular” (12th–15th c.) is one of the least studied stages of the history of the Greek language. The lack of interest by linguists can presumably be ascribed to its major source, i.e. metrical πολιτικὸς στίχος poetry. The language of this type of poetry has been labelled a “Kunstsprache”, because of its oral-formulaic character and because of its mixed idiom incorporating vernacular yet also archaizing elements. In this article, however, I demonstrate that the Late Medieval Greek πολιτικὸς στίχος poetry should not automatically be excluded from linguistic research, given that it clearly possesses a strongly vernacular, i.e. spoken, syntactic base: its underlying syntax runs in a very natural way. This is proven by the fact that we can apply the modern linguistic concept of the Intonation Unit, the basic unit of analysis in contemporary spoken(!) languages, to the texts composed in the πολιτικὸς στίχος: far from having an artificial syntax, the πολιτικὸς στίχος poetry is conceptually made up of short, simple “chunks” of information. More precisely, each verse consists of two (stylized) Intonation Units, demarcated by the fixed caesura, which can thus be equated with an Intonation Unit boundary. This thesis is supported by various arguments, both of a metrical and of a syntactico-semantic nature. Arguments belonging to the former category are the length of each half-line, the possibility of stress on the first syllable of each half-line, the origin of the metre, and especially the avoidance of elision at the caesura. In the second category of (syntactico-semantic) evidence, we can consider the tendency of each half-line for constituting a grammatical sense-unit. I also bring forward some little-studied syntactic features of Late Medieval Greek: first, I pay attention to the distribution of the archaizing “Wackernagel particles”, which do not only appear in second position in the verse, but also occur after the first word/constituent following the caesura and thus further confirm my thesis. The same holds for the position of “corrective afterthoughts”, for the verbs and pronominal objects taking the singular are consistently separated from their plural referents by the caesura. Once the Intonation Unit is thus established as a meaningful methodological tool for the analysis of the πολιτικὸς στίχος poetry, the way is cleared for more linguistic research on the Late Medieval Greek vernacular.
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Snell, Rupert. "Karine Schomer: Mahadevi Varma and the Chhayavad age of modern Hindi poetry. xiii, 335 pp. Berkeley, Los Angeles and London: University of California Press, 1983. £24." Bulletin of the School of Oriental and African Studies 49, no. 1 (February 1986): 228–29. http://dx.doi.org/10.1017/s0041977x00042816.
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Arora, Jhanvi, and Santosh Kumar Bharti. "Rhetorical Analysis and Classification of Poem Text." International Journal of Semiotics and Visual Rhetoric 5, no. 1 (January 2021): 57–71. http://dx.doi.org/10.4018/ijsvr.2021010105.
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Poetry is one of the richest forms of literature, which in itself includes all components of language a human learns; by components here, the context is towards the rhetorical devices. The rhetorical devices constitute the witty use of words used in the reference to things. The work intends to identify the forms of creative references used by the poets to contrast their style of writing and categorize the text on the basis of the same. On the basis of each such prominent device such as rhymes or alliteration, one can derive the boundary or similarity percentage amongst the poems, which can be further extended to compare the writing style of the poets. The method of analysis holds a good value to study different poets of the modern and renaissance era and could be helpful in contrasting their way of putting things into words. Keywords NLP Analysis of Poem, Poem Analysis, Poem Classification, Poem Comparison, Poem Qualifiers, Poet Classification, Poetry Analysis, Poetry Recommendation System
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Pallavi, Kiran, and Rahman Mojibur. "A preliminary pragmatic model to evaluate poetry translation." Babel. Revue internationale de la traduction / International Journal of Translation 64, no. 3 (November 8, 2018): 434–63. http://dx.doi.org/10.1075/babel.00046.pal.
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Abstract The article presents a Preliminary Pragmatic Model (PPM) with the practical levels of pragmatic features. Poetry translation pose great difficulty in retaining the ‘extra-linguistic features’ of the source text and target text. When placing more emphasis on linguistic features, ‘extra-linguistics’ are ignored by the evaluators. This lack is largely due to the non authentication of pragmatics of the languages involved and the non-development of ‘extra-linguistic’ parameters for evaluation. Focusing on this fact, the study takes pragmatic as the common denominator between poetry and translation, and develops a pragmatic model. The model adopts the concept and objective from the prominent Translation Quality Assessment (TQA) model of Juliane House, and the two models of Hossein Vahid Dastjerdi and his team: (a) Practical Model for Translation Analysis and Assessment of Poetic Discourse, and (b) Semiotic Model for Poetry Translation. The model is an extended part of Vahid’s model with pragmatic (features) layering. The article is prefaced with a brief description of the pragmatic features and functions to explain how and why it matters to compare poetry translation. Later, the effectiveness of the model is tested with a randomly-selected short poem by Gulzar and its English translation by Nirupama Dutt. Gulzar is an Indian poet writing in Hindustani (a mix of Hindi and Urdu). Versing mostly in free style, he makes his poems pragmatically poignant with unusual imagery. Evaluating his poems through the model verifies its working. The findings (tabulated, compared, and discussed) show literal translation of metaphors that becomes displaced as well as losing the sense in the poem. Thus, the translation misses the pragmatic force of Gulzar’s philosophy and does not achieve dynamic equivalence. The study recommends the application of pragmatic procedure for evaluation of poetry translation and offer new possibilities in translation research.
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Al-Khawaldeh, Sami, Nisreen N. Al-Khawaldeh, and Imad Khawaldeh. "A Linguistic Analysis of the Aesthetics of Intertextuality in Habib Al-Zyoudi’s Poetry." International Journal of Applied Linguistics and English Literature 6, no. 5 (July 6, 2017): 263. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.5p.263.
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Intertextuality appears to be extremely important to better realize the different layers of the intended meaning of texts (Ahmadian and Yazdani, 2013). To the best of the researchers’ knowledge and considering its significance, very few studies were done on intertextuality in Arabic poetry (e.g. Bahar, 2014; Zawahreh, 2013 and Al-Khawaldeh et.al, 2016) and none was done on intertextuality in Habib Al-Zyoudi’s poetry. Thus, this study aims to highlight the aesthetics of the intertextuality in Habib Al-Zyoudi’s poetry. It particularly analyzes some examples of these salient embedded religious and literary texts, and highlights their positive impact on enriching the text besides illuminating some associated issues in modern Jordanian poetry. The content analysis of Al-Zyoudi’s poetry collections reveals how intertextuality helps the poet enrich the poetic notions of language and rhyme, raise readers’ awareness of the all-encompassing impact of cultural, religious, literary issues and figures on poetry which in turns aids readers to understand the intended meaning of the poems. Thus, the researchers recommend that translators have a proper background knowledge of religious, cultural, proverbial and poetical phases that might be typically different across languages.
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Machado, Roberto Pinheiro. "Hagiwara Sakutarô, Buddhist realism, and the establishment of japanese modern poetry." Estudos Japoneses, no. 35 (March 7, 2015): 71–103. http://dx.doi.org/10.11606/issn.2447-7125.v0i35p71-103.
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This article approaches the works of poet Hagiwara Sakutarô (1886-1942) from a comparative perspective that engages philosophy and literature. The philosophical dimension of Sakutarô’s poetry is analyzed by means of inter-textual readings that draw on the tradition of Buddhist epistemology and on the texts of logicians Dignāga and Dharmakīrti (5th century). The comparative analysis is considered under the perspective of the influence of Naturalism and the use of description in the emergence of Japanese modern poetry. Pointing to the possibility of a Buddhist realism that shares some common characteristics with Naturalism, the article emphasizes the Buddhist dimension of Sakutarô’s poetry, which appears in spite of the poet’s turn to Western philosophy (notably to Schopenhauer, Nietzsche, and Kant), as well as to his overt rejection of Buddhism as a necessary step to the modernization of the Japanese letters.
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Petievich, Carla, and Max Stille. "Emotions in performance: Poetry and preaching." Indian Economic & Social History Review 54, no. 1 (January 2017): 67–102. http://dx.doi.org/10.1177/0019464616683481.
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Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of the changing forms of reader address shows how the modern nazm genre has been deployed for exhorting the collective, much-expanded Urdu public sphere. Emphasising the sensory aspects of performance, the analysis of contemporary waʿz mahfils focuses on the employment of particular chanting techniques. These relate to both the transcultural Islamic soundsphere and Bengali narrative traditions, and are decisive for the synchronisation of listeners’ experience and a dramaticisation of the preachers’ narratives. Music-rhetorical analysis furthermore shows how the chanting can evoke heightened emotional experiences of utopian Islamic ideology. While the scrutinised performance traditions vary in their respective emphasis on poetry and narrative, they exhibit increasingly common patterns of collective reception. It seems that emotions evoked in public performances cut across ‘religious’, ‘political’, and ‘poetic’ realms—and thereby build on and build up interlinkages between religious, aesthetic and political collectives.
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Raoufzadeh, Narges, Sharzad Mohammadhosein, and Shiva Zaheri Birgani. "Analysis of Love, Death, Rebirth and Patriarchy in Two Contemporary Poetess Forough Farrokhzad and Sylvia Plath’s Selected Poems." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 4 (November 6, 2019): 56–64. http://dx.doi.org/10.33258/birci.v2i4.607.
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ForoughFarrokhzad and Sylvia Plath’s poems are closely linked to their personal life and their marriage. Their poems are confessional in style. Farrokhzad criticizes Iranian male dominant society in which women are marginalized and haven’t any voice in the society, so seeking their voice and identity in modern literature, especially in modern Persian poetry. Sylvia Plath attempts to resist patriarchy in her society through her poems too. Two poets highlighting and expressing the lack of interest in life and the sole desire to die in most of their poems. Not only poetic imagery and themes like death, frustration and failure are common points that convey pessimistic views in their poems, but also few of their poems convey optimistic elements of life and hope so this paper is going to explain them too. Farrokhzad and Plath, two contemporary female poets, attempted to gain a voice for women in their country. They are considered as the successful feminist voices in their countries and astonishingly share the same themes and issues in their poetry. The present paper aims to highlight characteristics of confessional poetry and elaborate on concepts of love, death, rebirth and patriarchy in ForoughFarrokhzad and Sylvia Plath’s poems.
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Vidiyanti, M. Oktavia, and Bambang Yulianto. "PENDIDIKAN MULTIKULTURALISME DALAM PUISI DIGITAL GORONTALO TANAH BERDAULAT KARYA JAMAL RAHMAN IROTH: KAJIAN MOZAIC ANALOGY BERKSON." TELAGA BAHASA 7, no. 2 (January 15, 2020): 173–80. http://dx.doi.org/10.36843/tb.v7i2.74.
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Penelitian ini bertujuan mengetahui bagaimana keragaman budaya yang terdapat dalam puisi digital dan melihat bagaimana masyarakat mengekspresikan hak identitas budaya mereka dalam puisi digital. Hasil penelitian dari analisis yang sudah dilakukan adalah bahwa dalam puisi digital terdapat konten multikulturalisme. Multikulturalisme tersebut terutama menyangkut persoalan budaya praandroid dan pascaandroid, tradisional dan modern, bahkan pascamodern. Kesimpulan hasil penelitian menyimpulkan potensi strategi puisi digital dapat dimanfaatkan sebagai sarana untuk Pendidikan multikulturalisme.Kata kata Kunci: puisi digital, pendidikan, multikulturalisme Multiculturalism Education in Digital Poetry of Gorontalo Tanah Berdaulat in the Work of Jahal Rahman Iroth: Berskon Mozaic Analogy AbstractThis study aims to find out how the diversity of cultures contained in digital poetry and see how people express their cultural identity rights in digital poetry. The results of the analysis that have been carried out are that in digital poetry there is multiculturalism content. Multiculturalism is mainly concerned with pre-thyroid and post-thyroid cultural issues, traditional and modern, even postmodern. The conclusion of the research concludes that the potential of digital poetry strategies can be used as a means for multiculturalism education.Keywords: digital poetry, education, multiculturalism
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Slade, Benjamin. "The diachrony of light and auxiliary verbs in Indo-Aryan." Diachronica 30, no. 4 (December 31, 2013): 531–78. http://dx.doi.org/10.1075/dia.30.4.04sla.
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This study examines the historical development of light verbs in Indo-Aryan. I investigate the origins of the modern Indo-Aryan compound verb construction, and compare this construction with other light verb constructions in Indo-Aryan. Examination of the antecedents of the Indo-Aryan compound verb construction alongside other Indo-Aryan light verb constructions, combined with analysis of lexical and morphosyntactic differences between the compound verb systems of two Indo-Aryan languages (Hindi and Nepali), demonstrate that light verbs are not a stable or unchanging part of grammar, but rather undergo a variety of changes, including reanalysis as tense/aspect auxiliaries.
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Smolskaya, E. P., and A. S. Barteneva. "Poetry and its Audience in the Digital Age." Concept: philosophy, religion, culture 5, no. 1 (April 1, 2021): 157–68. http://dx.doi.org/10.24833/2541-8831-2021-1-17-157-168.
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The study assesses the influence that new technologies, relative to the poetic content and poetry as art, have on the field of public relations. The main trends in the development of modern poetry as an object of online promotion, the ties connecting the digital format as such to this specific genre and the methods of modern media promotion are concerned as the key research areas. Digital technologies have produced profound changes in society and in the sphere of media. The impact of online tools and infrastructure both on poetry itself and for the methods on its promotion is also relevant. One should note, the digital reality does not necessarily require the flattening of style, the dominance of prose — poetry remains viable. Moreover, in the era of digital devices and the growing dominance of web technologies, poetry acquires new meaning and significance both as an art form and as a traditional need, which can be attributed to the domain of the spiritual. The adaptation to the digital reality shapes poetry in several aspects. This trend is reinforced by the development of traditional poetry as a type of multimedia content and the proliferation of poetry in social networks. The promotion of poetry has received little attention in both Russian and international academic contexts. PR in poetry is usually examined in broader or related frameworks, such as art marketing or publishing. This approach disregards the specificity of poetry as an art form. The available data lacks consistency, and the overwhelming majority of the relevant articles relate to popular science and journalism, not scientific literature. The analysis shows that in the modern age, poetry is pivoting on new platforms, online, while poetic content is actively integrating with the multimedia format. Poetry is able to address themes and ideas that resonate within new generations, thus remaining alive and proliferating. This finds proof in the context of online texts: they acquire the status of media which integrate traditional art patterns with the commercialized and blog-oriented digital art forms and industries (visual arts, music, etc.). This process manifests itself in the growing popularity of poetry among the youth, digitally. New methods of monetizing poetry are emerging, thus increasing the attractiveness of a poetic career.
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Holbrook, Victoria Rowe. "Philology Went down to the Crossroads of Modernity to Meet Orientalism, Nationalism, and... Ottoman Poetry." New Perspectives on Turkey 11 (1994): 19–41. http://dx.doi.org/10.1017/s0896634600000972.
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Ottoman poetry is an empty sign. It floats, unfettered by the correspondence between words and things conventional to the typically modern signification of historical realities. But the sign (under which many of the other written Ottoman humanities—philosophy, literary-critical writing, fine art literature, and thought in general—tend to be subsumed) is not exactly empty. It carries double, or overdetermined, meaning. Though empty of poetry the term Ottoman poetry does not, for most people, call Ottoman poetry to mind—it is full of other things in so far as the sign is “read” as a rhetorical figure, a symbol, an allegory of the national narrative. And since the middle of our century, at the latest, when the first generation born into the Turkish Republic had come of age, it has continued to be read this way. That is, the allegory continually displaces the reality. Either the poetry is not known and there is no poetry in mind to recall, or, if it is known, the experience of recall is overdetermined in ways that can be connected with the poetry only through an analysis of the history of its modern reception, probably beginning with Young Ottoman polemic c. 1860's-1880's.
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Ene, Ana. "Interpreting poetry for teaching about style." JOURNAL OF LINGUISTIC AND INTERCULTURAL EDUCATION 12, no. 1 (April 30, 2019): 71–84. http://dx.doi.org/10.29302/jolie.2019.12.1.5.
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This paper investigates a series of problems which may appear in the process of literary text interpretation, especially texts belonging to the lyric poetry genre, in view of teaching certain stylistic analysis techniques at the university level. Teaching in practice shows that one of the major difficulties that undergraduates can face in their stylistic approach to such a text consists in the correct decoding of its theme and message. The main objective of this paper is therefore to examine and interpret the external form of the analysed text meant to lead to its internal form. A configuration of the perimeter of this investigation involves certain methodological aspects belonging to the field of linguistic stylistics and, partially, to the domains of pragmatics and general semiotics. Implicitly, the analytical instruments to be used are selected from those specific to the aforementioned domains. The demonstrative analysis is applied to two modern Romanian poems, selected according to the following principle: the texts must contain enough aspects to create difficulties in reception and which require various stylistic approaches.
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Turdybaev, K. "Karakalpak poetry and the artistic character of dedication poetry in the works of I. Yusupov." Turkology 6, no. 104 (January 12, 2020): 64–77. http://dx.doi.org/10.47526/2020/2664-3162.019.
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The article examines the place of I. Yusupov's poetry in the history of Karakalpak literature and genre features of dedicated poems in the poet's work. Artistic approaches in the poetry of I. Yusupov renew the artistic form of poetry. The poet's additions to the types of initiations in literature increased the significance of the genre. Therefore, we believe that a special study of this genre in the poet's work will serve to reveal the peculiarities of the poet's lyrics. In this article, we will focus on the nature of the development of the genre of initiation in the poet's work. The works of scientists who commented on the poet's work laid the foundation for the methodological conclusions of our article. Dividing I. Yusupov's poems into types, a thematic, genre, poetic analysis will be carried out. Civic pathos, lyrical thought, poetic clarity, poetic culture and other qualities are characteristic of the poet's work. The poetic tradition of Ibragim Yusupov continues in modern Karakalpak poetry.
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Turdybaev, K. "Karakalpak poetry and the artistic character of dedication poetry in the works of I. Yusupov." Turkology 6, no. 104 (January 12, 2020): 64–77. http://dx.doi.org/10.47526/2020/2664-3162.019.
Full textAbstract:
The article examines the place of I. Yusupov's poetry in the history of Karakalpak literature and genre features of dedicated poems in the poet's work. Artistic approaches in the poetry of I. Yusupov renew the artistic form of poetry. The poet's additions to the types of initiations in literature increased the significance of the genre. Therefore, we believe that a special study of this genre in the poet's work will serve to reveal the peculiarities of the poet's lyrics. In this article, we will focus on the nature of the development of the genre of initiation in the poet's work. The works of scientists who commented on the poet's work laid the foundation for the methodological conclusions of our article. Dividing I. Yusupov's poems into types, a thematic, genre, poetic analysis will be carried out. Civic pathos, lyrical thought, poetic clarity, poetic culture and other qualities are characteristic of the poet's work. The poetic tradition of Ibragim Yusupov continues in modern Karakalpak poetry.
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Markov, Alexander. "SCHUBERT'S «THE TROUT» IN RUSSIAN POETRY." Izvestia of Smolensk State University, no. 1 (49) (May 26, 2020): 5–18. http://dx.doi.org/10.35785/2072-9464-2020-49-1-5-18.
Full textAbstract:
Franz Schubert is one of the well-known western composers in Russian poetry due to the fact that poets have been attracted by his laconic plots, relation to legends, melodramaticism and deep symbolism going beyond historical symbolism. In Russian poetry the small play «The Trout» acquired a meaning different from the composer’s intensions. It began to be understood not as a
moral tale of caution and temptation and not as a hymn to youth and young feelings, but as a call for freedom of improvisation. The article, based on material from Russian poetry of the XXth century, immigrant and modern poetry, examines the reasons for the bias in the understanding of the play. The article thoroughly analyzes rhetoric of the text «The Trout» and features of its perception in modern and contemporary lyrics. The
author indicates factors of meaning bias such as a biographical subtext of «The Trout» creation, Schubert’s general image mainly as a romantic composer, an implicit competition between poets lived at the same time for the correct understanding
of musical rhetoric. The research methods include reconstruction of the composer's reputation in Russian culture, a comparative historical analysis and hermeneutics of a poetic text, and specification of musical allusions. Thanks to the individualization and analysis of the stages found in the transformation of the «The Trout» perception in Russian poetry, it is proved that the musical work perception is associated with a special understanding of media nature like the play brevity, its distribution, the first publication in the newspaper its use in parodies and mass culture has made the author understand «The Trout» as a democratic work with its own media principles. In addition, the
richness of Schubert’s legendary and ballad plots and the need to artificially build Schubert’s world within a short lyrical work have turned «The Trout» into an exemplary key of the plot. The ballad starts to be interpreted through poetic form as the opposite to the work with morality; musical intonation is understood
as a gesture of gaining freedom contrary to the literal content of the ballad.
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Gon, Oleksandr. "The Epic Mania: Pound’s Response to E. A. Poe and T. Hulme." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 39 (2021): 32–42. http://dx.doi.org/10.17721/2663-6530.2021.39.04.
Full textAbstract:
The article is devoted to the analysis of a specific component in the post-epic artistic picture of the world contextualized in the genre experiments with epic forms that symbolize the search for new ways to express the substantial unity of the individual with a society. It is important that in «The Poetic Principle» (1850) Poe appeals to the epic tradition and expresses an essential thesis about the paradigm of the epic and the lyrical in precedent texts and mentions a significant lyrical inderpinning in Homer's Iliad. In «A Lecture on Modern Poetry» (1908), Hume posits that the very assumption that in modern poetry there will appear an artist capable of synthesizing all the experience of modern peroson in the form of a great epic is an utter misunderstanding of the tendencies in modern poetry. Both Pound and Yuri Klen consider the creation of a modern epic in the coordinates of the continuum of the national poetic canon. The concept of «return» constitutes an omnipresent aesthetic program of the Pound’s epic. The poetics of repetitions in the Cantos is based on the versification models of the European fixed poetic forms that are extensively represented against the background of new emphases and reformatting of the ancient epic forms, making new their conventions and motives. Creative and receptive aspects of the innovative application of specific features in the epic composition (recurrent historical plots, the νόστος topos) deeply correlate with the artistic form of the modern epic.
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Severskaya, Olga Igorevna. "“Stay with me. Talk to me”: reader interaction strategies in modern poetry." Communication Studies 7, no. 2 (June 30, 2020): 419–36. http://dx.doi.org/10.24147/2413-6182.2020.7(2).419-436.
Full textAbstract:
The article is devoted to the consideration of a poetic text as a communicative
phenomenon with a high impact potential. The author defines the features of poetic communication, which is both mass and interpersonal, and its main goal,
which is the poet’s desire to communicate author’s vision of the world and thereby change the picture of the reader’s world, achieving empathy from it. Based on
the understanding of the speech strategy as a cognitive communication plan, a
program for generating and perceiving speech, the author talks about the fundamental reversibility of text-generating and interpretative strategies and offers
own classification of strategies and tactics that are most often used in modern
poetry. In this classification, the main communicative strategies of self-presentation and rapprochement with the reader are associated with auxiliary discursive
strategies of actualizing, dramatizing and dialogizing the text and programming
interpretations by tactics for highlighting objects and situations using sound
“gestures”, pointing to the referent, framing, directly introducing the reader into
the communicative context, attracting the recipient’s attention through appeals
and pragmatic instructions, interrogation, and some others. Particular attention is
paid to the multimodality of interactions and its specific manifestations in poetic
discourse. The study is based on the material of Russian poetry of the 1980-
2000s using the methods of intent and discourse analysis.
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Vladimirovna Karkina, Svetlana, Nelya Khabibullovna Nurgayanova, and Manpreet Kaur. "TRADITIONAL MUSIC AND POETRY OF THE TATARS-MISHARS: MODERN FORMS OF EXISTENCE." Humanities & Social Sciences Reviews 7, no. 6 (December 1, 2019): 477–80. http://dx.doi.org/10.18510/hssr.2019.7673.
Full textAbstract:
Purpose: The Tatars-Mishars are an ethnographic group of the middle Volga and Ural Tatars. Their speech is based on a special dialect and belongs to the Western group of the Tatar language. The Tatars-Mishars were settled on the Right Bank of the Volga in Mordovia, Chuvashia, Tatarstan, Bashkortostan, as well as in the Nizhny Novgorod, Penza, Ryazan, Samara, Saratov, and Ulyanovsk regions. The Mishar sub-ethnic group is divided into three ethnographic components – Sergach, Temnik, and lambir, each of which has its own linguistic and ethnocultural features. The object of our attention is the traditional musical and poetic creativity of the Tatar-Mishars of the Ulyanovsk region, which is a unique layer, characterized by the preservation and to date the existence of original folklore genres.
Methodology: In the article the analysis of the materials obtained by the authors during expeditions in the Ulyanovsk region, where the ignorance relating to the khvalynskoe, Karsunsky and melekessky language groups. As a result of research various and interesting, to some extent, the original material was recorded. When collecting information, the instruction on collecting musical folklore was used for detailed certification of the recorded sample, which allowed to identify the distribution area, local features, the picture of the modern functioning of the works of traditional musical and poetic creativity.
Results: In general, the study showed that the traditional musical culture of the Tatar-Mishars of the Ulyanovsk region, is a distinctive layer, characterized by a variety of genres and styles. This lyrical lingering and short tunes, takmaks and lyric-epic genres baits, munajat.
Application: Therefore, the study and preservation for future generations of musical and poetic folklore of the Tatar-Mishars, which has inexhaustible wealth, will allow feeling the original and universal foundations of spirituality of the Tatar people and its culture.
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Shukla, Annapurna. "INTERCONNECTION OF FINE ARTS AND JUGALBANDI OF POETRY." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 25–39. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.905.
Full textAbstract:
English : Nature itself is a poisonous plank. This wonderful combination is not only an epic, but also a great visual picture. There are poetic juices, verses and ornaments in it, there is also a variety of colors and forms, only then the poem is a sparkling image and the picture is a sparkling living poem. The feeling of both is counted towards the end. All arts are similar at the cognition level and are expressed and divided in the mediums, irrespective of the artist.
Elemental analysis of the arts shows that the interrelationships of all the fine arts are very deep and have always influenced and enriched each other. If the meaning of words is intensified, then the lines have their elegance, if the notes have their own universe, the postures have their own sense of the world, if the stones have a lyrical form, then the images have their own shape. Painting in the arts has developed parallel to poetry. According to the medium, all fine arts have their own existence. To express himself in the early period, these arts were his gross languages. Even after their establishment, man must have been searching for such a powerful medium for years. By which one could express his entire thought. He must have got the word as a result of that.
Hindi : प्रकृति स्वयं एक विषाल फलक है। यही अद्भुत संयोजन एक महाकाव्य तो है ही, एक विराट दृश्य चित्र भी है। इसमें काव्य के रस, छन्द और अलंकार है तो विविध रंग और रूपाकार भी हंै तभी तो कविता एक जगमगाता बिम्ब है तो चित्र एक जगमगाती सजीव कविता। दोनों की अनुभूति अन्तस में गुनी जाती है। सभी कलाएं अनुभूति स्तर पर समान होतीं है और माध्यमों में व्यक्त होकर विभक्त हो जातीं है फिर चाहे कलाकार कहीं का हो।
कलाओं के तात्विक विश्लेषण से पता चलता है कि सभी ललित कलाओं के अन्तःसम्बन्ध बहुत गहरे हैं और ये सदैव एक दूसरे को प्रभावित और सम्पन्न करते रहें हैं। यदि षब्दों के अर्थ की गहनता है , तो रेखाओं का अपना लालित्य है, यदि सुरों का अपना ब्रह्मांड है तो मुद्राओं का अपना भाव लोक है, यदि पत्थरों का एक लयात्मक स्वरूप है तो बिम्बों का अपना एक आकार बोध है। कलाओं में चित्रकला तो काव्य के समानान्तर ही विकसित हुई है। माध्यम के अनुसार सभी ललित कलाओं का अपना-अपना अस्तित्त्व है। आदि काल में अपने को व्यक्त करने के लिए यहीं कलाएं उसकी स्थूल भाषाएं थी। इनकी स्थापना के बाद भी मनुष्य वर्षों ऐसे शक्तिशाली माध्यम की खोज में लगा रहा होगा। जिसके द्वारा वह एक अपने सम्पूर्ण चिन्तन को व्यक्त कर सकता था। उसी के परिणाम स्वरूप उसे शब्द मिला होगा।
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
Full textAbstract:
Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Tatarkhanovich, Akamov Abusup'yan, Mukhamedova Fatyma Khamzaevna, Alkhlavova Inna Khumkerkhanovna, and Bekeeva Aygul Muratovna. "Artistic Originality of Children's Poetry of Dzhaminat Kerimova." International Linguistics Research 2, no. 1 (March 30, 2019): p31. http://dx.doi.org/10.30560/ilr.v2n1p31.
Full textAbstract:
In this article, the poems of the famous modern Kumyk poet Dzhaminat Kerimova for children of preschool and school age are analyzed. The artistic originality of poetic texts is considered, their comparative analysis is given. There are a thematic range, figurative system and poetics of the works in the focus of attention. In the course of the study, we have found that the works of children's lyrics of Dzh. Kerimova are various in the themes and intonation. The deep penetration into the wonderful world of the childhood and transfer in poetic texts of a live children's view of surrounding reality are observed. The author’s poems are original, full of national color. It is established that the lyrical expressions are profound, edification is reflected.