Relevant bibliographies by topics / Narrative poetry

Contents

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

Academic literature on the topic 'Narrative poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Narrative poetry"

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McHale, Brian. "Det unaturlige i fortællende poesi. To radikale eksempler." K&K - Kultur og Klasse 39, no. 112 (December 25, 2011): 71–92. http://dx.doi.org/10.7146/kok.v39i112.15745.

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THE UNNATURALNESS OF NARRATIVE POETRY | New cognitive theory (e.g. Monica Fludernik) argues that we naturalize texts by narrativizing them. Although there are no ultimately “unnatural” narratives on this account, this article argues that there are certainly artificial ones. The article focuses especially on narrative poetry in which the artificial order of poetry spaces languageand denaturalizes it. It is the underlying hypothesis that artifice changes everything, narrative included. And the article shows this in a contrastive reading of two very different narrative poems:Shakespeare’s Venus and Adonis that exploits the possibility of artificial segmentation, heightened diction and extravagant figuration and Les Murray’s Fredy Neptune: A Novel in Verse in which narration dominates, artifice is minimal, reduced to little more that lineation, stanza-breaks and sporadic end-rhymes. The point is that even in the case of Les Murray’s very narrative poetry, the artificial segmentation sets up counter-rhythms that syncopate and counterpoint narrative shifts.
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del Olmo Lete, Gregorio, and Simon B. Parker. "Ugaritic Narrative Poetry." Journal of the American Oriental Society 119, no. 3 (July 1999): 547. http://dx.doi.org/10.2307/605984.

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Dick, Bernard F., and Frank Kermode. "Poetry, Narrative, History." World Literature Today 65, no. 2 (1991): 373. http://dx.doi.org/10.2307/40147328.

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Marques, J. J. Dias (Jose Joaquim Dias). "Portuguese Narrative Poetry." Oral Tradition 18, no. 2 (2004): 162–63. http://dx.doi.org/10.1353/ort.2004.0070.

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Adday, Abdul Sattar Jabur. "Poetry and narrative." Al-Adab Journal, no. 130 (September 24, 2019): 23–42. http://dx.doi.org/10.31973/aj.v1i130.621.

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كيف كان الشعرُ العربي القديمُ يتناول الأحداثَ؛ الواقعيةَ والمتخيّلةَ، كالمعاركِ والوقائعِ، على سبيلِ المثالِ؟ وكيف تعاملَ النقدُ العربي الوسيطُ مع الشعرِ الذي يروي حوادثَ أو أخباراً أو قصصاً؟ هل حلّله وقيّمه، أم اكتفى بالإشارةِ إليه، أم أهملَه كُليّاً؟ هذه التساؤلاتُ هي محاورُ البحثِ المركزيِّةُ في سعيهِ للكشفِ عن الرؤيةِ النسقيّةِ الحاكمةِ للنقدِ العربي القديمِ ونزعتهِ الرئيسةِ في تعاملِه مع هذا النوعِ من الشعرِ. وقد قادَت هذه المحاورُ، بعد الخوضِ في الاجراءاتِ، إلى تساؤلٍ استنتاجِي هو: هل نحنُ أمامَ ندرةٍ في أشكالِ التمثيلِ الشعري العربي القديمِ للحدثِ، أم أمامَ ندرةٍ في الرؤيةِ النقديةِ والبلاغيةِ لهذه الأشكالِ، وتصنيفِها، وتحليلِ أساليبِها، وطرائقِها؟ هذا ما تكفّلَت خاتمةُ البحثِ بالإجابةِ عنهُ.
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Olds, Sharon. "Narrative Poetry and Narrative Medicine Rounds." Literature and Medicine 29, no. 2 (2011): 227–45. http://dx.doi.org/10.1353/lm.2011.0321.

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Ilma, Awla Akbar. "DARI PUISI MANTRA HINGGA PUISI ESAI SEBUAH LANSKAP PERPUISIAN INDONESIA." Jurnal Penelitian Humaniora 17, no. 2 (October 1, 2016): 194. http://dx.doi.org/10.23917/humaniora.v17i2.2511.

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This research specially addresses through a sociological perspective the existence of narrative poetry that lately rampant in Indonesia. Therefore, this research assumes that the existence of a literary work is closely link with the condition of the time. Thisresearch seeks to compare with the kinds of poetry before as traditional poerty, poetry of pujangga baru, mantera poetry, and Mbeling poetry both aesthetic characteristics and social conditions. Based on the research process, it is known that the narrativepoerty has unique characteristics that are different from other types of poetry. It is known that narrative poetry is a real respond to assessment of poems that are considered difficult to understand. Therefore, this poetry tries to synergize with readers, making certain platforms, giving easy access to the meaning of the poetry. Thus sociological characteristics known as the effect of the conditions which always demanding the ease and speed. Such condition if drawn further was the effect of industrialization and technological pace.
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Ali Abdul-Raheem Kareem, Khalid Muhammed Saleh,. "The Value of Narrative in Al-Bayātī 's Broken Pitchers." Psychology and Education Journal 58, no. 1 (January 29, 2021): 622–32. http://dx.doi.org/10.17762/pae.v58i1.812.

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The subject of our study is the narrative techniques in the poetry of ʻAbd al-Wahhāb al-Bayātī (1926-1999) which were taken into account through the example of his second published works Abārīq Muhashshamah “Broken Pitchers, 1954”, as narration. The aim of the article is to define the features of narration and how the same techniques appear in creative work of a poet, one of the pioneers of modernity in contemporary Arabic poetry, in addition to Badr Shākir al-Sayyāb (1926-1964), and Nāzik al-Malā'ikah (1926-2007). The study defines the following objectives: Determining the approaches developed in studying the aspects of narration in poetry, to distinguish the narrative examples in the modern poetic text under study; To show the process of creating the poetic genre in the Bayati literature through the example of free verse poems. This article seeks, through the methodological principles of narrative research, to reveal the features of the narrative model that organizes communication in al-Bayātī 's poetry, as well as the features of the composition of the narrative structure of the text in al-Bayātī 's collection Broken Pitchers. The article analyzes the poetic texts and their intertwining with prose, as it tries to uncover the narrative and performance discourses from which the poet set out in determining the techniques of narration he uses, the communicative possibilities such as dialogues and the narrator's point of view in the poems at al-Bayātī.
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Roberts, Neil. "Narrative and contemporary poetry." Revista Leitura 2, no. 36 (2005): 85–99. http://dx.doi.org/10.28998/0103-6858.2005v2n36p85-99.

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Roberts, Neil. "Narrative and contemporary poetry." Revista Leitura, no. 36 (March 16, 2019): 85–99. http://dx.doi.org/10.28998/2317-9945.200536.85-99.

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Contemporary narrative poetry presents a challenge to the teacher: how toapproach it from a narratological perspective and still pay attention to the details of poetic language? This essay uses a Bakhtinian approach to explore the generic experiments of five contemporary poets: Tony Harrison, Derek Walcott, Peter Reading, Ted Hughes and Anne Stevenson. DOI: 10.28998/0103-6858.2005v2n36p85-99
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Dissertations / Theses on the topic "Narrative poetry"

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Butterfield, Ardis Ruth Teasdale. "Interpolated lyric in medieval narrative poetry." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/245029.

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My doctoral research concerns the use of song within narrative works in the Middle Ages. I have concentrated first on the substantial tradition in Old French of incorporating songs in this manner; and second, on the importance of this tradition to Chaucer, a poet who includes songs in nearly all his narrative poetry, and who was deeply familiar with many of the late thirteenth- and early fourteenth-century French works of this type. In order to demonstrate the connection between this very large range of French narratives and Chaucer, it has been necessary first to define the French tradition on its own terms, since even by French scholars it has rarely been treated collectively, and some of the works have barely been explored. This assessment of the French material has involved a fresh attempt to define the lyric interpolations themselves, when (as in the majority of thirteenth-century works) they take the form of brief snatches of song known as refrains. Since the nature of these refrains has been a source of controversy among French scholars, my study begins by analysing them both as texts and as melodies, in order to assess their status and function within the narratives. I then go on to discuss works ranging from Jean Renart's Guillaume de Dole to Adam de la Halle's Le Jeu de Robin et Marion, to the dits amoureux of Machaut and Froissart. The influence of this French tradition upon Chaucer is examined first of all in Chaucer's early poems, through his direct knowledge and assimilation of Machaut and Froissart and other contemporary French poets. It is then traced, more indirectly, through Chaucer's reading of Boccaccio and Boethius. I thus consider Chaucer's use of Boccaccio's Il Filostrato in the light of Boccaccio's own knowledge of this French tradition from his position in the Angevin court of Naples. In addition, by investigating French translations of Boethius's De Consolatione Philosophiae, I examine the structural importance of this work as a prosimetrum both upon French narratives containing songs, and upon Chaucer's Troilus and Criseyde. In this way I aim to show that the influences upon his practice of combining lyric and narrative are both multiple and multiply connected. The aim of this dissertation is therefore two-fold: first, to contribute to the understanding of a substantial but little-known area of French studies, and second, to renew the discussion of Chaucer's relation to French love poetry by seeing his work as a late medieval development in England of a distinctive, and distinctively French mode of composition. Throughout the course of my work, my wider interest is in the way in which the juxtaposition of the two categories of lyric and narrative shows us that our understanding of medieval genre is in need of refinement. In particular, by taking account of the presence of musical notation in the manuscripts of several of the French narratives, I hope to suggest that some of our assumptions about the 'literary' nature of medieval genres should be revised, especially as works of this type often seem composed precisely in order to create and exploit contrasts of genre of a musical, as well as a poetic kind.
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Silva, Claudimar Pereira da. "Fulgurações do poético em O Som e a Fúria e Enquanto Agonizo, de William Faulkner /." Araraquara, 2019. http://hdl.handle.net/11449/182501.

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Orientador: Paulo César Andrade da Silva
Banca: Carla Alexandra Ferreira
Banca: Maria das Graças Gomes Villa da Silva
Resumo: A presente dissertação objetiva a análise da narrativa poética nos romances O som e a fúria (2004) e Enquanto agonizo (2010), do escritor estadunidense William Faulkner. A partir dos pressupostos teóricos cristalizados por Gérard Genette em Discurso da narrativa (1995), mais especificamente os conceitos de voz e focalização, pretende-se analisar como estes dois mecanismos operam na construção da sintaxe discursiva de três narradores previamente selecionados na obra faulkneriana. Trabalhamos com a hipótese de que os conceitos de voz e focalização, ou seja, o processo de enunciação e a instauração da perspectiva sobre a dimensão diegética configuram-se como fatores determinantes para a sedimentação da narrativa poética, respaldada nas técnicas de fluxo de consciência e monólogo interior, no aparato metalinguístico, na modulação lírica de tais vozes, e nas construções subjetivas desses narradores. O corpus de nosso projeto baseia-se em narradores-protagonistas, imiscuídos na ação, e que possuam tal maneira de narrar. Dessa forma, trabalharemos com três narradores provenientes de dois romances importantes da obra de Faulkner: os irmãos Benjy e Quentin Compson, de O som e a fúria, e Darl Bundren, de Enquanto agonizo.
Abstract: The present dissertation aims at analyzing the poetic narrative in the novels The sound and the fury (2004) and As I lay dying (2010), by American writer William Faulkner. Departing from the theoretical statements crystallized by Gérard Genette in Discurso da Narrativa (1995), more specifically the concepts of voice and focalization, we intend to analyse how these two mechanisms operates in the construction of the discursive syntax of three previously selected narrators in the Faulknerian work. We work with the hypothesis that the concepts of voice and focalization, that is, the process of enunciation and the establishment of perspective upon the diegetic dimension are the determining factors for the sedimentation of poetic narrative, backed in the techniques of stream of consciousness and interior monologue, in the metalinguistic apparatus, in the the lyrical modulation of such voices and the subjective constructions of these narrators. The corpus of our project is based on protagonists-narrators, immersed in the action and who possesses such way of narrating. In this way, we will work with three narrators from two important novels of Faulkner's work: the brothers Benjy and Quentin Compson of The sound and the fury and Darl Bundren, from As I lay dying
Mestre
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Wiewiora, Chris. "Side by side : a narrative poetry collection." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1338.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
English
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Haydon, Liam David. "'I sing'? : narrative technique in epic poetry." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/i-sing-narrative-technique-in-epic-potry(3d7d23da-ade0-424c-93a2-9b183283e30e).html.

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This thesis examines the genre of epic, and particularly Milton’s Paradise Lost. It argues that it is only in attending to the contextual interactions within Paradise Lost that its full meaning can be comprehended. It demonstrates that the poem not only narrates the Fall, but actively performs its consequences in its thematic and linguistic structures, which continually stress the impossibility of approaching perfect (divine) totality. Chapter one outlines the theoretical response to epic, read as a petrified genre in contrast to the newness, openness and linguistic flexibility of the novel. It then challenges these assumptions through a reading of the invocation to book III of Paradise Lost. The chapter closes by examining seventeenth-century writings on epic, demonstrating that Milton’s contemporaries saw the epic as defined by the possibility of didactic intervention into its context. Chapter two examines the forms of the epic metaphor, which serve as a temporal link between the ‘mythic’ past of epic and contemporary events. It then shows that the nationalistic impulse of epic was a method by which the mythic past of a country was deployed as an exemplary narrative for the present. The chapter closes by considering the ways in which shifts in national conception were mapped onto the epic. Chapter three outlines Paradise Lost’s thematic engagement with the concept of representation. It focuses on the twin images of the music of the spheres and the Tower of Babel, used in Paradise Lost to represent man’s relationship with God. It argues that the poem uses these tropes to explore the linguistic effects of the Fall. Both these images are deployed to suggest that postlapsarian expression is too open and ambiguous to properly portray divinity. Chapter four moves that discussion to a linguistic level, arguing that the poem is characterised by indeterminacy. It argues that Paradise Lost calls into question the possibility of expressing perfect truth in fractured, postlapsarian language. It shows that punning is the mark of fallen creatures in the poem, and suggests that the poem’s own puns exploit this category to linguistically question its own status as representation through performances of ambiguity. The conclusion synthesises these local readings of Paradise Lost into a reading of the poem as a whole. It argues that these individual instances demonstrate the poem’s continual reflexive concern over its theodicean project. By continually expressing ambiguity, at the level of imagery and language, Paradise Lost draws attention to its status as postlapsarian art, and the consequent impossibility of approaching the divine perfection exemplified by the celestial music or prelapsarian language.
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Koopmans, William T. "Joshua 24 as poetic narrative." B.C., Canada : W.T. Koopmans, 1990. http://www.ebrary.com/corp/libraries.jsp.

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Thesis (doctoral)--Johannes Calvijnstichting te Kampen. Theologische Academie, 1990.
Ebrary ebook. At head of title:Theologische Academie, Uitgaande van de Johannes Calvijnstichting te Kampen. Description based on print version record. Includes bibliographical references and indexes.
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Partridge, James. "The narrative poetry of Vladimir Holan, 1939-1955." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573589.

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This thesis concerns itself with seven of the major Pribehy (narrative poems) written by the Czech poet Vladimir Holan between 1939 and 1955. It does not attempt a full analysis of all of the pribehy, nor does it rely on any preformed critical or theoretical apparatus. Various influences on Holan's poetry, including the importance of Russian poetry for Holan's wartime narratives, are initially investigated.The first narrative, Prvni testament, introduces the broader thematic and lexical perspectives. The analysis of Cesta mraku brings a further examination of influences and intertextuality, e.g. exploring the centrality of Milton in Holan's poetics. Suggestions for an approach to the prosody of the wartime narratives concludes this part of the thesis. An analysis of the post-war poem Navrat emphasises how Holan's mature presentation of themes such as Fate, suffering, innocence, spirituality versus corporeality, and the role of the poet begin to come into focus in the late 1940s. The account of Zuzana v lazni offers the most comprehensive exegesis in the thesis, showing how Holan combines historical sources, biblical and poetic resonances to shape Zuzana v lazni into one of the key poems in the cycle. The role of poet as prophet and outcast is further explored in analyses of three short narratives from the early 1950s. A discussion of the post-war free-verse prosody follows. The thesis concludes by showing how the poet figure metamorphoses into the poet-prophet, viewed as pari of the onward continuum of visionary poets. Holan's Pribehy are seen as meditations on poetry, the poet, and the act of engaged reading. Poetry, in Holan's view, is a unique medium through which to contemplate and grapple, through difficulty, with the enigmatic in human existence, exploiting complex potentials of imagery, myth and language.
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Morrison, Andrew Donald. "The narrator's voice : Hellenistic poetry and archaic narrative." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271310.

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Runstedler, Curtis Thomas. "Alchemy and exemplary narrative in Middle English poetry." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12593/.

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This thesis examines the role of alchemy in Middle English poetry from fourteenth- and fifteenth-century England, particularly how these poems present themselves as exemplary narratives to raise moral points about human behaviour, fallibility, and alchemical experimentation. The introduction suggests the compatibility between the emergence of the vernacular exemplum and the development of alchemical practice and literature in late medieval England. I follow J. Allan Mitchell’s ‘ethics of exemplarity’ for reading the alchemical poems in this study, extending his reading of Middle English poetry to understand the exemplary and ethical values of alchemy in poetry, which in turn helps the reader to understand the good of alchemical examples in medieval literature. Reading these alchemical poems as exemplary reassesses the role of alchemy in medieval literature and provides new ways of thinking about the exemplum as a literary framework or device in Middle English poems containing alchemy. The first chapter of this dissertation examines the history of alchemy in the classical world, particularly its connection to metallurgical techniques and early theoretical developments, through to its transmission into the Arabic world before reaching late medieval Europe. The second chapter continues this history, focussing on the development of alchemy in medieval England in the fourteenth and fifteenth centuries. I examine the importance and impact of several key alchemical figures or poets who write about alchemy including Roger Bacon, William Langland, Thomas Norton, and George Ripley, as well as discussing the legal and societal responses to alchemical practice in England. These chapters contextualise the role of alchemy in fourteenth and fifteenth-century Middle English poetry, and explore the growing interest in writing vernacular alchemical poetry. The third chapter concentrates on John Gower’s use of alchemy in the Confessio amantis, in which it is presented as a model for ideal yet unattainable labour. Following R.F. Yeager’s reading of Gower’s ‘new exemplum’ in the Confessio amantis ̧ I suggest that Gower’s alchemical section follows this new, emerging style of vernacular exemplary writing and can also be read on its own as an exemplary narrative, which recognises alchemical failure as a post-lapsarian decline and a sign of human shortcomings. In the fourth chapter, I examine Chaucer’s Canon’s Yeoman’s Tale, linking it to Gower’s use of the ‘new exemplum’ in the previous chapter to show how alchemy can be used within an exemplary framework to make points about moral blindness and human fallibility. The Canon’s Yeoman’s unreliability and dubious nature as a narrator suggest Chaucer’s subversion of the exemplary format, yet he still uses alchemy and exemplary narrative for moral purposes. The fifth chapter of this dissertation examines an alchemical version of John Lydgate’s The Churl and the Bird found in Harley MS 2407. Following Joel Fredell’s reading of the poem and Mitchell’s exemplary reading of Lydgate’s poem, I discuss the anonymous author’s use of alchemy as subject matter within the poem, particularly its presentation as an exemplum and how these added alchemical stanzas affect its exemplary reading. The sixth and final chapter focusses upon two fifteenth-century Middle English alchemical dialogues: one between Morienus and Merlin, and the other between Albertus Magnus and the Queen of Elves. Through the dialogue form, the characters in these poems collaborate in their alchemical pursuits, forming the moral examples that are consistent throughout the works studied in this dissertation. These identify the ‘right path’ to moral well-being and healthy living as well as successful alchemical practice and experimentation.
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Wright, Michelle. "Time, consciousness and narrative play in late medieval secular dream poetry and framed narratives." Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/time-consciousness-and-narrative-play-in-late-medieval-secular-dream-poetry-and-framed-narratives(7cbf5e12-c655-4177-84f8-1445f1ffef85).html.

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This thesis considers time and narrative play in dream poems and framed narratives. It begins with a chapter on the history of time perceptions and time-telling, and explores how ideas about time influenced medieval writers. It also surveys some modern views on the history of time-measurement a nd its influences on culture and the collective consciousness. Chapter two, after analysing the treatment of time in the Roman de la Rose, surveys some of the ways in which modern criticism has evaluated and conceived the genre of secular dream literature that developed from the Roman de la Rose. Chapter three examines the innovative use of the convention of beginning a poem with a seasonal opening and theorises that this becomes a `language' open to adaptation and variation. Chapter four looks in detail at Froissart's L`Orloge amoureus and discusses the clock as a new object which, contrary to the views of cultural historians, was embraced by medieval writers, religious and secular, to symbolise a range of virtues, qualities and ideas. I argue that the clock inspired creativity rather than heralding a rationalisation of the mind that would stifle imaginative responses to this new technology. Chapter five explores metafictional and self-reflexive devices in Froissart's Joli Buisson de Jonece and Chaucer's House of Fame. I consider how these texts play with narrative time and sequence by writing the genesis of the text into the poem. Finally, chapter six examines ideas of closure in medieval dream poetry and looks specifically at the reciprocity and inconclusiveness of the Judgement poems of Guillaume de Machaut. Because the second poem reverses the decision of the first poem, it brings into question the authority of the text and the unity of the authorial voice.
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Marks, James Richard. "Divine plan and narrative plan in archaic Greek epic /." Digital version:, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3026208.

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Books on the topic "Narrative poetry"

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M, Tierney Frank, and Clever Glenn 1918-, eds. Nineteenth-century narrative poetry. Ottawa: Tecumseh Press, 1988.

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Clarke, Cheryl. Humid Pitch: Narrative Poetry. Ithaca, USA: Firebrand Books, 1989.

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Shakespeare, William. The narrative poems. London, England: Penguin, 1989.

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Oliver, Douglas. Poetry and Narrative in Performance. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-10445-1.

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Pushkin, Aleksandr Sergeevich. Collected narrative and lyrical poetry. Woodstock, NY: Ardis, 2002.

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Shakespeare, William. The narrative poems. New York: Penguin Books, 1999.

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Shakespeare, William. The Narrative Poems. New York: Penguin USA, Inc., 2009.

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Neil, Roberts. Narrative and voice in postwar poetry. New York: Longman, 1999.

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Merwin, W. S. The folding cliffs: A narrative. New York: Knopf, 1998.

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Millett, John. Blue dynamite: A narrative. Berrima, NSW: South Head Press, 1986.

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Book chapters on the topic "Narrative poetry"

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Keats, John, Geoffrey Chaucer, and John Milton. "Narrative poetry." In How to Study a Poet, 129–52. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-09536-0_5.

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McCartney, Alicia A. "Narrative Poetry." In The Palgrave Encyclopedia of Victorian Women’s Writing, 1125–29. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_123.

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McCartney, Alicia A. "Narrative Poetry." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–5. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-02721-6_123-1.

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Ambühl, Annemarie. "Narrative Hexameter Poetry." In A Companion to Hellenistic Literature, 151–65. Oxford, UK: Blackwell Publishing Ltd, 2014. http://dx.doi.org/10.1002/9781118970577.ch11.

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Brunner, Eva. "Chapter 10. Confessional poetry." In Rethinking Narrative Identity, 187–202. Amsterdam: John Benjamins Publishing Company, 2013. http://dx.doi.org/10.1075/sin.17.11bru.

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Worthington, Martin. "‘Interrogating’ Babylonian narrative poetry." In Ea’s Duplicity in the Gilgamesh Flood Story, 100–137. Abingdon, Oxon; New York, NY : Routledge, 2019. | Series: The ancient word: Routledge, 2019. http://dx.doi.org/10.4324/9780429424274-2.

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Oliver, Douglas. "Narrative in Performance." In Poetry and Narrative in Performance, 117–29. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-10445-1_9.

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Bleakley, Alan, and Shane Neilson. "The imperialism of narrative." In Poetry in the Clinic, 23–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194408-3.

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Moore, Natasha. "The Long Narrative Poem." In Victorian Poetry and Modern Life, 98–108. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137537805_3.

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Bleakley, Alan, and Shane Neilson. "What's the story behind narrative medicine? The shared epistemologies of narrative medicine and biomedicine." In Poetry in the Clinic, 43–61. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194408-4.

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Conference papers on the topic "Narrative poetry"

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Radhia, Dr LARKEM. "THE POETICS OF DIALOGUE IN THE VISION OF ABU FIRAS AL-HAMDANI." In I. International Century Congress for Social Sciences. Rimar Academy, 2024. http://dx.doi.org/10.47832/soci.con1-19.

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In ancient Arabic poetry, dialogue is an artistic technique that adds a narrative feature to its poetic texts. Its methods and formulas have varied in these poetic texts, given that dialogue raises the curtain on the positions, feelings, and secrets of the interlocutors, their ideas, and their experiences, whatever their type. Poets have used dialogue in their poems for various poetic purposes and topics since the pre-Islamic era, and this continued until the Abbasid era and beyond. Its methods and characteristics developed, and it became a means for the poet to express his feelings that he refuses to express directly, which added to the poetic texts. An aesthetic dimension and depth of ideas. This research paper aims to reveal the poetics of dialogue in Abu Firas Al-Hamdani’s novel. This dialogue contributed to highlighting the internal conflict that the poet is experiencing, and what is on his mind, and we will present examples of that dialogue, and analyze them from an objective and artistic perspective, with the aim of revealing the methods of dialogue in them and its artistic characteristics, according to the following elements: 1- The concept of poetics. 2- The concept of dialogue and its types. 3- Manifestations of dialogue and its forms in the vision of Abu Firas Al-Hamdani. 4- The functions of dialogue in the opinion of Abu Firas Al-Hamdani
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Peng, Yechun, Jingxin Ye, Dianheng Jiang, Qing Chen, Yang Shi, and Nan Cao. "Starry Starry Night: An Interactive Narrative Visualization of Astrology Imagery in Tang Poetry." In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641234.3671059.

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Toichkina, Alexandra V. "KULISH AND BYRON (TO THE HISTORY OF DON JUAN’S TRANSLATIONS INTO UKRAINIAN)." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.19.

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Translations of Byron’s works occupy a special place in the work of P. A. Kulish (1819– 1897). They can be divided into three parts: nine poems included in the poetry collection Borrowed kobza; Don Juan, first canto; Childe Harold’s Pilgrimage. As far as we know, Kulish was the first to attempt to translate Byron’s last, unfinished poem into Ukrainian. He chose not the “learned” type of translation, but “rehash”, which allowed more free experimentation in the field of vocabulary and rhythm. The edition was published as a separate reprint in 1891. Kulish saw his task in providing a translation of Byron’s poem Don Juan to help the younger generation of Ukrainians as a kind of textbook of life, as a means of protecting oneself from spiritual passions, from human egoism. In addition, the translation of the poem was important for Kulish in terms of developing a lyrical narrative style, which he applied in his last poem Kulish in Hell. Byron developed his own style of narration and used a confidential tone in the poem, referring to the direct experience of the reader. Kulish’s translation into Ukrainian of such a complex and rich work in terms of vocabulary, intonation, and rhyme was a rather difficult experiment. This translation is important both for the study of the creativity of Kulish and the processes of formation of the Ukrainian literary language and Ukrainian poetry. Refs 10.
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Moreno-Jiménez, Luis-Gil, and Juan-Manuel Torres-Moreno. "Megalite: A New Spanish Literature Corpus for NLP Tasks." In 8th International Conference on Artificial Intelligence and Applications (AIAP 2021). AIRCC Publishing Corporation, 2021. http://dx.doi.org/10.5121/csit.2021.110109.

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In this work we introduce the Spanish Literary corpus MegaLite, a new corpus well adapted to Natural Language Processing (NLP), Computational Creativity (CC), Text generation and others studies. We address the creation of this corpus of literary documents to evaluate or design algorithms in automatic text generation, classification, stylometry and rhetorical analysis, sentiment detection, among other tasks. We have constituted this corpus manually in order to avoir genre classification errors. Near of 5 200 works on the genres narrative, poetry and plays constitute this corpus. Some statistics and applications of MegaLite corpus are presented and discussed. The MegaLite corpus will be available to the community as a free resource, under several adequate formats.
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Krasovec, Aleksandra N. "“KALEIDOSCOPIC” NOVEL OF JOSIP OSTI IN THE ASPECT OF TRANSCULTURALITY." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.10.

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The Slovenian-Bosnian poet, writer, essayist, literary critic, translator and editor Josip Osti (1945–2021) was born in Sarajevo, lived and worked in Slovenia since 1990. Being a recognized poet in his homeland, writing in Croatian, one of the largest translators of Slovenian literature into Serbo-Croatian, since 1997 he has been writing in Slovenian. The transcultural aspects of Josip Osti’s literary works, both poetry collections and novels, are a unique phenomenon. In our study, we turned to the novels of Josip Osti, namely his trilogy — Ghosts of the House of Heinrich Böll (2016), In Front of the Mirror (2016) and Life is a Creepy Fairy Tale (2019). All three works have a strong (auto)biographical component and form a special novel form, which the author calls the “kaleidoscope-mosaic” novel. The latter has a fragmented structure and consists of short stories, life stories, anecdotes, urban legends, essayistic notes, literary-critical digressions, lyrical passages, diary entries, etc. In Osti’s novels, we also find a connection with the tradition of short prose in Bosnian-Herzegovina literature, in particular, with the works of the 1990s by such authors as M. Jergović, D. Karahasan, N. Veličković, K. Zaimović and others. Their texts are characterized by a destabilized genre form, a mosaic narrative, personal and documentary evidence, and a palimpsest narrative model. The kaleidoscopic structure of Osti’s prose texts helps him to reflect the transcultural view characteristic of his intimate and artistic world, to embrace the complex overlap of heterogeneous elements. The novels are written in Slovene, but they are mainly devoted to the space of Sarajevo, the unique multicultural atmosphere of this city, as well as the tragedy unfolding in it; thus, the writer complements the so-called “Sarajevo text”, but already in the field of Slovenian literature, artistically comprehending the interconnectedness of Bosnia and Slovenia. Refs 19.
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Kaizerová, Petra. "A probe inside the poetic form of mysticism of Slovak Romantic Messianists." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-17.

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The Slovak Romantic Messianism is perceived by us as a phenomenon growing from a specific current epochal situation relating to a relatively rich tradition, which existed in the Slovak cultural context already in previous historical periods. By considering the characteristic features of production, its existence was often relativised. Nevertheless, it represents an important testimony of a concrete epoch. Its artistic implementation (perhaps today more than in the past) is being well appreciated, thanks to its interesting form and to its expressive and narrative strength or value. By focusing our attention on its expressive and thematic means, it is possible to prove that the authors tried to mediate a mystical experience to the readers. As mystagogues, they introduced and initiated the readers to the mysteries of God’s plans aiming at transformation of this world. In this sense, through their literary production, they invoked and prayed God to give them a chance to live a direct mystic experience in the reality. By pursuing this purpose, they filled their poetry with curious archaisms and neologisms (the so-called self-creation of language). They gave way to a speculative etymologism and poetical forms. Generally, they were syncretically stylying poetical shapes. And they often exploited experiments or complex strophic structures.
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Weirauch, Angelika. "CREATIVE WRITING IN CONTEXT OF UNIVERSITIES." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end056.

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"We present an old process developed more than a hundred years ago at American universities. It means professional, journalistic and academic forms of writing. It also includes poetry and narrative forms. Creative writing has always been at the heart of university education. Today, there are more than 500 bachelor's degree programs and 250 master's degree programs in this subject in the United States. In other fields of study, it is mandatory to enrol in this subject. After World War II, it came to Europe, first to England and later to Germany. Here, ""... since the 'Sturm und Drang' (1770-1789) of the early Goethe period, the autodidactic poetics of the cult of genius prevailed. The teachability of creative writing has been disputed ever since and its dissemination has therefore always had a hard time in Germany"" [von Werder 2000:99]. It is rarely found in the curricula of German universities. At the Dresden University of Applied Sciences, we have been practicing it for five years with great response from social work students. They learn different methods: professional writing for partners and administration, poetic writing for children's or adult groups, scientific language for their final thesis and later publications. Although we offer it as an elective, more than 80% of students choose it. Final papers are also written on these creative topics or using the methods learned. ""Writing forces economy and precision. What swirls chaotically around in our heads at the same time has to be ordered into succession when writing"" [Bütow in Tieger 2000:9]. The winners of this training are not only our former students! Children in after-school programs and youth clubs improve their writing skills through play. Patients in hospitals work on their biographies. People who only write on the computer discover slow and meaningful writing, activating their emotional system. Therefore, this paper will show how clients benefit from creative writing skills of their social workers and what gain other disciplines can expect as well."
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Hadzantonis, Michael. "Karangiozis in the Shadows: A Linguistic Anthropology of Greece's Shadow Puppetry." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-4.

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The Karangiozi theatre play has existed for centuries in its various forms and across territories. Initially emanating from the Ottoman regions, it entered Greece several centuries prior, and was popularized during Ottoman occupation of Greece. Structured on a system of multilayered symbolisms, the visuals, performances and narratives in Karangiozi present the lead character, Karangiozi, a poor and benevolent man who is frequently oppressed and beaten for his misdoings. The character must contend with the arrogance and comical approaches of other characters, and must support his family, all while accepting his low socioeconomic status. While the theatre has long addressed Greece’s political satire, nationalist discourse, and class and socioeconomic differentials, the performance has, over the past century, significantly shifted with respect to its poetics, narratives, and symbolisms. These shifts correlate with movements from capitalism to late capitalism, and to the information age, as technology and information flow, and the acceleration of time scales require a new engagement with media, technology and information, where old media, such as puppet theatre performance and its narratives, as well as poetic forms of vernacular, now appear redundant. In this paper, I address the changes in the Karangiozi puppet theatre performance. To this, I have collated a corpus of old and new Karangiozi narratives and performance scripts, which I compare. Factors I address include the altered poetics and script designs, and the notable shift in symbolisms, over the past century. Here, I draw on a framework of symbolic and narrative analysis, while also discussing the ways in which narratives and performance are newly appropriated in the shifting form of the theatre play.
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Gabura, Carolina. "Configurations of the lyrical narrative regime in the prose of Ion Druta. Canonical prints." 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.2023.17.09.

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Ion Druță’s prose meets, to a large extent, the canonical distinctions of a representative mode of exposition for Romanian prose, called the lyrical narrative regime. Its multiple configurations, due to the poetic way of seeing the world, associated with an artistic vision that creates sensitizing halos and tribute to a lyrical utterance, place the Drutian work in a field where epic, lyricism and poetics intermingle in perfect harmony. Generated by expressive and sensitizing poetic images, the lyricism is maintained, locally, by numerous syntactic figures, gathered in relatively symmetrical blocks, often having a gradual effect. The ingenious correlation of the units of the imaginary (images, states, characters) stimulates the ebb and flow of lyricism, its storages and accumulations on extended dimensions of the narrative.
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Choi, Kahyun, and Minje Kim. "A Comparative Analysis of Poetry Reading Audio: Singing, Narrating, or Somewhere in Between?" In ICASSP 2024 - 2024 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2024. http://dx.doi.org/10.1109/icassp48485.2024.10447582.

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Reports on the topic "Narrative poetry"

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Ferrer de Arréllaga, Renée. Contemporary Paraguayan Narrative: Two Currents. Inter-American Development Bank, March 1994. http://dx.doi.org/10.18235/0007909.

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