Relevant bibliographies by topics / Personal poetry

Contents

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

Academic literature on the topic 'Personal poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Personal poetry"

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Hamzah, Hussain. "Resistance, Martyrdom and Death in Mahmoud Darwish's Poetry." Holy Land Studies 13, no. 2 (November 2014): 159–86. http://dx.doi.org/10.3366/hls.2014.0088.

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Struggle, personal sacrifice and death play significant roles in Palestinian poetry – a poetry of national struggle whose poets are driven to defend the existence of people and land by way of a fighting poetry which serves as a resistance to occupation. This article traces the evolution of the motifs of resistance and death in the poetry of Palestinian Mahmoud Darwish. It distinguishes between two main types of death in Darwish's poetry; these are collective death, which the author expresses by way of his people's experiences with death, and individual death, as reflected in the poet's own experience with death. The articleexplores each of these types and analyses their conceptual evolution. It shows how the changes which occurred in this motif are reflected in the poetic forms used by Darwish. In this paper we aim to show that Darwish's view of death is multi-faceted and takes into account chronological and geographical, as well as personal aspects. His attitude towards death is complex and is not limited to the ideological aspect. The paper provides a comprehensive investigation into this multiplicity in Darwish's poetry
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Ivanov, Andrey. "Three Origins of Poetry." Ideas and Ideals 12, no. 4-2 (December 23, 2020): 451–72. http://dx.doi.org/10.17212/2075-0862-2020-12.4.2-451-472.

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The article substantiates the existence of three types of poetic creativity: technimatic (gaming), social-confessional and sophian. The personal-subjective aspirations of poet and playing with the language are the sources of technimatic poetry. The social-confessional line in the world poetry originates from the Chinese “Shijin” (“The Book of Songs”). The source of this type of poetry is a deeply personal reaction on the events taking place in the world, and the need to inform other people about personal experiences, contemplations and thoughts. Particular attention in the article is paid to the sophian line in world poetry. Its source is the eidetic super-personal reality. The poet creatively “connects” himself with this reality and introduces the reader to it through artistically revealed word. The feeling of the super-personal status of the created verses is one of the important attributes of sophian poetry. Homer, Dante, Avicenna, Rumi, V. von Eschenbach, Li Bo, Goethe, Tagore, Rilke, D. Andreev and Iqbal can be attributed to it. In Russian poetry of the 19th – 20th centuries Pushkin and Lermontov, Tyutchev and V. Solovyov, Blok and Gumilyov adjoin the sofian poetic line; Leopardi and Hesse –in the eastern and western poetic tradition. Sophian poetry performs important functions in culture. It is able to return to the words their original living meanings, familiarizing themselves with the essence of things and with the super-empirical reality of Cosmos. It also opens up new evolutionary horizons for language and national literature. The position of the sofian poet is twofold, which gives his work intense dynamism, and his life a tragic character. He simultaneously lives in two worlds: earthly and super-mundane, sensual-bodily and eidetic-semantic. From the eidetic layers of world existence, he is forced to convey knowledge to other people in the words, images and metaphors available to them. At the same time the inspirations and insights of the sofian poet are always preceded by intense professional work, the humility of one’s pride and vain passions.
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Pajin, Dusan. "Sublime in classical Chinese poetry." Theoria, Beograd 64, no. 2 (2021): 173–91. http://dx.doi.org/10.2298/theo2102173p.

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In this paper we have reflected on various examples of sublime in the rich heritage of classical Chinese poetry, from the VIIth c. BC, to he XIIth c., which express sublime, first as a personal experience and emotion, but also this tradition had collective experiences. In the introductory parts we presented the categories, which the Chinese authors developed and applied in interpreting art, in particular poetry. Then we analysed poetry examples in which the sublime has important, or crucial role, starting with the two anthologies, and then including individual authors. In these examples we find sublime poetic experiences of sublime, related to experiences of natural environment, personal life, other persons, and in examples of love poetry.
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Faulkner, Sandra L. "Poetry is Politics." International Review of Qualitative Research 10, no. 1 (May 2017): 89–96. http://dx.doi.org/10.1525/irqr.2017.10.1.89.

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Through an autoethnographic poetry manifesto, the author makes the case for poetry as political, poetry as feminist practice, poetry as social research and autoethnography, poetry as the personal that becomes the universal, and poetry as visionary activism. The use of personal poetry engages the political power of poetry to present embodied, nuanced, and myriad scenes of marginalized and stigmatized identities.
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Šuplinska, Ilga. "FUNCTIONS OF PERSONAL NAMES IN LATEST LATVIAN POETRY." Via Latgalica, no. 1 (December 31, 2008): 130. http://dx.doi.org/10.17770/latg2008.1.1596.

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In the period of postmodern culture, a lot of importance is attributed to mythological thinking and to the decoding of myths and current cultural signs. Therefore, the use of „talking” personal names which are perceived symbolically becomes relevant. As semiotic research points out: „For the mythological conscience it is common to see the world as a book, where cognition equals reading, which is based on the mechanisms of decoding and identification”. (Lotmans, Uspenskis 1993: 35) That means that for a better comprehension of prose, also in postmodern texts one has to pay attention to the choice of personal names, their frequency, and the presence and characteristics of cultural connotations. Bearing in mind that features of postmodern texts are the disregard of genre borders and marginalism, it can hypothetically be assumed that similar attitudes towards the use of personal names can be found in poetry. However, considering both recent studies of personal names and of poetry, it is possible to conclude that poetry pays little attention to the studies of personal names. Personal names are not very common in poetic texts, and poets use them quite precautiously (unless they link it to the tendencies within postmodernism as mentioned above). The objective of this article is to describe the functionality of personal names in latest Latvian poetry. The methodological basis of the work was obtained by studying the works of semioticians (R. Jakobson, Y. Lotman, B. Uspenskiy, Y. Levin, etc,), using the practical experience of philological text analysis (O. Nikolina, J. Kazarin), as well as by studying the attitudes of particular authors towards personal names (V. Rudnev, P. Florensky, A. Losev, G. Frege). The sources for the research for this article were anthologies of four young poetesses who were born in the 1970s and made their debut at the turn of the century, from which anthroponyms where taken for description: Inga Gaile’s „Laiks bija iemīlējies” (Time was in love, 1999) and „Kūku Marija” (Pastry Maria, 2007), Andra Menfelde’s „tranšejas dievi rok” (Gods dig trenches, 2005), Liga Rundane’s „Leluos atlaidys” (Great absolution, 2004), and Agita Draguna’s „prāts” (Mind, 2004). When analyzing the expressions of personal name in these anthologies, and thereby looking for mutual interconnections both within one anthology and from a comparative angle, a cultural sight of the generation born in the 70s (or at least of the „reading” intellectual part of that generation) could be identified. It turns out that the frequency and the uniformity/diversity of the usage of personal names can reveal tendencies of a particular trend. Clear spatial and associative semantic borders are revealed in the poetry of Agita Draguna and Liga Rundane, although it should be mentioned that personal names are very rarely used in the poetry. In contrast, the poetry of Inga Gaile and Andra Manfelde features a diversity of personal names, a tendency of appellativization, and a variety of interpretations of personal names. In the poetry of L. Rundane and A. Draguna it is possible to distinguish groups of personal names which unequivocally reveal the existence of their worlds, and mark the values of the lyrics. In the poetry of these authors two groups of personal names can be distinguished: 1) Poets: Andryvs Yurdzhs, Rainis, Oskars Seiksts (in the poetry of L. Rundane), Anthony McCann, Fjodor Tjutchev, Omar Hayam, Arseny Tarkovsky (in the poetry of A. Draguna) 2) Mythical characters: Shiva, Isida, Zuhra, Djemshid (in the poetry of A. Draguna), Virgin Mary (Jumprova Marija, in the poetry of L. Rundane). In the poetry of L. Rundane, one’s world has a Latgalian identity. In contrast, in the poetry of A. Draguna the world is more sought for, whereas one’s values seem to come from Eastern concepts of the mind and the meaning of a human life. In the poetry of I. Gaile and A. Manfelde the use of a personal name is aimed at: - marking one’s space, but unlike in the poetry of the authors mentioned above, it is full of doubts and controversies not only on the emotional level, but also regarding the values that one is looking for. Therefore personal names serve to reveal these controversies, not just to acknowledge one’s space; - a self-extinguishment of personal names and their change into simulacra, - or the process of mythologization of everyday life. It can be concluded that the limited use of personal names, of separate names, and of phrases which start with a capital letter, such as the lack of persistence in changing pronouns and generic names into the status of personal names (Miracle, You, Father of Noise, etc), proves the intensity of the perception of the mythical world, an expression paradigm common for postmodernism. (L. Rundane, A. Draguna). The relatively free and manifold use of personal names, their changes into generic names (contextual appellativization), the quest for general notions (lexical meanings), and the desire to create them (Barbie, harlequin, Aivazovsky, Lennon, Tanya, etc.) on the one hand create sumulacra, and on the other hand emphasize a mythologization of everyday life and the possibilities of its use in literary texts (through the use of figures or palimpsests).
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Conn, Stewart. "South African poetry: a personal view." Scrutiny2 3, no. 1 (January 1998): 58–63. http://dx.doi.org/10.1080/18125441.1998.10877335.

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Sheers, Owen. "Poetry and place: some personal reflections." Geography 93, no. 3 (November 1, 2008): 172–75. http://dx.doi.org/10.1080/00167487.2008.12094240.

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McCann, David R. "A Personal Introduction to Korean Poetry." Korean Studies 14, no. 1 (1990): 119–34. http://dx.doi.org/10.1353/ks.1990.0020.

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Bowen, Bernadette Ann. "Poetry." Explorations in Media Ecology 20, no. 2 (June 1, 2021): 221–25. http://dx.doi.org/10.1386/eme_00086_1.

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These pieces of COVID-19 poetry in their pixelated form follow McLuhan’s playful use and misuse of the phonetic English language. They contribute to media ecology a continued poetic exploration into how our blurry presences in physical and digital spaces engender our landscapes at varying degrees and levels of experience. Through poetic exploration of this envirusment, I invoke the inherently insufficient and terminally playful qualities of language; both enabling and disabling our dualistic experiential accounts of proximity, relations and visceral corporeality in present-COVID. Depending on which dimension readers interpretatively focus on while reading, their own unique personal frame will guide their own unique translation.
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Cutts, Qiana M. "More Than Craft and Criteria: The Necessity of Ars Spirituality in (Black Women’s) Poetic Inquiry and Research Poetry." Qualitative Inquiry 26, no. 7 (November 6, 2019): 908–19. http://dx.doi.org/10.1177/1077800419884966.

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The author introduces ars spirituality as a reflexive practice in poetic inquiry. She examines Faulkner’s ars poetica and ars criteria and contends their focus on the craft, aesthetics, and evaluation of research poetry do not account for the ways in which spirituality influences Black women’s research poetry and poetic inquiry. The author argues Black women’s poetry—whether crafted from/for personal experiences, historical research, or transcripts—is born of the spirit and conceptualizes ars spirituality using the works of Audre Lorde and Cynthia Dillard. Three guiding principles of ars spirituality are discussed and an ars spirituality example is provided.
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Dissertations / Theses on the topic "Personal poetry"

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Taylor, James D. (James David) 1962. "Stones, Beer Cans, and Other Pieces of These Poems." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500689/.

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This collection of poetry contains a brief introduction, one half discussing Gary Snyder's ideas on poetry in his essay, "Poetry and the Primitive," the other half of the introduction examining the successive revisions of a poem of mine. The examination is not an explication, but rather a look at the technique used in composing this poem. The body of the thesis is a collection of my poetry which I have written within the last four years. The poems speak both of experience and postulation of ideas. Though they do not follow any select pattern of thought or form, there is some connection between them in their subject matter.
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Sweeden, R. Renee. "Personal Archaeology: Poems." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500646/.

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A collection of poems focused primarily on rural America and the South, the creative writing thesis also includes material concerned with the history of Mexico, particularly Mexico at the time of the Spanish Conquest. The introduction combines a personal essay with critical material discussing and defining the idea of the Southern writer.
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Childress, Catherine Pritchard. "Other: Poems." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etd/1138.

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This creative thesis is a collection of original poems entitled Other. The poems in Other reflect my study of the aesthetics of poetry as well as that of how women are represented as poets and as the subject of poems. Some of these poems are the product of my particular interest in the use of persona. Most reflect my desire to achieve self-reflection, to write from my experiences and perception, while still maintaining the universality that is an essential element of successful poems. The critical introduction situates my poems within the framework of the poetic mode Personal Classicism—poetry that is emotionally based but relies on formal techniques and controlled elements in order to maintain distance. My primary goal in the critical introduction is to link my poems to the Personal Classicist lineage, which includes H.D., Elizabeth Bishop, and Louise Gluck – to whom I will pay particular attention.
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Nuttall, Jennifer Anne. "Hoccleve's 'sensible ensaumple' : the personal and the political in Lancastrian poetry." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273317.

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Herbst, Elke Maria. "The Possible House." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500990/.

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The thesis begins with an introductory chapter that explains the creative process, providing quotes from well-known poets and examples from my own personal history and ideas. Some of the creative concepts discussed are different manifestations of inspiration, such as the duende and the Muses. However, the act of creating a work of art--what actually occurs when an artist works--remains undiscovered. Every poet is part of the poetic tradition, yet she also strives to supersede that very tradition. In my poetry, I try to build on and deviate from the poetic tradition, while simultaneously representing events from my cultural and personal history. Twenty-nine poems follow the introduction. The poems included in this volume represent a contemporary writing style influenced by Romanticism and Modernism, apparent in nature imagery and ambiguity.
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Earley, Deja Anne. "Keeping Gardens: Poetry and Essay." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd943.doc.

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Dickson, Lesley. ""A silence that had to be overcome" : 50 poems and a personal statement on poetics." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=192181.

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‘Scottish’, ‘woman’, ‘lesbian’; these words are markers of identity and a starting point in my attempt to place myself within a poetic tradition. This study towards a statement of poetics considers ideas of identity and tradition as they relate to the public and private spheres. The first chapter considers how traditions are built and the external factors which impact upon them by looking at both physical and more ideological notions of place and space as they relate to nationhood and a sense of belonging. The focus then narrows to consider the situation of female poets as marginal. There is an interrogation of whether female poets are marginalised by the predominantly patriarchal literary canon or if they seek out these liminal borders and hinterlands. This is considered in the context of Elizabeth Bishop’s ‘forced exile’ and the more voluntary travels of Kathleen Jamie. The study then turns to consider the theoretical history behind women’s writing and how this impacts upon their varied ways of ‘reading the map of tradition’. In considering the private, or personal, sphere there is a discussion of the internal impulses which the poet acts upon in order to look at the nature of poetic imperative. This section begins with the statement that ‘every poem breaks a silence which had to be overcome’, and this in turn opens up questions of how external silencing might affect the internal impulse to assert and/or disclose. With specific focus on mid-twentieth century American Confessional poetry, further questions are asked regarding the ‘worth of art’ and the poet’s decoding and self-censorship of their own work in order to both hide and break taboos surrounding sexuality and privacy. The study then becomes more specifically personal in the reflective chapter which deals thematically with a selection of my own poems from the folio. This is in order to chart not only the evolution of my work but also the evolution of my own poetic imperatives. The final chapter reflects upon my use of free verse, looking briefly at the history of the form from the early twentieth-century onwards before going on to consider how the various theories and poetics which have grown out of the broadly vernacular, ‘free verse revolution’ have impacted formally upon my own work.
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Du, Plessis Jeanne Catherine. "Poetry portfolio : Things I’ll never say and Mini-dissertation : The fragmented self : female identity in personal poetry, with particular reference to selected poems by Anne Sexton, Antjie Krog and Finuala Dowling." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/30351.

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This mini-dissertation examines selected poems by three female poets who deal with what I have termed ‘the personal’ in relation to specifically female concerns in their poetry, namely Anne Sexton, Antjie Krog and Finuala Dowling. There has been a considerable rise in personal and autobiographical writing in the last few decades, and this trend shows no sign of decreasing. This kind of writing has provoked much heated debate, both regarding its content and its style(s). Many critics and poets, such as Robert Lowell or James Dickey, disapprove of the frankness with which female poets discuss subjects which are specific to women, and consider the poems to be too graphic or crude. Personal poems which are not graphic are also criticised as being boring, irrelevant or lacking in artistic craft. Those in favour of poetry of the personal, such as Collette Inez and Alicia Ostriker, believe that contemporary poets’ freedom to examine any topic they like is a positive development. Instead of considering these poems to be irrelevant to readers, they believe that personal poetry can be a means for both writers and readers to explore identity and to navigate various female roles. This mini-dissertation argues in defence of personal poetry, and addresses the common criticisms of this type of writing briefly mentioned above. It highlights women’s issues and questions of female identity throughout. The different ways in which female writers approach personal poetry are also examined, and the mini-dissertation compares the controversial aspects of Sexton’s writing with Krog’s candour and Dowling’s understated humour. Through close textual analysis, the mini-dissertation highlights both similarities and differences in the work of these poets, in support of the value of such poetry for both readers and writers. The mini-dissertation is accompanied by a portfolio of my own creative work. My poems also fit into the category of female poetry of the personal, so while I do not directly discuss my own work in the mini-dissertation, the portfolio and mini-dissertation are thematically linked.
Dissertation (MA)--University of Pretoria, 2010.
English
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Edwins, Jo Angela Kenyon Jane Hall Donald Carver Raymond Gallagher Tess. "Working against the sadness personal loss and poetic healing in the poetry of Jane Kenyon, Donald Hall, Raymond Carver and Tess Gallagher /." Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/edwins.pdf.

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Gillingham, Susan E. "Personal piety in the study of the psalms : a reassessment." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:0267b635-59d5-4bf4-a453-6c9e054648e5.

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The thesis concludes that because the cult-centred approach has been so concerned with the cultic functions of the psalms, it has failed to appreciate the personal contributions of the psalmists, and in so doing has often misinterpreted the primary purpose of a psalm. A life-centred reading of the Psalter is therefore a vital component in correcting this imbalance in psalmic studies today.
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Books on the topic "Personal poetry"

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Personal weather. Melbourne, Australia: Hunter Publishers, 2014.

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Muirhead, Jonathan Robert. Personal rumours & other contradictions: Poetry. [S.l.]: [s.n.], 2003.

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Hammond, Ralph. Personal encounters. Livingston: Livingston Press at the University of West Alabama, 2001.

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John, Millei, Koch Peter Rutledge, and Martinez Arnold, eds. Personal: Poems. Berkeley: Peter Koch, printer, 1998.

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Antología personal. Madrid: Visor, 2000.

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Antología personal. Madrid: Visor, 1996.

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Gibson, Kramer Leonie Judith, ed. James McAuley: Poetry, essays, and personal commentary. St. Lucia: University of Queensland Press, 1988.

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Tan, Jing Quee. A gentle journey: A personal poetry collection. Singapore: May Pub., 2011.

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W, George Judith, ed. Personal and political poems. Liverpool: Liverpool University Press, 1995.

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Jardines en el aire: Antología personal. Manta, Ecuador: Editorial Mar Abierto, 2013.

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Book chapters on the topic "Personal poetry"

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Lomax, Marion. "Personal Politics in the Poetry of Carol Rumens: A Comparison with Denise Levertov." In Contemporary Women’s Poetry, 173–88. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-137-15406-4_17.

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Cao, Yiwei, Ralf Klamma, Yan Gao, Rynson W. H. Lau, and Matthias Jarke. "A Web 2.0 Personal Learning Environment for Classical Chinese Poetry." In Advances in Web Based Learning – ICWL 2009, 98–107. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-03426-8_12.

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France, Angela. "Persona." In The Portable Poetry Workshop, 149–53. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60596-2_22.

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Innes, Paul. "The Poetic Persona." In Shakespeare and the English Renaissance Sonnet, 138–77. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230372917_6.

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"Personal Poetry." In A Companion to the Greek Lyric Poets, 133–220. BRILL, 1997. http://dx.doi.org/10.1163/9789004217614_005.

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Lardinois, André. "Sappho’s Personal Poetry." In The Cambridge Companion to Sappho, 163–74. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781316986974.013.

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Hahn, Allison Hailey. "Bedouin Poetry in Personal and Public Spheres." In Media Culture in Nomadic Communities. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723022_ch05.

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Throughout the Middle East and North Africa, Bedouin herders continue to practice their oral tradition of Nabati poetry. This chapter examines the ways that Nabati poetry is produced and shared across social media platforms. The chapter focuses on a Nabati poet, Hissa Hilal, who performed her work on the Million’s Poet reality TV competition show. Her work sparked new debates about the work of women Nabati poets as well as Bedouin women’s rights throughout the region.
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"Personal Lamentations and Funerary Verse." In The Poetry Demon, 238–73. University of Hawaii Press, 2021. http://dx.doi.org/10.2307/j.ctv1985wqz.11.

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Cox, Fiona. "Generic ‘Transgressions’ and the Personal Voice." In Reading Poetry, Writing Genre. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350039353.ch-010.

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"5. THE POETRY OF PERSONAL LIFE." In Veiled Sentiments, 171–85. University of California Press, 2019. http://dx.doi.org/10.1525/9780520965980-007.

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Conference papers on the topic "Personal poetry"

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Wei, Jia, Qiang Zhou, and Yici Cai. "Poet-based Poetry Generation: Controlling Personal Style with Recurrent Neural Networks." In 2018 International Conference on Computing, Networking and Communications (ICNC). IEEE, 2018. http://dx.doi.org/10.1109/iccnc.2018.8390270.

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Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.

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Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.
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Lee, Yuk Yee Karen, and Kin Yin Li. "THE LANDSCAPE OF ONE BREAST: EMPOWERING BREAST CANCER SURVIVORS THROUGH DEVELOPING A TRANSDISCIPLINARY INTERVENTION FRAMEWORK IN A JIANGMEN BREAST CANCER HOSPITAL IN CHINA." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact003.

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"Breast cancer is a major concern in women’s health in Mainland China. Literatures demonstrates that women with breast cancer (WBC) need to pay much effort into resisting stigma and the impact of treatment side-effects; they suffer from overwhelming consequences due to bodily disfigurement and all these experiences will be unbeneficial for their mental and sexual health. However, related studies in this area are rare in China. The objectives of this study are 1) To understand WBC’s treatment experiences, 2) To understand what kinds of support should be contained in a transdisciplinary intervention framework (TIP) for Chinese WBC through the lens that is sensitive to gender, societal, cultural and practical experience. In this study, the feminist participatory action research (FPAR) approach containing the four cyclical processes of action research was adopted. WBC’s stories were collected through oral history, group materials such as drawings, theme songs, poetry, handicraft, storytelling, and public speech content; research team members and peer counselors were involved in the development of the model. This study revealed that WBC faces difficulties returning to the job market and discrimination, oppression and gender stereotypes are commonly found in the whole treatment process. WBC suffered from structural stigma, public stigma, and self-stigma. The research findings revealed that forming a critical timeline for intervention is essential, including stage 1: Stage of suspected breast cancer (SS), stage 2: Stage of diagnosis (SD), stage 3: Stage of treatment and prognosis (ST), and stage 4: Stage of rehabilitation and integration (SRI). Risk factors for coping with breast cancer are treatment side effects, changes to body image, fear of being stigmatized both in social networks and the job market, and lack of personal care during hospitalization. Protective factors for coping with breast cancer are the support of health professionals, spouses, and peers with the same experience, enhancing coping strategies, and reduction of symptom distress; all these are crucial to enhance resistance when fighting breast cancer. Benefit finding is crucial for WBC to rebuild their self-respect and identity. Collaboration is essential between 1) Health and medical care, 2) Medical social work, 3) Peer counselor network, and 4) self-help organization to form the TIF for quality care. The research findings are crucial for China Health Bureau to develop medical social services through a lens that is sensitive to gender, societal, cultural, and practical experiences of breast cancer survivors and their families."
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Бурова, Галина Петровна, Елена Николаевна Бельдиева, and Елена Валерьевна Тупович. "APPOSITION AS A MEANS OF EXPRESSING THE LANGUAGE PERSONALITY OF THE AUTHOR OF THE LITERARY TEXT." In Поколение будущего: сборник избранных статей Международной студенческой научной конференции (Санкт-Петербург, Сентябрь 2020). Crossref, 2020. http://dx.doi.org/10.37539/pb187.2020.22.98.006.

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В статье рассматриваются особенности употребления приложения как синтаксического средства выражения авторских индивидуально-личностных интенций при обозначении фрагментов картины мира в поэтическом тексте Б.Л. Пастернака. Уделяется внимание вопросу о лингводидактическом потенциале приложения при обучении синтаксису русского языка в VIII классе школы. The article examines the features of using the application as a syntactic means of expressing the author's individual and personal intentions in connection with designating fragments of the worldview in the poetic text of B.L. Pasternak. Attention is paid to the question of the linguistic didactic potential of the application when teaching the syntax of the Russian language in the 8th grade of the school.
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de Castro, Larissa Leão, and Terezinha de Camargo Viana. "THE PSYCHOANALYTIC THOUGHT OF HÉLIO PELLEGRINO (1924-1988): INITIAL REFLECTIONS." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact068.

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"This theoretical study is part of a doctoral thesis and aims to investigate how the psychoanalytic thinking of Hélio Pellegrino - the Brazilian psychoanalyst, poet and writer - is structured and its ethical and political implications in the formation of psychoanalysis. We note the importance of thematic research, since there is no scientific publication that has as its object of study a systematic analysis of the author's psychoanalytic production. Furthermore, investigations of this kind contribute to the establishment of a reference bibliography on psychoanalysis in Brazil. That said, this research was developed and completed through a study of a large part of his psychoanalytic production, which is under the custody of the personal archives of the Museum of Brazilian Literature, at the Casa Rui Barbosa Foundation (FCRB). In this work, we outline some elements of the analysis found in his work, whose focus is on reflecting on the epistemological, conceptual and practical foundations of psychoanalytic theory. It has, as a constant concern, the analysis of the problems that structure Brazilian society, observed through his own reading of the Oedipus complex, the constitution of subjectivity and the social pact, in general, and in Brazil, in particular. As such, he discusses the explicit commitment of psychoanalysis in transforming the serious social problems faced by Brazil, which are related to the serious structural problems of international capitalism, and which are also reflected in the problems of the development of psychoanalytic institutions around the world."
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Андреев, Дмитрий Андреевич, and Андрей Евгеньевич Крашенинников. "THE CREATIVE PATH OF TILL LINDEMANN." In Сборник избранных статей по материалам научных конференций ГНИИ «Нацразвитие» (Санкт-Петербург, Май 2021). Crossref, 2021. http://dx.doi.org/10.37539/may316.2021.87.93.005.

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В статье рассматривается становление немецкого рокмена Тилля Линдеманна как творческой личности. Он входит в число известных немецких музыкантов, но не всем известно, что Т. Линдеманн еще и поэт. Его произведения написаны в традиционном для Германии стиле экспрессионизма. В своих стихотворениях Т. Линдеманн поднимает темы любви, творчества, жизни и смерти. Чувства у Т. Линдманна обычно преподносятся от лица лирического героя, носят характер исповеди и наполнены трагизмом. The article examines the formation of the German rockman Till Lindemann as a creative person. He is one of the famous German musicians, but not everyone knows that T. Lindemann is also a poet. His works are written in the traditional style of expressionism in Germany. In his poems, T. Lindemann raises the themes of love, creativity, life and death. Feelings in T. Lindmann are usually presented from the perspective of a lyrical hero, have the character of confession and are filled with tragedy.
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Reports on the topic "Personal poetry"

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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