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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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Gramatchikova, M. O., and T. A. Snigireva. "The Motif Agony in the Garden in Poetry of GULAG Prisoners." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 27, no. 1 (2021): 116–25. http://dx.doi.org/10.15826/izv1.2021.27.1.013.
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The purpose of this study was to research the biblical motifs in the poetry of GULAG prisoners. The starting point for this work was a hypothesis that the phenomenon of GULAG poetry is in a close affinity with the tradition of the spiritual poetry described by F. I. Byslaeva as poetry that connects “poetic art and an educated Christian thinking”. By analyzing poetry of N. Anyfrieva и А. Solodovnikovа the conclusion is drawn that even though poets-prisoners are trying to be adherent to the canonical understanding of the biblical plots they are inclined to have a very personal interpretation of the plots which is understandable given the circumstances of that historical time and their life experience.
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Rao, Dr Aksa. "Stephen Gill Pens Poetry for Personal Therapy." IJOHMN (International Journal online of Humanities) 4, no. 6 (December 28, 2018): 10. http://dx.doi.org/10.24113/ijohmn.v4i6.75.
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About 300 years before Christ, Aristotle describes catharsis in his Poetics to show the impact of true tragedy on the audience. In the nineteenth century, Josef Breuer, the companion of Sigmund Freud, was the first to use Aristotelian concept in the realm of psychology. One template of catharsis is the use of a musical instrument for a tired person to feel relaxed. In literature, one example is Oedipus Rex in which Oedipus unknowingly marries his biological mother. Another example is Shakespeare’s Romeo and Juliet. It is often said that reading any work about murder or to see it on the television can be a healing therapy.
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Mair, Miller. "Enchanting Psychology: The Poetry of Personal Inquiry." Journal of Constructivist Psychology 25, no. 3 (July 2012): 184–209. http://dx.doi.org/10.1080/10720537.2012.679126.
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Faulkner, Sandra. "Crank up the Feminism: Poetic Inquiry as Feminist Methodology." Humanities 7, no. 3 (August 23, 2018): 85. http://dx.doi.org/10.3390/h7030085.
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In this autoethnographic essay, the author argues for the use of poetic inquiry as a feminist methodology by showing her use of poetry as research method during the past 13 years. Through examples of her poetic inquiry work, the author details how poetry as research offers Women’s, Gender, and Sexuality Studies scholars a means of doing, showing, and teaching embodiment and reflexivity, a way to refuse the mind-body dialectic, a form of feminist ethnography, and a catalyst for social agitation and change. The author uses examples of her ethnographic poetry that critique middle-class White motherhood, address the problems of White feminism, and reflects the nuances of identity negotiation in research and personal life to show the breadth of topics and approaches of poetic inquiry as feminist research practice and feminist pedagogy.
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Yoder, Anita Hooley. "I've Read Too Much Poetry for That: Poetry, Personal Transformation, and Peace." CrossCurrents 64, no. 4 (December 2014): 454–65. http://dx.doi.org/10.1111/cros.12098.
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Awuzie, Solomon. "A Psychoanalytic Reading of Tanure Ojaide’s Poetry." English Studies at NBU 3, no. 2 (December 31, 2017): 74–87. http://dx.doi.org/10.33919/esnbu.17.2.2.
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Psychoanalysis as a literary theory has helped to improve understanding about “human behaviour and human mental functioning.” This is achieved through its perception of the human race as neurotic. However, with its application in poetic interpretation, poetry is perceived as an expression of displaced neurotic conflict: a consoling illusion, symptom, socially acceptable phantasy or substitute gratification. With the psychoanalytic reading of the poetry of Tanure Ojaide, an Anglophone African poet, poetry is understood as an expression of symptoms of the poet’s personal and societal neurotic tendencies. Since our emphasis is on Jungian psychoanalysis, analyzing Ojaide’s poetry through the orbits of the archetypes of Jungian psychoanalysis help to foreground the poetry as a consoling illusion or substitute gratification. Whereas the study reveals that Ojaide’s poetry is dominated by the archetype of the “wounded healer” - a symbol of a wounded personality who also doubles as the needed messiah (the healer), it is depicted that the dominant nature of the archetype of the “wounded healer” is a result of the poet’s experience which is at the centre of his poetic expression.
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Kočan Šalamon, Kristina. "Disorientation and Disillusionment in Post-9/11 Poetry: A Thematic Reading." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (December 16, 2016): 95–109. http://dx.doi.org/10.4312/elope.13.2.95-109.
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The paper examines the immediate responses that emerged in American poetry after the terrorist attacks on 11 September, 2001. The aim of the paper is not to summarize the tragic events of 9/11, but to show how poets reacted to the terrorist attacks. In response to 9/11, a great deal of poetry emerged that expresses the poetic and completely personal, intimate side of the crisis, and many printed publications appeared in which poets addressed 9/11. Although one can find a range of features in American poetry after the attacks, there are notable similarities among the poetry being produced. The post-9/11 poetry can be divided into thematic clusters. This paper is, however, limited to responses that deal only with feelings of disorientation, loss and despair after 9/11. Furthermore, the paper presents poetic reactions that involve a sense of disillusionment and the idea that everything changed after the attacks. Each thematic cluster offers examples of 9/11 poetry that are interpreted with the help of close reading.
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Wagner, A. Lynne. "Connecting To Nurse-Self Through Reflective Poetic Story." International Journal of Human Caring 4, no. 2 (March 2000): 7–12. http://dx.doi.org/10.20467/1091-5710.4.2.7.
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This paper explores poetry as narrative. Creating poetry is a reflective process that feeds personal and aesthetic knowing. When the Poet and the Nurse meet, a powerful alliance is created between head and heart, nursing science and nursing art. Poetic stories fabricate a mosaic of images, a tapestry of wisdom and understanding about the unique and universal aspects of living and dying. Through hearing stories and telling their own, nurses come to know themselves and others, their feelings, the depth of human experience, and the meaning of caring. Several examples of poetic stories are presented.
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Nsiri, Imed. "Narrating the Self: The Amalgamation of the Personal and the Impersonal in Eliot’s and Adonis’ Poetry." Advances in Language and Literary Studies 9, no. 2 (April 30, 2018): 104. http://dx.doi.org/10.7575/aiac.alls.v.9n.2p.104.
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This article demonstrates how the self—reference to personal stories—infiltrates some, if not most, of the poems by two renowned modernist poets and literary critics: the American/Englishman T. S. Eliot and the Syrian/Lebanese ʿAlī Aḥmad Saʿīd, popularly known as Adūnīs or Adonis. The article compares the two poets’ depictions of the personal and the impersonal in poetry, and it reaffirms the great influence that Eliot’s poetry has on Adūnīs and other Arab modernist poets. While Eliot’s criticism discourages any biographical reading of his poetry, Adūnīs holds a different view by openly acknowledging the inclusion or existence of the personal in his poetry. Adūnīs’ poetry, in particular, stresses the link between texts and historical figures in the realm of literature.
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McLarnon, Mitchell A., Pamela Richardson, Sean Wiebe, Veena Balsawar, Marni Binder, Kathy Browning, Diane Conrad, et al. "The School Bus Symposium: A Poetic Journey of Co-created Conference Space." Art/Research International: A Transdisciplinary Journal 1, no. 1 (July 16, 2016): 141. http://dx.doi.org/10.18432/r2qp4w.
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With the intention of disrupting and re-imagining traditional conference spaces, this article is a poetic compilation developed from a Curriculum Studies conference symposium that took place on a school bus. During the School Bus Symposium, in situ poetry writing and reading, song and storytelling occurred in response to open ended prompts and facilitation of creative activities. After the symposium, a call was issued to invite participants to submit any poetry or stories produced during, or inspired by the session. Consisting of 18 submissions including poetry, story, photography and creative essays, infused by curriculum theory and poetic inquiry, this collection offers an inclusive, reflective, participatory, and experiential rendering where participants are living and journeying poetically. Emphasizing creative engagement with personal memories, the authors collectively aimed to promote art education through imaginative approaches to curriculum studies, poetic inquiry and academic conferences.
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Brauer, Gerhard. "Remarks on Scientific Poetry." Defect and Diffusion Forum 331 (September 2012): 3–6. http://dx.doi.org/10.4028/www.scientific.net/ddf.331.3.
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John Taylor. "Poetry Today: Being Personal: The Very Modern Medieval Poetry of Salomon Ibn Gabirol." Antioch Review 76, no. 3 (2018): 556. http://dx.doi.org/10.7723/antiochreview.76.3.0556.
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Mozumder, Subrata Chandra. "Marital Suffering in Sylvia Plath’s Poetry: A Feminist Reading." American, British and Canadian Studies 34, no. 1 (June 1, 2020): 124–46. http://dx.doi.org/10.2478/abcsj-2020-0008.
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AbstractThis article discusses marital suffering, as portrayed by Sylvia Plath from a feminist viewpoint, and claims that her delineation of marital afflictions is a tool of protest against patriarchal oppression. In a convention-ridden patriarchal society, a woman usually cannot express her voice and remains suffocated by her personal agony and ache. However, Plath tries to break the conventions in her poetry, by representing the unjust institution of patriarchal marriage, which treats women as commodities. Many critics have noted that Plath’s marital sufferings are responsible for her suicidal death, which is a means of protest against, and resistance to, patriarchy. Since her poetry represents both her psycho-social suffering and her fight against the margins set by patriarchal society, one may consider her poetry to be a weapon of setting her “self,” as well as other women’s, free from male-dominated psychological imprisonment. The article explores how Plath’s poetic persona emerges as the Phoenix, the libertarian spirit, by deliberately exposing her marital sufferings, psycho-sexual torture, husband’s infidelity, and the ultimate death resulting from conjugal unhappiness, which is interpreted as a protest against all kinds of patriarchal discriminations.
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Chang, David, and Lee Beavington. "LIFE OF BLOSSOM." Art/Research International: A Transdisciplinary Journal 5, no. 2 (October 1, 2020): 257–77. http://dx.doi.org/10.18432/ari29501.
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Scientists indicate that we are living in the Anthropocene, an epoch marked by unprecedented human impact on the planet. Our ecological predicament poses a significant challenge to human consciousness as we experience a pivotal moment in planetary history. Following the work of Mary Oliver, Carl Leggo, Kathleen Dean Moore, and other poetic luminaries, we consider what it means to live poetically in the Anthropocene, to experience beauty and meaning amidst depletion and radical ecological change, to weep for the disappearance of species while working toward personal and systemic transformation. We ask: How does poetry contribute to a flourishing life in a time of ecological crisis? Why is poetry an especially potent vehicle of human expression and transformation? In a dialogic format, the authors exchange reflections on poetic inquiry, and muse on the importance of poetry as a vehicle for investigation and reformation.
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Okunoye, Oyeniyi. "LANREWAJU ADEPỌJU AND THE MAKING OF MODERN YORUBA POETRY." Africa 81, no. 2 (April 28, 2011): 175–203. http://dx.doi.org/10.1017/s0001972011000192.
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ABSTRACTThis essay presents Lanrewaju Adepọju, whose work and ideas have been very influential on contemporary Yoruba poetry, as a local intellectual. In estimating his contribution to modernising ewì, an open poetic form that inhabits the interface between the oral and the written, the essay draws on biographical information, an extensive personal interview and relevant textual illustration. It correlates Adepọju's vision of poetry with the development of his creative consciousness and draws attention to aspects of his poetics and politically implicated poetry that deserve closer engagement. The article also offers a translation of a sample poem by Adepọju, while the online version of the essay offers more of his poems as well as an interview.
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Cobo Borda, Juan Gustavo. "More personal paths: Spanish American poetry 1960–1980." Review: Literature and Arts of the Americas 18, no. 34 (January 1985): 21–75. http://dx.doi.org/10.1080/08905768508594195.
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D'Evelyn, S. "Gift and the Personal Poetry of Venantius Fortunatus." Literature and Theology 21, no. 1 (March 1, 2007): 1–10. http://dx.doi.org/10.1093/litthe/frl058.
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Adoff, Arnold. "Politics, Poetry, and Teaching Children: A Personal Journey." Lion and the Unicorn 10, no. 1 (1986): 9–14. http://dx.doi.org/10.1353/uni.0.0249.
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Goldstein, Marion. "Narrative perspectives: personal reflections of a poetry therapist." Journal of Poetry Therapy 31, no. 4 (July 31, 2018): 256–59. http://dx.doi.org/10.1080/08893675.2018.1505244.
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Клещина and Natalya Kleshchina. "Poetry in Teaching English." Socio-Humanitarian Research and Technology 4, no. 1 (March 17, 2015): 41–43. http://dx.doi.org/10.12737/10324.
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English poetry plays an important role in teaching English
as personal focused approach application method. This paper
considers the poetry value and poetry teaching purposes, such as
learner’s increase of cultural and intercultural awareness and pronunciation
skills. The poetry can be also used in teaching grammar,
lexis, reading and translation. In conclusion this work offers some
ways for effective use of poetry in teaching English.
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Bieńkowska, Ewa. "Poezja jako tożsamość osobowa u Czesława Miłosza." Colloquia Litteraria 11, no. 2 (November 22, 2011): 7. http://dx.doi.org/10.21697/cl.2011.2.01.
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The author brings up the problem connected with the intersection (coherence) of „personal rightness” and „poetic rightness” in Czesław Miłosz’s literary output; she endeavours to interpret his poetry as a distinct mark of personal identity. In odrer to do so she refers to such crucial contexts of Miłosz’s writing, the authos of „Ziemia Urlo” as, for instance, Polish romanticism and French writers. The sketch becomes concluded by the necessary – for the poet himself – acceptance by the others.
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Jawad, M. Raad Abdul Jabbar. "The Functionality of Color Terms in Antarah IBN SHADAD's Poetry." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 214, no. 1 (November 11, 2018): 47–74. http://dx.doi.org/10.36473/ujhss.v214i1.619.
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To start with, a definition of the term 'color' in Arabic language is presented. Then, a study of colors implications in Al-Jahili poetry is proceeded; the poet's creativity in using color terms and incorporating these terms in Jahili poems explicitly or implicitly in forming up the topics of their poetry, then outlined. Color figures and images are dominant in Al-Jahili poetry to its extreme so as to propagate an oasis of environmental emulations, on one hand, and an outlet for personal experience on the other. In his poetry, Antara followed his ancestors' poetic traditions and closely textualized their inspirations and fantasies in his versification. Partly, his poetic diction was personalized; whereas, the semantic contents tackled by ancestors were mediated and de toured astray in some instanses. Reviewing his poetry collection one can infer his typical attitudes of using colors: the black, the white, the red, the green, the blue, and the yellow. Excessive use of these colors can be cited along with multiplicity of presentation in creating a quantum of color implications especially those of the white and the black, he used a decorated mosaic of colors in forming his poetic image; whereas he incorporated a corona of colors in restoring his poeticity. Color contrasts are foregrounded in building up perceptible imagesof his poems. Colorful images, he used, asa loverand as a knight are merged with his passion and bravery; though gloomy in his macabre. The paper concludes that Antara used an excessive influx of colors terminology and semantic sheds in entailing his topics, focusing on the red, black and white. The black was his favorite; whereas the red and the black are used excessively in his expressions. Explicit reference to the red and black was the highest in number in the selected poems. Essentially, some node that the notability of the black was a symptom of suffering and degrading he suffered as a black.
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Bilchenko, E. "POETRY, PHILOSOPHY, TECHNOLOGY IN THE LIGHT OF CULTUROLOGY: DIALOGUE STRATEGY." EurasianUnionScientists 4, no. 3(84) (April 15, 2021): 26–33. http://dx.doi.org/10.31618/esu.2413-9335.2021.4.84.1292.
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In the article, on the interdisciplinary methodological basis of the classical semiotics of culture and cultural comparative studies, supplemented by the developments of Lacanism and post-Lacanian psychoanalysis of the Ljubljana school, information aesthetics and tranzaesthetics, critical theory, French structuralism and poststructuralism, a strategy of dialogue between poetry and philosophy as the phenomena of traditional Logos in postmoderism is developed. ... The main problem of the modern poetic word is the loss of ontological adequations and spiritual implications by the text as a result of the inclusion of artistic creativity in the cyberspace of global digital multicultural capitalism. A comparative analysis of the projects of globalism and anti-globalism has demonstrated the priority of commercial culture as a prestigious social model for the formation of the poet's symbolic capital and network promotion. The orientation of the free market towards the sponsor's occupation of poetic creativity increasingly deprives poetry of the semantic invariants of authentic civilizational memory, which is eroded by trends in branding, advertising, and image, and is transformed into a souvenir, simulacrum, ersatz, and trademark. The only guarantor of the actualization of the basic cultural meanings of poetry is traditionalism, but its often grotesque, ultra-conservative and nostalgic character is not able to maintain the competitiveness of the tradition, its attractiveness for the younger generation and vivid personal subjectivity. A harmonious balance between traditionalism and postmodernism in poetry is possible if new technologies are used as forms of presentation and means of promoting the classical poetic tradition in the modern world, while maintaining the primacy of the goal for poetry, in relation to which the “creativity” of managerial entrepreneurship is a secondary means. We regard poetry as a point of semiotic intersection of a static sign in space (syntagma) and dynamic meaning in time (paradigm). Inside this point, in the zero phoneme, the author resides, regaining integrity, continuity, essence and selfhood instead of gaping, alienation and lack due to the correct correlation of the ontological goals of poetry and its ontic cases. Poetry in this context is a kind of a formula for the harmony of the metonymy of the real-symbolic language of culture and the metaphor of its ideal imaginary meanings. To find harmony between tradition and innovation, metaphysics and dialectics, synchronicity and diachrony, the gene code of culture and a historically labile cultural image is capable of culturology as a science based on philosophy (ontology and axiology), philology (hermeneutics and journalism), social sciences.
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Kuduma, Anda. "Lokālais un globālais Guntas Šnipkes dzejā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 143–51. http://dx.doi.org/10.37384/aplkp.2020.25.143.
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The article deals with the representation and interaction of the local and global elements in Liepāja poet and professional architect Gunta Šnipke’s poetry writing. The research aims to establish and evaluate the importance of local and global aspects in Šnipke’s poetry creation process by determining the conceptually characteristic ways in the formation of poetic expression. The article particularly emphasizes the phenomenon of memory which reveals the dimension of time in Šnipke’s poetry space, allows to speak not only of the individual but also of the cultural memory by precise emphasis of concrete geographic places, topographic details (showing both the local and global scale) which have directed the author to an observation. The phenomenon of memory reveals the dimension of time and illuminates several levels of individual and collective memory – historical, cultural, autobiographical, feminine. The theoretical and methodological basis of the research includes the viewpoints of feminism theoreticians (Rosi Braidotti, Virginia Woolf and others) on the aspects of mental nomadism in the perspective of gender studies, as well as several aspects of the cultural memory research (works by Aleida Assmann, Marija Semjonova and others). The local and global issues have been researched mostly in Šnipke’s newest poetry collection “Ceļi” (‘Roads’, 2018) concurrently demonstrating the broader context and development process of the poet’s creative activity since the publishing of the first two poetry collections – “…Bērns ienāca…” (‘…A Child Came in…’, 1995), “...Un jūra” (‘…And the Sea”, 2008). The dominant of Šnipke’s poetic expression is a powerful impulse of thought which allows the creation of broader contexts concerning the current events and phenomena, thus expanding the boundaries of experience established by the strict form. The poet’s strong intellect is in a certain confrontation with an equally strong emotional experience. Šnipke’s poetry is characterised not only by the natural union of the intellectual and emotional elements in one poem but also by a successful amalgamation of various important levels – geographical, cultural and historical, social and personal, autobiographical. This feature is soundly used in creating the artistic concept of the poetry collection “Ceļi”. The collection was highly praised by professionals and awarded by several significant literary prizes. Šnipke’s poetry coincides with the current tendencies in the contemporary Latvian poetry process both in content and form; the poetic thought is mostly expressed in expanded and associatively dense syntactic structures. Šnipke’s poetry complies with the feminine poetry tendency to record the history of one’s own family within significant historic events pouring the individual experiences into layers of collective experience. Personal and seemingly insignificant becomes of global importance joining the space of common European memory, the distant and foreign phenomena are made closer and more understandable. In the longer forms, a woman and the feminine language become the main narrators of the past.
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Cazé, Antoine. "Polyphony in Robert Lowell's Poetry." Journal of American Studies 28, no. 3 (December 1994): 385–401. http://dx.doi.org/10.1017/s002187580002764x.
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A Modernist at heart, writing in the wake of the polyglot tradition firmly established in the first half of the twentieth century by Joyce's operatic Babels and Pound's symphonic Cantos, Robert Lowell was a poet who spoke in many voices, a master of linguistic personae. Switching with baffling ease from the “otherworldly” Puritanic gloom shrouding his recreation of his New England ancestors, to the very worldly evocation of his own personal life, he was a writer with a keen ear for layering various types of discourse within the span of one poem. What is more, as was the case with Joyce or Pound, his mastery of tone and voice enabled him to let his readers overhear what I am tempted to call a “cultural polyphony” sounding in each of his texts, in the fleeting utterance of one single word — or better still, as I hope to demonstrate, in the discreet note of one syllable, one letter.
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Rawlins, L. Shelley. "Poetic Existential: A Lyrical Autoethnography of Self, Others, and World." Art/Research International: A Transdisciplinary Journal 3, no. 1 (March 1, 2018): 155–77. http://dx.doi.org/10.18432/ari29208.
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“Poetic Existential” is a collection of lyrical autoethnography. This body of work explores existential themes relating to globalization and the immigration/refugee humanitarian crisis, “freedom” as personal/political/geographical ideology, and my own experiences of being a situated self alongside others. Lyrical poetry coaxes a person to embody and present experience through restrained (Faulkner 52), yet evocative descriptions – without the neat folds and contextual blanketing common to many narrative approaches. The challenge of autoethnographic poetry is to perform a focused crystallization of experience via lyrical aesthetics (arrangement, word choice, rhythm, rhyme, phrase and line structure, etc.). In the accompanying artist statement, I theorize my poetic engagement with attention paid to what the lyric facilitates in my scholarly work. In this exploratory fusion of lyrical expression, autoethnography, and existentialism, I hope to summon the aesthetic powers of poetry in the service of self-reflexivity, and in relation to the plight of millions of disenfranchised others.
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Taleghani, R. Shareah. "‘Personal Effects’." Middle East Journal of Culture and Communication 13, no. 1 (May 13, 2020): 49–62. http://dx.doi.org/10.1163/18739865-01301003.
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Abstract Solmaz Sharif’s debut poetry collection, Look (2016), has been hailed by critics for its formal experimentation and as a searing indictment of war. Using various words from the 2007 Department of Defense (DOD) Dictionary of Military and Associated Terms, Sharif highlights the sterility of the official vocabulary of the US military machine and the ‘war on terrorism’. The poet juxtaposes the DOD’s lexicon with reflections on personal relationships, family, love and loss along with traces of the multiple sites of home of an Istanbul-born, Iranian-American poet. In this essay, I argue that throughout the collection, the poet engages in a subversive, translative act; Sharif presents an intralingual mode of translation in which her poems destabilize the seeming neutrality and sanitizing effect of military vocabulary by consistently juxtaposing it with representations of the effects and consequences of violence, as well as images of intimacy, in order to articulate an anti-war stance.
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Gómez López, Jesús Isaías. "JACK LONDON, THE SOCIALIST DREAM OF A YOUNG POET." Revista de Estudios Norteamericanos, no. 24 (2020): 93–112. http://dx.doi.org/10.12795/ren.2020.i24.05.
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Jack London began writing poetry in May 1897. From then on, the lyrical process, in the form of odd, single lines, stanzas and complete poems, would be present throughout his career as a novelist, essayist and short-story writer. His most ambitiously prolific period was between 1897 and 1899, and by the age of twenty-three he had already composed and published most of his poems. London’s incursion into poetry was not fortuitous, but instead was a deliberate, personal decision to enter what he hoped would be a lucrative profession. This began in May 1897, with the poem “Effusion”, which launched what was to be a short but vibrant poetic career. London’s poetry is replete with a wide variety of issues and captures the most intimate and existential expression of a young man who aspired to make poetry the literary and vocational tool with which to become a crucial figure in the promising socialist movement of the fin de siècle.
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Gubaidullina, Anastasiia. "The principle of dialogue in poems by Mikhail Yasnov for children." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 135–53. http://dx.doi.org/10.31860/2304-5817-2020-2-18-135-153.
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The article focuses on Mikhail Yasnov’s poetry that is addressed to children of different ages, from younger preschoolers to older schoolchildren. Yasnov’s poetry is viewed as a corpus of texts united by several general principles: among them are the harmony of childhood and the child’s trust in the world. Another unifying principle is poetic dialogue, manifested at different levels of literary texts: from characters and imagery to metatextuality and the author’s consciousness. Dialogue in this paper is understood as overcoming a single point of view, an attempt to go beyond the personal I motivated by the attention to the Other. Yasnov’s poetry focuses on the search for similarities and differences between the phenomena of reality as it presents many voices and life positions. The concept of dialogue has great moral potential in children’s poetry as it contributes to the formation of empathy and development of self-knowledge in children. The aesthetic value of dialogue lays in the enrichment of the thematic and figurative structure of the lyrics.
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Lavrač, Maja. "China’s New Poetry or Into the Mist." Asian Studies, no. 3 (December 1, 2010): 29–40. http://dx.doi.org/10.4312/as.2010.14.3.29-40.
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The late 1970s and early 1980s represent a period of important innovation in the development of contemporary Chinese poetry. As this was highly personal and experimental, it soon became characterized as being “misty” or “obscure”. A new generation of young poets questioned the Chinese cultural tradition and expressed the need for its re-evaluation. They tried to re-examine the meaning of literature, and while doing so, they based the foundation for their poetry on the tradition and the spirit of personal freedom and democracy of the May 4th Movement (1919), having been at the same time strongly influenced by the Western modernist poetry, in which they found alternative fresh ideas.
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Eidan Al-Ta'an, Muslim Abbas. "Musicality as an Aesthetic Process of Filtering in Thomas W. Shapcott's Poetry." Advances in Language and Literary Studies 8, no. 5 (November 2, 2017): 18. http://dx.doi.org/10.7575/aiac.alls.v.8n.5p.18.
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How does music transcend individual experience? Is music the filter to purify everything? How does everything in the poet become music? Such questions are raised, now and then, by the conscious reader of poetry in general and that of the Australian poet Thomas W. Shapcott in particular. My present research-paper attempts to present an answer for these questions via probing the individuality of Shapcott's poetic experience and how does the poet's personal and experimental musicality as an artistic motif and aesthetic perspective play a key role in purifying language of its lies and its daily impurities. In the first place, my account is apt to find an aesthetic meaning for the action of transcending the individual experience in selected poems written by Shapcott. The philosophical and ritual thought of musicality is interplayed with the aesthetic power of poetry. Both aesthetic energies stem from the individual experience of the poet to transcend the borders of individuality and being absorbed and saturated in the wide pot of human universality. In other words, the poem after being filtered and purified musically and aesthetically is no longer an individual experience owned by its producer only, rather it becomes a human experience for its conscious readers. Music as a motif and meaning, regardless of its technical significance, is controversial in Shapcott's poetic diction. Music, here, is not a mere artistic genre; rather it is a ritualistic and philosophical thought. The paper is to investigate how Shapcott's musicality is constructed on aesthetics of balance and conformity in poetry and life.
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Ihanus, Juhani. "Touching stories in biblio-poetry therapy and personal development." Journal of Poetry Therapy 18, no. 2 (June 2005): 71–84. http://dx.doi.org/10.1080/08893670500140598.
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Reisner, Philipp. "Cold War and New Sacred Poetry." JAAAS: Journal of the Austrian Association for American Studies 1, no. 1 (August 31, 2020): 101–18. http://dx.doi.org/10.47060/jaaas.v1i1.83.
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Contrary to what one might expect, many poets who engage with the Cold War adopt not primarily a political but rather a religious voice. Indeed, poets such as Li-Young Lee, Suji Kwock Kim, and Kathleen Ossip examine the Cold War in light of theological questions. Their poems bear witness not to personal suffering inflicted by political and societal circumstances but instead to human resilience bolstered by faith in the face of traumatic experience. Their writings are not best captured by the frequently invoked "Poetry of Witness," understood as witness to injustice, but rather "new sacred poetry": colored by individual experience of trauma, their poetry serves as a vehicle for expressing spiritual and mystical experience. They thereby innovate not only poetry but also contemporary theology. The Cold War becomes the backdrop for the struggle between faith and suffering brought about by political, societal, and personal circumstances.
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Clune, Michael. "“Everything We Want”: Frank O'Hara and the Aesthetics of Free Choice." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 181–96. http://dx.doi.org/10.1632/003081205x36930.
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The accumulation of contingent personal details characterizing Frank O’Hara's poetry should be read in relation to his representation of personal choice. Examining O’Hara's poetic and critical texts in the context of American economic and political theory of the fifties, this essay suggests that the question of how personal choice becomes the ordering principle of a poem is identical to the urgent contemporary question of how personal choice becomes the ordering principle of a nation. Cold war discourse depicts personal choice as the guiding principle of a liberal society directed by the sovereign individual citizen. In his personal poetics, O’Hara reverses the liberal dynamic. Instead of reflecting the interiority of the chooser, O’Hara's choices are open to the contingencies of the social environment. Through this radical representation of choice, O’Hara raises the utopian specter of a collective national subject.
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Moore, Amber. "“Blackboxing it”: A Poetic Min/d/ing the Gap of an Imposter Experience in Academia." Art/Research International: A Transdisciplinary Journal 3, no. 1 (March 1, 2018): 30–52. http://dx.doi.org/10.18432/ari29358.
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Entering academia is a journey often fraught with many intense emotions, including shame, self-doubt, and fear. As such, this exploratory paper aims to expose and “dwell poetically” (James, 2009) on such feelings of novice academics, particularly the “imposter syndrome” experience, through an act of creative vulnerability and meaning making. Employing critical poetic inquiry, this paper offers and examines found poetry mined from a first year language and literacy education PhD student’s early academic writing. This poetry writing was done while simultaneously “minding the gap” existing in the “black box” of the PhD experience (Stanley, 2015), and framed through the lenses of the “personal” as “political” (Hanisch, 2000) and shame resilience theory (Brown, 2006), resulting in a poetry “cluster” (Butler-Kisber & Stewart, 2009) that “speaks shame” (Brown, 2006), composed with the aim to invite comfort, connection, and community, particularly with emerging scholars.
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Thị Tính, Nguyễn. "The personal pronouns which describe Cao Ba Quat’s personal human in his Han poetry." Journal of Science, Social Science 61, no. 2 (2016): 34–38. http://dx.doi.org/10.18173/2354-1067.2016-0006.
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Tsvigun, Tatyana V., and Aleksey N. Chernyakov. "Pushkin as a personal myth of the Russian avantgarde." Slovo.ru: Baltic accent 11, no. 2 (2020): 69–79. http://dx.doi.org/10.5922/2225-5346-2020-2-6.
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This article analyses strategies for cultural appropriation and the appropriation of Pushkin’s personality and oeuvre by the Russian avant-garde. The treatment of Pushkin by the avant-garde is considered as a peculiar variant of cultural apophaticism when the object of reflection is asserted through its consistent negation. The factography of the Russian avant-garde proves that, from its earliest stages the creative system has been constructing its own Pushkin myth, within which the poet has the role of both an object of cultural overcoming and the reference point for the development of a new art. Through negation, the avant-garde strives to ‘discharge’ Pushkin and to show his strangeness to classical cultural models. By making the poet its own, the avant-garde uses him to secure its position in the literary field. Another focus of the article is the place and role of the Pushkin substrate in the poetry and theoretical treatises of Aleksei Kruchyonykh. In his works Pushkin is an object of poetical overcoming and a pole of attraction-repulsion. He is a touchstone, a reference point for the conceptualisation of a new literature. In developing his theory of the shift, Kruchyonykh views Pushkin as a ‘sound-poet’. That analytical position made it possible to move from dismissing him as ‘a deaf singer’ to the avant-gardist glorification of Pushkin as a genius who worked with the sound texture of the poem. Kruchyonykh demonstrates that for Pushkin the shift is a powerful semantic generator of poetry, a tool that makes an error ‘the rule of breaking rules’: semantic deviations turn into neologisms, whereas the shift itself enters the realm of productive poetic techniques.
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Long, Vena M. "From Polygons to Poetry." Mathematics Teaching in the Middle School 6, no. 8 (April 2001): 436–38. http://dx.doi.org/10.5951/mtms.6.8.0436.
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MY ODYSSEY AS A TEACHER OF MATHEMATICS began in the late '60s in the rural midwest. Professional development in those days was a matter of personal development. My most treasured resource was the Mathematics Teacher. It was virtually my only opportunity to “converse” with others about mathematics and about teaching. Each month I devoured it from cover to cover on the evening of its arrival and took something from it into the classroom the next day.
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Romanova, Irina, and Larissa Pavlova. "Fixed Lexical Combinations in the Book Poetic «Personal Series» in the Light of Computer Research and Author’s Reflection." Izvestia of Smolensk State University, no. 2 (54) (September 4, 2021): 64–79. http://dx.doi.org/10.35785/2072-9464-2021-54-2-64-79.
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he article is devoted to the identification of repeated lexical combinations in poetic texts using the original software system «Hypertext Search for Companion-words in Author’s Texts». The steadily adjacent words found in this way turn out to be characteristic either for the majority of native speakers, or for a certain poetic tradition, or for a particular author. The study objective is to compare the results of the most objective computer processing of texts with the philologists’ interpretation and subjective author’s commentary, as well as to outline insufficiently studied issues of the poetry psychology.
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Mitchell, Jack. "The Culture of the Ancient Epithet: Gerard Manley Hopkins and the Translation of Imagination." Translation and Literature 22, no. 2 (July 2013): 149–66. http://dx.doi.org/10.3366/tal.2013.0110.
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A culturally nuanced translation of archaic Greek verbal culture can only be achieved with reference to the original audience. In Bacchylides 17 (‘Theseus’ Dive’), the fifth-century poet's compound epithets operate entirely within an epic-lyric tradition, in contrast to the fourth-century verbal innovation of Timotheus. Poetry in the English language has always followed Timotheus more than Bacchylides, reaching a climax in the theory of ‘inscape’ and expressive epithets of Gerard Manley Hopkins. As a classicist, Hopkins was intimately familiar with Greek poetic diction, and his notebooks record that he interpreted the Iliad's traditional epithets contextually and not merely lexically. Analogically, we may imagine Greek audiences as projecting their own personal contexts and experience into the interpretation of the traditional compound epithets of Bacchylides 17.