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Journal articles on the topic 'Poems song'
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1
INGLESE, FRANCESCA. "“Watch Out For The Sharks”: Gender, Technology, and Commerce in the American Song-Poem Industry." Journal of the Society for American Music 7, no. 3 (July 30, 2013): 295–315. http://dx.doi.org/10.1017/s1752196313000230.
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AbstractSince the early 1900s, song-poem entrepreneurs, often referred to as “song sharks,” have fueled a diffuse and largely hidden American industry that produces music to accompany the poems and lyrics of amateur writers. These entrepreneurs have long been demonized in the popular media for preying on the naiveté of their clientele. Yet despite charges of exploitation, this musical equivalent of the vanity press has survived for over a century. Although the vast majority of song-poets and their song-poems have remained in obscurity, in the 1990s, song-poems developed a cult following among record collectors; as “anonymous collaborations,” these recordings highlighted tensions between poignant personal expression and impersonal commercial rendering that appealed to listeners with a penchant for the obscure. This article draws on advertisements, sheet music, media coverage, and personal interviews to piece together a history of the song-poem industry, with particular focus on the gendered dimensions of the practice, the role of technology in the production process, and the multiplicity of meanings embedded in song-poems for both song-poets and collectors.
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Bharadwaj, S. "Dylan Thomas’s “In Country Sleep”: His Paradoxical Sensibility." Studies in Linguistics and Literature 4, no. 4 (September 9, 2020): p12. http://dx.doi.org/10.22158/sll.v4n4p12.
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In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.
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Zholkovsky, A. K. "On the main-meta-song by Bulat Okudzhava." Voprosy literatury, no. 5 (November 29, 2021): 126–50. http://dx.doi.org/10.31425/0042-8795-2021-5-126-150.
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The article analyses Bulat Okudzhava’s ‘The Main Song’ [‘Glavnaya pesenka’] (1962). The poem’s metapoetic leitmotif and expressive structure are examined in a broader context of corresponding common literary motifs, Okudzhava’s poetic invariants, and immediately contemporary subtexts, including in song lyrics. The intertextual field comprises poems of the same metric structure, namely, three-foot amphibrachs. M. Gasparov specified themetre’s appropriate halos: suggestions of a drinking song ( ‘zazdravnaya,’ sung to toast someone’s health); a ballad; an allusion to Heine’s manner (memory, dreams, daily life); a Romantic intonation; and, lastly, a ceremonial verse, including metapoetic works, i.e., written by poets about poetry (namely, V. Bryusov’s, A. Akhmatova’s, and V. Khodasevich’s poems). Okudzhava’s ‘The Main Song’ belongs with the aforementioned series, as well as with poems united by the leitmotif of walking (departing), rejection and the actual process of poetry writing. A detailed analysis of Okudzhava’s intertext and method helps reveal the originality of the poet’s take on a traditional topic.
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Gashi, Syzana Kurtaj. "Browning’s and Serembe’s Love Poems." SEEU Review 15, no. 2 (December 1, 2020): 31–41. http://dx.doi.org/10.2478/seeur-2020-0015.
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Abstract Browning’s and Serembe’s love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the ‘By the Fire-Side’, one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe’s ‘Song for Longing’, considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning, to his love relationship with a famous poetess Elizabeth Barrett, their elopement and union in Italy, and Serembe to his love for a girl from his native village, who immigrated to Brazil and subsequently died. In these poems, both poets explore the intimate atmosphere they tried to establish for their beloved women, by describing the places that witnessed the birth and growth of their love. ‘By the Fire-Side’ and ‘Song for Longing’ comprise a common element; they are personal love poems that describe their ideal love, personal feelings, and passion of their love. While Robert Browning in his poem writes about a peaceful and satisfied married life, full of sweet memories and images of his wife, Zef Serembe’s poem is a picture of his sentiment, primarily of solitude and disillusionment. The comparative and descriptive research methods have been helpful while conducting this research paper.
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Han, Christina. "Turning Songs into Poems and Poems into Songs: Intersections of Literary Sinitic and Vernacular Korean in Chosŏn Literature." Sungkyun Journal of East Asian Studies 21, no. 2 (November 1, 2021): 211–35. http://dx.doi.org/10.1215/15982661-9326219.
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Abstract This article investigates the dynamic intersections of Literary Sinitic and vernacular Korean and their impact on the innovations in poetry and song in fifteenth- through nineteenth-century Chosŏn Korea. More specifically, it traces the evolution of poetry or song discourse and explores the different strategies employed by Chosŏn poets and songwriters to render oral songs into text. It also investigates the differing views on the function of poetry and song, musical and textual preservation, and emotional and lyrical immediacy, which influenced the composition and translation of song-poems. The article probes the creative collaboration and competition between Literary Sinitic and vernacular Korean, and the fluid relations between translation and vernacularization. On the whole, it explores the ways in which the evolution of poetry-song discourse and the ensuing literary innovations contributed to Chosŏn's complex linguistic ecology.
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Kamitova, Alevtina Vasilevna. "FEATURES OF POEMS-SONGS OF THE UDMURT POET AIVO IVI." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 82–87. http://dx.doi.org/10.35634/2224-9443-2020-14-1-82-87.
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This article discusses the features of the functioning of the song genre in the creative practice of Aivo Ivi. The appeal of the Udmurt poets of the beginning of the XX century to the creation of literary songs, which were alterations, imitations, re-singing and stylization of folk songs, was a common phenomenon and played a positive role in the development of national literature. In this work, on the example of Aivo Ivi's creativity, the characteristic features of the poems-songs created by him are revealed. It is determined that his texts represent improvisation of folk songs with preservation of traditional plots, complicated by signs of time. In some cases, the popular melody of Russian songs was attracted by the Udmurt poet to "service" his compositions. In building the text on the basis of a simple plot line, the calculation for the ease of perception of information by the reader is obvious. It is established that the author's songs of Ivo Ivy went beyond the book existence. It is summarized that the song texts created by him as a whole were formed under the influence of socio-cultural trends and the previous song-poetic tradition. The "folk" form of poems, their adaptation to the tunes understandable to the illiterate population allowed the poet to realize ideological and educational meanings, were a way of creative self-realization, introducing the reader to the artistic word.
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Wiaderny, Jacek. "Title: Refrains of trauma: Eugeniusz Tkaczyszyn-Dycki’s songs." Tekstualia 2, no. 53 (July 29, 2018): 71–78. http://dx.doi.org/10.5604/01.3001.0013.3293.
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The article focuses on Eugeniusz Tkaczyszyn-Dycki’s songs, that is poems containing the word „song” in the title (e.g. „Song for Ms. Mościcka”). Although they are called „songs”, they are not intended to be performed orally; instead, they explore the musical potencial of their form for strictly textual purposes. The discussion follows Magdalena Łopata’s typology of Tkaczyszyn-Dycki’s songs, which refl ects the poet’s own differentiation between „somebody’s” songs, songs „about something”, „some” songs and songs „for somebody”. Subsequently, the article problematizes Tomasz Majeran’s conception of the refrainity” of Tkaczyszyn-Dycki’s poems. The Lacanian theory of trauma and tuché helps explain this particular aspect of Tkaczyszyn-Dycki’s poetic writing.
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Rosenfeld, Aaron. "Wine, Poems, and Song." Pedagogy Critical Approaches to Teaching Literature Language Composition and Culture 17, no. 2 (March 24, 2017): 203–34. http://dx.doi.org/10.1215/15314200-3770117.
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Dolby, William, and J. I. Crump. "Song-Poems from Xanadu." Asian Theatre Journal 12, no. 1 (1995): 198. http://dx.doi.org/10.2307/1124478.
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Setia Sari, Winda. "Stepping Out of The Cultural Identity: A Critical Analysis of Cathy Song’s Memory Poetry." International Journal of Culture and Art Studies 2, no. 1 (April 30, 2019): 54–59. http://dx.doi.org/10.32734/ijcas.v2i1.948.
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Cathy Song, a Chinese-Korean ancestry woman poet, grew up in Hawaii, America. In “What Belongs to You”, a poem taken from her second poetry publication, she chronicles the memory of a child who is trapped between her dream and devotion. The theme of the poem is portrayed in a strong poetic devices. The poems lean in vivid visual imageries to evoke to the poet’s life memory. The speaker of What Belongs to You dreams of having the freedom and attempts to escape from her parental tie. Ironically, she finds herself devote to her family and tradition. The poems use past materials ranging from domestic domain and landscape which define the speaker’s personal memory. Comparing than Cathy’s Song first poetry publication, arguably, the cultural materials in the poem cannot be traced through Song’s poetic devices as an ethnic woman poet. In fact, song locates the dream and devotion in visual imageries and nostalgic tones in a general way. This is true; Song has denied herself as a cultural visionary. Song merely mines the memory from the point of view and identity of a woman, leaving her cultural traits behind.
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Griffiths, Dai. "Internal rhyme in ‘The Boy with a Moon and Star on His Head’, Cat Stevens, 1972." Popular Music 31, no. 3 (October 2012): 383–400. http://dx.doi.org/10.1017/s026114301200030x.
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Abstract‘The Boy with a Moon and Star on His Head’ was written and recorded by Cat Stevens in 1972. This paper briefly examines the song's subject matter, before analysing its musical structure and that of the words to the song. As well as the standard pattern of end rhyme, a pattern of internal rhyme is also analysed, using tools derived from literary analysis. The words to the song are transcribed by a method which mediates between transcription of the words that make it look like a poem and the words as they appear in sheet music. Finally, the song's pattern of internal rhyme is placed into a context that includes songs as well as poems, suggesting that the song is an exception that suggests a rule for words in the singer-song at the time of the song's appearance.
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Riman, Kristina, and Helena Pavletić. "Poetske, tematske i leksičke značajke uglazbljene dječje poezije 19. stoljeća na primjeru tekstova Ljudevita Varjačića." Magistra Iadertina 14, no. 2 (November 16, 2020): 87–102. http://dx.doi.org/10.15291/magistra.3148.
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In the second half of the 19th century, children’s poems were mostly published in periodicals and poem collections. Until now less attention has been devoted to the poems that had been set to music and included in the songbooks published in the late 19th century. Ljudevit Varjačić was the acclaimed author of children’s verses used for song lyrics. He is known as a particularly prolific collaborator of the Smilje magazine, whose songs were often set to music. Among other things, he also published “Lira”, a songbook with music notation for male and female school youth, and his poems were set to music in other songbooks for children and youth. Varjačić poems set to music are analysed in this paper with regard to their poetic, thematic and lexical features. His poetry is written with the well-defined overall metric pattern and rhyme, marked by pedagogical and ethical tendencies. Lexical analysis showed several topics on which Varjačić writes: songs that refer to physical work, songs that inspire learning, songs expressing love for mother, patriotic songs, religious songs, and songs about vacation and fun. Although some of these lyrics are still offered to children, we conclude that their poetic, thematic and lexical features are no longer close to the contemporary recipient.
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Zipunov, Andrey. "Macrosemantic rhythmic structures in the songs of A. Mirzayan." Litera, no. 6 (June 2022): 114–28. http://dx.doi.org/10.25136/2409-8698.2022.6.38151.
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Earlier, semantic rhythms were found in several texts of the author's song of the 1950s-80s, determined by the oppositions "private-universal" and "order-chaos". In the process of analyzing these works, a method of categorical macrosemantic structures was developed. Previously, this approach was applied in a systematic study of cultural trends. As part of the current work, the songs of the famous bard Alexander Mirzayan are considered using this method. The totality of this author's creativity is analyzed. From the standpoint of semantic rhythms, a structural analysis of the song "Wanderers" based on the poems of A. Mirzayan was carried out, as well as several song adaptations based on the texts of I. Brodsky, V. Sosnora and T. Klangsor were considered. In the works under study, the general theme of the conflict of a certain alternative system with the state line is traced. Mirzayan's interest in this topic is probably connected with the social processes of the late USSR. In addition, the presence of semantic rhythms in songs based on poems by A. Mirzayan and poems by other authors is compared. As a result, it turned out that the indicators of PM-rhythmics in song adaptations exceed the indicators of these structures in A. Mirzayan's poetry. Thus, the method of categorical macro-semantic structures helped clarify the principle by which Mirzayan selects poems by other authors and what are the methods of their adaptation.
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Dewi, Novita. "ECOLOGICAL LAMENTATION AND ADVOCACY IN EKA BUDIANTA’S SELECTED POEMS." Poetika 10, no. 1 (June 30, 2022): 11. http://dx.doi.org/10.22146/poetika.v10i1.74114.
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Writing about environmental issues before and after climate change and other human-made ecological damages, Eka Budianta has continually taken up environmental topics in his oeuvre. The study presented in the present article aims to scrutinize 6 (six) selected poems by Eka Budianta to see how the poet has dealt with ecological debate throughout the years. The study draws insights from criticisms within Environmental Humanities framework and uses a qualitative-interpretative method. The six poems comprise four poems written in 1984, i.e., “River Notes”, “The Yearning of the Wind”, “Song for Tiom”, and “Song of a Townsman”; a poem written in 2012 titled “Setelah Sudaraku Tenggelam”; and the most recent one, written in 2020, “Sungai Sejati”. The lines and stanzas of each poem are read and interpreted according to their respective themes, poetic devices, and contents to see if they demonstrate the principles of Ecopoetry. The study results in the following findings. First the lamentation for the loss of nature is present in “River Notes”, “The Yearning of the Wind”, and “Song of a Townsman”. Second, “Song for Tiom” and “Setelah Saudaraku Tenggelam” are elegies for, respectively, ecological destruction in Papua and the Situ Gintung Lake tragedy. Third, optimistic tone is palpable in Eka Budianta’s newest poem “Sungai Sejati”. Fourth, the inclusion of non-human agency like landscape, plants, and animals helps reinforce the green messages the poet seeks to express. This study concurs that literature can partake in exposing global climate change as well as advocating sustainable living in a way often ignored in ecological praxis that only celebrates concrete results.
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Vejvodová, Veronika. "Rané písně Antonína Dvořáka: literární předlohy, rukopisné fragmenty, nakladatelé." Muzeum Muzejní a vlastivedná práce 60, no. 2 (2022): 30–38. http://dx.doi.org/10.37520/mmvp.2022.015.
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In his songs from 1865–1882, Dvořák used poems by Czech authors Adolf Heyduk, Eliška Krásnohorská, Karel Jaromír Erben, Serbian folk songs translated by Siegfried Kapper (Czech-German author), Vítězslav Hálek and poems from the Dvůr Králové Manuscript. Most of the texts were probably obtained through Jan Ludevít Procházka, the important figure of Czech cultural life, who initiated Czech song writing for the concerts he organised in Prague. Some of Dvořák’s songs and cycles have survived in fragmentary form (Rozmarýna, s. op. and Like the Moon in the Heavens, No. 12 from Evening Songs, s. op.), some in the two different versions (the song Bouquet from Songs on Words from the Dvůr Králové Manuscript, op. 7). For the purposes of the Simrock edition, the composer arranged the song for the mezzo-soprano Amalie Joachim. Shortly after Dvořák’s establishment of cooperation with the Berlin publisher Simrock, this important publisher released Songs on the Words of Serbian Folk Poetry and four of the Songs on the words from the Dvůr Králové Manuscript. The singer Joachim supported the publishing of these editions, which were also dedicated to her by Dvořák.
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Mazur, Elżbieta. "Piosenka literacka i hymny pokoleniowe drugiej połowy XX wieku… na lekcjach języka polskiego w szkole średniej. Estetyka – tematy – wartości." Annales Universitatis Paedagogicae Cracoviensis. Studia ad Didacticam Litterarum Polonarum et Linguae Polonae Pertinentia 12, no. 330 (December 16, 2021): 259–71. http://dx.doi.org/10.24917/20820909.12.17.
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The article concerns the post-war literary song in Polish language education in secondary schools, i.e. the place of authors and texts representing poetic songs, poems set to music, author’s song and the opinion of a generation at the Polish language classes. Besides such authors as Ewa Demarczyk, Agnieszka Osiecka, Wojciech Młynarski, Jacek Kaczmarski (perceived not through the prism of intertextual measures: painting or biblical one, but as a bard of “Solidarity”, i.e. the author of “The Walls”), Grzegorz Ciechowski’s work ‘Do not ask about Poland ‘ was considered. On the example of the poems by Kamil Baczyński which were sung by Demarczyk, texts written by Kaczmarski and Ciechowski, they were discussed the artistry, the topics and evaluation of poetic song from the perspective of educational axiology.
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Abbott, Helen. "Composing Baudelaire for contemporary times." Journal of Romance Studies 21, no. 3 (December 1, 2021): 323–50. http://dx.doi.org/10.3828/jrs.2021.19.
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Sustained interactions with a poet’s work by musicians produce interpretative gaps. Through analysis of contemporary settings of five Baudelaire poems by Nicolas Chevereau, this article proposes a ‘thick method’ of song analysis which accounts for words and music as a conjoined ‘work’ and as a song ‘event’, using a systematic approach underpinned by digital tools including Excel, Sonic Visualiser, and Voyant. A consistent framework for song analysis enables us to rove around inside songs, and to draw in materials from outside the song. A highly individualized response to Baudelaire poems that are less commonly set to music, as in the case of Chevereau’s 2016 Cinq poèmes de Baudelaire, reveals significant common ground in terms of multi-perspective approaches that are now possible with intermedial works. Chevereau’s settings of Baudelaire shine important light on a series of complex sensory events which open up the poetic landscape to fresh interrogation and new interpretations.
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Bharadwaj, S. "Dylan Thomas’s “Over Sir John’s Hill”: The Motif of His Art Songs." International Journal of Applied Linguistics and English Literature 10, no. 1 (January 31, 2021): 9. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.1p.9.
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In the last dramatic art song “Over Sir John’s Hill,” Dylan Thomas reiterates that the motif of his art songs has been the Yeatsian introspective process of individuation and integration, transfiguration and transformation, the mortal vision of Grecian altruistic art song as seen in his early poem 18 Poems. His Yeatsian process of tragic happiness, his warm impersonal art, his paradoxical sensibility that makes him an artist of success and popularity in contrast to W.H. Auden’s Eliotian motif of metaphysical process of self-annihilation and immortal art, his aesthetic amoral impersonal art, his tragic vision of art song which deprives him of his grandeur and influence. However, the main thrust is extending to the dismembered and discontented Auden the very same process of regeneration that Thomas has offered to the victims of Auden’s art song while ignoring everything about … allegations of tilting, toppling and conspiracy against him. The song also testifies to his Yeatsian cosmopolitan culture maintaining his equanimity and magnanimity when he confronts an atmosphere of envy and ill-will, and hatred and violence.
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Hore, Sirshendu, and Tanmay Bhattacharya. "Analyzing Tagore's Emotion With the Passage of Time in Song-Offerings." International Journal of Synthetic Emotions 10, no. 2 (July 2019): 18–38. http://dx.doi.org/10.4018/ijse.2019070102.
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The emotions of humans can be observed through tears, smiles, etc. The emotion of poets is reflected through poetry/songs. The works of a poet give philosophical insights about the beauty and mystery of nature, socio-economic conditions of that era, besides his personal state of mind. In the proposed work ‘Song- Offerings': A collection of poems and songs composed by Rabindranath Tagore, for which, Tagore received the Nobel Prize for literature in 1913, has been analyzed. Earlier, most of the research work on Song-Offerings was based on Zipf's law or bibliometric laws. This article analyzes the changes in Tagore's emotion in Song-Offerings with the passage of time (1895-1912). Emotions are analyzed based on the Arousal-Valence Model. To analyze the arousal state, ‘Plutchik's' emotion model has been employed and to find the valence, a Fuzzy-based model has been engaged. The work reveals that the emotions of the poet gradually mellows with the passage of time barring some transitional time, nevertheless, poet submission towards almighty remains unchanged during this period.
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Gray, Erik. "Come Be My Love: The Song of Songs, Paradise Lost, and the Tradition of the Invitation Poem." PMLA/Publications of the Modern Language Association of America 128, no. 2 (March 2013): 370–85. http://dx.doi.org/10.1632/pmla.2013.128.2.370.
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The invitation poem, in which the beloved is urged to come away to an idealized place, is among the most enduring genres of European love poetry. The tradition begins with the biblical Song of Songs, which sets several important precedents: a dialogic framework, a close association of lover and landscape, and a sense of love as exile. Medieval and Renaissance invitation poems follow the Song of Songs but shift its emphases toward monologue, materialism, and importunity. Milton thus inherits a dual tradition of invitational poetry, both aspects of which figure prominently in Paradise Lost. Recognizing the traditional features of the genre therefore illuminates significant moments in the epic, including, notably, Eve's final speech. The invitational tropes in this passage reveal how Eve reconceives of exile as homecoming and how she reestablishes a sense of radical mutuality with Adam by completing a dialogue that began before the Fall.
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Lotter, GA, and Rian S. Steyn. "Hooglied: Hedendaagse paradigma vir romantiese verhoudings." Verbum et Ecclesia 27, no. 1 (November 17, 2006): 70–89. http://dx.doi.org/10.4102/ve.v27i1.143.
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In this article it is argued that the Old Testament book Song of Songs can serve as a present-day paradigm for romantic relationships. Song of Songs is being viewed as a collection of love poems and songs where the romantic relationship between a man and a woman is in the focus. The authors discuss the so called “love triangle” which is to be found in Song of Songs. The challenge for correcting relationships with regards to reciprocity and equility in this relationship is also researched followed by the important (albeit absent in the text itself) acknowledgement of people’s own limitation and dependence on God. This article therefore deals with the roles of men and women in connection with love, the complexities of love and suggests nine consequences of Song of Songs for romantic relationships. The article ends with a short discussion on the adventure of love.
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Thomas Baby, Kappalumakkel. "The Skylark: A Symbol of Poetic Inspiration for Generations with Special Reference to Shelley and Hughes." Pertanika Journal of Social Sciences and Humanities 30, no. 2 (June 15, 2022): 723–42. http://dx.doi.org/10.47836/pjssh.30.2.16.
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The skylark is a tiny brown bird with a small crest on its head. It is slightly larger than a sparrow and is popularly known for its uninterrupted song during its upward flight. The bird is found in most parts of England and many European countries. A closer examination of English poetic tradition reveals that several English poets have anthologised this tiny bird, including famous poets such as Wordsworth, Shelley, Hopkins, Meredith, Rossetti, Rosenberg, and C Day-Lewis. The late poet laureate Ted Hughes also wrote about the skylark in our times. Even Shakespeare and Goethe have eulogised the skylark in their plays. Since Thomas Hardy has written a poem about ‘Shelley’s skylark,’ it is evident that traditionally ‘To a Skylark’ by Shelley is the most popular of all ‘Skylark’ poems. However, Hughes’s poem on skylark merits our attention because it is entirely different from the general trend of all other skylark poems written until his time. Therefore, this study explores how the skylark became a symbol of poetic inspiration for different generations of poets by analysing the two famous poems on skylark written by Shelley (1792–1822) and Hughes (1930–1998). While Shelley depicts the skylark as a pure spirit of joy, Hughes considers it an embodiment of cosmic energy resulting from the bird’s struggle for flight against the earth’s gravitational pull. Therefore, the different perceptions of Shelley and Hughes about the skylark constitute the essence of this discourse.
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Jayalalitha. "Tamil Agathinai poems and Kannada folk songs - A comparison study." International Research Journal of Tamil 2, no. 4 (August 30, 2020): 16–23. http://dx.doi.org/10.34256/irjt2043.
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There is an emphasis in recent years on the study of literary and cultural parallel between Tamil and Kannada. This kind of research would enable one to arrive at Proto- Dravidian common cultural core. Anyhow my attempt is humble. I Try to make a comparison of the Akam (Love) poems. Which are found in Tolkappiyam and Sangam literature with some Kannada folk songs. Tolgappiyam says that the Akam poems of five division of land (Kurinji, Mullai, Marudam, Naidal and Paalai) should not mention the proper name of the characters. If we take a simple look at the different folk songs collection of Kannada, we note that there are no proper names of characters of such love songs. According to Tolkappiyam, the first grammar of Tamil, the concept of love is divided into ‘compatible love’ (anbin inthinai) and ‘incompatible love’ (porundha Kamam). We also come across such concept in the Kannada folk songs, which is explained in the theme of the song. There is a song of a man who is sitting on the bank of a river asking the girl permission to lean on her shoulder. The mention of a shoulder of a girl is a special feature mentioned in many Sangam poems.
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Chen, Xi. "When the classic speaks for children." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (October 5, 2020): 780–95. http://dx.doi.org/10.1075/babel.00175.che.
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Abstract Bob Dylan has significantly influenced American song tradition and popular music for more than five decades. As his songs are famous for the creative poetic expressions, they are not merely song lyrics, but also can be regarded as lyric poems. This paper aims to investigate the retranslation of Bob Dylan’s songs in bilingual picture books to explore how his classic musical works are repackaged both verbally and visually for contemporary children. The data for analysis are selected from two bilingual picture books on Dylan’s songs published in China in 2018. Firstly, it conducts a detailed textual analysis of the English and Chinese song lyrics to analyze the appropriate translation strategies and methods for song translation. Secondly, based on visual narratives (Painter, Martin and Unsworth 2013), it analyzes the intersemiotic relations between texts and images in picture books to discuss how the emotions and narratives in Dylan’s songs are visually represented.
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Shehab, Ekrema, and Abdel Karim Daragmeh. "Textual transformation of an Arabic poem into an American rap song." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 16, no. 2 (November 26, 2018): 265–83. http://dx.doi.org/10.1075/forum.17003.she.
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Abstract Arabic poetry and English rap are strikingly different products owing to the divergent language pairs and genre pairs. This study examines the nature and degree of change in translating the content of Arabic poetry into English rap. It studies three main content-based elements in the original Arabic poem and attempts to identify any changes in the target rap song in light of the conventional rap themes. The authors gathered study evidence from the translation of Nizar Qabbani’s famous poem “Qariat il-Finjan” into the rap song “Finjan” by the Syrian-American translator and rapper Omar Offendum. The data provides ample evidence that rendering Arabic poems into English rap songs can be achieved with a high level of success, yet with a considerable degree of adaptation to fit the target genre’s thematic conventions. The study points to how the considerable thematic adaptations fit into identity politics, youth culture and liberation theology which are distinctive features of the rap impulse.
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Zhou, Jianxin. "A Legend of Christina Rossetti’s “Song” in China." International Journal of Linguistics, Literature and Translation 5, no. 8 (August 14, 2022): 62–68. http://dx.doi.org/10.32996/ijllt.2022.5.8.7.
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“Song: When I am Dead, My Dearest”, a poem by the 19th-century British poetess Christina Rossetti, has been translated into more than one Chinese version and cherished by Chinese admirers since the beginning of the 20th century, among which modern poet Xu Zhimo’s translation is most well-known. Xu’s translation was later set to a song by the Taiwanese singer Luo Dayou and was popularly sung, even by the leading actress in TV series. The translations of the “Song” have also been anthologized into textbooks in colleges, middle schools, and primary schools and so have been widely read by Chinese students. The “Song” is now by no means an unfamiliar poem to Chinese literature lovers, music fans, TV audiences, and students; rather, it has created a legend of reception of foreign poems in China.
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Щітова, С. А., and О. М. Якимець. "THE INNOVATIVE INTERPRETATION OF THE CHAMBER-VOCAL GENRE IN THE LATE WORKS OF SCHUBERT." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 163–71. http://dx.doi.org/10.33287/221913.
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The purpose of the study is to prove the innovative approaches of F. Schubert in vocal works on the example of his later opuses – the vocal cycle „Winterreiseˮ, op. 90 („Winter Roadˮ) and the song collection „Der Schwanengesangˮ („Swan Songˮ). The methods of this proposed scientific article are based on the research approaches (historical, compare, analytical), which allow to us to follow the path of dramatization of the song in the late works of F. Schubert, as well as to determine the conformity of the vocal intonation to the poetic text. The material of scientific intelligence there are ten separate songs, namely, five songs from the vocal cycle „Winter Pathˮ and five songs on the lyrics by G. Heine from the collection „Swan Songˮ. In our opinion, they are not only indicative, but also similar in form, methods and content. The scientificnovelty of this research is to in the treatment to the issues of determining the correspondence of vocal intonation to a poetic text. Conclusions. Lyrics by Wilhelm Muller and Heinrich Heine are the peak of Schubertʼs vocal lyrics, the starting point for the further development of the song (romance) genre. Simplicity and the associated „sociability” of song intonation, on the one hand, naturally continue the traditions of the Austro-German song Lied. However, while the melody of Schubert reveals time fundamentally new qualities caused by the composerʼs innovative attitude to its formation. The reason for this is a great attention to the verbal text. The close interaction of poetic words and music, especially in the late works of the composer romantic, gives rise to a fundamentally new type of vocal intonation, a new level of voice and accompaniment and, as a final result, the emergence of a new quality of the chamber-vocal work – „poems with music”, thereby pushing on the further path of development of chamber vocal genres.
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Mukhopadhyay, Aju. "Communication in Art Song and Literature: Poems versus Novels." IJOHMN (International Journal online of Humanities) 4, no. 1 (February 14, 2018): 1–6. http://dx.doi.org/10.24113/ijohmn.v4i1.74.
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The primary urge of a poet or writer is to create according to his inspiration but close to it is the urge to communicate with the reader. A singer requires hearer, a painting requires connoisseur. Well, even without the other parties, a poem and a painting may be created or a song may be sung. Think of the wind flowing through the reeds or bamboo grove or a bird’s song reaching the ethereal height creating a symphony in the air which is perhaps enjoyed by the silent Nature. Nature exactly does that. It is neither responsible nor obliged to tell man what it enjoys, how it enjoys itself but when a man hears them they become songs touching the heart of the pure sympathizers away from the hullabaloo of the mundane world. Go further and there are the unheard songs, unheard sounds; they are very much there for every sound comes out of silence. When Nature creates such things on its own without waiting for anybody to appreciate the things remain unknown until someone hears or looks at them. Man creates to communicate. If we consider songs it is definitely a field for communication between the singer and the hearer. Man’s creation may be said to be, in general term, artificial whereas Nature’s creation is natural. Nature recreates itself Man creates imitating Nature or otherwise. But I don’t wish to stop telling that Art is imitation only like our great Greek predecessors. The seer poets created words the way they heard. The higher and highest sources, it may be said the Divine sources, create through man as through the Nature.
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Vujin, Bojana. "“THE SILKEN SKILLED TRANSMEMBERMENT OF SONG”: HART CRANE’S “VOYAGES”." Годишњак Филозофског факултета у Новом Саду 40, no. 1 (December 10, 2015): 31. http://dx.doi.org/10.19090/gff.2015.1.31-48.
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One of the crucial figures of American Modernist poetry, Hart Crane (1899–1932) is notorious for baffling both readers and critics with his nearly impenetrable rhetoric. The paper focuses on “Voyages”, a sextet of poems from the poet’s first collection, White Buildings (1926), aiming to prove that his so-called obscurity is often a result of a rather simplistic approach to poetry analysis, where the sound of the verses is dismissed in favour of a purely semantic analysis. Using some of the more recent criticism of Crane’s work, such as Reed’s and Tapper’s studies, the author argues that “Voyages” can be interpreted as a cyclical poetic rumination on the nature of love and poetry, dominated by the motif of the sea. Special attention is paid to the intertextual reading, wherein Crane’s poem is put firmly within the context of traditional love poetry by the authors such as Donne, Wordsworth, Shelley, Whitman and Rimbaud, with the last two poets providing another context, that of queer love poetry.
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Johnson, Julian. "Present Absence: Debussy, Song, and the Art of (Dis)appearing." 19th-Century Music 40, no. 3 (2017): 239–56. http://dx.doi.org/10.1525/ncm.2017.40.3.239.
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Debussy's early song settings of Théodore de Banville and Paul Bourget foreground the Romantic topic by which the singing voice revokes lost presence. The closed aesthetic space of music becomes, in these songs, the space of the nocturnal garden in which the souls of lovers merge with the containing landscape. But Debussy's fascination with the poetry of Paul Verlaine, over a period of twenty-two years from 1882 to 1904, juxtaposes such evocations of intense sensuous presence with songs of alienated absence and ironic distance. The poems Debussy set from Verlaine's Fêtes galantes (1869) provoke both kinds of song, the latter embodied through the shadowy figures of the commedia dell'arte. In the case of two such poems, “En sourdine” and “Clair de lune,” Debussy produced two different settings of the same text, ten years apart. The usual account is that these show the composer's progression from Romantic lyricism to a more sophisticated but withdrawn style, a development paralleled by a biographical story moving from his youthful passion for the dedicatee of the early songs, Marie-Blanche Vasnier, to the breakdown of his first marriage in 1904. But neither the stylistic nor the biographical narrative provides an adequate account of the Verlaine songs, and both miss their exploration of the economy of desire at the heart of the piano song.
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Jørgensen, Lea Grosen. "Vikingens udødelige sang." Passage - Tidsskrift for litteratur og kritik 34, no. 81 (June 1, 2019): 54–70. http://dx.doi.org/10.7146/pas.v34i81.114430.
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Lea Grosen Jørgensen: “The Viking’s Undying Song – A Comparison of Old Norse Poems and Heroic Portrayals in Vikings (2013-) and Oehlenschläger’s Regnar Lodbrok (1849)”
This article discusses the portrayal of the legendary Viking Regnar Lodbrok in Michael Hirst’s TV series Vikings and Adam Oehlenchläger’s Romantic poem Regnar Lodbrok. Focusing on the incorporation of the Old Norse death song “Krákumál” in both the series and the poem, the article shows that the reinterpretations of the death song determine the versions of the Viking hero. Reinventing the hero after the fashion of their own age, as either a modern self-made hero or as a tender warrior-skald , Hirst and Oehlenschläger contribute to the perception of the Viking Age in the twenty-first and the nineteenth century, respectively.
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M. Hermintoyo, M. Hermintoyo. "Simbol Natural dalam Lirik Lagu “Di Manakah Matahariku” Karya Ebid G Ade sebagai Sarana Kreatif Penciptaan Kosakata Baru." Nusa: Jurnal Ilmu Bahasa dan Sastra 12, no. 3 (August 1, 2017): 145. http://dx.doi.org/10.14710/nusa.12.3.145-153.
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Song lyrics are created along with a tone of harmonization. The lyrics of the song as the author’s expression are created by choosing the right and aesthetic words, which fulfill elements of beauty such as poems that have diction, images, rhymes, and rhetorical means. Creative lyricist, such as Ebiet G Ade in the song "Where My Sun" utilizes the object seen, felt and heard by changing in a metaphor that is symbolically natural in the lyrics of the song. Ebiet G Ade as a creative lyricist produces new vocabulary through his previously invented songs. The creation of this new vocabulary is known as a private symbol, especially in the form of a metaphor.
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Dhayef, Qassim Abbas, and Wafaa Abid-Ali Mahdi. "A Stylistic Study of the T. S. Eliot's Poem of 'The Love Song of J. Alfred Prufrock'." International Journal of Linguistics, Literature and Translation 5, no. 2 (February 28, 2022): 153–58. http://dx.doi.org/10.32996/ijllt.2022.5.2.19.
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This study highlights Parallelism as a stylistic device in T. S. Elliot's poem "The Love Song of J. Alfred Prufrock (1915)". This study tries to show the importance of Parallelism in poetry and how it is dominated in the twentieth century. Specifically, it aims to explore the operationality of parallelism as a stylistic device in twentieth-century poetry, identifying the most dominant type of parallelism in twentieth-century poetry and showing how parallelism is useful as a stylistic device for the reader. The study results revealed that Parallelism is manifest, of great use in the interpretation of the poem. The twentieth-century poets in general and T. S. Eliot' depend on parallelism in aestheticizing or beautifying their poems as it represents a set of regularities of form.
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Zhiyenbayev, Y., and Z. Asanova. "Comparison of the Structure, Themes and Style of Gulten Akin’s Poems “Yaşlanmayan Bir Kadına Türkü” and Fariza Ungarsynova’s “Ayel”." Iasaýı ýnıversıtetіnіń habarshysy 121, no. 3 (September 30, 2021): 68–79. http://dx.doi.org/10.47526/habarshy.v3i121.735.
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Well-known are the poetic works of famous women poets of Turkic literature Gulten Akyn and Fariza Ungarsynova. However, these two poets tried to be harbingers of flaws in society, and not to become famous. Although she dealt with personal themes in the early stages of Gulten Akin's poetry, in her later poems she always dealt with social issues. In this regard, Fariza Ungarsynova also described the position of the masses in her poems. The image of a woman occupies a special place in the work of these poets, who lived simultaneously in Kazakh and Turkish literature and touching upon common themes. The aim of the research is to compare the image of a woman in the verses of two poets. In this study, the method of analyzing the text of Professor Sherif Aktash was used. The first part of article, which consists of two parts, tells about the life and literary personality of Gulten Akyn and Fariza Ungarsynova. The second part analyzes the poems of Gulten Akyn “Yaşlanmayan Bir Kadına Türkü” (“Folk Song for an Ageless Woman”) and Fariza Ungarsynova “Ayel” (“Woman”). The article reflects the ideology, structure (personality, time, space), subject matter, language and stylistic features of the poems, compares the similarities and differences of the two poems.
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Ahlbäck, Pia Maria. "Stepping Out of the Tune: An Imagological Study of Arvid Mörne's Poem “Sjömansvisa” (1899)." Journal of Finnish Studies 16, no. 2 (May 1, 2013): 90–107. http://dx.doi.org/10.5406/28315081.16.2.07.
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Abstract The article discusses how the poem “Sjömansvisa” (Sailor's song), which was published by the prolific Finland-Swedish writer and scholar Arvid Mörne as part of his first collection of poetry Rytm och rim (Rhythm and rhymes) in 1899, was transformed into the wide-spread and popular song “Båklandets vackra Maja” (Beautiful May of Båkland). The song remains extremely popular, whereas Mörne himself and his other writings have been all but forgotten by the general public. This, I argue, is the result of the happy melody, composed by the teacher Hanna Hagbom in 1906. It is the song, and particularly the tune, not the poem, that has lasted. The article suggests that the interpretation of Mörne's poem as sunnier than most of his other poems results not from the verbal properties of the poem as such, but rather from the sonic and prosodic aspects of the poem-as-song. In other words, the text of the poem has been overshadowed by the tune. Moreover, the ways in which Swedish Finland has over and over again been constructed as territory through Mörne's utilization of stereotypical images of women (in this case “Maja”), and not only of (male) peasants and fishermen, has been neglected.
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Brown, A. Peter. "Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta." Journal of the American Musicological Society 47, no. 1 (1994): 39–89. http://dx.doi.org/10.2307/3128836.
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Anne Hunter (1742-1821) seems to have appeared suddenly on the London scene when she provided Joseph Haydn with texts for his English songs published under the fashionable title of canzonettas. Yet long before Haydn arrived in London, she had already established herself as a writer of lyrics for the Scottish national song movement and of the famed "Death Song" of a Cherokee Indian set to "an original Indian air." Some believe that her poems provided a model for Robert Burns. Her lyrics were also set by Johann Peter Salomon and requested by the propagator and publisher of national song in the British Isles, George Thomson.
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Meir, Jonatan. "Mystical Songs of Bratslav Hasidim: Opening Notes." Journal of Jewish Thought and Philosophy 27, no. 2 (September 20, 2019): 180–209. http://dx.doi.org/10.1163/1477285x-12341302.
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AbstractOne of the distinctive literary genres of Bratslav Hasidism is the shir yedidot (Song of Endearment), a mystical poem concerning the stature of the soul of R. Naḥman of Bratslav. These poems, still sung by Hasidim today, contain esoteric traditions that reveal the multiple voices within Bratslav Hasidism. This article traces the development of this form from the beginning of the nineteenth century until the present, and argues that changes in emphasis within these songs reflect shifts in Bratslav theology over the years. The study thus presents a more complex historical picture of Bratslav Hasidism, which has usually been seen as one monolithic unit.
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Ibrahim BALA Kanti. "Nature as a Device in Tanure Ojaide’s The Tales of the Harmattan and Flora Nwapa’s Cassava Song and Rice Song." Creative Launcher 7, no. 6 (December 30, 2022): 35–45. http://dx.doi.org/10.53032/tcl.2022.7.6.04.
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This paper examines nature as a device in Tanure Ojaide’s The Tale of the Harmattan and Flora Nwapa’s Cassava Song and Rice Song. It proceeds on the assumption that there is a relationship between nature and literature beyond the interest of the Romantics and Ecocriticism and that this relationship is often demonstrated aesthetically and thematically to express the human condition. With emphasis on the metaphorization of the components that make up nature, this paper deploys Peter Steiner’s Machine model of Formalism which sees literary criticism as a sort of mechanics and the text as a heap of devices. In this regard, Formalism is here deployed as a means of exploring the extent to which nature functions as a device in The Tale of the Harmattan and Cassava Song and Rice Song. It emphasizes the figurative use of nature to estrange the ordinary. This paper finds that the figurative use of nature helps to establish the aesthetic grounds that justifies the literariness of the poem. The paper also finds that the presence of nature in the poems heighten the aesthetic quality of the poems because nature readily finds expression in patterns or attributes common to all its components. Thus, the metaphorization of nature components as a means of portraying the human condition.
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Feng, Wang, and Huang Hongxia. "An Application of the "Harmony-Guided Criteria" to the English translation of Song ci: A Case Study of "Immortals at the Magpie Bridge" by Qin Guan." International Linguistics Research 3, no. 3 (September 1, 2020): p22. http://dx.doi.org/10.30560/ilr.v3n3p22.
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Ezra Pound's Cathay set the stage for a translation of free verse and influenced many translators such as Arthur Waley and Kenneth Rexroth. However, before Pound, rhymed Chinese poems were mainly translated into rhymed English poems by Herbert Giles, W. J. B. Fletcher, etc. Is it necessary to challenge the dominant translation poetics of free verse and insist that rhymed Chinese poems are best translated into rhymed English poems? Six English versions of a Song ci poem "Immortals at the Magpie Bridge" on the Chinese Valentine's Day were analyzed in details based on the newly proposed "Harmony-Guided Criteria" for poetry translation, which takes "Harmony" as the translation standard at the macro level, "resemblance in style, sense and poetic realm" at the middle level, and the "eight beauties of poetry translation" at the micro level. It shows that the criteria can be applied to the translation of rhymed Chinese ci poems into rhymed English poems, though with limitations.
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Doesburg, Charlotte. "Of heroes, maidens and squirrels: Reimagining traditional Finnish folk poetry in metal lyrics." Metal Music Studies 7, no. 2 (June 1, 2021): 317–33. http://dx.doi.org/10.1386/mms_00051_1.
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The Kalevala (1849), the Finnish folk epic, has inspired all types of artists throughout the years. It could be argued that it was only a matter of time before Finnish metal musicians started adapting material from the epic in their music and lyrics. This article presents two case studies of two lyrics. The first is ‘Lemminkäisen laulu’ (‘Lemminkäinen’s Song’) by Kotiteollisuus. This song is about one of the epic’s main heroes, Lemminkäinen, and his unfortunate marriage to Kyllikki. It draws on poems 11‐13 from the Kalevala and on the book Seitsemän veljestä (‘The Seven Brothers’) (1870) by novelist Aleksis Kivi. The second song discussed is ‘Rautaa rinnoista’ (‘Iron from the Breasts’) by Mokoma. The lyrics for this song are inspired by the painting Raudan synty (‘The Origins of Iron’) (1917) by Joseph Alanen. This painting is based on the birth of iron poem from the Kalevala. The interpretation of the lyrics of both songs will show that artists in the same genre have a larger general awareness of other cultural products, including those inspired by the Kalevala and that they use the epic for different purposes. The two case studies will show that adaptation of Finnish folk poetry can be used for various reasons, such as to parodize contemporary society or to voice personal ideas and world-views. Furthermore, the analysis of these lyrics will show that the songs are connected to a sense of Finnishness and the topics and themes of metal music internationally.
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Frost, Christine Mangala, and A. Mariaselvam. "The Song of Songs and Tamil Love Poems, Poetry and Symbolism." Vetus Testamentum 41, no. 2 (April 1991): 255. http://dx.doi.org/10.2307/1518919.
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Fijai, Andi Ahmad, Hat Pujiati, and Ikwan Setiawan. "Class Struggle Seen in Ernest Jones’ Three Selected Poems: The Song of The Poor, The Song The Lower Classes, and A Song for People." JENTERA: Jurnal Kajian Sastra 11, no. 1 (June 28, 2022): 41. http://dx.doi.org/10.26499/jentera.v11i1.2773.
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This article discusses class struggle of the working class through Ernest Jones’ three selected poems: The Song of The Poor, The Song of The Lower Classes, and A Song for People in the Industrial Revolution era in England. Industrial Revolution is a shift in goods production from human power into mechanical power. This research uses Michael Riffaterre’s Semiotics of Poetry theory to find out the meaning and significance of the chosen poems and uses some opinions and history as hypogram to portray the class struggle of the workers in Industrial Revolution era. The result of this research shows that these poems articulate the voices of the working class in struggling to get justice against the ruling class. AbstrakArtikel ini membahas tentang perjuangan kelas pekerja di tiga puisi pilihan karya Ernest Jones: The Song of The Poor, The Song of The Lower Classes, dan A Song for People di era Revolusi Industri di Inggris. Revolusi Industri adalah perubahan cara produksi barang yang awalnya menggunakan tenaga manusia menjadi tenaga mekanik. Penelitian ini menggunakan teori Semiotika Puisi oleh Michael Riffaterre untuk mengetahui meaning (makna) dan significance (arti) puisi yang terpilih dan menggunakan beberapa opini dan sejarah sebagai hipogram untuk menggambarkan perjuangan kelas pekerja di era Revolusi Industri. Hasil penelitian ini mengeksplorasi perjuangan para pekerja di era Revolusi Industri. Jones melalui puisinya mengartikulasikan suara-suara kelas pekerja dalam perjuangannya mendapatkan keadilan melawan kelas pengusa.
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Sipayung, Febri Ridho. "BUKU DODING HALELUYA SEBAGAI SALAH SATU MEDIA PELESTARIAN LAGU RAKYAT SIMALUNGUN DI GKPS SIMALINGKAR." Grenek Music Journal 7, no. 1 (January 3, 2018): 11. http://dx.doi.org/10.24114/grenek.v7i1.8782.
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This study aims to find out what folk song title Simalungun in Doding book Hallelujah,how is the form of the folk songs and the effectiveness of its conservation through replacementmethod lyrics/poems for the congregation GKPS Simalingkar.This study is based on the theoretical foundation to explain the meaning of HallelujahDoding Books, Media, Preservation, and Folk Songs SimalungunThe method used is descriptive qualitative. The population in this study are allSimalungun folk songs that are in the book Hallelujah Doding the 36 songs and 10 congregationsGKPS Simalingkar. The techniques of Data collection in this study conducted by fieldobservations, literature studies, interviews and documentations.Generally, this research shows that the contribution of 36 folk songs in the bookDoding Simalungun Hallelujah create varied impressions in the book. as well as with the form ofsongs that mostly consists of two parts. And look also the effectiveness of the preservation of thefolk song lyrics Simalungun with replacement method/lyrics towards more religious makeHallelujah Doding books as one of the media in the preservation of the folk song SimalungunGKPS Simalingkar.
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Low, Peter. "Translating poetic songs." Target. International Journal of Translation Studies 15, no. 1 (November 20, 2003): 91–110. http://dx.doi.org/10.1075/target.15.1.05low.
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Poems have often been turned into songs, notably as German Lieder. Classical singers use translations of these in several different ways: as cribs for themselves, in printed programmes for their audiences, as singable versions, etc. Since no single target-text is ideal for all of these purposes, the Skopostheorie of Hans J. Vermeer may help translators to match their strategy with the particular skopos (“goal or purpose”) of their translation. The author identifies five specific functions which a song-translation may serve, and proposes a range of five translation strategies intended to match these particular skopoi. A demonstration is given of how these strategies produce different English versions of a few lines from a Baudelaire poem.
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Aman, Yasser K. R. "Stage or Page? A Dub Performer or A Dub Poet? A Study of Linton Kwesi Johnson’s Political Activism in “Five Nights of Bleeding” and “Di Great Insohreckshan”." English Language and Literature Studies 8, no. 1 (February 3, 2018): 11. http://dx.doi.org/10.5539/ells.v8n1p11.
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This paper investigates Linton Kwesi Johnson’s political activism in “Five Nights of Bleeding” and “Di Great Insohreckshan” in order to answer the much-debated question: which is more effective in conveying Johnson’s political message: the performed song or the scribed poem? First, the paper gives a brief history of dub music which started in Jamaica, Johnson’s motherland. A discussion of dub poetry follows highlighting the pioneers such as Johnson and Mutabaruka. I argue that the performed songs and the scribed poems under study are effective in convey Johnson’s message each in its own way; however, the scribed form has a stronger, more longstanding impact on imparting the message than stage performance because it relies on the musicality of the words created by sounds and aural images easily grasped even by an international readership alien to the heritage of dub music. An analysis of political events in the two poems shows that a scribed poem, which, as in “Five Nights of Bleeding”, graphically represents a tension between Standard English, and Jamaican Creole and Jamaican English, and which highlights sounds at play as in “Di Great Insohreckshan”, asserting identity, can do without stage performance.
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OH, Kyong-geun. "KOREAN SIJO POEMS AND THEIR TRANSFORMATIONS." International Journal of Korean Humanities and Social Sciences 1 (November 4, 2016): 23–38. http://dx.doi.org/10.14746/kr.2015.01.02.
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Sijo is an original genre of short Korean poems with a strictly defined structure reflecting the rhythm of a traditional Korean song. Sijo poems are the only traditional genre of Korean poetry, which is still practised by contemporary Korean poets. It gained tremendous popularity during the reign of the Joseon dynasty, especially among the Confucian scholars and noblemen who ruled the country. Sijo poetry has undergone a transformation as far as the topics and structure of sijo poems are concerned. Initially the authors of sijo belonged to the ruling class and were solely men (Confucian scholars). But with the passage of time and the development of society the representatives of the middle class started writing sijo poems as well. The sijo transformations also included the linguistic changes, which may be observed through the course of sijo history. The topics also changed as new types of sijo appeared beside traditional sijo devoted mainly to Confucian ideas formulated in a refined language.
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Igbo, Philip. "The Song of Songs: Its Basic Teaching and Place in the OT Canon." Journal of Religion and Human Relations 13, no. 1 (July 22, 2021): 16–36. http://dx.doi.org/10.4314/jrhr.v13i1.2.
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The Song of Songs is a love poem (or a collection of poems), full of sensuous symbols. The central theme of the book is love; it celebrates human love in all its physical dimensions. Its language is love, a language which seems daring and sometimes even shocking, considering its seeming erotic feature. The author provides a teaching on the place of love and marriage in God’s plan of creation. It focuses on fidelity and mutuality in love between the sexes. The author offers a perspective of love not found elsewhere in the biblical writings. The climax of his teaching on love is contained in Sg 8:6-7. Here the poet emphasizes the power and energy of love. He compares the consuming power of love to “a raging flame” (rišpê ’ēš) which no water can quench. He specifies the value of love: love is so priceless that no material wealth can match it.
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Bryson, J. S. "Wild Song: Poems of the Natural World." Interdisciplinary Studies in Literature and Environment 6, no. 2 (July 1, 1999): 224–25. http://dx.doi.org/10.1093/isle/6.2.224.
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Smith, Nicholas. "Murtuka Yirraru: Automobility in Pilbara Song-Poems." Anthropological Forum 25, no. 3 (March 2, 2015): 221–42. http://dx.doi.org/10.1080/00664677.2015.1011603.
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Stephenson, Jean. "“Quizás, quizás, quizás”. Translators’ dilemmas and solutions when translating spanish songs into english." DEDiCA Revista de Educação e Humanidades (dreh), no. 6 (March 1, 2013): 139–51. http://dx.doi.org/10.30827/dreh.v0i6.6968.
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Rendering songs into another language poses numerous difficulties for translators. Songs may be considered as poems set to music, and in translating them, these professionals confront not only routine translation problems such as expressing the meaning, ambience and style of the original work, but they also have to attend to other requisites such as creating a new version of the song within the restrictions of rhythm and rhyme. In this article, I examine songs from Spanish literature and from Spanish and South American popular music, and explore translators’ ways of converting the original texts into English. We shall see that sometimes they have captured meaning by translating virtually word for word, while on other occasions translated songs manage to encapsulate only the general sense and atmosphere of the original Spanish song. In some cases, sounds from the original have acted as a catalyst for the topic of a new song, while in others the song’s main topic has been discarded altogether. As a result of these perhaps inevitable adjustments and shifts in topic and atmosphere there will nearly always be some kind of ‘loss’ in the translation of songs, but on rare occasions their rendition into English almost seems to ‘improve’ on the Spanish version. I will outline Low’s (Low, 2005) “Pentathlon Principle” which offers five criteria for assessing song translation, and examine specific translations from this persective. Song examined are María Josefa’s song “Ovejita, niño mío” from Federico García Lorca’s “La Casa de Barnada Alba”, Luis Aguilé’s “Cuando salí de Cuba”, Agustín Lara’s “Granada”, and Osvaldo Farrés’s “Quizás, quizás, quizás.”