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1
Labbe, Jacqueline M. "Smith, Wordsworth, and the Model of the Romantic Poet." Articles, no. 51 (October 31, 2008): 0. http://dx.doi.org/10.7202/019257ar.
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AbstractThis essay examines how Charlotte Smith and William Wordsworth manipulate the autobiographical and elements of poetical voicing as they explore the figure of the Romantic Poet. Focusing onBeachy Head(1807) andThe Prelude(1805), I suggest that in devising separate, competing but eventually equal “personal” voices inBeachy Head, and in interrogating tropes of genre and composition inThe Prelude, the two poets signal their interest in using poetry to provide an answer to Wordsworth’s famous question, “What is a Poet?” For each, the model of the Romantic poet is most viable when, like wet clay, it is still able to be shaped.
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Suksanguan, Pattarakorn, Sajjaporn Waijanya, and Nuttachot Promrit. "The extraction of beautiful sound patterns from Sunthorn Phu’s poem using machine learning technique and internal rhyme rule." International Journal of Advances in Intelligent Informatics 7, no. 2 (2021): 198. http://dx.doi.org/10.26555/ijain.v7i2.613.
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The melodious poems have been written from the distinctive features of poetry or based on each country's typical style. Especially, Thai poems which composed by the use of specific forming, such as Internal Rhyme to develop melodiousness. The most attractive and well-known poems were composed by a genius Thai poet named Sunthorn Phu. He is a role model for Thai poets. UNESCO honored him as the world’s great poet and the best role model in poetry works. In this article, we proposed extracting 15,796 sentences (Waks) of the beautiful sound patterns of Phra Aphai Mani’s tales by machine learning technology in conjunction with the rules of internal Rhyme Klon-Suphap by using the Apriori Algorithm. The extraction of vowel rhymes separated by a group of Waks including 1) Poem Wak No. 1; 2) Poem Wak No. 2; 3) Poem Wak No. 3; and 4) Poem Wak No. 4. In this article, “Wak” means sentence. The created tool can extract the internal rhyme patterns and the 25 popular pattern vowels. The popular pattern illustrates the melodiousness of the Poem and sets up a standard of how to melodiously compose a poem. Then, the evaluation of the experiments was done by using 144 Waks selected from the extraction of the beautiful patterns and evaluated by the consistency score from 3 experts. The average accuracy score resulted in 95.30%.
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Walie Fattah, Assist Prof D. Yahia, and Dr Alaa Muhammad Lazem. "Iraqi Contemporary Language of Poetry: Nineties as a Model." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 213, no. 1 (2018): 1–18. http://dx.doi.org/10.36473/ujhss.v213i1.648.
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Poetic language is the only a movement based mostly on the stereotypes and pugnacity what is prevalent in the language communicative by eluding and escape from him towards the level of performance of works on raising the effectiveness of the speech and poetic Anashha a lot of surprises and variations in say poetic ; So whatever ventured poet order behind the new technology , no matter what type of Ajthadath performance , the poem remains a creative effort embodied in the language first , and which seeks to demonstrate the usefulness and vitality of a second. The turnaround grand poem nineties embodied in it restored the poem to the Kingdom of hair after that has been lost in the paths of formality purely by Althmanyen dropping more open to the lattice actually fashionable and idler margin after it abandoned tower (Teleological language) and (the absence of meaning), which characterized them poem eighties .This study aims to identify the most prominent benchmarks key that is characterized by the language of poetry Altsaina level compositional and visibility and detection charms aesthetic embodied in Artaadha new areas mission did not pay attention to it before and did not mean the Iraqi poet previously as not involving any poetry by perspective poetic traditional.
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Menke, Richard. "CULTURAL CAPITAL AND THE SCENE OF RIOTING: MALE WORKING-CLASS AUTHORSHIP IN ALTON LOCKE." Victorian Literature and Culture 28, no. 1 (2000): 87–108. http://dx.doi.org/10.1017/s1060150300281060.
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IN ITS VERY TITLE, Charles Kingsley’s 1850 novel Alton Locke, Tailor and Poet: An Autobiography hints at a set of questions that the novel itself never manages to answer in a very clear or convincing way: what is the relationship between manual and intellectual labor, between industrial and poetic production, between making a coat and writing a poem? How might the early Victorian imagination conceive of a working tailor who is also a working poet — especially in light of the various actual working-class poets who appeared on the literary scene in the first half of the nineteenth-century, complete with occupational epithets, such as Thomas Cooper, the “shoe-maker poet” (a figure who in many ways provided a model for Kingsley’s fictional protagonist)? And what if, like a fair number of urban artisans, including Cooper himself, the tailor-poet is also a Chartist — as Alton Locke indeed turns out to be? What is the relationship between the Chartist call for reform and for representation of disenfranchised men in the political realm, and the attempts of a fictional working-class man (since the novel’s treatment of gender, as I will argue, is crucial to its treatment of politics and culture) to enter the early Victorian field of literary production? Or why, in the first place, should a novel that treats the “social problem” of class in the hungry forties and the appalling working conditions of the clothes trade do so by way of the literary aspirations of its title character, that is, through a fictional construction of working-class authorship?
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Carolli, Fábio Paifer. "O fragmento de Galo." Nuntius Antiquus 5 (June 30, 2010): 1–19. http://dx.doi.org/10.17851/1983-3636.5..1-19.
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The few remaining fragments from the works of the Latin poet Cornelius Gallus (c. 70-26 BC), discovered in Egypt in 1978, are presented, translated and analyzed in this paper. The role of these works among the books dated from the time of the poet, as well as some critical appreciation left by poets that lived during the Augustan reign and elected Cornelius Gallus as a model, are also brought into discussion. In addition, a poetic translation is also suggested.
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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 (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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Adhikari, Anup. "An Analysis of the Poem “Prison” by Krishna Sen ‘Ichchhuk’ Translated by Govinda Raj Bhattarai." Nepal Journal of Multidisciplinary Research 4, no. 2 (2021): 40–48. http://dx.doi.org/10.3126/njmr.v4i2.39013.
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Poetry is a form of art; to express emotions and feelings by the use of distinctive style, meaning, sound and rhythm. The poem presents the rebellious nature of the revolutionists to defeat the arbitrary through literature and is much privileged towards independence. The poet imagines such an awful condition that happens in the insurgency period and he is not able to equivalent the freedom of choice and action. Oligarchy creates fascism, besides it, the poet has used the literary term, ‘my friend’ in each stanza to denote all victimized citizens and inmates who are anguished from despotism. To uplift from authoritarianism regime and to live with full sovereignty the communist movement had played an appreciable role in the context of Nepal. The literary genre which is characterized by literature and cultural form of early modern England that is written while the author is confined in a location against his wills, such as a prison, jail, or house arrest is known as prison literature. Thus, the message or underlying meaning of the poem is such that the poet alerts the emperor and leaders to adopt a democratic model.
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Hanauer, David I. "Beauty judgements of non-professional poetry." Scientific Study of Literature 5, no. 2 (2015): 183–99. http://dx.doi.org/10.1075/ssol.5.2.04han.
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The process of reading and writing poetry is increasingly conducted by non-professionals. The current study utilized a series of regression models to explore the mechanism through which beauty judgements of non-professional poetry are made. The analysis addressed the relationships among the decision that a poem was written by a published poet (authorial attribution), a perception of the quality of the writing, the emotional response to the poem and a beauty judgement of the poem. 54 participants from two graduate applied linguistics programs rated 5 non-professional poems for their beauty, emotive response, quality of writing and semi-professional status of the writer. Analyses were conducted on averaged ratings across all five poems. The results indicate the beauty judgements, emotive response and quality of writing judgements were closely related. The decision that a poem is written by a published poet predicted the quality of writing and emotional response to the poem. An inconsistent mediation model was determined, in which increases in the semi-professional status of the writer increased the self-reported emotive response and quality of writing which in turn increased the beauty judgement of the poem. The results suggest a mechanism by which convergence of aesthetic judgement with novice reviewers is directed by the social sanctioning of the authority and quality of the writer.
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Assadi, Jamal, and Mahmoud Naamneh. "Intertextuality in Arabic Criticism: Saadi Yousef’s Mobile Model as an Example." Advances in Language and Literary Studies 9, no. 6 (2018): 49. http://dx.doi.org/10.7575/aiac.alls.v.9n.6p.49.
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This article traces the development of the notion of intertextuality among modern Arab critics back to its roots in the Western critical theory. It also studies the hypothesis, which supports the presence of a special mythological intertextuality in the poetry of Saadi Yousef, the modern Iraqi poet. His mythological intertextuality is manifested in the composition, and content of his poetry. In the process of employing the device of intertextuality, Saadi invests ancient Iraqi myths. This article, in which we will discuss the famous Babylonian myth known as Gilgamesh Epic, will refer to Saadi’s use of this device as “the intertextuality of the mobile model.” Compared with conventional types of intertextuality, this type combines between the past text, that is the myth, and the present text, i. e. the poem through three axes. First, the investment of a past myth to serve present purposes; second, the employment of a past myth to read the present and the third axis entails the use of the present for the sake of influencing the present text. The purpose is to illustrate the benefits of the past myths and the mechanisms employed by Saadi Yousef and to examine the goals that have motivated the poet to choose one of the most ancient texts written at all.
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Curtis, James M. "Ephebes and Precursors in Chekhov's The Seagull." Slavic Review 44, no. 3 (1985): 423–37. http://dx.doi.org/10.2307/2498013.
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Harold Bloom's The Anxiety of Influence takes the Freudian concept of an oedipal relationship between father and son as a model for the relationship that exists when one artist, the father figure (or precursor, as Bloom calls him), influences another artist (the ephebe, in Bloom's terminology). Bloom's work provides a desirable redefinition of standard treatments of influence and stylistic change in that it offers a dynamic, rather than a static, paradigm, and denies any simplistic dissociation of the artist as historical figure from the poet as poet. Furthermore, it denies that literary influences can occur as purely verbal processes, and it affirms that the creative process is emotionally charged, like so many other important human experiences.In Anxiety of Influence Bloom states, in typically absolute terms, “Poetic Influence—when it involves two strong, authentic poets,—always proceeds by a misreading of the prior poet, an act of creative correction that is actually and necessarily a misinterpretation.“
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Fantham, Elaine. "Ceres, Liber and Flora: Georgic and Anti-Georgic Elements in Ovid's Fasti." Proceedings of the Cambridge Philological Society 38 (1993): 39–56. http://dx.doi.org/10.1017/s0068673500001619.
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The Georgics stand at the threshold of Augustan literature, the Fasti at its end, but despite Ovid's respect for Rome's first great didactic poem, Lucretius' De rerum natura, and despite all the intervening achievements of Augustan poets in incorporating national and aetiological themes into other poetic genres, Ovid's poem repeatedly acknowledges by echoes of form and theme the primacy of the Georgics as model for his aetiological work.This paper attempts to measure Ovidian response to the Georgics at two levels, the level of formal, verbal allusion and the level of themes and values. I have been led to focus on Ovid's treatment of Ceres/Demeter (and less prominently Liber/Bacchus) because Ceres as teacher of agriculture and benefactor of men is central to Virgil's representation of evolving human culture. But Ceres is equally important to the Fasti (although her sober personality makes her unappealing as a candidate for interview by the poet) as a major deity in the largely rural Roman calendar, as a symbol of the didactic principle, and for her very centrality in the Virgilian poem that Ovid is emulating.
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S. Salman, Dr Khitam. "Hair between wisdom and ignorance of Islam (Poets of the Taif model)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 214, no. 1 (2015): 1–20. http://dx.doi.org/10.36473/ujhss.v214i1.616.
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A piece of wisdom is a contemplative profound look into life and its issues and people and their morals, goals and destinies. It is a call to uncover the truth and present a typical picture of the values of truth, goodness, beauty and lesson-learning. Poets, since the pre-Islamic paganistictimes, have addressed these humane meanings without which they would not be glorified since “Arabs do not consider a poet laureate unless he originates some wisdom in his poetry”. However, wisdom in poetry has not been an independent purpose as was the case for praising, commiseration, satire, flirtation... etc. It was used to be originated casually where the nature of the theme requires it. 
 With the advent of Islam, veteran poets continued decorating their poems with wise implications. Islam had a tangible impact on the meanings and contents addressed by those veteran poets, and on using poetry to fight paganisticideology, and serving Islam. Such wisdom has been maintained eternal as poets of wisdom exceeded the individuality to popularity, so he was honored by the people memorizing his verses and communicating them from generation to another.
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Carolli, Fábio Paifer. "O fragmento de Galo." Nuntius Antiquus 5 (June 30, 2010): 1. http://dx.doi.org/10.17851/1983-3636.5.0.1-19.
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<span style="font-family: Times-Roman; font-size: small;"><span style="font-family: Times-Roman; font-size: small;"><p>ABSTRACT: The few remaining fragments from the works of the Latin poet Cornelius Gallus (c. 70-26 BC), discovered in Egypt in 1978, are presented, translated and analyzed in this paper. The role of these works among the books dated from the time of the poet, as well as some critical appreciation left by poets that lived during the Augustan reign and elected Cornelius Gallus as a model, are also brought into discussion. In addition, a poetic translation is also suggested.</p> <p>KEYWORDS: Cornelius Gallus (c. 70-26 BC); epigram; elegy; poetic translation; elegiac couplet.</p></span></span>
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Kronenberg, Leah. "A PETRONIAN PARROT IN A NERONIAN CAGE: A NEW READING OF STATIUS’SILVAE2.4." Classical Quarterly 67, no. 2 (2017): 558–72. http://dx.doi.org/10.1017/s0009838817000660.
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Critics generally agree that Statius’Silvae2.4, a poem about a dead parrot dedicated to Statius’ patron Atedius Melior, is modelled closely on Ovid'sAmores2.6, a poem about Corinna's dead parrot. In particular, many read Statius’ poem as picking up on the metapoetic strand in the Ovidian model, in which the parrot may be interpreted as a poet-figure, though they also note that Statius’ poem shows more of a concern for the tensions involved in a poet's relationship to his patron (and the emperor). I agree with this general interpretation of the poem and its metapoetic aspect; however, there are some oddities about the dead parrot and its relationship to itsdominusthat have not been fully explained by theories that equate the parrot with either Statius or a non-specific Flavian poet-figure and thedominuswith Atedius Melior or a similar patron-figure. For instance, why is the parrot dead, and why does Statius write an epicedium for it that is similar in tone to the epicedia for dead people inSilvae2? Why is the parrot's relationship to its master an ambiguous one such that his cage can be described as a prison (carcer, 2.4.15), and the master's grief over the parrot's death is never specifically mentioned? Finally, why does the parrot speak the name of Caesar instead of Atedius Melior, the friend of Statius to whom the poem is dedicated?
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Harrison, S. J. "Two Notes on Horace, Epodes (10, 16)." Classical Quarterly 39, no. 1 (1989): 271–74. http://dx.doi.org/10.1017/s0009838800040738.
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Epode 10: the Mystery of Mevius' CrimeHorace's tenth Epode, an inverse propempticon, calls down dire curses on the head of a man named Mevius as he leaves on a sea-voyage.1 Scholars have naturally been interested in what Mevius had done to merit such treatment, but answers have been difficult to find, for nothing explicit is said on this topic in the poem; as Leo noted, ‘[Horatius] ne verbo quidem tarn gravis odii causam indicat’. This is in direct contrast with the Strasbourg epode usually attributed to Hipponax (fr. 115 West), which served as Horace's model in this poem; there it is clear that the similar curses on a departing sailor are caused by his breaking of oaths to the poet and betrayal of their previous friendship (15–16 ⋯ς μ' ἢδίκησε, λ⋯ξ δ' ⋯π' ⋯ρκίοις ἔβη, τò πρίν ⋯ταῖρος ⋯ώμ ). One might expect Horace to give some kind of indirect suggestion of the nature of Mevius’ offence, but even this is despaired of by Fraenkel: ‘There is no hint at the sort of crime which Mevius is said to have committed, nor is anything said about the man himself; he remains an entirely shadowy figure’. The best that scholars have been able to do is to follow the ancient commentary of Porphyrio in suggesting that Horace's Mevius is to be identified with the poetaster attacked by Vergil in Ecl. 3.90 ‘qui Bavium non odit, amet tua carmina, Mevi’. Though it is pleasant to think of Vergil and Horace, perhaps by now friends in the circle of Maecenas, ganging up on a luckless hack, there is, as Fraenkel points out, no mention in the tenth Epode that Mevius is a poet, and his literary incompetence, assuming he is Vergil's poet, does not seem to underlie or indeed warrant the bitter imprecations of the poem: Catullus might wish a dire fate on the works of a bad poet (e.g. Volusius – 36.18–20, 95.7–8), but to long for their author's shipwreck and consumption by gulls might indeed seem excessive.
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Ahmed, Dewlet M. "Saleh Yousify, One of The Pioneers of Romantic Poetry in Behdinan." Koya University Journal of Humanities and Social Sciences 2, no. 2 (2019): 50–60. http://dx.doi.org/10.14500/kujhss.v2n2y2019.pp50-60.
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This study examines the romantic poetry of one of the pioneers of this genre known in the area of Badinan (Saleh Yousif). Saleh Yousif is taken as a model of poets of his time specifically in the area of Badinan. It is the period that gathered the poets of South Kurdistan in general and the poets of the region of Badenin to especially study this new literary type of poetry called romance or doctrine of Romanticism. The living conditions and nature of life at that time were a major factor for the emergence of this poetic doctrine when the poet expressed his situation or a particular idea directly or indirectly so that the reader enjoys this type of poetry. This poetic doctrine had a special framework in terms of quality, principles and the core topics with the mentioned poet because it was related to his private life where he was composing poetry in many periods and of special events to be a model in the portrayal of these events and to gain the interest of readers to reach their goals. The importance of this study, on the one hand, is that it follows the analytical descriptive approach to include the characteristics and types of the texts of the Kurdish romantic literature. On the other hand, this research is to enrich the literature of this topic and assist researchers in the field of literature in general and the romantic doctrine in particular.
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Hexter, Ralph. "The Metamorphosis of Sodom: The Ps-Cyprian ‘De Sodoma’ as an Ovidian Episode." Traditio 44 (1988): 1–35. http://dx.doi.org/10.1017/s0362152900006991.
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The mysteries and challenges presented by the Latin poem known as De Sodoma are many and varied. The identity of its author will likely never be known. Date and place of composition can only be expressed in terms of probabilities, and portions of the poem are extremely difficult to read and interpret. I am currently involved in the preparation of a critical edition, with translation and commentary, of both De Sodoma and its shorter, perhaps superior companion-piece De Iona, in the hope that this might pave the way for easier reading. In the present discussion I also address problems of readability, returning to that aspect of the poem which first attracted my attention and which, on balance, seems to offer the greatest help comprehending it: its relation to Ovid's Metamorphoses. While the poet of De Sodoma makes explicit and dramatic reference to the tale of Phaethon as told by Ovid, Ovid's text functions at a yet more basic level. In my view, the defining characteristic of De Sodoma is its structure as an Ovidian episode. This structure sets it apart from earlier Latin Biblical epics, canonical school texts by the time De Sodoma was composed. Read against the backdrop of its Ovidian model, the poem reveals a unity and coherence which has previously not been recognized, and extends our appreciation of the interests of some early medieval audiences and of the learning and artistry of at least one early medieval poet.
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Rodden, John. "“The Rope That Connects Me Directly with You”: John Wain and the Movement Writers' Orwell." Albion 20, no. 1 (1988): 59–76. http://dx.doi.org/10.2307/4049798.
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No British writer has had a greater impact on the Anglo-American generation which came of age in the decade following World War II than George Orwell. His influence has been, and continues to be, deeply felt by intellectuals of all political stripes, including the Marxist Left (Raymond Williams, E. P. Thompson), the anarchist Left (George Woodcock, Nicolas Walter), the American liberal-Left (Irving Howe), American neoconservatives (Norman Podhoretz), and the Anglo-American Catholic Right (Christopher Hollis, Russell Kirk).Perhaps Orwell's broadest imprint, however, was stamped upon the only literary group which has ever regarded him as a model: the Movement writers of the 1950s. Unlike the above-mentioned groups, which have consisted almost entirely of political intellectuals rather than writers—and whose members have responded to him as a political critic first and a writer second—some of the Movement writers saw Orwell not just as a political intellectual but also as the man of letters and/or literary stylist whom they aspired to be.The Movement writers were primarily an alliance of poet-critics. The “official” members numbered nine poets and novelists; a few other writers and critics loomed on the periphery. Their acknowledged genius, if not leading publicist, was Philip Larkin, who later became Britain's poet laureate. Orwell's plain voice influenced the tone and attitude of Larkin's poetry and that of several other Movement poets, especially Robert Conquest and D. J. Enright. But Orwell shone as an even brighter presence among the poet-novelists, particularly John Wain and Kingsley Amis, whose early fictional anti-heroes were direct descendants of Gordon Comstock in Keep the Aspidistra Flying (1936) and George Bowling in Coming Up for Air (1939).
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Macek, J. H., and W. Ihra. "Threshold law for ionization cross sections in the Temkin-Poet model." Physical Review A 55, no. 3 (1997): 2024–35. http://dx.doi.org/10.1103/physreva.55.2024.
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Cross, Ashley. "Writing Pain: Sensibility and Suffering in the Late Letters of Anna Seward and Mary Robinson." Bulletin of the John Rylands Library 90, no. 2 (2014): 85–110. http://dx.doi.org/10.7227/bjrl.90.2.6.
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‘Writing Pain’ argues that Anna Seward‘s Letters (1811) and Mary Robinson‘s letters (1800) create alternative models of sensibility from the suffering poet of Charlotte Smith‘s Elegiac Sonnets. Immensely popular, Smith‘s sonnets made feminine suffering a source of poetic agency by aestheticizing and privatizing it. However, despite their sincerity, her sonnets effaced the physical, nervous body of sensibility on which Seward‘s and Robinsons early poetic reputations had depended and for which they had been mocked. The popularity of Smith‘s model made it an important model for women poets, but, by the end of the eighteenth century, sensibility was also associated with sickness and artifice. For Seward and Robinson, who wanted to build their literary reputations but were living with disabled bodies, Smiths example needed to be reimagined to account for the reciprocity of body and mind as they struggled to write through pain.
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Saefudin, NFN. "SYAIR NASIHAT SEBAGAI SARANA DAKWAH KEAGAMAAN." UNDAS: Jurnal Hasil Penelitian Bahasa dan Sastra 16, no. 2 (2020): 267. http://dx.doi.org/10.26499/und.v16i2.2514.
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This study discusses about how does advisory poem can be used as religion mission for the readers. The aim of this study is to describe the text of advisory poem that has connection with religion mission. Advisory poem is a work of poet that has important meaning in life. One of the important meaning is as a life guidance and entertainment. Its content can give advices to the readers to do good thing. Advisory poem is important in every aspect of life because in that text there are lots of advices that have aims to give good guidance of life. That is why, a study about advisory poem is important to be done to get deeper meaning of this content. This study uses descriptive qualitative method. It is a method to get information about the content of advisory poem that has religion nuance. The result shows that the description about advisory poem which content of religion advices can be used as model in daily life.
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Shipton, K. M. W. "The ‘Attis’ of Catullus." Classical Quarterly 37, no. 2 (1987): 444–49. http://dx.doi.org/10.1017/s0009838800030639.
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Considerable attention has been paid in recent years to Catullus 63. A number of salient features have been discussed: the psychological study of emotions; the use of animal imagery; the theme of marriage and love. There have also been some helpful studies on smaller, though important, aspects of the poem such as its use of ring composition or Catullus′ inventive treatment of the challenging Galliambic metre. But little work has been done on the literary background of poem 63 apart from the question of whether or not Catullus was following an Alexandrian model. I shall suggest that the basic narrative of the poem, and the way in which Catullus has handled it, have literary antecedents which have influenced the poet. The final product, however, still remains a very original piece of work.
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Hidayati, Hidayati, Zuindra Zuindra, Mayasari Mayasari, Misla Geubrina, and Arifuddin Arifuddin. "The Poor in Thomas Gray’s Elegy Written in a Country Churchyard: Critical Discourse Analysis Approach." LANGUAGE LITERACY: Journal of Linguistics, Literature, and Language Teaching 2, no. 2 (2018): 85. http://dx.doi.org/10.30743/ll.v2i2.717.
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The research deals with the problems of poverty with the aim of revealing the situation of rural people experiencing various shortages throughout their daily needs. This poem is also a personal picture of the poet seeing by firsthand the situation of the marginalized people. Through critical discourse analysis by means of Van Dijk model consisting of three dimensions, namely text, social cognition and social context, the picture of the poor in the poem can be seen clearly. The data used are lines of Stanza No. 13 as a representation of the whole poem. The method used is descriptive qualitative. The results of the research indicate that knowledge or education is not limited to one group, but for all; but in practice the poor do not always get the opportunity to obtain proper education. The voice of the poor is not heard; therefore, they are bound by circumstances and cannot do much. In connection with critical discourse analysis, at the level of text, the general theme is the death and fate of the people on the periphery of the society. In the data related, the theme is the absence of opportunities for the poor to get education; the storyline starts from the causes and consequences of poverty and in the microstructure level there are syntactic and lexicon elements. The level of social cognition describes the close relationship between the poet and the elegy and of social conditions pictures the historical background of the text production.
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Schlesier, Renate. "Platons Erfindung. Des Wahnsinnigen Dichters." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 1 51, no. 1 (2006): 46–61. http://dx.doi.org/10.28937/1000107610.
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Die Charakterisierung des Dichtungsakts als eines Zustands von Vernunftlosigkeit und Ekstasis ist nicht, wie Platon (gefolgt von vielen Interpreten bis heute) behauptet, eine uralte – angeblich auch bei den früheren Dichtern dokumentierte – antike griechische Tradition, sondern eine Erfindung Platons. Dazu gehört auch die Gleichsetzung dichterischer Inspiration mit göttlicher Besessenheit, die Platon als erster vollzieht. Platons subversive Erfindung des wahnsinnigen Dichters steht im Dienst seines Modells des Philosophen, der wie der Dichter über Enthusiasmos verfüge, aber anders als dieser auch über Intellektualität. The characterization of the poetic act as a state of irrationality and ecstasis does not, as Plato pretends (followed by many interpreters until today), correspond to the oldest ancient Greek tradition – allegedly documented by the earlier poets as well –, but is Plato’s invention. As part of this invention Plato identifies for the first time in history poetical inspiration with divine possession. Plato’s subversive invention of the mad poet is the basis for his model of the philosopher who himself shall dispose of enthusiasm, as the poet does, but who shall moreover dispose of intellectuality.
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Sokolov, Danila. "Mary Wroth, Ovid, and the Metamorphosis of Petrarch." Modern Language Quarterly 81, no. 1 (2020): 1–31. http://dx.doi.org/10.1215/00267929-7933063.
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Abstract The language of arboreal metamorphosis in Lady Mary Wroth’s pastoral song “The Spring Now Come att Last” from Pamphilia to Amphilanthus (1621) may invoke the myth of Apollo and Daphne. However, the Ovidian narrative so central to Petrarchan poetics celebrates the male poet by erasing the female voice. This essay instead explores parallels between Wroth’s poem and the metamorphosis of the Heliades, who turn into poplars while mourning their brother Phaeton in book 2 of the Metamorphoses. Their transformation is predicated on an act of female speech, however precarious and evanescent. This alternative Ovidian scenario offers a model of lyric that capitalizes on the brief resonance that the female voice acquires at the point of vanishing. By deploying it in her song, Wroth not only rewrites Petrarch through Ovid in order to articulate a gendered lyric voice but shows herself a poet attuned to the crucial developments in English lyric of the sixteenth and seventeenth centuries, in particular the complex relationship between the Petrarchan and the Ovidian legacies.
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R, Chandrabose. "Inner Spirit of Sree Narayana Guru’s Poetry." Indian Journal of Multilingual Research and Development 2, no. 1 (2021): 10–18. http://dx.doi.org/10.34256/ijmrd2112.
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Sree Narayana Guru’s (1855-1928) position among the renaissance leaders of Modern Kerala is well established. The visions of the Guru, who guided the people trapped in slavery and ignorance to compassion and liberation, were in a sense the corner stones of humanity. At the same time Sree Narayana Guru was a spiritual leader, social reformer, philosopher and poet. Guru’s active work was form the revolution at Aruvippuram in 1888, which dedicated the temple to the untouchables. As a result of the spiritual and worldly activities of Guru, Kerala has become a model state in India. It is no exaggeration to say that Guru’s action plan for transformation in the fields of customs, belief, thought, education, culture, employment and industry have made Kerala a modern society. Guru’s influence on the renaissance of Malayalam Literature as well as on the Kerala renaissance is acknowledged. But the contributions of Guru, as a poet has not been adequately evaluated. here is an explanation of the magnetic force of Guru’s poem, that unleashed the socio-political structure and world consciousness.
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Pallavi, Kiran, and Rahman Mojibur. "A preliminary pragmatic model to evaluate poetry translation." Babel. Revue internationale de la traduction / International Journal of Translation 64, no. 3 (2018): 434–63. http://dx.doi.org/10.1075/babel.00046.pal.
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Abstract The article presents a Preliminary Pragmatic Model (PPM) with the practical levels of pragmatic features. Poetry translation pose great difficulty in retaining the ‘extra-linguistic features’ of the source text and target text. When placing more emphasis on linguistic features, ‘extra-linguistics’ are ignored by the evaluators. This lack is largely due to the non authentication of pragmatics of the languages involved and the non-development of ‘extra-linguistic’ parameters for evaluation. Focusing on this fact, the study takes pragmatic as the common denominator between poetry and translation, and develops a pragmatic model. The model adopts the concept and objective from the prominent Translation Quality Assessment (TQA) model of Juliane House, and the two models of Hossein Vahid Dastjerdi and his team: (a) Practical Model for Translation Analysis and Assessment of Poetic Discourse, and (b) Semiotic Model for Poetry Translation. The model is an extended part of Vahid’s model with pragmatic (features) layering. The article is prefaced with a brief description of the pragmatic features and functions to explain how and why it matters to compare poetry translation. Later, the effectiveness of the model is tested with a randomly-selected short poem by Gulzar and its English translation by Nirupama Dutt. Gulzar is an Indian poet writing in Hindustani (a mix of Hindi and Urdu). Versing mostly in free style, he makes his poems pragmatically poignant with unusual imagery. Evaluating his poems through the model verifies its working. The findings (tabulated, compared, and discussed) show literal translation of metaphors that becomes displaced as well as losing the sense in the poem. Thus, the translation misses the pragmatic force of Gulzar’s philosophy and does not achieve dynamic equivalence. The study recommends the application of pragmatic procedure for evaluation of poetry translation and offer new possibilities in translation research.
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Choroszy, Jan A. "Paternoster, or Invective by paradigm." Oblicza Komunikacji 12 (June 24, 2021): 417–32. http://dx.doi.org/10.19195/2083-5345.12.29.
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The poem Apostrofa (na czas stanu wojennego) by Father Kazimierz Wójtowicz was published in the collection of poems Odpisy Nadziei in Vienna in 1982. The artist is a Catholic monk (a Resurrectionist) and a poet with considerable achievements, acknowledged in the so-called priestly poetry (Krzysztof Dybciak, Bożena Chrząstowska), but going beyond the features of its style through the connection with linguistic poetry and the New Wave poetics. The author of the article attempts to recognize the phenomenon of the text, which belongs to the realm of martial law literature and in which the poet expresses a politically and morally motivated reprimand addressed to General Jaruzelski through the pattern of Pater noster — the most important Christian prayer. The foundations of the strategy implemented in Apostrofa are: the shift of meanings (“Our Stepfather” as an invective), the reference to the language of values, the use of several rhetorical figures (including figures of thought and aversio), as well as the reference to the Lord’s Prayer in the form of reactivating a separate literary genre (pacierz — Lord’s prayer) in its serious and exhorting variant (paternoster — ‘scolding’ prayer). With such an approach, the text of Our Father cannot be perceived as the subject of occasional intertextual stylization (parody, travesty or burlesque), the matrix of a pamphlet or a pasquil, but rather as the root paradigm (“the cultural model of behavior”; Victor Turner’s concept) defining a universal ethical horizon for Wójtowicz’s poem.
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Sergodeev, Ilya, and Natalya Olizko. "The Semantic Complex of Dominant Units in Emily Dickinson’s Parting in the Light of the Theory of Intertextuality." Nizhny Novgorod Linguistics University Bulletin, no. 49 (March 31, 2020): 104–30. http://dx.doi.org/10.47388/2072-3490/lunn2020-49-1-104-130.
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The article studies the dynamics of the semantic complex of poetic texts’ dominant units. A dominant unit is a lexical item or a group of lexical items, which have dictionary and non-dictionary meanings in a given context due to their intertextual links to units of texts referred or alluded to by the poet (address texts). Since a dominant unit is an intertextual unit, the article provides a typology of intertextual relations which includes types of autho- (self-quotations, self-allusions), in- (quotations, allusions), para- (structural and compositional units of a text such as a title, an epigraph, etc.) and arch-textual relations (imitation of genre; referring to well-known word pictures or cultural phenomena). The author goes on to define intercontextuality as a concept functionally opposite to the intertextual type of textual relations, and proposes a model for analysis and synthesis of contextual meanings of poetic texts’ dominant units. The process consists of five basic steps: splitting a given poetic text into fragments; conducting contextual analysis of each lexical item in the specified fragment; looking for and defining intertextual relations between the dominant unit under analysis and units of address texts; conducting contextual analysis of address texts; and, finally, synthesizing, bringing together all obtained contextual meanings. The practical part of the research includes analyzing the poem Parting by an American poet Emily Dickinson with the focus on the poetical image life closed twice before its close and nouns Immortality, Heaven, and Hell. Intertextual relations of Parting link it with other poems by E. Dickinson as well as texts of letters written by the poet.
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Lerche, Veronika, Ursula Christmann, and Andreas Voss. "Impact of Context Information on Metaphor Elaboration." Experimental Psychology 65, no. 6 (2018): 370–84. http://dx.doi.org/10.1027/1618-3169/a000422.
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Abstract. In experiments by Gibbs, Kushner, and Mills (1991) , sentences were supposedly either authored by poets or by a computer. Gibbs et al. (1991) concluded from their results that the assumed source of the text influences speed of processing, with a higher speed for metaphorical sentences in the Poet condition. However, the dependent variables used (e.g., mean RTs) do not allow clear conclusions regarding processing speed. It is also possible that participants had prior biases before the presentation of the stimuli. We conducted a conceptual replication and applied the diffusion model ( Ratcliff, 1978 ) to disentangle a possible effect on processing speed from a prior bias. Our results are in accordance with the interpretation by Gibbs et al. (1991) : The context information affected processing speed, not a priori decision settings. Additionally, analyses of model fit revealed that the diffusion model provided a good account of the data of this complex verbal task.
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O’Halloran, Kieran. "Creating a film poem with stylistic analysis: A pedagogical approach." Language and Literature: International Journal of Stylistics 24, no. 2 (2015): 83–107. http://dx.doi.org/10.1177/0963947015571022.
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A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imaginatively. As with other film poems, the student creates a series of cinematic images and connects them to the poem’s lines, activating new meanings in them. In contrast with the traditional construction of film poems, the procedure involves another stage – the student also connects the images they have created to the poem’s stylistic detail. In turn, as I show, this extra connection helps drive the film’s narrative, adding to the creativity of the film. This staged procedure is different from established (pedagogical) stylistic practice where interpretation and stylistic analysis of a poem are simultaneous, with the stylistic analysis providing support for the burgeoning interpretation. To model this student assignment, I produce a film script of Philip Larkin’s poem, ‘Wants’. The script depicts the activities of a serial killer; some readers may find the script graphic.
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Ghione, Paola. "Semiotics of mimesis and communicative relationship among texts: Ekphrasis and replication between Hesiod and Homer." Sign Systems Studies 38, no. 1/4 (2010): 186–209. http://dx.doi.org/10.12697/sss.2010.38.1-4.07.
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The Shield of Heracles by Hesiod and Homer’s Iliad, XVIII show how mimesis should be considered: it is a process that should be seen different according to the levels that it refers to. There is one object constructed by a craftsman (first level of representation), after that a poet may write about this object and its construction (second level of representation). Then yet another poet could write, on the model of the previous text, his poem with his personal idea. Explaining first, the meaning of representation, arts and mimesis in Plato (Ion, Phaedrus, Cratylus, Sophist, Laws, Republic-Book X) and in Aristotle (Poetics, Nichomachean Ethics), I would like to explain how mimesis was considered according to the terms of form and representation. After that I would carry out a textual analysis of The Shield of Heracles and Iliad, to demonstrate that even if Hesiod’s text is quite similar to Homer’s, the context, the meaning, the background of the authors and the narrative structures are different. The different levels of pertinence and the different points of view demonstrate that mimesis is not a process that produces hierarchy in retrospect, but it is something heading to the direction of what “it is not created yet”.
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Penev, Kaloyan, Michael Zhang, and Brian Jackson. "POET: A Model for Planetary Orbital Evolution Due to Tides on Evolving Stars." Publications of the Astronomical Society of the Pacific 126, no. 940 (2014): 553–64. http://dx.doi.org/10.1086/677042.
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Waalkes, Phillip L., Daniel A. DeCino, and L. DiAnne Borders. "The found poet: a new role for the structured peer group supervision model." Journal of Poetry Therapy 31, no. 1 (2017): 15–25. http://dx.doi.org/10.1080/08893675.2018.1396727.
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Konovalov, D. A., and I. E. McCarthy. "Convergent J-matrix calculation of the Poet-Temkin model of electron-hydrogen scattering." Journal of Physics B: Atomic, Molecular and Optical Physics 27, no. 14 (1994): L407—L412. http://dx.doi.org/10.1088/0953-4075/27/14/017.
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Classen, Albrecht. "Der Stadt-Igel - ein kulturhistorisches Modell für Deutsch als Fremdsprache." Futhark. Revista de Investigación y Cultura, no. 8 (2013): 87–103. http://dx.doi.org/10.12795/futhark.2013.i08.05.
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We have known already for a long time the concept of the "WortIgel" (Word-Hedgehog), and here I introduce the "Stadt-Igel" (CityHedgehog), a pedagogical model with which the teaching of language can be easily combined with the teaching of cultural history and "Landeskunde" (regional and cultural studies). Since the twelfth century cities have become decisive factors in cultural history: most of literature, architecture, art, and music were created there. The "City-Hedgehog" functions in such a way that we choose one city for one German composer/poet. On that basis we can develop countless associations. Moreover, most composers/poets moved from place to place, which allows us, when we pursue a biographical perspective, to develop a whole networtwork of art and city life. In addition, the focus on one artists and poets, to historical events and developments. The City-Hedgehog city makes it possible to create quickly connections to other allows students to perceive better the organic-historical growth of cultural history and to trace that to some extent themselves in working groups
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Juvan, Marko. "The Aesthetics and Politics of Belonging: National Poets between “Vernacularism” and “Cosmopolitanism”." arcadia 52, no. 1 (2017): 10–28. http://dx.doi.org/10.1515/arcadia-2017-0002.
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AbstractJameson’s concept of modern third-world literature as national allegory is also pertinent for the 19th-century peripheries of the first-world literature. Aware of their dependence on imperial powers, the protagonists of (semi)peripheral national movements longed for the recognition of their nascent collective identity by the lawgiving Other – the symbolic order of ‘universal’ tradition. The figures of “national poets” (Nemoianu) were invented to represent their respective nations to the gaze of the Other, symbolized by the emerging world literature and empowered through the inter-state system dominated by the core countries. In a secular parallel to the canonization of saints in the Catholic Church, “worlding” (Kadir) a national poet was crucial in the (unfulfilled) longing for his/her universal acknowledgment as belonging to the hyper-canon. While several national poets involved in national movements showed a “vernacular” tendency (Terian), Schiller and Goethe represented the more “cosmopolitan” model of a national classic. Such ‘affiliation’ to the universal aesthetic canon is also characteristic of the politics of Slovenian romantic movement and its poet, France Prešeren. Although Prešeren’s poetry, which was exposed to Austrian censorship, only sparsely employs an explicit political discourse, his imaginary worlding and intertextual transfer of universal aesthetic repertoires from the established literatures into a Habsburg periphery fashioned a cosmopolitan strategy of cultural nationalism. Prešeren has been venerated in Slovenia since the late 19th-century as the singular national classic whose oeuvre compensates for the apparent lack of classical and modern traditions in Slovenian and deserves to be recognized worldwide.
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KUPCHIK, Elena V. "METAPHORICAL MODELS WITH THE HUMAN SUBJECTIVE ZONE IN THE POETRY OF A. MARIENGOFF AND S. YESENIN." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 2 (2021): 23–41. http://dx.doi.org/10.21684/2411-197x-2021-7-2-23-41.
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This article analyzes the metaphorical models with the subject “human” and “part of the body” in the poetry of A. Mariengof and S. Yesenin. The object of the research is comparative paths in which metaphorical models are realized. Based on the consideration of metaphors and comparisons, metaphorical models are isolated and characterized, reflecting the connection between two conceptual areas. The comparison of metaphorical models in the poetry of A. Mariengof and S. Yesenin is carried out, the features of similarity and difference are highlighted. It was revealed that both poets pay considerable attention to a person as a subject of figurative comparisons. The model “human — being” is represented by comparisons with different representatives of the fauna, the semantics of images of which in poetic systems do not coincide. The most important for the authors figurative correspondences of a person, the most significant for each poet, subjects and objects of comparison are determined. The model “human — plant” occupies an important place in the figurative world of S. Yesenin, A. Mariengof mainly uses comparisons with objects of inanimate nature. Models with the subject “part of the body” are characterized by a variety of comparison subjects, especially in the poetry of A. Mariengof. The somatic vocabulary which is used by the authors is considered. Cases of combination in the realizations of metaphorical models of high and low are noted. Figurative correspondences through which poets characterize themselves are identified.
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Valazza, Nicolas. "Veine de marbre et veine poétique: Clésinger, Baudelaire et la chair de la Présidente." Nottingham French Studies 58, no. 2 (2019): 198–209. http://dx.doi.org/10.3366/nfs.2019.0248.
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Apollonie Sabatier, known as ‘la Présidente,’ served as model, among others, for the statue of the Woman Bitten by a Snake by Clésinger, and inspired the poem À celle qui est trop gaie by Baudelaire, two works deemed scandalous at the time of their exhibition and publication. Clésinger's statue gave notably rise to a heated debate in the press in 1847, while Baudelaire's poem was censored following the trial of Les Fleurs du Mal in 1857. The scandals provoked by these works present striking analogies: the sculptor and the poet were both accused of transgressing the boundaries of their respective arts by contaminating their works with the model's flesh. In light of the critical debate and the proceedings of the trial, this article examines how these works, which prefigured, despite their purposes, the quarrel of Realism, thematize this contamination of art by the flesh, while concealing it.
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Roiniță, Alina. "Poetical patterns in Nichita Stănescu’s poems." Journal of Education Culture and Society 7, no. 2 (2016): 316–27. http://dx.doi.org/10.15503/jecs20162.316.327.
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Through our study we have established a potential pattern of analysis over the aspect of poetical language. The theme was determined by the purpose of implementing the particular linguistic model created by N. Stănescu, which we call the nichitastănescu pattern. We exemplified the model by identifying the compositional values and the structures that contribute to the creation of a linguistic frame built to measure the main semantics, through which the poetical language is internalized and aestheticized. We also use a specific poetical construction model based on the triadic analysis pattern proposed by the French semiotics group entitled Groupe μ, in their collective work Rhétorique de la poésie: lecture linéaire, lecture tabulaire, published in 1977. The value of this study consists in a detailed view over the textual dimensions of expressiveness and significations in the poetical language used by Nichita Stănescu. Throughout his lyrics, the named poet reveals the uniqueness of his specific poetical language in contrast with other Romanian poets.
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Eralin, K. "Artistic Dimension of the Image of Abay in the Visual Arts." Turkology 6, no. 104 (2020): 136–49. http://dx.doi.org/10.47526/2020/2664-3162.024.
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The article defines the concept of "image", "artistic image", "portrait", "artistic dimension" in visual art. It indicates the artistic activity of masters of graphics, painting, sculpture, applied art to create an artistic image of the great poet of the Kazakh people. The author concretizes the units of artistic measurement of the image of the poet of the great steppe in the visual arts in the dimension: idea, composition, color, and technique of execution. The methods of artistic measurement in the works of graphic artist Abilkhan Kasteev, Yevgeny Sidorkin, painter Nagimbek Nurmukhammedov, and sculpture of Khakimzhan Nauryzbayev are determined. The model, program and method of artistic measurement of the poet's image are characterized. The results of an experimental study on the study of the image of Abay in visual art are analyzed. It offers methodological recommendations for studying the artistic image of the great poet Abay as a means of artistic education and aesthetic education of the younger generation.
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Eralin, K. "Artistic Dimension of the Image of Abay in the Visual Arts." Turkology 6, no. 104 (2020): 136–49. http://dx.doi.org/10.47526/2020/2664-3162.024.
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The article defines the concept of "image", "artistic image", "portrait", "artistic dimension" in visual art. It indicates the artistic activity of masters of graphics, painting, sculpture, applied art to create an artistic image of the great poet of the Kazakh people. The author concretizes the units of artistic measurement of the image of the poet of the great steppe in the visual arts in the dimension: idea, composition, color, and technique of execution. The methods of artistic measurement in the works of graphic artist Abilkhan Kasteev, Yevgeny Sidorkin, painter Nagimbek Nurmukhammedov, and sculpture of Khakimzhan Nauryzbayev are determined. The model, program and method of artistic measurement of the poet's image are characterized. The results of an experimental study on the study of the image of Abay in visual art are analyzed. It offers methodological recommendations for studying the artistic image of the great poet Abay as a means of artistic education and aesthetic education of the younger generation.
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Ganin, Maxim V. "“Singing mountains” in the late Khlebnikov’s poetic manner: geognostic code in the autocommunicative model." RUDN Journal of Studies in Literature and Journalism 25, no. 2 (2020): 214–25. http://dx.doi.org/10.22363/2312-9220-2020-25-2-214-225.
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This article analyzes the peculiarities of realization of the motif of singing mountains (and its variations) in the later period of artistic and philosophical searches of Russian poet and thinker, one of the originators of futuristic movement - Velimir Khlebnikov. Representations of the geognostic code are given in the paradigm of autocommunicative model peculiar to philosophical and aesthetic thinking of the poet. The actuality of the work is determined by the insufficient previous study of the problem of functioning of geognostic elements in the Khlebnikovs universe, as well as the importance of studying the autocommunicative strategies implemented in poetic texts with a complex structure and a high degree of encryption of the material. Structural semiotic and mythopoetic approaches together with elements of textological and componential analysis methods allowed to reveal mythopoetic motifs that are structurally and typologically close to the phenomenon of singing mountains. Based on the consideration of the post-revolutionary works of rechetvorets (wordwright) an assumption is made that their geognostic motifs can be configured both at the level of mythopoetic units and additional codes, and of natural objects that become independent communicators (addressant and addressee) in the system I - I. The contours of intertextual field analysis in the space of implementation of the considered motif are outlined.
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Miyashita, Naoyuki, Daiji Kato, and Shinichi Watanabe. "Quantum diffraction and threshold law for the Temkin-Poet model of electron-hydrogen ionization." Physical Review A 59, no. 6 (1999): 4385–89. http://dx.doi.org/10.1103/physreva.59.4385.
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Temkin, A., J. Shertzer, and A. K. Bhatia. "Extension of the Temkin-Poet model toL>0partial waves: The generalized exchange approximation." Physical Review A 57, no. 2 (1998): 1091–95. http://dx.doi.org/10.1103/physreva.57.1091.
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Castaño Trias, Marta. "Les giletes de Francesc Fontanella com a model d’una literatura catalana culta." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (December 6, 2017): 87. http://dx.doi.org/10.7203/scripta.10.10368.
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Resum: Francesc Fontanella va escriure un total de 77 poemes amorosos dirigits a Gileta. El conjunt poètic de les giletes (denominat així pel criptònim de la dama) conforma un dels blocs de la seva producció literària que compta amb una transmissió manuscrita i impresa més àmplia; en alguns dels manuscrits unitaris fins i tot tenen una portada pròpia. Una altra prova del ressò cultural dels poemes a Gileta són les mostres d’imitacions d’autors anònims que s’inspiren específicament del conjunt fontanellà que s’han conservat en diversos manuscrits i que representen, des de perspectives molt diferents, l’herència del poeta barroc barceloní en la literatura catalana. Paraules clau: barroc, giletes, poesia amorosa, Francesc Fontanella, imitacions. Abstract: Francesc Fontanella wrote 77 love poems dedicated to Gileta. The group of poems called giletes (because of the name of the pseudonym of the lady) became one of the most copied parts of his literary production in manuscripts and in printed materials; in some of the unitarian manuscripts they even have their own cover. The imitations of the anonymous authors who are specifically inspired by the work of Fontanella also prove the cultural impact of the poems to Gileta. These imitations have been copied in several manuscripts and they represent, from different points of view, the legacy of the Barcelonan baroque poet in the Catalan literature. Keywords: baroque, giletes, love poetry, Francesc Fontanella, imitations.
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Requesens, Joan. "Jacint Verdaguer, un poeta teresià fora vol." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 6, no. 6 (2015): 190. http://dx.doi.org/10.7203/scripta.6.7830.
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Resum: Aquestes pàgines fan una anàlisi de les veus poètiques –a través de les tres veus gramaticals– que parlen en una dotzena de poemes de Jacint Verdaguer dedicats a Teresa de Jesús. El resultat aporta llum sobre una original relació de devoció religiosa que el poeta li professava i, de més a més, revela que la monja carmelita va convertir-se en el seu model d’aspiració a tenir una vivència, com ella, mística. Paraules clau: Veu poètica, desig místic, lèxic significatiu Abstract: These pages make an analysis of the poetic voices -through the three gramatical voices- that speak, in a dozen of poems of Jacint Verdaguer, dedicated to Teresa of Jesus. The result sheds light about an original relationship of religious devotion that the poet professed to her, and also it reveals that the Carmelite nun became his aspiring model to have, as she had, a mystique experience. Keywords: Poetical voice, mystical desire, significant lexicon
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Smagina, Svetlana A. "Gender Analysis of the Film “The Poet and the Fallen Soul”." Journal of Flm Arts and Film Studies 9, no. 2 (2017): 22–33. http://dx.doi.org/10.17816/vgik9222-33.
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The article deals with the representation of the feminine gender model in pre-Revolutionary Russian cinema. The image of a prostitute and the factors of its shaping are explored. One of the most interesting phenomena in focus is the feminine image created by Alexander Blok. Boris Tchaikovskys film The Poet and the Fallen Soul (1918) representing this tendency is analysed in the article.
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Feldherr, Andrew. "Non inter nota sepulcra: Catullus 101 and Roman Funerary Ritual." Classical Antiquity 19, no. 2 (2000): 209–31. http://dx.doi.org/10.2307/25011120.
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According to many recent interpretations of Catullus 101, the ritual performance it describes serves primarily as a foil, highlighting the greater expressiveness and communicative power of the poem itself. I argue instead for using the complexities of Roman funerary ritual as a model for understanding the poem's ambiguities. As funerary offerings at once establish a bond between family members and the dead and affirm a distinction between them that allows the survivors to rejoin the society of the living, so the poem articulates a tension between assertions of the brother's absence and intimations of his presence as addressee, even as speaker. Similarly, the split between the poem's fictional context as a one-time-only farewell to the brother and its existence as a repeatable literary artifact further accentuates the double allegiance of the poet. In the second section I consider how the poem, without being an epitaph itself, fulfills the functions of an epitaph, by allowing for the re-performance of the ritual, constructing the opposition between permanence and temporality present in the epitaph/monument complex, "inscribing" the brother's death at the prominent literary "crossroads" of the beginning of the Odyssey, and finally making the commemoration of the brother performed through each reading of the poem a sacrum that builds its audience into a community.
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Nagumanova, Elvira F. "The Poetics of Gatash in Russian Translations." Polylinguality and Transcultural Practices 16, no. 2 (2019): 266–75. http://dx.doi.org/10.22363/2618-897x-2019-16-2-266-275.
Full textAbstract:
The article is devoted to the consideration of the genre nature of ghazal in Tatar literature of the late XX - early XXI centuries. The focus of research attention is the work of Radif Gatash, whose works are a model of love lyrics. The national poet was able to accommodate new techniques in the traditional genre, to uncover the problems facing modern society. The language of his works is metaphorical, different layers of vocabulary are skillfully combined in the text: the sublimely high-flown style coexists with a “simple” word. The author of the article aims to reveal the principles of the translation of Gatash’s poetry into Russian. In the course of a comparative analysis of the works of V. Khamidullina and A. Karimova, it is concluded that the Russian-speaking audience has the opportunity to experience the full peculiarity of the ghazals of the modern Tatar national poet. At the same time, as the study shows, the installation of the poet-translator itself plays an important role, whose creative search inevitably leads to liberties and transformational changes, which is especially noticeable in the translations of V. Khamidullina.