Relevant bibliographies by topics / Poetic forms

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

Academic literature on the topic 'Poetic forms'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Poetic forms"

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Elliot, Alistair. "Translating Poetic Forms." Translation and Literature 2, no. 2 (September 1993): 67–83. http://dx.doi.org/10.3366/tal.1993.2.2.67.

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Glaser, Ben. "Forms of Poetic Attention." Genre 53, no. 3 (December 1, 2020): 241–46. http://dx.doi.org/10.1215/00166928-8847188.

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Tavlin, Zachary. "Forms of Poetic Attention." Comparative Literature 73, no. 4 (December 1, 2021): 506–8. http://dx.doi.org/10.1215/00104124-9313157.

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Romanyshyn, Nataliia I. "ANTIQUITY AND ENGLISHNESS AS LITERARY AESTHETIC FORMS OF NATIONAL IDENTITY IN JOHN KEATS' POETRY." MESSENGER of Kyiv National Linguistic University. Series Philology 23, no. 1 (July 3, 2020): 41–50. http://dx.doi.org/10.32589/2311-0821.1.2020.207226.

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AbstractThe paper focuses on the study of John Keats' poetic world shining with Antiquity and Englishness. Studyingthe ways of poetic embodying of these two concepts the paper assumes that Antiquity and Englishnessare considered to be literary aesthetic forms of expressing the national identity in poetic text. Based onthe cognitive poetics and literary studies the paper generates the idea of Keats' world perception and the meansof its verbalization in the text.RésuméThe paper focuses on the study of John Keats' poetic world with its Antiquity and Englishness.Studying the ways of poetic embodying of these two concepts the paper assumes that Antiquity andEnglishness are considered to be literary aesthetic forms of expressing the national identity in poetictext. The matter is that each poet makes his own unique poetic world, based on his personal experience,his personal background. John Keats creates antique imagery and in his own artistic way depictsreminiscences of ancient mythology and art. The paper analyses the ways of depicting this antiqueimagery and its functions in literary text. Based on the cognitive methods of literary and linguisticanalysis of poetic texts the paper generates the idea of author's perception, understanding andverbalization of the sense of national universe and human existence laws.The dissemination of antique images in Keats' poetry produces an effect of intertextuality.The aesthetic and pragmatic functions of images reflect the author's individual understanding of interactionbetween a human being and the national environment. This poetic intertextual power fosters theperceptionof cultural space of the motherland as an organic unity of "the domestic" and "the strange".Chronotopes and realia in Keats' poetry: 1) favor the embodiment of universal symbolicmeaning both in specifically ethnic, folklore and well-known, prominent ancient imagery forms, whichresults in semantic diversity; 2) create an effect of intertextuality; 3) perform evaluative pragmaticfunction. Keats uses the antique poetic palette for the creation of multilayer, versatile backgroundof panorama, which depicts the portrait of his own motherland underlying social, cultural, historicaland ideological implications of these images in the poetic texture. National identity is manifestedin Keats' poetic discourse by semantic superpositions and transformations of imagery poetic forms,which verbalize the concepts of Antiquity and Englishness.
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Mann, Iurii. "The Dynamics of Poetic Forms." Russian Studies in Literature 35, no. 1 (December 1998): 24–27. http://dx.doi.org/10.2753/rsl1061-1975350124.

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Bruce, Anne, and Coby Tschanz. "Poetic Forms: Shaping Aesthetic Knowing." Journal of Nursing Education 52, no. 9 (September 1, 2013): 543–44. http://dx.doi.org/10.3928/01484834-20130822-12.

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Patke, Rajeev S. "Yeats: Prosody and Poetic Forms." Yeats Journal of Korea 37 (June 30, 2011): 25–60. http://dx.doi.org/10.14354/yjk.2012.37.25.

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Schweppenhäuser, Jakob. "Poetikkens kunstformer: Om forholdet mellem poesi og poetik i Niels Lyngsøs MORFEUS." K&K - Kultur og Klasse 37, no. 108 (August 22, 2009): 160–87. http://dx.doi.org/10.7146/kok.v37i108.22002.

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Art Forms in Poetics: On the Relationship between Poetry and Poetics in Niels Lyngsø’s MORFEUS:In Denmark, the genre of poetics has to a high degree developed into poets’ own reflections on their literary work and working process. This turn has resulted in a textual hybridity, restlessly oscillating between essayistic-theoretical orientation and poetic discourse. It has been pointed out that scholars have generally failed to pay attention to the artistic elements of such poetological writings. This is where this article takes its point of departure, probing Danish poet Niels Lyngsø’s abundant, complex and ambitious bastard piece MORFEUS from 2004 – a blend of visual poetry, sonnets, associative lists, essays on literature and the arts and many other forms. Inserted in a slipcase, the large quadratic, unpaged sheets, fastened with metal rings, seem extremely tactile; the reader becomes a percipient, a sensing body. As the poetry and the poetics are inseparably wrapped in each other, the poetic, sensuous perception mode is encouraged to be transferred to the ordinarily content-orientated reading of theoretical reflections. The point is now that this transfer turns out to be fruitful: the poetic function is at times strikingly operative. Passages where this is the case are analysed profoundly and the implications and perspectives of this fusion of poetry and poetics are unfolded.
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Vinokurova, Antonina Afanas'evna, and Anna Igorevna Oshchepkova. "The metaphorical nature of V. Lebedev 's lyrics." Филология: научные исследования, no. 12 (December 2023): 96–105. http://dx.doi.org/10.7256/2454-0749.2023.12.69111.

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The authors examine the poetics of metaphor in the lyrics of V. Lebedev, one of the founders of the Even literary tradition. Vasily Dmitrievich Lebedev is a collector of Even folklore, a linguist who creatively reworked and adapted the spiritual heritage of his people in modern poetic forms, thereby breathing new life into the epic and song oral creativity of the Evens. The peculiarity of the poetic style of V. Lebedev, as a representative of young-written literature, is the orientation to folklore poetics. It is metaphoricity that is a characteristic feature of the poet's individual manner. Metaphors in Lebedev 's poetry have a number of features: the transfer of signs of the external world to the phenomena of mental life; folklore character of the metaphor; metaphors that create its unique poetic style; grammatical construction of the metaphor, poetic syntax of the text. The methodological basis of the study is the individual provisions of the works of A.N. Veselovsky, V.M. Zhirmunsky, V.F. Asmus, used in the work as methodological guidelines and premises for specific textual analysis. The research methods are determined by the nature of the text material. The novelty is due to the understanding of the lyrics of the Even poet V. Lebedev as a representative of young-written literatures. The artistic and visual means used by the poet reveal him as a talented master of words and an expert in his native Even language. On the one hand, the poetics of his works form an idea of the poet's individual style. At the same time, Lebedev is a follower of folklore poetics, focusing on the formulaic language of oral tradition. In this context, the metaphoricity of his poetic texts is of particular importance. Let's consider separately the metaphoricity of Lebedev's lyrics. The poetry of the Even writer is distinguished by the allegorical nature of the word, which is needed for a strong emotional impact, to create a visual image, a vivid artistic impression. In the poetry of Vasily Lebedev, we have identified the most interesting metaphors that create his own special author's style.
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Valentini, Jordi. "giovane poesia nella Svizzera italiana." Polisemie 2 (November 10, 2021): 159–75. http://dx.doi.org/10.31273/polisemie.v2.844.

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The article provides a broad overview of the poetry produced in Italian-speaking Switzerland over the past twenty years. The first part presents three channels of poetry dissemination (journals, editorial projects, and literary festivals) both within and outside the Swiss-Italian territory. The second part reflects on some critical readings of Swiss-Italian poetry and addresses the reasons why some forms of poetic writing have appeared later or to a lesser degree within the Swiss territory than they have in Italy, despite the two countries’ proximity. From this analysis, it is argued that the lack of strong counter styles in Swiss-Italian poetry has hindered the development of more mature and diverse forms of poetic expression. In the conclusion, it is argued that the non-use of digital resources for poetry production and dissemination in Italian-speaking Switzerland, as well as an often short-sighted cultural policy, are other important points to address in order to promote dialogue within and beyond the Swiss-Italian border. L’articolo fornisce una panoramica ampia della poesia prodotta nella Svizzera italiana negli ultimi vent’anni. La prima parte indaga tre principali canali di diffusione (riviste, case editrici, festival letterari) dentro e fuori il territorio della Svizzera italiana. La seconda parte riflette su alcune letture critiche della poesia nella Svizzera italiana e cerca di stabilire le ragioni per cui alcuni tipi di scrittura poetica siano giunti tardi o poco sul territorio svizzero rispetto all’Italia, nonostante la vicinanza tra i due paesi. Da questa analisi, si argomenta che la mancanza di controtendenze forti nella poesia nella Svizzera italiana abbia impedito lo svilupparsi di forme di espressione poetica più mature e diverse. In conclusione, si ritiene che il mancato uso di strumenti digitali per la produzione e la disseminazione della poesia nella Svizzera italiana, oltre che una politica culturale spesso poco lungimirante, siano temi importanti da affrontare per promuovere dialogo dentro e oltre il confine della Svizzera italiana. English title Young Poetry in Italian-speaking Switzerland. Publishing Strategies and Critical Readings
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Dissertations / Theses on the topic "Poetic forms"

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Watt, Nuala Catherine Morley. "Partial sight, dependency and open poetic forms." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6289/.

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This thesis aims to characterize the poetics of partial sight. It first places these poetics within a theoretical framework and then enacts them in a collection of poems. The thesis treats partial sight not primarily as a physiological fact but rather as symbolic of the limitations of human vision. It draws inspiration from the Homeric epics, which acknowledge these limits and show the dependency they bring, whether on the Muse or on other factors external to the poet’s conscious self, as central to poetic composition. The persistent trope of the blind poet, who loses his sight but gains creative vision, highlights links between partial sight and the partial apprehension that poets experience as they engage with an emerging poem. Both situations highlight the partial nature of human perception in a mysterious world and both necessitate dependency on factors beyond the self for success. Critically and creatively the thesis charts an evolving awareness of the importance of partial sight in poetic composition. This awareness has gradually inspired perspectival and methodological changes. The project began as a desire to challenge those poetic representations of blindness that cast it less as a valuable creative perspective than as a symbol of anxiety about dependency and consequent lack of agency. Early versions of the thesis sought to challenge this pattern by asserting the selfhood of figures with visual impairment as part of a disability-based identity poetics. This practice encouraged the use of relatively closed forms that stressed a speaker’s personal vision. However, as the thesis developed it took more account of the power dynamics that underpin poetic form. It became apparent that an overly closed approach could undermine the project’s aims by replicating poetic practices that have facilitated the use of blindness in poetry as an edifying spectacle for sighted readers. Such formal choices can also create a sense of certainty that troubles an aesthetic of partial sight. Moreover, the thesis argues that to confine discussions of partial sight to identity poetics radically restricts our understanding of the poetics of partial sight, dependency and open forms and leaves these poetics insufficiently imagined. It draws on the work of Alan Grossman, Rae Armantrout and Larry Eigner among others, to reimagine partial sight and dependency as a route to poetic knowledge. The poetry collection moves from exploring partial sight as a source of identity to using the combination of partial sight and dependency as a generative principle. Different poems express this principle through troubled syntax, variable lineation and the deformation by erasure of pre-existing texts on blindness. The thesis seeks to demonstrate that partial sight and dependency are experiences shared by, and relevant to, all writers and readers of poetry. It returns to an earlier understanding of these factors, which sees them not as sources of social anxiety, but rather as creative catalysts that open the way to new poetic possibilities. In so doing it aims to challenge understandings not only of poetics but also of the meaning of disability.
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Gutierrez, Ignacio Brasa. "Empathetic processes, poetic forms, and heterogeneous approaches to composition." Thesis, University of Southampton, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664753.

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Finding a balance between intellectual tools and a spontaneous development of ideas is one of the most challenging aspects of composition. With the common ground of a preference for rich and varied musical grammars, this thesis looks at three different strategies to organize materials and structures, and explores the individuality and variety that emerges from an improvisatory approach to writing music. The research that is described in this commentary has resulted in the development of a rational system that, using mathematical constants, modifies pitch, durations and dynamics in a continuous and predetermined way. The relevance of this method lies on its potential to unfold directional material and create subtle deviations from an original sound or group of sounds. A second strategy explores music in which motivic connections relate analogously to poetic structures. This approach reveals the potential of literary forms to construct meaningful musical nanatives; phonetic resemblances are translated into motifs in order to experiment with the proportions and rhythms of poetry. Finally, free compositional strategies (variant types of improvisation) have been used to create a comprehensive musical language. Making use of textures and techniques that derive from the previous two strategies, this approach draws upon atonality and elements borrowed from functional tonality to outline heterogeneous narratives. In relation to form, the contrast between complex textures and simple settings, and the coexistence of diverse materials, contribute to yield dynamism and directionality. Richness is an essential part of this language as musical objects are frequently presented in a wide variety of forms.
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Farmer, Gareth. "Veronica Forrest-Thomson, poetic artifice and the struggle with forms." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/39713/.

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This thesis examines the poetry and critical work of Veronica Forrest-Thomson, arguing that her poetic project is characterised by her ‘struggle with forms'. Forrest-Thomson developed many formal models of poetry in her critical writing which acted as ideals to be enacted in practice. The broad struggle in Forrest-Thomson's poetic project is, then, between the formal projections of theory and a variety of forms of poetic practice; between, that is, the fixed and totalising frames of theory and the local patterns of form and meaning which exceed the logic of an ideal model. This thesis examines the struggle between theoretical and practical forms through consecutive stages in Forrest-Thomson's career. First, I examine Forrest-Thomson's attempt to combine Romantic, formalist and modernist poetic theories in an early manifesto. Her early, conflicted theoretical perspectives, I argue, transferred to her poetry as tensions between a use of traditional poetic forms and a variety of free, formal modes. Second, I demonstrate how conflicts between traditional and innovative form in the poems were exacerbated by Forrest-Thomson's developing interest in artistic theory and concrete poetry. Third, I assess the influence of Ludwig Wittgenstein's linguistic philosophy on Forrest-Thomson's theory and practice, concentrating on her use of his notion of ‘language-games' to inform collage-like poems and the idea that the poem is a ‘context' absorbing and transforming others. At this stage, Forrest-Thomson's theory and poetry also exhibit tensions between modernist and post-modernist perspectives which induce an anxiety of losing control at the level of poetic form for which she compensates with an emphasis on traditional literary figures and forms. Fourth, I examine Forrest-Thomson's Poetic Artifice: A Theory of Twentieth-Century Poetry as an example of a particular type of formalism where fixed metaphors of poetic form comprise both the polemical strength and conceptual weakness of her poetic theory. Lastly, I outline the struggle between formal and semantic control and excess in Forrest-Thomson's late theory and poetry, arguing that her quest for what she calls ‘writing straight' is impeded by her conflicted assessment of the role and status of complex poetic form.
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Gonçalves, Murilo de Almeida. "A poética de Paulo Henriques Britto: tensões entre subjetividade e forma." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-17072018-131338/.

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A presente dissertação tem como objetivo examinar alguns poemas que compõem a obra do escritor carioca Paulo Henriques Britto, a fim de que identifiquemos características que constituem sua poética. As análises irão recair sobre temáticas mais saliente de sua obra, como a questão do fazer poético, e as possibilidades de constituição de uma subjetividade. Acreditamos que observar cuidadosamente essa obsessão do autor por determinados temas nos ajudará a compreender características que constituem a lírica sua lírica.
The present dissertation aims at examining some poems that compose the work of the writer Paulo Henriques Britto, in order to identify characteristics that constitute his poetics. The analyzes will fall on the most salient themes of his work, such as the question of making poetic, and the possibilities of constitution of a subjectivity. We believe that carefully observing this author\'s obsession with certain themes will help us to understand the characteristics that constitute his lyric.
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Lafford, Erin. "Forms of health in John Clare's poetics." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:c4171968-0d36-4c33-9536-dc75c4d02b4e.

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This thesis is the first sustained study of the poet John Clare and his relationship to health. It considers health as an under-explored physical and mental state evoked across his poetry and prose that has heretofore been overshadowed by a critical preoccupation with his supposed madness. Under the banner of the Medical Humanities, I angle a critical lens on Clare and health beyond biographical readings of his mental deterioration and onto his written responses to the medical, cultural, and social understandings of health by which he was surrounded. Specifically, I argue that Clare articulates both his comprehension and also experience of health through poetic form. I take a thematic approach to the reach of Clare's works composed between 1804-1864, and focus on what I argue to be the most predominant 'forms' that health takes across his poetics: voice, breath, and place. The chapters unfold the poet's engagement with eighteenth- and nineteenth-century medical contexts such as nosology and theories of insanity, speech and elocution, climatic and atmospheric medicine, phrenology, and botany, in order to consider how the local formal techniques of his poems (metre and prosody, rhyme and other sonic devices, caesura, enjambment, and line-endings) shape and re-work the ideas of mental and physical health that these contexts put forward. Throughout the thesis I bring together formal and historical methodologies with modern phenomenological and cultural theories in order to draw out how Clare's exploration of health is both facilitated by the thinking of his own period, and also speaks to current research into health and illness as subjective experiences. Ultimately, I read health across Clare's poetry at the level of form in order to reveal how health inspires a textual mode that defies determinacy and unsettles distinctions between the healthy and the pathological. This thesis is the first sustained study of the poet John Clare and his relationship to health. It considers health as an under-explored physical and mental state evoked across his poetry and prose that has heretofore been overshadowed by a critical preoccupation with his supposed madness. Under the banner of the Medical Humanities, I angle a critical lens on Clare and health beyond biographical readings of his mental deterioration and onto his written responses to the medical, cultural, and social understandings of health by which he was surrounded. Specifically, I argue that Clare articulates both his comprehension and also experience of health through poetic form. I take a thematic approach to the reach of Clare's works composed between 1804-1864, and focus on what I argue to be the most predominant 'forms' that health takes across his poetics: voice, breath, and place. The chapters unfold the poet's engagement with eighteenth- and nineteenth-century medical contexts such as nosology and theories of insanity, speech and elocution, climatic and atmospheric medicine, phrenology, and botany, in order to consider how the local formal techniques of his poems (metre and prosody, rhyme and other sonic devices, caesura, enjambment, and line-endings) shape and re-work the ideas of mental and physical health that these contexts put forward. Throughout the thesis I bring together formal and historical methodologies with modern phenomenological and cultural theories in order to draw out how Clare's exploration of health is both facilitated by the thinking of his own period, and also speaks to current research into health and illness as subjective experiences. Ultimately, I read health across Clare's poetry at the level of form in order to reveal how health inspires a textual mode that defies determinacy and unsettles distinctions between the healthy and the pathological.
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Earles, Kristofer. "Mutation in blossom: an antithetical reading of the poetry of Anne Sexton through the aesthetics of D. H. Lawrence." Thesis, Boston University, 2009. https://hdl.handle.net/2144/28563.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Barry, K. M. "Language, music and the sign : A study in aesthetics, poetics, and poetic practice form Collins to Coleridge." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377253.

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Cabri, Louis de Meillon. "A poetics of aesthetic forms." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20783.pdf.

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BISI, MONICA. "Poetica della metamorfosi e poetica della conversione: scelte formali e modelli del divenire nella letteratura." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/381.

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Questo lavoro mira ad offrire una nuova prospettiva dalla quale leggere la dialettica fra cultura pagano-mitica e cultura cristiana che attraversa tutta la tradizione letteraria italiana. Tema comune alle due visioni del mondo, la trasformazione è figura guida dell’intera ricerca, figura che assume declinazioni differenti e prende il nome di metamorfosi nella cultura mitica e quello di conversione nella cultura cristiana. La novità della prospettiva consiste nel tentativo di una lettura di carattere retorico di questi due fenomeni, con lo scopo di formalizzare due tipi di poetica che corrispondano al tema della metamorfosi e a quello della conversione. Applicando al vasto materiale offerto da Divina Commedia, Gerusalemme liberata, Adone, Promessi sposi, tragedie manzoniane e da alcune poesie tratte dall’Alcyone di d’Annunzio gli strumenti derivati dagli studi antropologici sui sacrifici arcaici di Girard e dalle intuizioni di Bottiroli a proposito della traduzione letteraria di alcuni schemi logici propri alla cultura occidentale si è potuta constatare una corrispondenza costante tra le forme dei contenuti ‘metamorfosi’ e ‘conversione’ e le particolari forme dell’espressione con cui essi sono stati rappresentati. Una volta individuate, le particolari forme dell’espressione sono state codificate in figure retoriche, tanto che si è giunti ad indicare lo schema, in generale, dell’antitesi come marca propria alla poetica della metamorfosi e la figura della correctio come caratteristica della poetica della conversione.
This work aims at offering a new perspective from which it is possible to read the dialectic between the heathen-mythical culture and the Christian culture that runs through the whole literary Italian tradition. Transformation is the theme in common between the two visions of the world, it is the leading figure of the whole research and it assumes different forms. It takes the name of metamorphosis in the mythical culture and of conversion in the Christian culture. The novelty of this perspective consists in the attempt of a rhetorical reading of these two phenomena, in order to formalize two kinds of poetics., that could correspond to the theme of metamorphosis and conversion. Applying to the large materials offered by Divina Commedia, Gerusalemme liberata, Adone, Promessi sposi, tragedies by Manzoni and some poems from Alcyone by d’Annunzio the instruments deriving from the anthropological studies about archaic sacrifices by Girard and from the intuitions of Bottiroli about literary transposition of some logical schemes, which are typical of the Western culture, it was possible to notice a constant correspondence between forms of contents ‘metamorphosis’ and ‘conversion’ and the particular forms of the expression, with which they have been represented. Once they have been pointed out, the particular forms of expression have been codified in figures of speech, so that it was possible to indicate the overall scheme of the antithesis as the proper sing of the poetics of metamorphosis and the figure of correctio as the feature of the poetics of conversion.
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BISI, MONICA. "Poetica della metamorfosi e poetica della conversione: scelte formali e modelli del divenire nella letteratura." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/381.

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Questo lavoro mira ad offrire una nuova prospettiva dalla quale leggere la dialettica fra cultura pagano-mitica e cultura cristiana che attraversa tutta la tradizione letteraria italiana. Tema comune alle due visioni del mondo, la trasformazione è figura guida dell’intera ricerca, figura che assume declinazioni differenti e prende il nome di metamorfosi nella cultura mitica e quello di conversione nella cultura cristiana. La novità della prospettiva consiste nel tentativo di una lettura di carattere retorico di questi due fenomeni, con lo scopo di formalizzare due tipi di poetica che corrispondano al tema della metamorfosi e a quello della conversione. Applicando al vasto materiale offerto da Divina Commedia, Gerusalemme liberata, Adone, Promessi sposi, tragedie manzoniane e da alcune poesie tratte dall’Alcyone di d’Annunzio gli strumenti derivati dagli studi antropologici sui sacrifici arcaici di Girard e dalle intuizioni di Bottiroli a proposito della traduzione letteraria di alcuni schemi logici propri alla cultura occidentale si è potuta constatare una corrispondenza costante tra le forme dei contenuti ‘metamorfosi’ e ‘conversione’ e le particolari forme dell’espressione con cui essi sono stati rappresentati. Una volta individuate, le particolari forme dell’espressione sono state codificate in figure retoriche, tanto che si è giunti ad indicare lo schema, in generale, dell’antitesi come marca propria alla poetica della metamorfosi e la figura della correctio come caratteristica della poetica della conversione.
This work aims at offering a new perspective from which it is possible to read the dialectic between the heathen-mythical culture and the Christian culture that runs through the whole literary Italian tradition. Transformation is the theme in common between the two visions of the world, it is the leading figure of the whole research and it assumes different forms. It takes the name of metamorphosis in the mythical culture and of conversion in the Christian culture. The novelty of this perspective consists in the attempt of a rhetorical reading of these two phenomena, in order to formalize two kinds of poetics., that could correspond to the theme of metamorphosis and conversion. Applying to the large materials offered by Divina Commedia, Gerusalemme liberata, Adone, Promessi sposi, tragedies by Manzoni and some poems from Alcyone by d’Annunzio the instruments deriving from the anthropological studies about archaic sacrifices by Girard and from the intuitions of Bottiroli about literary transposition of some logical schemes, which are typical of the Western culture, it was possible to notice a constant correspondence between forms of contents ‘metamorphosis’ and ‘conversion’ and the particular forms of the expression, with which they have been represented. Once they have been pointed out, the particular forms of expression have been codified in figures of speech, so that it was possible to indicate the overall scheme of the antithesis as the proper sing of the poetics of metamorphosis and the figure of correctio as the feature of the poetics of conversion.
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Books on the topic "Poetic forms"

1

Gill, Patrick. An Introduction to Poetic Forms. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003244004.

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Aroui, Jean-Louis, and Andy Arleo, eds. Towards a Typology of Poetic Forms. Amsterdam: John Benjamins Publishing Company, 2009. http://dx.doi.org/10.1075/lfab.2.

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3

Sheba, Eben. Thoughts and inspirations: In poetic forms. [Ibadan?]: E. Sheba, 1992.

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1942-, Padgett Ron, ed. The teachers & writers handbook of poetic forms. 2nd ed. New York: Teachers & Writers Collaborative, 2000.

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5

Beidao. Forms of distance. New York: New Directions Books, 1994.

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Alice, Otis, Rose Marilyn Gaddis, and State University of New York at Binghamton. Translation Research and Instruction Program., eds. Varied forms, similar balances, poetic expanses: A folio of poetry and poetic prose translations. Binghamton, N.Y: National Resource Center for Translation and Interpretation, University Center at Binghamton, Translation Research and Instruction Program, 1985.

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Connolly, Thomas Edmund. A neo-aristotelian and joycean theory of poetic forms. Lewiston: E. Mellen Press, 1995.

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1934-, Strand Mark, and Boland Eavan, eds. The making of a poem: A Norton anthology of poetic forms. New York: Norton, 2000.

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1934-, Strand Mark, and Boland Eavan, eds. The making of a poem: A Norton anthology of poetic forms. New York: Norton, 2001.

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1934-, Strand Mark, and Boland Eavan, eds. The making of a poem: A Norton anthology of poetic forms. New York: Norton, 2000.

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Book chapters on the topic "Poetic forms"

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Longley, Edna. "Poetic Forms and Social Malformations." In Tradition and Influence in Anglo-Irish Poetry, 153–80. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09470-7_10.

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Wood, Elaine. "Yeats’ female forms and poetic figures." In Female Sexuality in Modernist Fiction, 36–64. London; New York: Routledge, 2020. | Series: Interdisciplinary research in gender: Routledge, 2020. http://dx.doi.org/10.4324/9781003014591-3.

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Armstrong, John. "The Poetic Forms of the Hebrews." In The Idea of Holiness and the Humane Response, 48–59. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003376354-4.

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Streim, Alex. "The Heroic Couplet." In An Introduction to Poetic Forms, 158–65. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003244004-18.

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Gill, Patrick. "Introduction." In An Introduction to Poetic Forms, 1–6. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003244004-1.

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Gill, Patrick. "The Villanelle." In An Introduction to Poetic Forms, 223–31. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003244004-25.

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McRae, Calista. "Blank Verse." In An Introduction to Poetic Forms, 85–93. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003244004-10.

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Yeung, Heather H. "Toeing and Breaking the Line." In An Introduction to Poetic Forms, 38–50. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003244004-5.

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Adamczewski, Tymon. "Concrete Poetry." In An Introduction to Poetic Forms, 103–13. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003244004-12.

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Kistler, Jordan. "The Blazon." In An Introduction to Poetic Forms, 94–102. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003244004-11.

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Conference papers on the topic "Poetic forms"

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

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In ancient Arabic poetry, dialogue is an artistic technique that adds a narrative feature to its poetic texts. Its methods and formulas have varied in these poetic texts, given that dialogue raises the curtain on the positions, feelings, and secrets of the interlocutors, their ideas, and their experiences, whatever their type. Poets have used dialogue in their poems for various poetic purposes and topics since the pre-Islamic era, and this continued until the Abbasid era and beyond. Its methods and characteristics developed, and it became a means for the poet to express his feelings that he refuses to express directly, which added to the poetic texts. An aesthetic dimension and depth of ideas. This research paper aims to reveal the poetics of dialogue in Abu Firas Al-Hamdani’s novel. This dialogue contributed to highlighting the internal conflict that the poet is experiencing, and what is on his mind, and we will present examples of that dialogue, and analyze them from an objective and artistic perspective, with the aim of revealing the methods of dialogue in them and its artistic characteristics, according to the following elements: 1- The concept of poetics. 2- The concept of dialogue and its types. 3- Manifestations of dialogue and its forms in the vision of Abu Firas Al-Hamdani. 4- The functions of dialogue in the opinion of Abu Firas Al-Hamdani
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Zaripov, Azamat. "POETIC SYNTHESIS OF BABUR'S POETIC TRADITIONS IN ABDULLA ORIPOV'S POETRY." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/gcaj5089.

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In the poetry of the great poet Abdulla Oripov, theoretical conclusions were made about the features of the artistic synthesis of Babur's artistic discoveries. In particular, it is revealed that Zahirad-Din Babur's poetic traditions, which are reflected in such forms as the unique interpretation of the theme of the Motherland, the harmony of nature lyrics, and the image of Baburshah, occupy a certain place in the creative perfection ofAbdulla Oripov.
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Gasharova, Aida. "Sound Organization And Poetic Forms Of Lezgi Folk Proverbs And Sayings." In International Scientific Conference «Social and Cultural Transformations in the Context of Modern Globalism» dedicated to the 80th anniversary of Turkayev Hassan Vakhitovich. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.10.05.234.

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إبراهيم أحمد العزّي, يونس. "Halabja in Poetic Memory: The Crime and the Case." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/55.

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"Abstract The Halabja case, and the genocide to which the people of this city were subjected, represented an international crime with all the dimensions and connotations of the word, and thus left a wound in the memory of the human conscience, the effects of which were reflected in various forms politically, socially, and culturally. The Halabja crime constituted intellectual and literary foundations for many Iraqi and Arab poets and writers, and it became an artistic theme for many poems and literary works in the contemporary creative achievement. Among these writers was the Iraqi poet (Ahmed al-Hamd al-Mandalawi), whose poem (Execution of a City in My Country) is regarded as an artistic painting that recorded the details of this tragedy, and depicted its bloody events, in a high literary style, and a language far from complex, embodied the poetry of sadness and the memory of pain. This is what makes it a rich sample in technical and objective terms, and worthy of research and study. The stylistic approach was adopted as a method of reading and a mechanism for analysis, to reveal the aesthetics of this poem, and the mechanisms of its artistic formation, according to a critical and analytical vision, highlighting the poetics of the text and the poeticity of the creator on the one hand, the depth of tragedy and the connotations of sadness and sorrow On the other hand, the text. The study methodology necessitated dividing the research into an introduction and three sections. The introduction formed a methodological threshold - including (Halabja - the poem - and the poet), which collectively represents the external / theoretical framework of the research. As for the research sections, it was devoted to the study of the three levels of the poem - according to the mechanisms of the stylistic approach - which are respectively: the structural level, the phonemic level, and the semantic level, which the poet was able through his employment of the elements of formation and artistic construction to highlight these stylistic levels and their poetics that tempt the researcher to approach the text and critically debate it what reveals its aesthetic beauty secrets."
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Kazachuk, Irina Georgievna. "Text-Forming Function Of Verb Forms In Poetic Prayers Of Z. Gippius." In International Scientific Congress «KNOWLEDGE, MAN AND CIVILIZATION». European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.05.148.

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Демидова, М. В. "FORMATION OF THE VIDEO POETRY GENRE AND ITS INFLUENCE ON THE DEVELOPMENT OF MULTIMEDIA DESIGN." In Мультимедиа: современные тенденции IX Международная научно-практическая конференция. Crossref, 2024. http://dx.doi.org/10.54874/9785605054290_16.

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Способы репрезентации поэтических текстов в художественной культуре настоящего времени вызывают интерес дизайнера. Появление новых форм на экране, где они развиваются в формате «поэтических клипов» и «видеостихов», обусловлено не только развитием технологий. Понимание предпосылок становления видеопоэзии как уникального мультимедийного жанра становится значимым для развития новых творческих направлений дизайнерской деятельности, способствует поиску и созданию новых форм в моушн-дизайне. The ways of representing poetic texts in the artistic culture of the present time arouse the designer’s interest. The emergence of new forms on the screen, where they develop in the format of “poetry clips” and “video poems”, is due not only to the development of technology. Understanding the prerequisites for the formation of video poetry as a unique multimedia genre becomes significant for the development of new creative areas of design activity and contributes to the search and creation of new forms in motion design.
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Kaizerová, Petra. "A probe inside the poetic form of mysticism of Slovak Romantic Messianists." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-17.

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The Slovak Romantic Messianism is perceived by us as a phenomenon growing from a specific current epochal situation relating to a relatively rich tradition, which existed in the Slovak cultural context already in previous historical periods. By considering the characteristic features of production, its existence was often relativised. Nevertheless, it represents an important testimony of a concrete epoch. Its artistic implementation (perhaps today more than in the past) is being well appreciated, thanks to its interesting form and to its expressive and narrative strength or value. By focusing our attention on its expressive and thematic means, it is possible to prove that the authors tried to mediate a mystical experience to the readers. As mystagogues, they introduced and initiated the readers to the mysteries of God’s plans aiming at transformation of this world. In this sense, through their literary production, they invoked and prayed God to give them a chance to live a direct mystic experience in the reality. By pursuing this purpose, they filled their poetry with curious archaisms and neologisms (the so-called self-creation of language). They gave way to a speculative etymologism and poetical forms. Generally, they were syncretically stylying poetical shapes. And they often exploited experiments or complex strophic structures.
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Skibitskaya, Liudmila. "MINIMIZATION DISCOURSE IN MODERN BELARUSIAN LITERATURE AS A SOCIO-CULTURAL PHENOMENON." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.32.

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The article deals with the trends in the functioning of small and minimal prose and poetic forms in Belarusian literature in the context of the development of Slavic literature of the 19th - 21st centuries. The discourse of minimization is attributed as a communicative technology of philology.
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MEHMETALI, bekir. "VIII. International Congress of Humanities and Educational Research." In VIII. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress8-8.

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Arabic poetry, ancient and modern, remains a feature distinguished by the Arabs, and a distinguishing mark for which they were known, as it flows on the tongues of their poets the flow of water in the river, and flows from their mouths the flow of fresh water from the spring, as it is twittering on their tongues, and hymns that delight the speaker, the listener, the narrator, the reader, and the student Alike, he is the flame that ignited in their world hundreds of years ago, and is still glowing in every country of theirs, and in every age. The Arabic poetry that we are talking about is nothing but words organized into sentences, and not sentences organized into verses only. The contemplator of ancient Arabic poetry stands on wonderful poetic images that the poets installed in whatever form they were, and formulated them in whatever form, so that some of them, or even most of them, were unique in producing these poetic images without others, so this wonderful poetic image became specific to his wonderful poetic experience. I chose to write on this topic because of its importance in the world of poetry and the production of the poem, as a poem devoid of a poetic image is not considered a complete poem. In this research, I will present, study, and analyze some of the wonderful poetic images of some ancient poets, hoping to write another research in which I will deal with examples of the poetic image in modern Arabic poetry. The objective of the research is evident in its importance, and in the research I will approach the methods of description, induction, and analysis.
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Hadzantonis, Michael. "Karangiozis in the Shadows: A Linguistic Anthropology of Greece's Shadow Puppetry." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-4.

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

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Erdmann, Elisabeth von. Sehen und Sprache erschaffen die Welt und führen den Menschen zum Glück? Grundgedanken des ukrainischen Philosophen Hryhorij Skovoroda (1722-1794). Otto-Friedrich-Universität, 2021. http://dx.doi.org/10.20378/irb-49029.

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Denken und Poetik des ukrainischen Philosophen H. Skovoroda werden durch das Konzept der philosophia perennis, der einen Weisheit zu verschiedenen Zeiten als Teilhabe an der göttlichen Weisheit lesbar. Dieser Kontext ermöglicht die kohärente Lektüre seiner Schriften und erklärt die Form, in der sich sein Leben abgespielt hat. Nach einer kurzen Einordnung in die Forschung werden Skovorodas Leben und Denken im Kontext von Freimaurertum und Aufklärung betrachtet. Dem schließt sich der Aufruf der Tradition der philosophia perennis an, die eine stimmige und alle Aspekte umfassende Deutung seiner Texte ermöglicht. Besondere Beachtung erfordern dabei der Gottesbegriff und die Bildtheorie der philosophia perennis, die systematisch Analogie und Typologie realisieren und damit alle Denkfiguren, Bilder, Wissenssysteme, Texte und Aussagen derselben Struktur einordnen. Dadurch kann das Konzept der göttlichen Weisheit als Paradigma der philosophia perennis-Tradition in den Schriften Skovorodas wahrgenommen werden. Diese Tradition erklärt, wie Skovoroda Philosophie, Theologie und Poetik als konsequente Teilhabe an der göttlichen Weisheit konzipiert und alles als ein Bild Gottes behandelt und begründet. Die Eigenschaften des Denkens von Skovoroda zeigen die von ihm in seinen Schriften und Aussagen geforderte und praktizierte Poetik und Hermeneutik als eine Realisierung der Zeichenhaftigkeit der Welt als Bild und Spur Gottes im Medium der Sprache. Skovorodas Welterklärung entfaltet sich nach dem Vorbild der Bibel in ihrer christlich-allegorisch-typologischen Auslegungstradition. Poetik erhält die Aufgabe, die göttliche Schöpfung fortzuführen und fortzuschreiben.
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