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Relevant bibliographies by topics / Poetic tradition

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Academic literature on the topic 'Poetic tradition'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Poetic tradition"

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Isakovna, Ernazrova Gulbahor. "Expression Of The Classical Poetic Tradition Modern Poetry." American Journal of Social Science and Education Innovations 02, no. 07 (July 30, 2020): 153–62. http://dx.doi.org/10.37547/tajssei/volume02issue07-18.

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Chang, Tsung Chi. "Unsettling Irish poetic tradition: Eavan Boland’s feminist poetics." Neohelicon 43, no. 2 (July 25, 2016): 591–601. http://dx.doi.org/10.1007/s11059-016-0345-x.

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Sharma, Amrita. "Innovation and the Poetic Discourse: Reading Experimental Trends in Post-War American Poetry." SMART MOVES JOURNAL IJELLH 8, no. 1 (January 28, 2020): 8. http://dx.doi.org/10.24113/ijellh.v8i1.10371.

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This paper aims at analysing the rise of innovative and experimental poetics within the American poetic grounds and the factors that remain extremely influential in establishing an alternate poetic culture that emerged with the rise of modernism within poetic circles. With influential and significant American poetic voices like Ezra Pound, T.S. Eliot and innovative women poets like Gertrude Stein popularising the use of ‘experimental’ techniques within the processes of poetic construction, the American poetic culture witnessed the rapid growth of an alternate realm of poetic activity that particularly gained significant recognition in the post-war era. This paper attempts to present an overview of the various post-war poetic groupings that contributed to the establishment of an experimental tradition within contemporary American poetics.

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Gintsburg, Sarali. "It’s got some meaning but I am not sure…" Pragmatics and Cognition 24, no. 3 (December 31, 2017): 474–95. http://dx.doi.org/10.1075/pc.18017.gin.

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Abstract In this research I aim to contribute to a better understanding of transitionality in poetic language by applying for the first time the hypotheses recently developed by pioneers in the emerging field of cognitive poetics to a living tradition. The benefits of working with a living tradition are tremendous: it is easy to establish the literacy level of the authors and the mode of recording of poetic text is also easy to elicit or, when necessary, to control. I chose a living poetic tradition originating from the Jbala (Morocco). Although it is not epic and local poets create only relatively short poetic texts, memorisation is also used; it has been demonstrated that oral improvisation and the use of memory are not mutually exclusive. This suggests that research on the living Jebli tradition holds promise for our understanding of oral poetry, and for revisiting the intriguing question of formulaic language.

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Pettersson, Torsten, and Judith Ryan. "Rilke, Modernism and Poetic Tradition." Modern Language Review 96, no. 4 (October 2001): 1145. http://dx.doi.org/10.2307/3735960.

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Komar, Kathleen L., and Judith Ryan. "Rilke, Modernism and Poetic Tradition." German Quarterly 73, no. 4 (2000): 434. http://dx.doi.org/10.2307/3072777.

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Baraka, Amiri. "Social Change & Poetic Tradition." Chicago Review 43, no. 4 (1997): 109. http://dx.doi.org/10.2307/25304217.

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Keefe, Joan Trodden, and Lawrence Lipking. "Abandoned Women and Poetic Tradition." World Literature Today 63, no. 4 (1989): 750. http://dx.doi.org/10.2307/40145774.

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Martens, L. "Rilke, Modernism, and Poetic Tradition." Modern Language Quarterly 63, no. 1 (March 1, 2002): 126–30. http://dx.doi.org/10.1215/00267929-63-1-126.

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Barr, Helen. "Piers Plowman and Poetic Tradition." Yearbook of Langland Studies 09 (January 1995): 39–64. http://dx.doi.org/10.1484/j.yls.2.302818.

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Dissertations / Theses on the topic "Poetic tradition"

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Fearn, David. "Bacchylides : politics and poetic tradition." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273160.

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Montague, Tara Bookataub. "Narrating battle in the early medieval Germanic poetic tradition /." view abstract or download file of text, 2006. http://wwwlib.umi.com/cr/uoregon/fullcit?p3211224.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 294-314). Also available for download via the World Wide Web; free to University of Oregon users.

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Reis, Huriye. "Icons of art : the poetic tradition and representations of women in Chaucer's dream poetry." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262395.

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Oldert, David. "Ideas of poetic form: aspects of the Romantic-Symbolist tradition." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/54554.

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The subject of the work is some of the formal and technical developments of modern poetry in the Romantic-Symbolist tradition. These developments were stimulated partly by the ideas of the non-intellectual Symbol inherited from the Romantics and the idea that poetry could be a musical medium inherited from some of the French Symbolists. Their combined influence led to a number of technical problems in the structuring of imagery and the handling of syntax. The work begins, therefore, by tracing the philosophical assumptions behind the ideas of the Symbol and of the musical analogy. I then go on to examine two of the difficulties that these ideas produced. One is the tension between the analogical structure of a poem’s imagery and its metaphorical texture: quite simply, the more compressed and complex a poet’s metaphors become, the more they tend to disrupt the poem’s structure of imagery. The other problem is obscurity, which is caused by insufficient objectification of private images in a symbolic structure, and by fused metaphor, which is essentially a metaphor with an obscured ground of resemblance. Finally, I show how these difficulties were solved by poets outside the tradition who used a more articulate kind of syntax, yet who also managed to combine that syntax with the ideal of symbolic form. The implicit argument, then, is that the Romantic-Symbolist ideas of form, and the New Critics’ theories of form which were largely based on them, are able to elucidate an essentially different kind of poetry, and thus have some degree of truth and use beyond the tradition that generated them.

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

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The thesis begins with an introductory chapter that explains the creative process, providing quotes from well-known poets and examples from my own personal history and ideas. Some of the creative concepts discussed are different manifestations of inspiration, such as the duende and the Muses. However, the act of creating a work of art--what actually occurs when an artist works--remains undiscovered. Every poet is part of the poetic tradition, yet she also strives to supersede that very tradition. In my poetry, I try to build on and deviate from the poetic tradition, while simultaneously representing events from my cultural and personal history. Twenty-nine poems follow the introduction. The poems included in this volume represent a contemporary writing style influenced by Romanticism and Modernism, apparent in nature imagery and ambiguity.

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Campos, Alexandre Silveira. "Análise sobre nada : um estudo dos procedimentos poéticos da obra de Manoel de Barros /." Araraquara : [s.n.], 2007. http://hdl.handle.net/11449/91591.

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Orientador: João Batista Toledo Prado
Banca: Maria de Lourdes Ortiz Gandini Baldan
Banca: Igor Rossoni
Resumo: Este trabalho realiza um estudo de alguns expedientes poéticos na obra de Manoel de Barros, de modo a que se possa localizar, da forma mais nítida possível, a ocorrência de determinada temática recorrente e de determinados modos de composição. A partir daí, demonstrar-se-á o papel da construção imagética na obra de Manoel de Barros, e quais caminhos o autor trilha a fim de desenvolver tais procedimentos. Neste trabalho, serão postos em evidência ao menos dois pontos fundamentais: a) A maneira como Manoel de Barros integra em sua obra determinadas influências e as recicla, transformando-as em parte de seu texto. São elas: A poesia simbolista francesa; A produção imagética moderna espanhola e latino-americana; O modernismo brasileiro; Para essa parte, o corpus foi selecionado nas obras Compêndio Para Uso dos Pássaros (1960) e Arranjos Para Assobio (1980); b) O tratamento dado à construção da imagem poética, procurando escrutinar não só o modo como ela se manifesta no próprio fazer poético, mas também como ela reincide nos textos, tornando-se uma temática insistente relacionada ao modo de construção do poema. Para o desenvolvimento dessa parte, o corpus foi selecionado, como não podia deixar de ser, na obra Ensaios Fotográficos (2000).
Abstract: This work realize a search of some poetics proceedings in the production of Manoel de Barros, for to be possible to localize , of unequivocal way, the occurrence of some repeated themes and some composition ways. Therefore, it'll be demonstrated the function of the image building in the production of Manoel de Barros, and what ways the writer gone through to develop this proceedings. In this work, it'll be put in evidence two fundamental points: a) The way how Manoel de Barros puts in his production determined influences and makes them new , transforming them part of his text. They are: The French symbolist poetry; The Spanish and Latin modern imagetic production. The Brazilian modernism; To this part, the corpus has been selected in the books Compêndio Para Uso dos Pássaros (1960) and Arranjos Para Assobio (1980); b) The tratment gived to the construction of the imagetic poetry, searching to know not the only the way how it manifest itself on the poetic made, but how it relapse in the texts, transforming it in a insistent thematic that it has relationship whit the construction way of the poem. To the developed of this part, the corpus has been selected, because not have been another away , in the book Ensaios Fotográficos (2000).
Mestre

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Hussein, Amal Ragaa Bassyouni. "Transatlantic Romanticism : the English Romantics and American nineteenth−century poetic tradition." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/3197/.

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This thesis explores the Romantic origins of nineteenth-century American poetic tradition; it looks at the relationship between the English Romantics and major nineteenth-century American poets. My research focuses on the Romantic lines of continuity within nineteenth-century American poetry, identifying them as central to the representation of American cultural and literary identities. American poets shaped their art and national identity out of a Romantic interest in their native nature. My study particularly explores the diverse ways in which major American poets, of this time, reacted to, adapted and reformulated Romantic ideals of nature, literary creation, the mission of the poet and the aesthetic category of the sublime. It traces connections and dialogues between American poets and their Romantic predecessors, including Blake, Southey, Wordsworth, Coleridge, Keats and Shelley. This thesis is inspired by the strong and abiding academic interest in Romantic studies, and aims to advance new readings of nineteenth-century American poetry in a transatlantic literary and cultural context. It attempts to cover a wide range of nineteenth-century key poetic works in relation to Romantic visions, ideals and forms. Developing a chronological line of enquiry, my thesis highlights the paradox of writers seeking to establish an original, distinctive American literary canon while still heavily deriving ideas and techniques from other, non-American sources. An introductory chapter outlines the historical and cultural framework of the Anglo-American literary relationship, focussing on its sensibilities, tensions and affinities. Chapter two considers how Bryant and Longfellow reformulated the Romantic pastoral tradition in their representations of American landscape, which helped toward shaping a peculiar national poetic canon. Through examining Emerson’s poetic achievement in the light of the Romantic tradition, chapter three challenges Emersonian claims of originality and self-reliance. Chapter four addresses Whitman’s Romantic preoccupations and interests alongside his groundbreaking innovations manifested in his attitudes towards nature, human body and urban landscape as well as his experiments with poetic language and form. Chapter five attempts to interpret the seeming idiosyncrasy of Dickinson’s work in the light of the poet’s dialogues with her Romantic precursors. Above all, this study examines how Romanticism worked upon the minds and art of nineteenth-century American poets, aiming to provide refreshing interpretations of nineteenth-century American poetry in the context of the broader transatlantic Romantic tradition.

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Irwin, E. "Epic situation and the politics of exhortation : political uses of poetic tradition in archaic Greek poetry." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604960.

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The thesis begins by exploring a central problem: while the genre of elegiac exhortation poetry both invites and itself exploits analogies between, on the one hand, the immediate audience and performance setting of the poem and, on the other, the broader civic identities of that audience and larger civic context to which they belong. And yet, the circumscribed social setting for which it was produced, the private aristocratic symposion, complicates the interpretation of seemingly all-embracing political terms such as city, fatherland, country. The thesis challenges the prevailing orthodoxy with the questions, who constitute the city, what expressions of attachment to it mean, and how such expressions function within their poetic and larger social context. By asking what it means for symposiasts to recite in the first person exhortations evocative of those spoken by the heroes of epic, the thesis reveals the elitist claims and pretensions implicit in this heroic role-playing, pretensions which are themselves deeply political. The thesis culminates in an examination of the explicitly political poetry and career of Solon, providing a much-needed study of this figure whose dual career as poet and lawgiver epitomises the stakes involved in the appropriation of poetic traditions in this period. A close reading of Solon 4 demonstrates how the poem carefully situates itself in an adversarial relationship to the martial poetic traditions of epic and elegiac exhortation, while positively embracing the themes of Hesiod and Odyssean epic. The indications of a political stance inherent in these poetic 'situations' provides the basis for a more wide-ranging discussion of the relationship of Solon's poetry to his political career. It concludes by re-evaluating the relationship of Solon to tyranny, and, finally, by offering an interpretation of the importance of Homeric poetry in the political agenda of the Athenian tyrants who followed him.

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Bertram, Vicki. "Muscling in : a study of contemporary women poets and English poetic tradition." Thesis, University of York, 1992. http://etheses.whiterose.ac.uk/2490/.

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Santos, Marcel de Lima. "Jim Morrison: the articulation of the Shaman- Poet in the poetic tradition." Universidade Federal de Minas Gerais, 1996. http://hdl.handle.net/1843/BUBD-9D9HD2.

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This dissertation aims at the articulation ofthe shaman-poet in the poetic tradition. It presents American poet Jim Morrison as the shaman artist whose life and poetry are analyzed as belonging to the tradition ofpoets Plato called possessed byfuror poeiicus. This tradition, which is to find its prime in the writings ofthe Romantic poets, states that poetry is a secret language, based on feeling and imagination, that speaks to the heart of men about the sacred and universal, i. e., natural, quality of the human soul. The shaman-poet, thus, belongs to a tradition that goes back thousands ofyears to a time when the primitive man used to be in touch with a magical understanding ofhis environment on a regular basis, in contrast to the extremely rational perception ofthe world by modem man. The poetry ofJim Morrison is presented here as a representative ofthis sacred language that tells of this magical perception, long-forgotten, though never completely erased fi"om the human mind. Hence, it is to be seen not only as a bridge to the spiritual realm offeeling and imagination, but also as a technique for ecological survival in this current rational and secular era.
Esta dissertação objetiva a articulação do poeta-xamã na tradição poética. Ela apresenta o poeta americano Jim Morrison como o artista xamã cuja vida e poesia são analisadas como pertencentes à tradição de poetas, considerados, por Platão, possuidos pelofurorpoeticus. Essa tradição, que encontra seu ápice nos escritos dos poetas românticos, afirma ser a poesia uma linguagem secreta, baseada no sentimento e na imaginação, que fala ao coração dos homens sobre a qualidade sagrada e universal, i. e., natural, da alma humana. O poeta-xamã, portanto, pertence a uma tradição de milhares de anos, quando do tempo em que o homem primitivo percebia seu habitat de uma forma mágica, em contraste com a percepção extremamente racional do mundo, pelo atual, e no entanto igual, ser humano. A poesia de Jim Morrison é apresentada aqui como representante dessa linguagem sagrada, que fala da esquecida, embora não totalmente apagada da mente humana, percepção mágica. Assim sendo, ela deve ser vista não somente como uma ponte para o reino espiritual do sentimento e da imaginação, mas também como uma técnica de sobrevivência ecológica nesta era tão racional e dessacralizada.

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Books on the topic "Poetic tradition"

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Pauline, Smith J., and Clark Mazie Earhart, eds. Voices in the poetic tradition. New York: G.K. Hall, 1996.

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Rilke, modernism and poetic tradition. Cambridge: Cambridge University Press, 1999.

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Lipking, Lawrence I. Abandoned women and poetic tradition. Chicago: University of Chicago Press, 1988.

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The poetic imagination: An Anglican tradition. Maryknoll, N.Y: Orbis Books, 1999.

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The tradition. Princeton, N.J: Princeton University Press, 1986.

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Eden, Kathy. Poetic and legal fiction in theAristotelian tradition. Princeton: Princeton University Press, 1986.

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Joyce, Joyce Ann. Ijala: Sonia Sanchez and the African poetic tradition. Chicago: Third World Press, 1996.

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Turkic oral epic poetry: Tradition, forms, poetic structure. New York: Garland, 1992.

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Ramanan, Mohan. The movement: A study of contemporary poetic tradition. Delhi: B.R. Pub. Corp., 1989.

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Poetic and legal fiction in the Aristotelian tradition. Princeton, N.J: Princeton University Press, 1986.

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Book chapters on the topic "Poetic tradition"

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Robinson, Fred C. "The Anglo-Saxon Poetic Tradition." In A Companion to the History of the English Language, 435–44. Oxford, UK: Wiley-Blackwell, 2009. http://dx.doi.org/10.1002/9781444302851.ch42.

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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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Türker, Habip. "Beauty and its Projection in Christian and Islamic Tradition." In Sharing Poetic Expressions:, 68–79. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-0760-3_7.

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von Kassel Siambani, Elena. "Le groupe des Trente: The Poetic Tradition." In The Documentary Film Book, 180–88. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_21.

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Thorne, Sara. "The beginnings of the English poetic tradition." In Mastering, 96–112. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-21261-9_8.

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Kairoff, Claudia Thomas. "Classical and Biblical Models: the Female Poetic Tradition." In Women and Poetry, 1660–1750, 183–202. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230504899_14.

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Williams, Carolyn D. "Recovering the Past: Shakespeare, Spenser, and British Poetic Tradition." In A Companion to Eighteenth-Century Poetry, 486–99. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996638.ch36.

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Ojaide, Tanure. "Michel Foucault and the Urhobo Udje oral poetic tradition." In Literature and Culture in Global Africa, 19–33. New York, NY : Routledge, 2018. | Series: Global Africa ; 4: Routledge, 2017. http://dx.doi.org/10.4324/9781315177700-3.

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Paker, Saliha. "On the poetic practices of a “singularly uninventive people” and the anxiety of imitation." In Tradition,Tension and Translation in Turkey, 27–52. Amsterdam: John Benjamins Publishing Company, 2015. http://dx.doi.org/10.1075/btl.118.01pak.

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Calame, Claude. "The Abduction of Helen and the Greek Poetic Tradition: Politics, Reinterpretations and Controversies." In Ancient Myth. Media, Transformations and Sense-Constructions, 645–61. Berlin, New York: Walter de Gruyter, 2009. http://dx.doi.org/10.1515/9783110217247.7.645.

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Conference papers on the topic "Poetic tradition"

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ALIEVA, Dildora. "PHILOSOPHICAL LYRICS AND REFLECTIONS OF THE LYRICAL HERO CHO JI HUN." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-29.

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This article discussed the emergence and further development of the poetic group “Blue Deer”. The creativity of poets in this group received development of tradition in Korean landscape lyrics and its poetics. An apple to the origins and motives of classical poetry became evidence of their reverent attitude to historical and cultural, including the literal memory of the Korean people. Cho Ji Hong is an outstanding representative of this poetic group. Cho Ji Hoon's work bears the stamp of traditions, national customs, traditions, legends

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Parpală, Emilia. "TRANSPERSONAL POETIC COMMUNICATION." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-026.

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Meyer, David. "A computationally-assisted procedure for discovering poetic organization within oral tradition." In Proceedings of the 2nd Workshop on the Use of Computational Methods in the Study of Endangered Languages. Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-0113.

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Dugarov, B. S. "GESERIADA: THE BURYAT ORAL POETIC MONUMENT AND THE CENTRAL ASIAN EPIC TRADITION." In The Epic of Geser — the spiritual heritage of the peoples of Central Asia. BSC SB RAS, 2020. http://dx.doi.org/10.31554/978-5-7925-0594-0-2020-3-6.

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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.

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Proskokova, A. V. "CONNOTATIONS OF THE WORD "NIGHTINGALE" IN THE POETRY BY BELLA AKHMADULINA." In Люди речисты - 2021. Ulyanovsk State Pedagogical University named after I. N. Ulyanov, 2021. http://dx.doi.org/10.33065/978-5-907216-49-5-2021-328-334.

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The poetry by B. Akhmadulina harmoniously combines traditions with authorial distinctiveness that is associated with individual connotations, which have not received any thorough scientific attention up to now. The article offers to consider new non-traditional meanings of the words "nightingale", widely used by the poet in her poems.

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Zhodani, Iryna. "POLISEMIOTICITY OF VISUAL POETRY BY VIKTOR ZHENCHENKO." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-046.

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Song, Qiuyan. "The Transformation of Chinese Poetry from Tradition to Vernacular." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.504.

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Lugavcova, Alena. "BUDDHIST PRINCIPLES IN KOBAYASHI ISSA’S POETRY." In Buddhism and Other Traditional Religions of the Peoples of Russia, Inner and East Asia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0505-6-2018-171-184.

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Yong Yi, Zhong-Shi He, Liang-Yan Li, Tian Yu, and Elaine Yi. "Advanced studies on traditional Chinese poetry style identification." In Proceedings of 2005 International Conference on Machine Learning and Cybernetics. IEEE, 2005. http://dx.doi.org/10.1109/icmlc.2005.1527607.

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Reports on the topic "Poetic tradition"

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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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Abstract:

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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