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Journal articles on the topic 'Poetic tradition'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

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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2

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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3

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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4

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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5

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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7

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

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8

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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9

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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10

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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Cinalli, Angela. "The Past Sets the Context for the Present." Greek and Roman Musical Studies 8, no. 2 (August 14, 2020): 230–53. http://dx.doi.org/10.1163/22129758-bja10012.

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Abstract This contribution examines musical and poetic tradition, in so far as it influenced the culture and society of the Hellenistic period. Epigraphy attests to the recollection of traditional heritage as one driving force for public-at-large performances. Extra-agonistic and agonistic performances pursued by the so-called poeti vaganti, travelling all over the cultural centres of Greece chasing fame and rewards, attest to different ways to preserve the legacy of musical and poetic tradition, by lingering on it or re-modulating its facies. Re-performing ancient times, through selections of dramas and lyric poetry, and demonstrating the musical structures and poetic ways of former days, had the purpose of strengthening social identity and reinvigorating communal knowledge. Inscriptions allow us to envisage the nuances and potentialities of these thoughtful revivals, highlighting the ways this concept could shift with time, context, and place.

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12

Buivytė, Giedrė. "The Manifestations of Fate in Medieval Germanic Poetry and Lithuanian Folk Songs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 8–21. http://dx.doi.org/10.37384/aplkp.2021.26-2.008.

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Reflections of mythical worldview are embedded in traditional oral poetry, viz. Old Icelandic collection of poems Poetic Edda, Old English poem Beowulf, and Lithuanian folk songs. Archaic motifs and archetypal imagery are conveyed by means of poetic grammar (alliteration, kennings, epithets, etc.). Through interpretation, the hidden (symbolic) meaning of the poetic grammar is unveiled, and the connection between the two worlds, the sacred (the divine) and the profane (the human) (Eliade 1959), is exposed. To advance the analysis of poetic narrative, the methodology employed in the paper combines comparative Indo-European poetics (Watkins 1995) and oral-formulaic theory (Kiparsky 1976; Foley 1996). The paper focuses on the poetic narrative’s motifs that encode the archetypal image of the goddess(es) of fate in the Germanic and Baltic traditions. Selected passages from Old Icelandic, Old English, and Lithuanian poetic texts reveal the motif of fate in the following contexts: the establishment of the laws governing human life, the courtship and wedding narrative, the inescapable decrees of misery and death, the warrior’s fame and fate, and the connection between the goddess of fate and the cuckoo bird (in the Lithuanian tradition). The poetic grammar and poetic formulas, in particular, reveal the prototypical characteristics of the supernatural beings who rule fate – Norns, Wyrd, and Laima – and present them as an integral part of the Indo-European mythological system.

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13

Callander, David. "Laȝamon’s Dialogue and English Poetic Tradition." English Studies 97, no. 7 (August 23, 2016): 709–24. http://dx.doi.org/10.1080/0013838x.2016.1198117.

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14

Norova, Nasiba. "TRADITION AND INNOVATION IN USMON KUCHKOR'S POEMS." Scientific Reports of Bukhara State University 5, no. 3 (June 30, 2021): 100–111. http://dx.doi.org/10.52297/2181-1466/2021/5/3/9.

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Introduction. The article discusses the poetic innovations, formal and stylistic peculiarities in the work of the talented poet Usmon Kuchkor. The poet's “muqarnas” are analyzed. The second half of the twentieth century and the period of independence have a special significance with Uzbek poetry, its charm, new tones and visual features. Methodological and formal research, the renewal of artistic thinking, the human heart and spiritual experiences, the vivid depiction of emotions form the basis of this poetry. In this, the importance of artistic thinking in particular is immeasurable. As the literary critic N. Rakhmonov noted: "The multifaceted and multilayered phenomenon - the concept of artistic thinking is a specific product of philosophical, ethical and political views, manifested in the way of thinking of the artist" [7,4]. Methods.

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15

Takacs, Axel Marc Oaks. "Transposing Metaphors and Poetics from Text to World." Journal of Sufi Studies 9, no. 1 (March 25, 2021): 106–44. http://dx.doi.org/10.1163/22105956-bja10008.

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Abstract This article examines the use of Sufi lexicons (iṣṭilāḥāt) through the relatively unknown Mystical Commentary of the Love Lyrics of Ḥāƒiẓ by Abū al-Ḥasan Khatamī Lāhūrī. It resituates the iṣṭilāḥāt within the context of the philosophical-Sufi tradition, engaging theories of metaphor, imagination, poetry, and imaginaries from Ricœur, Castoriadis, Lakoff and Johnson, and Caputo. Rather than employing the iṣṭilāḥāt to produce a static correspondence between poetic terms and metaphysical realities, Lāhūrī’s theo-poetics transposes the metaphors and poetics of the poems into metaphors and poetics of this phenomenal world. This reading challenges previous criticisms of Sufi commentaries, particularly on the dīvān-i Ḥāfiẓ. The critique that the application of iṣṭilāḥāt disembodies or allegorizes the poetic images is challenged when they are interpreted within the philosophical-Sufi tradition. Contrary to literary criticisms of iṣṭilāḥāt, the poem is not merely a formal suitcase for mystical meaning; rather, poetics, the poem’s content, and theology create a nexus of interpretation for Lāhūrī.

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16

Griffith, M. S. "Poetic language and the Paris Psalter: the decay of the Old English tradition." Anglo-Saxon England 20 (December 1991): 167–86. http://dx.doi.org/10.1017/s0263675100001800.

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The metrical version of psalms LI–CL, known as the Paris Psalter, is a pedestrian and unimaginative piece of poetic translation. It is rarely read by students of Old English, and most Anglo-Saxonists make only passing reference to it. There is scarcely any literary criticism written on the text, although some work has been done on its vocabulary and metre. I hope to show in this article, however, that its stylistic peculiarities mark an important stage in the disintegration of the Old English poetic mode, and that analysis of these may go some way towards answering the difficult questions which surround the manner and the cause of the style's disappearance at the end of the Anglo-Saxon period. In particular, I shall examine this poet's selective use of the poetic diction normally associated with the form, and the impact of this selectivity on the systems of rank and formula.

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17

Turdybaev, K. "Karakalpak poetry and the artistic character of dedication poetry in the works of I. Yusupov." Turkology 6, no. 104 (January 12, 2020): 64–77. http://dx.doi.org/10.47526/2020/2664-3162.019.

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The article examines the place of I. Yusupov's poetry in the history of Karakalpak literature and genre features of dedicated poems in the poet's work. Artistic approaches in the poetry of I. Yusupov renew the artistic form of poetry. The poet's additions to the types of initiations in literature increased the significance of the genre. Therefore, we believe that a special study of this genre in the poet's work will serve to reveal the peculiarities of the poet's lyrics. In this article, we will focus on the nature of the development of the genre of initiation in the poet's work. The works of scientists who commented on the poet's work laid the foundation for the methodological conclusions of our article. Dividing I. Yusupov's poems into types, a thematic, genre, poetic analysis will be carried out. Civic pathos, lyrical thought, poetic clarity, poetic culture and other qualities are characteristic of the poet's work. The poetic tradition of Ibragim Yusupov continues in modern Karakalpak poetry.

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Turdybaev, K. "Karakalpak poetry and the artistic character of dedication poetry in the works of I. Yusupov." Turkology 6, no. 104 (January 12, 2020): 64–77. http://dx.doi.org/10.47526/2020/2664-3162.019.

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The article examines the place of I. Yusupov's poetry in the history of Karakalpak literature and genre features of dedicated poems in the poet's work. Artistic approaches in the poetry of I. Yusupov renew the artistic form of poetry. The poet's additions to the types of initiations in literature increased the significance of the genre. Therefore, we believe that a special study of this genre in the poet's work will serve to reveal the peculiarities of the poet's lyrics. In this article, we will focus on the nature of the development of the genre of initiation in the poet's work. The works of scientists who commented on the poet's work laid the foundation for the methodological conclusions of our article. Dividing I. Yusupov's poems into types, a thematic, genre, poetic analysis will be carried out. Civic pathos, lyrical thought, poetic clarity, poetic culture and other qualities are characteristic of the poet's work. The poetic tradition of Ibragim Yusupov continues in modern Karakalpak poetry.

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19

McArthur, Tom. "Poetic Nonsense?" English Today 1, no. 3 (July 1985): 34–35. http://dx.doi.org/10.1017/s0266078400001267.

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On the 3rd November 1984 there appeared in The Guardian newspaper (London and Manchester) an article entitled ‘The earth lay gloog, the cattle bollowed deep’. It was the work of MAGGIE COOK, the founder of the Boscobel Poets of Hastings, and lies squarely in the tradition of English literate nonsense. The article is reproduced below, with a commentary by TOM McARTHUR.

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20

Aouad, Maroun, and Gregor Schoeler. "The Poetic Syllogism according to al-Fārābī: an Incorrect Syllogism of the Second Figure." Arabic Sciences and Philosophy 12, no. 2 (August 21, 2002): 185–96. http://dx.doi.org/10.1017/s0957423902002096.

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It is well-known that the Arab philosophers of the Aristotelian tradition, like some of their Alexandrian predecessors, attached rhetoric and poetics to logic, and supported this inclusion by the idea that the principal poetic procedure - that is, essentially, metaphor - is a kind of syllogism: the poetic syllogism. However, until now, no texts prior to those of Avicenna had been identified which render the structure of this syllogism explicit. In the present contribution, we present and translate a passage from al-Fārābī which shows that for him, the poetic syllogism is an incorrect syllogism of the second figure - a different interpretation from that which will be given by Avicenna.

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21

Nsiri, Imed. "The Question of Tradition between Eliot and Adūnīs." Journal of Arabic Literature 51, no. 3-4 (August 20, 2020): 215–37. http://dx.doi.org/10.1163/1570064x-12341411.

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Abstract Arguing that the poetic quest is an instance of the modernist movement at crossroads, this article compares poetic quests as represented in the works of T. S. Eliot and ʿAlī Aḥmad Saʿīd, pen-named Adūnīs (Adonis). The article (re-)examines Eliot’s most famous poem The Waste Land and some of Adūnīs’s short poems alongside their respective prose works on literary criticism. I demonstrate how Eliot’s and Adūnīs’s poetic quests are an instance not only of the modernist movement at crossroads, but also of liminality where the modernist poet presents fluctuating images of himself: the poet as a knight that can change the world and, at the same time, as the little man who is blown in the wind. Hence Eliot’s and Adūnīs’s poetic texts are full of paradoxes and are peopled by those that bear within themselves opposites and are capable of everything and nothing. The modernist poet is Eliot’s Tiresias and Adunis’s al-Buhlūl. I illustrate how this instance of liminality is represented in their treatment of the theme of tradition.

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22

Guimarães, Paula. "‘A FONDNESS FOR BEING SAD’: SOME PORTUGUESE SOURCES FOR ELIZABETH BARRETT BROWNING’S POETICS OF MELANCHOLY IN SONNETS FROM THE PORTUGUESE (1850)." Diacrítica 31, no. 2 (October 2, 2018): 23. http://dx.doi.org/10.21814/diacritica.230.

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In seeing melancholy as the antithesis of poetic creativity, the Victorians often broke with the traditional Renaissance and Romantic attitudes of equating melancholy moods with artistic or poetic genius. This article proposes to explore how, initially viewed as an emotional and ‘depressed’ woman poet, Elizabeth Barrett Browning tried to resist and escape the sickening disempowerment or abandonment which had affected poets such as Felicia Hemans and Letitia Landon, and engage in a new poetics of melancholy in Sonnets from the Portuguese (1850). It demonstrates how the poet plays this poetics out in most of her later sonnets, where she indeed attempts to prove that good poetry can be written without melancholy, even if she herself does not always succeed in this deliberate rejection of ‘dejection’. The article thus intends to suggest, through a brief comparative analysis, that her apparently contradictory poetics of melancholy very probably derived from a specifically Portuguese poetic tradition, namely the ‘fondness for being sad’ of Luís de Camões, as well as the sorrowful love of Mariana Alcoforado’s epistles (1669) and of Soror Maria do Céu’s mannerist poems, an influence that is supported in the great similarity of motives and language that can be found in the respective texts.

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Berdnikova, Olga A. "On the Poetics of Titles in I. A. Bunin’s Poetic Heritage." Izvestia of the Ural federal university. Series 2. Humanities and Arts 22, no. 4 (202) (2020): 238–55. http://dx.doi.org/10.15826/izv2.2020.22.4.074.

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This article considers I. A. Bunin’s poetic oeuvre from the point of view of title poetics in order to identify the main patterns and author’s strategies in working with the title complex. The methodology is based on the correlation of the title with the text, subtext, and metatext of the poem, taking into account textual refinements. In Bunin’s principle of working with the title complex, there is a noticeable striving for accuracy and at the same time for a metaphorical semantic comprehensiveness that includes existential, natural, and cultural constants. Thus, the main features of Bunin’s poetics of titles are changes in the titles of one text, removal of titles and dedications, repetition of titles in two or more poems, combination of the theme and genre in a number of titles, and the addressing factor. In recurring titles, the researcher finds key images of Bunin’s poetry that include him in the Russian poetic tradition. However, a tendency to modernism is also noticeable in Bunin’s poetry in the titles of poems that contain Bunin’s philosophical and poetical reflection. The titles of such poems refer to the theme of death and often contain the words “grave” / “tomb”, but the text of the poem enters into an antinomic relationship with the title, i.e. a person belonging to the “world of art”, culture, and tradition (myth and religious tradition) has already ascended over the world and is doomed to immortality. The removal of titles as a strong position in texts on political topics shifts the reader’s attention from the temporary to the eternal and metahistorical, which is found in the text itself and clarifies the author’s position.

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24

Rowett, Catherine. "Analytic Philosophy, the Ancient Philosopher Poets and the Poetics of Analytic Philosophy." Rhizomata 8, no. 2 (December 1, 2020): 158–82. http://dx.doi.org/10.1515/rhiz-2020-0008.

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Abstract The paper starts with reflections on Plato’s critique of the poets and the preference many express for Aristotle’s view of poetry. The second part of the paper takes a case study of analytic treatments of ancient philosophy, including the ancient philosopher poets, to examine the poetics of analytic philosophy, diagnosing a preference in Analytic philosophy for a clean non-poetic style of presentation, and then develops this in considering how well historians of philosophy in the Analytic tradition can accommodate the contributions of philosophers who wrote in verse. The final part of the paper reviews the current enthusiasm for decoding Empedocles’ vague and poetic descriptions of the cosmic cycle into a precise scientific periodicity on the basis of the recently discovered Byzantine scholia on Aristotle. I argue that this enthusiasm speaks to a desire for definite and clear numerical values in place of poetic motifs of give and take, and that this mathematical and scientific poetic is comparable to the preferred poetic of analytic philosophy.

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25

Montori, Irene. "Representing Creation, Experiencing the Sublime: The Longinian Tradition in Tasso and Milton." Sederi, no. 30 (2020): 69–89. http://dx.doi.org/10.34136/sederi.2020.4.

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This essay aims to demonstrate how Tasso and Milton were conscious of the Longinian tradition and aware of fashioning a poetry of the sublime when rewriting the story of creation. The author of Il mondo creato incorporates the Longinian model of sublime ekstasis into his concept of meraviglia to construct his own poetics of artistic creation. Despite Milton’s indebtedness to Tasso, in Paradise Lost the English poet distances himself from a full commitment to Longinian ekstasis and locates the sublime in a more dialogical, if not dialectical, compositional model of poetic creation. From a broader perspective, this paper aims to illustrate the centrality of the sublime in fashioning early modern literary poetics.

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Butova, Anna, Angelina Dubskikh, and Ekaterina Lomakina. "The peculiarities of Zabolotsky’s poetic discourse." SHS Web of Conferences 55 (2018): 04015. http://dx.doi.org/10.1051/shsconf/20185504015.

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Although N. Zabolotsky’s creative work constantly attracted researchers, there are still problems that have not been reflected in the scientific literature. This article aims to define the features of Nikolai Zabolotsky’s poetic discourse in the Russian literary tradition. To achieve the aim, the authors deal with a wide range of challenges: the study of Zabolotsky’s worldviews in the context of the general mentality of the epoch; identifying the specific nature of figurative and semantic interactions in the poetic language and the objective reality in Zabolotsky’s and the Symbolists’ poetry; establishing the features in the poetic re-creation of artistic existence. Zabolotsky’s poetic heritage, considered from historical, literary and discoursive approaches is the material of the research. The material of this article can be used in teaching Russian literature of the XXth century and also promote the discovery of new facets in studies on poetics and culturology.

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Mitsis, Phillip, and Kathy Eden. "Poetic and Legal Fiction in the Aristotelian Tradition." Classical World 82, no. 1 (1988): 74. http://dx.doi.org/10.2307/4350298.

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Rollinson, Philip, and Kathy Eden. "Poetic and Legal Fiction in the Aristotelian Tradition." Comparative Literature 41, no. 1 (1989): 104. http://dx.doi.org/10.2307/1770683.

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29

Putter, Ad. "English Alliterative Verse: Poetic Tradition and Literary History." English Studies 99, no. 3 (April 3, 2018): 344–46. http://dx.doi.org/10.1080/0013838x.2018.1436263.

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30

Fakhreddine, Huda J. "Arabic Poetry in the Twenty-First Century: Translation and Multilingualism." Journal of Arabic Literature 52, no. 1-2 (April 16, 2021): 147–69. http://dx.doi.org/10.1163/1570064x-12341423.

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Abstract This paper examines the work of a sample of contemporary Arab prose poets whose poetic investments exceed the linguistic parameters of previous generations. Unlike the pioneers of the prose poem in Arabic in the early 1960s, the poets of this generation are not interested in interrogating Arabic poetic language or reimagining Arabic literary history. Instead, these poets embrace the Arabic literary tradition as an open multi-generic practice exercised in the space between multiple literary and linguistic traditions. This essay shows how their deliberate detachment from the Arabic poetic tradition, as well as from the inheritance of the early modernists, reveals a relationship with the Arabic language that differs from that of their predecessors. Their poetry is thus born translated: it is multilingual and exophonic in its motivations.

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رسـول مهــدي, عـامـر. "Meta-Mythopoeia in Ted Hughes’s Poetry." Al-Adab Journal 1, no. 121 (December 13, 2018): 17–26. http://dx.doi.org/10.31973/aj.v1i121.266.

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This paper aims at resetting, and delving into, the question of mythmaking or mythopoeia with regard to Ted Hughes’s poetry. It investigates the new postmodernist literary parameters that set Hughes’s mythopoeia apart from the Romantics’ and the modernists’ tradition of mythmaking. With Hughes, this tradition comes to be challenged as it is now reintroduced through the poet’s literary animals, and as these are deemed the correlative of the poetic process that is informed by the postmodernist poetics of meta-literature.

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Niżyńska, Joanna. "The Impossibility of Shrugging One's Shoulders: O'Harists, O'Hara, and Post-1989 Polish Poetry." Slavic Review 66, no. 3 (2007): 463–83. http://dx.doi.org/10.2307/20060297.

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In this article, Joanna Niżyńska explores the modes used by poets of the bruLion generation (whose debuts coincided with the end of communism) to import Frank O'Hara's poetics into Polish literature and the significance of their doing so. By employing Harold Bloom's concepts of the “anxiety of influence,” “kenosis,” and “daemonization,” Niżyńska analyzes the intergenerational impulses manifested in O'Harism in relation to the Romantic paradigm in Poland's poetic tradition. Niżyńska claims that in turning to O'Hara, such poets as Marcin Świetlicki, Jacek Podsiadło, and Miłosz Biedrzycki engaged in dialectically related modes of revisionary reading of both domestic and foreign traditions. O'Harism is interpreted as a sign of a multifaceted cultural morphogenesis that was simultaneously an act of compensation for Romantic “Polish complexes,” a self-exploration of a new poetic generation in the face of a new political and cultural reality, and a misreading of a foreign source.

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Żerańska-Kominek, Sławomira. "Poetic Images of Nightingale in the Art Song. On Some Aspects of Musical Meaning." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 117–34. http://dx.doi.org/10.14746/ism.2019.19.8.

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Birds are not only part of nature, but also an important element of culture. The life and behaviour of some bird species has been reflected in literary tradition in the form of poetic images and representations reflecting existential problems and stereotypically associated with specific states of the human psyche. These images and their poetics inspired composers of the Romantic era to create their musical, semantically charged counterparts. A special place in European poetry and music is occupied by the nightingale, which has wide symbolic connotations. My article discusses the musical replicas of the nightingale’s poetic representations in the songs of F. Liszt, J. Brahms, F. Schubert and K. Szymanowski. Each of the presented songs constructs meaning and relates to the poetic images in a different manner, despite the suggested or even expected repeatable nature of the emotional expression and experience symbolically associated with this bird.

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Miao, Ronald C., and Pauline Yu. "The Reading of Imagery in The Chinese Poetic Tradition." Harvard Journal of Asiatic Studies 51, no. 2 (December 1991): 726. http://dx.doi.org/10.2307/2719293.

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35

McCraw, David, and Pauline Yu. "The Reading of Imagery in the Chinese Poetic Tradition." Chinese Literature: Essays, Articles, Reviews (CLEAR) 9, no. 1/2 (July 1987): 129. http://dx.doi.org/10.2307/495289.

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36

Yeh, Michelle, and Pauline Yu. "The Reading of Imagery in the Chinese Poetic Tradition." Comparative Literature 42, no. 3 (1990): 285. http://dx.doi.org/10.2307/1770501.

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37

Pavlou, Maria. "Metapoetics, Poetic Tradition, and Praise in Pindar Olympian 9." Mnemosyne 61, no. 4 (2008): 533–67. http://dx.doi.org/10.1163/156852508x252821.

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AbstractScholarly discussions of Pindar's Olympian 9 normally examine the opening reference to Archilochus' kallinikos hymn, the mythical exemplum of Heracles' theomachy, and the narrative of the foundation of Opus separately. The present study will attempt to examine these references together, as forming a dynamic whole. As will become clear, such an approach can provide a more successful reading of the poem because it accounts better for its constituent parts, better integrates metapoetry and poetry throughout, and offers valuable insights into Pindar's attitude towards previous poetry and tradition in general.

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Fu-Sheng, Wu. "The Concept of Decadence in the Chinese Poetic Tradition." Monumenta Serica 45, no. 1 (January 1997): 39–62. http://dx.doi.org/10.1080/02549948.1997.11731300.

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Sharp, Zachary Daniel. "“Fitter to Please the Court Than the School”: Courtly and Paideutic Rhetoric in Elizabethan Poetics." Rhetorica 38, no. 1 (2020): 57–83. http://dx.doi.org/10.1525/rh.2020.38.1.57.

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This paper argues that Elizabethan handbooks on poetics enact two coevolving traditions in the history of rhetoric and poetics: one sees poetry as a rhetorical art of stylistic invention, while the other sees it as an object of study, analysis, and ethical training. To show this, I examine George Puttenham's Art of English Poesy and contrast it with William Scott's recently discovered Model of Poesy. Puttenham demonstrates how poetic style works as a tool of rhetorical invention; Scott, on the other hand, treats poetics as a method of literary critical analysis. Scott's poetics, I argue, is derived from a “paideutic” tradition, the aims of which mirror those found in educational treatises that concern the hermeneutic training students received in English grammar schools. Puttenham, writing for courtiers, instead makes a case for poetics as a means of rhetorical adaptation at court—his handbook, in short, shows poetry to be a rhetorical and pragmatic art of verbal performance that exists outside the schoolroom.

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Koirala, Saroj. "Linking Words with the World: The Language Poetry Mission." Tribhuvan University Journal 29, no. 1 (March 31, 2016): 175–90. http://dx.doi.org/10.3126/tuj.v29i1.25968.

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The poets associated with the L=A=N=G=U=A=G=E School have remarkably borrowed from the Pound-Olson tradition of political poetry and poetics. But, they have also experimented with newer methods and matters that deviate from the tradition. Such continuation and departure from the tradition of the socio-cultural oriented language poets has been investigated here. Their poetic tenets have been examined through the ideas formulated by the outstanding cultural critics; Adorno, Jameson, Bakhtin, Foucault, Lukács, and Benjamin. Based on the thorough examination it has been found out that besides many other socio-cultural demands the language poets want to connect the words of art the world people live. Such connection, as they perform, has been disturbed for long time.

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Myasnikova, S. A. "Poetic formulas of Belarusian carol and volochebnye songs. Problems of correlation of Irtysh region migrants' and maternal traditions." Languages and Folklore of Indigenous Peoples of Siberia, no. 37 (2019): 33–40. http://dx.doi.org/10.25205/2312-6337-2019-1-33-40.

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The article analyzes the poetic formulas of the Belarusian carol and volochebnye songs recorded in Omsk Irtysh region. The poetic formula is stable and repeatable, like the motive, but it does not have the motivation and the structure of the sentence, most often it is expressed in a quotation from the song text, which is absolutely not characteristic of the motive. The isolation and analysis of the poetic formulas of text corpora can provide a visual representation of a particular tradition. The aim of the study is to demonstrate the folk material recorded in the Irtysh through the prism of comparative analysis with the material of the maternal tradition. To isolate poetic formulas, the author has compiled a systematic, informative catalog that does not allow the full scope of the article to be published. But for clarity, the work demonstrated selected groups reflecting the architectonics of songs and containing their classification and systematization sections. The study resulted in conclusions that, on the one hand, the classification and systematization of regional Omsk records demonstrates a significant degree of loss of resettlement material. This is manifested in a small number of selected poetic formulas (in comparison with the place of outcome of the tradition), in the fragmentaryness and loss of textual elements, as part of subject groups. On the other hand, there is a strong connection with the maternal tradition which is reflected in the presence of typical ritual formulas, their full or partial coincidence with the formulas of а Belarusian texts.

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Seyed-Gohrab, Asghar. "Rūmī’s Antinomian Poetic Philosophy." Mawlana Rumi Review 9, no. 1-2 (January 3, 2020): 159–99. http://dx.doi.org/10.1163/25898566-00901009.

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AbstractWestern reception of Rūmī in the last few decades is intriguing, as he is commonly considered a gentle Muslim, different from other sages that Islamic culture produced. Rūmī’s otherness is often based on his powerful and peerless poetry, deploying rich wine imagery, homoerotic love metaphors, and an emphasis on the superiority of the heart and spiritual growth, and dismissing the outward and orthodox tenets. This paper argues that Rūmī belongs to a millennium-old Persian Sufism, and these poetic tropes derive from a firm antinomian tradition, functioning as strong metaphors to express religious piety by transcending all temporal dualities such as unbelief and belief, the profane and the sacred, purity and impurity, and so forth.

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Meisami, Julie Scott. "Allegorical Gardens in the Persian Poetic Tradition: Nezami, Rumi, Hafez." International Journal of Middle East Studies 17, no. 2 (May 1985): 229–60. http://dx.doi.org/10.1017/s0020743800029019.

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A striking feature of medieval Persian poetry is the abundance of nature imagery that permeates every poetic genre, and especially imagery relating to gardens. The royal gardens and parks evoked in the descriptive exordia of the qasīda, the luxuriant gardens of romance that provide settings for tales of love, the spiritual gardens of mystical writings, the flowery haunts of rose and nightingale in the courtly ghazal—all provide eloquent testimony to the importance of the garden in Persian culture.

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Ravvin, N. "Making it Mainstream: Montreal and the Canadian Jewish Poetic Tradition." Literature and Theology 24, no. 2 (June 1, 2010): 121–36. http://dx.doi.org/10.1093/litthe/frq020.

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Wood, Sarah. "ERIC WEISKOTT. English Alliterative Verse: Poetic Tradition and Literary History." Review of English Studies 68, no. 287 (May 17, 2017): 988–90. http://dx.doi.org/10.1093/res/hgx053.

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Lavrač, Maja. "On Parting, Separation and Longing in the Chinese Poetic Tradition." Interlitteraria 20, no. 2 (December 31, 2015): 105. http://dx.doi.org/10.12697/il.2015.20.2.10.

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Carolyn Williams. "Parody and Poetic Tradition: Gilbert and Sullivan's Patience." Victorian Poetry 46, no. 4 (2008): 375–403. http://dx.doi.org/10.1353/vp.0.0031.

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Griffith, Mark. "Eric Weiskott, English Alliterative Verse: Poetic Tradition and Literary History." Notes and Queries 65, no. 4 (October 20, 2018): 572–73. http://dx.doi.org/10.1093/notesj/gjy172.

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MENG, Louis Liuxi. "Idea-scape (yijing) : Understanding Imagery in the Chinese Poetic Tradition." Comparative Literature: East & West 23, no. 1 (March 2015): 29–48. http://dx.doi.org/10.1080/25723618.2015.12015443.

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Margolis, N. "The Medieval French Pastourelle Tradition: Poetic Motivations and Generic Transformations." French Studies 65, no. 1 (December 17, 2010): 83–84. http://dx.doi.org/10.1093/fs/knq222.

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