Relevant bibliographies by topics / Poetry (form)

Contents

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

Academic literature on the topic 'Poetry (form)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Poetry (form)"

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Yashnarovna, Maxammadieva Yulduz. "Poetic content and form of feruz's poetry." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 5 (2020): 1300. http://dx.doi.org/10.5958/2249-7137.2020.00300.6.

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Freeman, Glenn J., and David Caplan. "Questions of Possibility: Contemporary Poetry and Poetic Form." Journal of the Midwest Modern Language Association 39, no. 1 (April 1, 2006): 193. http://dx.doi.org/10.2307/20464176.

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Cureton. "Rhythm and Poetic Form: Poetry as Rhythmic “Telling”." Style 53, no. 2 (2019): 236. http://dx.doi.org/10.5325/style.53.2.0236.

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Cureton, Richard D. "Rhythm and Poetic Form: Poetry as Rhythmic "Telling"." Style 53, no. 2 (2019): 236–56. http://dx.doi.org/10.1353/sty.2019.0016.

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Spiegelman, Willard. "Questions of Possibility: Contemporary Poetry and Poetic Form (review)." Modernism/modernity 13, no. 3 (2006): 597–99. http://dx.doi.org/10.1353/mod.2006.0075.

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Sholihah, Husniatin, and Nensy Megawati Simanjuntak. "Existentialism in Extracurricular Poetry Creation: A Hermeneutic Analysis." Journal of Language and Literature Studies 4, no. 2 (June 20, 2024): 432–44. http://dx.doi.org/10.36312/jolls.v4i2.1894.

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Poetry is a literary form that conveys the poet's emotions and thoughts through an imaginative and structured process. It is rich in emotion and distinct in its expression. Writing poetry involves channeling imagination into lines and stanzas, reflecting the poet's creative freedom and ownership. Within the framework of existentialism, poets exercise complete freedom in crafting their poetry without external influence. This study employs a qualitative approach using Hermeneutic analysis and data validation techniques, where data are validated through thorough reading to ascertain the meaning of each word and phrase. The data sources consist of seven poetry texts created by members of the extracurricular poetry group at MTs Miftahul Huda Palang Tuban. Data were collected in the form of words, phrases, and stanzas that depict existentialism, particularly individual freedom. The findings reveal five existential themes in the poetry: "me" (29%), "heart" (14%), "love" (14%), "friends" (29%), and "God" (14%). The terms "me" and "best friend" are the most prevalent, highlighting the themes of self-identity and interpersonal relationships as forms of existence. This study demonstrates that the poet's existence is manifested through the choice of words, with the dominant themes reflecting the poet's exploration of identity, relationships, and individual freedom.
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Antine, Sarah, and Terry Hauptman. "Poetry: Music, Patience and Form." Bridges 16, no. 1 (April 2011): 77–85. http://dx.doi.org/10.2979/bridges.16.1.77.

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Shibanov, Victor Leonidovich. "Haiku Form in Udmurt Poetry." Ethnic Culture 4, no. 3 (September 27, 2022): 45–50. http://dx.doi.org/10.31483/r-103316.

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Japanese forms of verse are beginning to occupy an important place in the Udmurt poetry of recent times. In the 1990s, the dialogue of cultures was directed mainly to the West. In the new millennium, the internal mechanisms of culture begin to actualize the classical East. There comes a time of worldview and understanding of what is happening, haiku is becoming one of the popular genres. The purpose of the study is to identify national features of the haiku genre in the Udmurt lyrics. The object of analysis is the poems of A. Leontiev, S. Matveev and Alexei Arzamazov, written in the form of a Japanese three-line poem. The method of analysis is comparative studies. The results of the study are as follows. Udmurt poets, writing in the form of haiku, strive to see the big world in a small detail, to show the eternal in a moment. The autumn landscape becomes attractive in that it conveys “light sadness” (sabi). Thus, the poets do not copy the Japanese canons, but bring a national flavor. The unexpectedness of the finale (koan) in Udmurt haiku is usually achieved by the fact that the poet passes from one spatial dimension to another.
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Mitra, Tapaswinee. "Form Poetry and the Pandemic." Humanities 12, no. 5 (September 26, 2023): 107. http://dx.doi.org/10.3390/h12050107.

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This article looks at a set of anglophone form poetry that I wrote for a course I took while pursuing my master’s degree in Gender Studies at Ambedkar University, Delhi (2019–2021), during the second wave of the COVID-19 pandemic in India. The poems are a documentation of the life that I lived and experienced during this time. Using an auto-ethnographic method, this article simultaneously engages with poetic forms, such as the haiku, villanelle, sestina, and acrostic, and provides a self-reflexive analysis of the content and the South Asian context from which the poems emerged. Each poem, I argue, grapples with various gendered structures of interpersonal and state violence, exacerbated by the COVID-19 pandemic and the lockdown that followed in its wake. In this article, I explore the ways in which the everydayness of violence can be documented through art and creative practices. My primary question is: What is the form of the poem doing for the content of the poem; that is, in what ways do certain poetic forms assist in the documentation of personal experiences of violence during a pandemic? This article explores the political possibilities offered by the method of writing form poetry as a documentation of violence, as well as providing a ‘witness’ to it. Thinking more about the role of producing art vis-à-vis my academic research, I further ask: How can we expand the scope of the feminist research methods we use, and what role might form poetry play in this? I situate this article at the intersection of South Asian Studies, Women’s and Gender Studies, and Literary and Cultural Studies, particularly focusing on the South Asian anglophone poetics of the written word in a post-pandemic time.
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Suharsono, Suharsono, Ivan Adilla, and Syofyan Hadi. "Kerinduan pada Tanah Air dalam Antologi Puisi ‘Āsyiq Min Falisṭīn Karya Mahmoud Darwish (Analisis Semiotika Riffaterre)." Jurnal Ilmiah Universitas Batanghari Jambi 23, no. 1 (February 25, 2023): 1. http://dx.doi.org/10.33087/jiubj.v23i1.3226.

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Anthology of poetry Mahmoud Darwish's work Āsyiq min Falisṭīn is a poem about longing, which shows the poet's love for his homeland. On the other hand, the poetry in the anthology also describes the condition of the poet who is in prison, isolated and without a family. To discuss the poetry anthology above, this thesis utilizes the semiotic theory developed by Michael Riffaterre. There are three problems studied in this thesis, they are: 1) What is the form of indirect expression in the poetry anthology of Āsyiq min Falisṭīn by Mahmoud Darwish, 2) What is the meaning contained in the anthology of poetry Āsyiq min Falisṭīn Mahmoud Darwish's work with heuristic and hermeneutic readings, 3) How are the matrices, models, and variants in the poetry anthology of Āsyiq min Falisṭīn by Mahmoud Darwish. The method used in this study is a qualitative descriptive that describes the results of research using Riffaterre's semiotics method. This research concludes the following. First, the indirect form of expression in the poetry anthology Mahmoud Darwish's work Āsyiq min Falisṭīn is in the form of changing meaning, distorting meaning, and creating meaning. Second, through heuristic and hermeneutic reading, it can be concluded that the poems in the anthology above describe the poet's longing for his land of Palestine. Third, the matrix, model, and variant in the poetry anthology Mahmoud Darwish's work Āsyiq min Falisṭīn shows the relationship between the themes of each stanza of his poetry.
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Dissertations / Theses on the topic "Poetry (form)"

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Atchley, Rachel. "Memory for Poetry: More than Meaning?" Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1319216131.

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Weber, Joseph John. "A Categorization of Form for Stephen Crane's Poetry." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501068/.

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This thesis presents four categories of form basic to all of Stephen Crane's poetry: antiphons, apologues, emblems, and testaments. A survey of previous shortcomings in the critical acceptance of Crane as a poet leads into reasons why the categorization of form here helps to alleviate some of those problems. The body of the thesis consists of four chapters, one for each basic form. Each form is defined and explained, exemplary poems in each category are explicated, and specifics are given as to what makes one poem better than the next. The thesis ends with an elevation of Crane's worth as a poet and a confirmation of the merits of this new categorization of form.
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Eby, Lawrence V. "MEMORIC FORM: POEM AS MEMORY." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/52.

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Machinist in the Snow is a narrative long poem, much like a novel in verse that deals with the loss of memory and environmental rebirth. In the book, the narrator exiles himself into a frozen nature and attempts to return the frozen wasteland into its former, flourishing environment. The poems take on the memoric form of memory in a wide range of poetic forms from the traditional sonnet, haiku, or villanelle, to a scattered projective verse. In the center of these poems is an attempt to mimic the mind in the way that it shifts, in its moments of clarity, and in its attempt to dissect and understand the surrounding realities. Through logic patterning, deep image, and introspection, these poems are meant to give insight into what it means to be human in the digital age and to highlight the dwindling connection to the pastoral that is so deeply rooted in American society.
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Fahlström, Susanna. "Form and philosophy in Sándor Weöres' poetry." Doctoral thesis, Uppsala University, Department of Finno-Ugric Languages, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-409.

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This dissertation, by presenting comprehensive analyses of six poems by the Hungarian poet Sándor Weöres, investigates the poetical forms and the poetical philosophies in these texts. The poems represent specific philosophic spheres of Weöres' poetry. The analyses emerge from the formal elements, and aim to shed light upon the structural coherences between the texts and their philosophical contexts. This method of analysis also complies with Weöres' views on the aesthetics of poetics and his method of writing, where form and structure always played an outstandingly important role. The complex methods used in the analyses are very much influenced by the views and methods of a text stylistics that looks at the literary work as a global entity. Taken together, these analyses illustrate the focal points of a remarkable poetical form and a most profound philosophical context in the poems of an outstanding Hungarian poet.

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Fahlström, Susanna. "Form and philosophy in Sándor Weöres' poetry /." Uppsala : Acta Universitatis Upsaliensis, 1999. http://catalogue.bnf.fr/ark:/12148/cb37622175f.

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Skerratt, Brian Phillips. "Form and Transformation in Modern Chinese Poetry and Poetics." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11116.

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Hu Shi began the modern Chinese New Poetry movement by calling for the liberation of poetic forms, but what constitutes "form" and how best to approach its liberation have remained difficult issues, as the apparent material, objective reality of literary form is shown to be deeply embedded both culturally and historically. This dissertation presents five movements of the dialectic between form and history, each illustrated by case studies drawn from the theory and practice of modern Chinese poetry: first, the highly political and self-contradictory demand for linguistic transparency; second, the discourse surrounding poetic obscurity and alternative approaches to the question of "meaning"; third, a theory of poetry based on its musicality and a reading practice that emphasizes sameness over difference; four, poetry's status as "untranslatable" as against Chinese poetry's reputation as "already translated"; and fifth, the implications of an "iconic" view of poetic language. By reading a selection of poets and schools through the lens of their approaches to form, I allow the radical difference within the tradition to eclipse the more familiar contrast of modern Chinese poetry with its foreign and pre-modern others. My dissertation represents a preliminary step towards a historically-informed formalism in the study of modern Chinese literature.
East Asian Languages and Civilizations
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Marks, Thomas. "The poetry of architecture : aspects of poetic form from Wordsworth to Thomas Hardy." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540159.

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Mikko, Evelina. "Bolts of Melody : The Poetic Meter and Form in Poetry of Emily Dickinson." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36462.

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This essay analyses a selection of poems written by the American poet Emily Dickinson. The essay aims to explore the function of the meter in Emily Dickinson’s poetry. Earlier studies have combined Emily Dickinson’s poetry with meter, but the research of metrical pattern and form has not been sufficient enough to show Emily Dickinson’s full potential with the different meters. The purpose of this essay is to analyse how the metrical patterns are used by the poet as metrical strategies to impact the reader’s perception. One assumption is that structure and form are fundamental to her writing style. It justifies the reading of her poetry in relation to meter. The main focus was the physical structures of the poems, such as line length, metrical patterns, and systematic rhymes. The second most important aim was to analyse her other poetic devices, such as dashes and capitalizations. The findings were analysed together with the vocabulary and figurative language. The analysis shows Emily Dickinson’s poetic artistry in meter and rhyme and clarifies how she creates poetry with lyrical qualities. The result is important because it also shows that she can create poetry with metrical patterns, without in that sense being bound to meter.
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Petrou, T. "Form and love in the poetry of Jacques Roubaud." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10041895/.

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This dissertation explores the relationship between form and the figuration of love in the poetry of Jacques Roubaud. I begin with Roubaud's decision to institute form at the centre of his poetic practice. While rejecting the freer verse forms associated with Surrealist poetry, Roubaud maintains an ambiguous relationship with the work of Paul Éluard, placing the earlier poet at the heart of his theoretical understanding of an inextricable link between love and poetry, form and memory. I then analyse the particular place of Roubaud's muse within poetic form, and her relation to Roubaud's key concepts of literary constraint and memory. I read parts of Trente et un au cube (1973) through the lens of Lacan's theory of sexual difference and Irigaray's response, finding that the position of Roubaud's poetic beloved in the poems overlaps with that of the reader. Roubaud offers his reader spaces in which to invest her own associations and memory, and to contribute to the productivity of his practice of formal constraint. I go on to consider the differing roles of the Lacanian and Irigarayan sexual disjunction in the relation between the poet and his beloved, particularly expressed through moments of sleep and silence. While it is an ambivalent space, the disjunction may also be the site in which the individuality of both terms in the love relation flourishes, allowing for mobility in that relation. Finally, I reflect on that collaboration between poet and beloved by retracing the journey taken thus far through a selection of subsequent works written as the poet mourns the loss of his wife, Alix Cléo. A key text is Du noir tombe (1985), a poetry collection read here for the first time as relating to Roubaud's loss, and I consider the interaction of Alix Cléo's photography and Roubaud's notion of poetic form.
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Smith, Michael Bennet 1979. "Disparate measures: Poetry, form, and value in early modern England." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11182.

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xi, 198 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
In early modern England the word "measure" had a number of different but related meanings, with clear connections between physical measurements and the measurement of the self (ethics), of poetry (prosody), of literary form (genre), and of capital (economics). In this dissertation I analyze forms of measure in early modern literary texts and argue that measure-making and measure-breaking are always fraught with anxiety because they entail ideological consequences for emerging national, ethical, and economic realities. Chapter I is an analysis of the fourth circle of Dante's Inferno . In this hell Dante portrays a nightmare of mis-measurement in which failure to value wealth properly not only threatens to infect one's ethical well-being but also contaminates language, poetry, and eventually the universe itself. These anxieties, I argue, are associated with a massive shift in conceptions of measurement in Europe in the late medieval period. Chapter II is an analysis of the lyric poems of Thomas Wyatt, who regularly describes his psychological position as "out of measure," by which he means intemperate or subject to excessive feeling. I investigate this self-indictment in terms of the long-standing critical contention that Wyatt's prosody is "out of measure," and I argue that formal and psychological expressions of measure are ultimately inseparable. In Chapter III I argue that in Book II of the Faerie Queene Edmund Spenser figures ethical progress as a course between vicious extremes, and anxieties about measure are thus expressed formally as a struggle between generic forms, in which measured control of the self and measured poetic composition are finally the same challenge Finally, in my reading of Troilus and Cressida I argue that Shakespeare portrays persons as commodities who are constantly aware of their own values and anxious about their "price." Measurement in this play thus constitutes a system of valuation in which persons attempt to manipulate their own value through mechanisms of comparison and through praise or dispraise, and the failure to measure properly evinces the same anxieties endemic to Dante's fourth circle, where it threatens to infect the whole world.
Committee in charge: George Rowe, Chairperson, English; Benjamin Saunders, Member, English; Lisa Freinkel, Member, English; Leah Middlebrook, Outside Member, Comparative Literature
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Books on the topic "Poetry (form)"

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Nakell, Martin. Form. New York: Spuyten Duyvil, 2003.

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Gerrman, Dimitry. Dimitry Gerrman: Poetry of form. St. Petersburg: Palace Editions, 2009.

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Kate, Braid, and Shreve Sandy, eds. In fine form: The Canadian book of form poetry. Vancouver: Raincoast Books, 2005.

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Lopez-Fernandez, Laura. Form and perception in visual poetry. Bethesda: Academica Press, 2008.

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Huntsperger, David W. Procedural Form in Postmodern American Poetry. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106109.

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Cushman, Stephen. Fictions of form in American poetry. Princeton, N.J: Princeton University Press, 1993.

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Catherine, Atherton, ed. Form and content in didactic poetry. Bari: Levante, 1998.

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Cushman, Stephen. Fictions of form in American poetry. Princeton, N.J: Princeton University Press, 1993.

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Music lessons: Poetry and musical form. Tarset, Nothumberland: Bloodaxe Books, 2011.

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1953-, McDowell Robert, ed. Sound and form in modern poetry. 2nd ed. Ann Arbor: University of Michigan Press, 1996.

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Book chapters on the topic "Poetry (form)"

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Furniss, Tom, and Michael Bath. "Significant Form." In Reading Poetry, 70–101. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003011361-4.

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Davidson, Chad, and Gregory Fraser. "Form and Structure." In Writing Poetry, 28–43. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0_3.

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Davidson, Chad, and Gregory Fraser. "Form and Structure." In Writing Poetry, 131–45. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0_9.

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Hutchings, William. "Form and Technique." In Living Poetry, 13–48. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35807-2_2.

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Petrucci, Mario. "Spatial Form." In The Portable Poetry Workshop, 85–93. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60596-2_12.

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Armstrong, Isobel. "The Politics of Dramatic Form." In Victorian Poetry, 126–49. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315775883-6.

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Sheppard, Robert. "Taking Form: Experimental and Avant-Garde Forms." In The Portable Poetry Workshop, 76–84. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60596-2_11.

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Sheppard, Robert. "Introduction: Form, Forms, and Forming." In The Meaning of Form in Contemporary Innovative Poetry, 1–28. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-34045-6_1.

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James, Alison. "Poetic Form and the Crisis of Community." In Thinking Poetry, 167–83. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137329288_11.

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Loewenstein, Joseph. "Tudor Verse Form." In A Companion to Renaissance Poetry, 166–82. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118585184.ch12.

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Conference papers on the topic "Poetry (form)"

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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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Mehmetali, Bekir. "Examples of the wonderful poetic image in ancient Arabic poetry." In VII. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress7-7.

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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. And I wrote a research on the wonderful poetic image in ancient Arabic poetry, so I wanted this research to be a continuation of that research, and a complement to it. To provide a clear picture of the art of beautiful photography in ancient and modern Arabic poetry. And since this research follows the pattern of that research, and completes it, I adopted the same approach to avoid fallacy, affectation, and concavity
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MEHMETALİ, Bekir. "THE POSITION OF ARABIC POETRY FROM HIGH PRICES." In I V . I N T E R N A T I O N A L C O N G R E S S O F L A N G U A G E A N D L I T E R A T U R E. Rimar Academy, 2022. http://dx.doi.org/10.47832/lan.con4-12.

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Arabic literature, especially poetry, was not static literature, isolated from the issues of the society in which the poet grew up, and he grew up in it, drawing inspiration from it for its themes, purposes, images, and language, and pouring it into a poetic form that is a literary image of the poet’s thoughts, views, and feelings, The subject he dealt with was rather literature that lives the concerns of society, and he still does so. The poet's concern with the concerns of his society has produced a new color in modern Arabic poetry, which is social poetry. Since the price hike and the rise in prices have become a heavy social concern that Arab societies, and others, suffer from at the present time, this matter prompted me to research this topic, to clarify the position of modern Arab poetry on the issue of high prices, and the way it depicts them, and I found sufficient and relevant poems A value in which its organizers dealt with this issue that recurs at all times and places, and becomes a terrifying nightmare that worries and frightens society, threatens the collapse of governments, corrupts consciences, and enters human moral, social, economic, and political relations under the shade. In this lies the importance of the research, and the motive for it. The researcher will approach the investigative method by examining the poems that were mentioned for this purpose. He will provide from them what he deems appropriate, and follow that with the analytical method, analyzing the meanings, thought, and attitudes contained in these poems. To get as clearly as possible the position of modern Arabic poetry on the high prices and the high prices, trying to answer some of the questions that revolve in the researcher’s mind towards: Is modern Arabic poetry a real interaction with this social problem? Did his reaction rise to the extent of the problem? Was it on the side of society or on the side of those who caused it?
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Gries, Paul, Jennifer Campbell, Daniel Zingaro, and Tom Fairgrieve. "Poetry Form Checker." In WCCCE '19: Western Canadian Conference on Computing Education. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3314994.3325080.

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MEHMETALI, Bekir. "THE RULE OF POETIC NECESSITY IN CONTEMPORARY POETRY." In III. International Research Congress ofContemporary Studiesin Social Sciences. Rimar Academy, 2021. http://dx.doi.org/10.47832/rimarcongress3-10.

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Poetry flowed from the tongue of the Arab poets in a natural flow in the early days of his era, and it preceded its cradle in the pre-Islamic era, and accordingly the saliqa and innate nature took place. Classical Arabic in which he produced his poetry, in rules and linguistic laws, and by analogy with them, his poetry will be studied in meaning and structure, and that he will be mistaken in saying this, and the linguist will seek to find linguistic ways to penetrate the poet into the Arab rule that was made by the grammatical extrapolation. Hence the term poetic necessity, which is to find a nice linguistic way out because the poet's statement is not inconsistent with the made linguistic rule. There was a lot of disagreement between the grammarians on this subject. The problem of the research is manifested in the permissibility of using the poetic necessities of the contemporary poet who lives in our time, or the impermissibility of that, and he wonders: Is it permissible for the contemporary poet to use the poetic necessities that the ancients used? And how much is permissible to use it? Does he use it consciously and intentionally, compared to the ancients, or are they linguistic errors that he falls into without being aware of them? The research is theoretical and applied on two collections of poetry by two contemporary Arab poets who live in a nonArab spatial and linguistic environment (Turkey), namely Ayman al-Jabali and Khaled alMuhaimid. The study relied on the descriptive approach, which describes some of the poetic necessities used by the ancients, and which were mentioned by specialized sources and references. The importance of the research lies in its problem and topic, and the conclusions drawn from the research are presented at the end
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Mitkina, Evgenia. "QIU XIAOLONG’S NOVELS: AMERICAN DETECTIVE STORIES WITH CHINESE ROOTS." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.23.

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Qiu Xiaolong is an American writer born in China, but he has been living in the United States since 1988. He wrote eleven novels about Inspector Chen, who lives in Shanghai and investigates crimes committed in that city. One of the features of Qiu Xiaolong’s work is insertions of poetry. Its main character is an educated person, he writes poetry himself, translates and actively uses the Chinese poetic heritage to express feelings. The author uses the form of a detective novel to show the various problems of modern China (the period covered is from the 1990s to the present day).
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Dang Thi Dieu, Trang. "Modern Folk poetry (Ca Dao): A Form of Folklore Linguistic Composition on the Internet." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-2.

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The context of globalization along with the development of electronic media has opened a new era for folklore in general as well as forms of linguistic composition of folk literature in particular. In addition to the form of composing and keeping media documents in the traditional way, the Internet explosion has dominated the main spaces of communal life and has gradually changed the mode of human interaction. Cyber space is considered as a tool to convey traditional values, to create many new cultural activities, and to be a place to circulate folk cultural works in contemporary society, in which folk poetry (Ca dao) is one. Modern folk poetry studies are still a controversial issue in academic circles in Vietnam, but with the dominance of today's Internet communication technology, the emergence of lyrics rhymes circulated on the Internet is a remarkable and inevitable phenomenon in the context of development of various forms of "reformed", "processing", "parody" lyrics, songs, poems according to the direction of humor and entertainment rather than focusing on aesthetics and art. From a linguistic cultural approach, this article aims to discuss modern folk poetry on such issues as: Why did such folk poetry come about? How would we circulate or share this poetry on the Internet and to approach folk culture in an era of dominance of visual culture (TV, video, film, photography) and Online culture; how does socio-economic change on modern folk poetry impact on the Internet in terms of thinking innovatively, and how does it tend to break traditional cognitive structures due to the diverse forms of reflection and reality in modern society?
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Juhásová, Jana. "Sanjuanist motifs in the poetic work of Erik Jakub Groch." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-19.

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One of the key poets of Slovak post-November poetry was shaped in the Komúna dissent group headed by philosopher and artist M. Strýko during the communist regime. Operating in dissent supported the radicality of his poetic gesture and lifestyle, the image of an active, evolving individual freed from the senselessness of civilization, and also the idea that it is possible to integrate evil into a higher good. These ideas also form branches to the sanjuanist motifs and intellectual solutions that are close to Groch. The article seeks these penetrating places with special attention on the symbol of the journey and pilgrimage, and at the same time points to Groch’s creative updates of one of the most famous spiritual teachings of the West.
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Antofi, Eugenia Simona, and Carmen Oprit-Maftei. "EXPLORING POETICAL PECULIARITIES OF ANA BLANDIANA�S INTERVIEWS." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.07.

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The present paper is part of a broader research project, which aims at investigating the interviews given by Ana Blandiana, who is one of the most influential contemporary Romanian poets and a well-known dissident of the dictatorial regime of the 1970s and 1980s. These interviews were collected between 2019 and 2020 and subsequently grouped into three main categories, related to poetry, prose and essays. The resulting material was published in a volume entitled �Cartea cu delfini� (The book with dolphins) in 2021. Ana Blandiana�s interviews take the form of an autobiography, which enables the poet to share her memories and thoughts on the world we live in. These dialogues of literary interest are of the utmost importance as they reveal the poet�s personality and disclose her emotions and views related to a writing career of more than 60 years. The theoretical and methodological perspectives included in this research are related to the literary interview, which uses the techniques of storytelling and reveals insights into the interlocutor�s life, work and experiences. In addition, the research also reviews the theories of the literary discourse, with a strong focus on the linguistic beauty and poetic language of Ana Blandiana. The novelty of this study lies in investigating the particularities of her literary interviews.
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Antofi, Eugenia Simona, and Carmen Oprit-Maftei. "EXPLORING POETICAL PECULIARITIES OF ANA BLANDIANA�S INTERVIEWS." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.07.

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The present paper is part of a broader research project, which aims at investigating the interviews given by Ana Blandiana, who is one of the most influential contemporary Romanian poets and a well-known dissident of the dictatorial regime of the 1970s and 1980s. These interviews were collected between 2019 and 2020 and subsequently grouped into three main categories, related to poetry, prose and essays. The resulting material was published in a volume entitled �Cartea cu delfini� (The book with dolphins) in 2021. Ana Blandiana�s interviews take the form of an autobiography, which enables the poet to share her memories and thoughts on the world we live in. These dialogues of literary interest are of the utmost importance as they reveal the poet�s personality and disclose her emotions and views related to a writing career of more than 60 years. The theoretical and methodological perspectives included in this research are related to the literary interview, which uses the techniques of storytelling and reveals insights into the interlocutor�s life, work and experiences. In addition, the research also reviews the theories of the literary discourse, with a strong focus on the linguistic beauty and poetic language of Ana Blandiana. The novelty of this study lies in investigating the particularities of her literary interviews.
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Reports on the topic "Poetry (form)"

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D'Aguiar, Fred. Made in Guyana. Inter-American Development Bank, November 1998. http://dx.doi.org/10.18235/0007934.

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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
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Гамалі, Ольга Ігорівна, and Ольга Борисівна Каневська. Художественные концепты родина и чужбина в концептосфере Ивана Бунина. Ланьчжоуский политехнический университет, 2016. http://dx.doi.org/10.31812/0564/1387.

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The article deals with the peculiarity of literary-artistic concepts NATIVE LAND and OUTLAND in poetry by I. A. Bunin, identifies and describes the textual means for presenting the concepts, substantiates their relation to moral categories and key role for the author‘s conceptual sphere.
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Baillie, Fran, Bet McCallum, Roy Canning, Ann Prescott, Gavin Cameron, George Robertson, Anita Petrie, et al. Frankenstein's Poetic Progeny: Activity Book For Schools. Edited by Lauren Christie. University of Dundee, November 2018. http://dx.doi.org/10.20933/100001160.

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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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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Boyle, Edward. The Poet Revealed: A Future for Human-Centered Design. Fort Belvoir, VA: Defense Technical Information Center, September 1990. http://dx.doi.org/10.21236/ada226648.

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Huezo Mixco, Miguel. El Salvador and the Construction of Cultural Identity. Inter-American Development Bank, October 1999. http://dx.doi.org/10.18235/0007937.

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Los, Josyp. Панорама сенсів: аргументи авторитетів світоглядної публіцистики. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11731.

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The article deals with the problem of the meaningfulness (essence) of the worldview journalism in the context of the argumentative resources of the work of influentive authors, for which the missionary role of the word is decisive. The search for meaning has been debated for centuries by orators, philosophers, psychologists, writers, sociologists, historians, journalists, and so on. In addition to other factors, a combination of the principles of worldview journalism and conceptual humanitarianism gives effective results. The author explores the acute problem of the effectiveness of a journalistic text through the prism of knowing the truth, meaning, since this is precisely where the source of wisdom is found; we are talking about spirituality, culture, historical memory. As influental authors proved with their arguments, the collection of facts is not enough, it is important to find the meaning of the existence of the individual, communities, and humanity. A number of examples show how the speakers of worldview journalism use all texts, not only from the archives: we are talking about poetry, art, in general, about literature, which revealed the most truth. Figuratively speaking, it is not only about the world of borders, it is important to consider horizons. Turning information into a commodity, focusing on “seasonal” interest based on the materialism of facts, or the inadequacy of many concepts and categories, the faking of media, relativity, obscurity of texts, anti-culture, in other words, the revolution of nihilism inevitably relativizes the very essence of journalism. If creative life is a manifestation of the freedom of the spirit, based on authentic truth, then we should strive to achieve the “extension of vision”, to master combinatorial (combinative) thinking. The ability to think in this way differs from ordinary logic in which the main universal thing remains in the center of attention, and the personality is not lost in individual details. Consequently, we can build a genealogy of ordered things and concepts, feel their inner relationship. Key words: meaning, worldview, journalism, argument, influence, moral principles, creativity.
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Hotsur, Oksana, and Anastasiia Bila. Епістолярна спадщина Олени Теліги як виразник творчої особистості. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11723.

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The scientific research considers and analyzes the epistolary heritage of Olena Teliha. Excerpts from her correspondence are presented, which testify to the formation of a brilliant woman, a creative personality who played an extremely important role in the struggle for the formation of Ukrainian statehood. It is from the letters that we learn that for her letters are almost an ideal way of communication. The epistolary heritage of Olena Teliha allows us to reveal the vision of the main processes in her personal life against the background of the general historical discourse. In addition, the main communicative visions that determine her creative personality are highlighted: communicative vision of friendship, love, creation of literary talent, perseverance and strength, resistance to rejection. Attention is focused on the importance of studying and researching the epistolary heritage of creative personalities in the context of social communications. From the quoted letters, which are distinguished by their sincerity and accuracy of expression, it is possible to determine and formulate what positions and ideas the civic activist, poet and publicist adhered to. In addition, we can see the line of consistency in the formation of a creative personality who not only lives and writes, but acts – creates history, its moment, the value of which is felt and understood by future generations. It is found that the life path in its interconnection with historical circumstances and social environment influenced the formation of the creative personality of the genius poet and publicist. The peculiarities of the epistolary of Olena Teliha are determined by the circumstances, people and personalities that she had to face in life. The promising areas of research are the letters of Olena Teliha, which are in the archives of other countries and the allocation of journalistic and documentary aspects of her epistolary heritage. Keywords: epistolary heritage, letters, public figure, journalism, creative personality.
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