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Journal articles on the topic 'Poetry (form)'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Karaeva, Zina, and Farida Zhaylobaeva. "BARPY ALYKULOV - MASTER OF POETIC FORM. POETRY OF AKYN AND ITS ROLE IN AESTHETIC EDUCATION." Alatoo Academic Studies 21, no. 3 (September 30, 2021): 184–91. http://dx.doi.org/10.17015/aas.2021.213.020.

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The relevance of the topic of this article is based on the study of the work of Barpy Alykulov, and the role of his works in the aesthetic education of the Kyrgyz people. In his artistic heritage, there are values that are devoted to the themes of training and education, moral thoughts, philosophy of life. His name has survived until these days thanks to named spiritual values. This article examines the didactic poetry of Barpy Alykulov, which focuses on proper education, awakening patriotic feelings, interest in knowing the world. The poetry of akyn meets the requirements of society, namely, it is filled with the ideas of moral education and personality formation, a call for good, humanity, and justice. The peculiarity of the poet's works is that he was able to convey folk pedagogical traditions in the language of poetry. The ideological and thematic content of the poems proves that he is the continuer of the traditions of folk instructive poetry. Barpy Alykulov showed excellent examples of didactic poetry and formed it as a literary genre.

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12

M. Khrais, Sura. "Art and poetry: the power of form." Journal of Language and Literature 4, no. 2 (November 30, 2013): 106–14. http://dx.doi.org/10.7813/jll.2013/4-2/15.

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13

Yu, Timothy. "Form and Identity in Language Poetry and Asian American Poetry." Contemporary Literature 41, no. 3 (2000): 422. http://dx.doi.org/10.2307/1208892.

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14

Mojalefa, M. J. "The verse-form of Northern Sotho oral poetry." Literator 23, no. 1 (August 6, 2002): 85–96. http://dx.doi.org/10.4102/lit.v23i1.322.

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Although examples of certain Northern Sotho traditional oral genres have been collected over years, a study of verse-form in traditional initiation poetry has not yet been undertaken. This article will consider the way in which Northern Sotho traditional initiation poems are structured or arranged in verse-form. It will be attempted to indicate that traditional oral initiation poetry in Northern Sotho is not metrically defined (as in Western poetry) but that Northern Sotho oral poetry is also structured by its performance and by symmetrical boundaries and other techniques. The structure of the oral praise poem in verse-form as discussed in this article will show the way in which poetry material is organised according to Northern Sotho metrical (verse-form) principles.

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15

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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17

Blount, Don, and Stephen Cushman. "Fictions of Form in American Poetry." South Atlantic Review 59, no. 4 (November 1994): 165. http://dx.doi.org/10.2307/3201383.

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18

Newcomb, John Timberman, and Stephen Cushman. "Fictions of Form in American Poetry." American Literature 66, no. 3 (September 1994): 613. http://dx.doi.org/10.2307/2927620.

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19

Lee, Ann Sung-hi, and D. R. McCann. "Form and Freedom in Korean Poetry." Harvard Journal of Asiatic Studies 51, no. 2 (December 1991): 724. http://dx.doi.org/10.2307/2719292.

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20

McHale, B. "Affordances of form in stanzaic narrative poetry." Literator 31, no. 3 (July 25, 2010): 49–60. http://dx.doi.org/10.4102/lit.v31i3.57.

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This article develops the notion that poetry is crucially distinguished from other forms of verbal art by its foregrounding of segmentivity, the spacing of language. If a measure is regarded as the smallest unit of resistance to meaning, measure determines where gaps open up in a poetic text. Poetry is, however, not only measured, but typically countermeasured and narrative in poetry can also be countermeasured against the segmentation that is specific to narrative. The present article investigates segmentivity in one particular type of narrative poem, namely poems in discontinuous stanzaic forms. The concept of affordances (referring to different potentials for use) is applied to the stanzaic form in Edmund Spenser’s “The faerie queene” (1590; 1596) and to the “ottava rima” stanza, as exemplified by Kenneth Koch’s postmodernist narrative poem, “Seasons on earth” (1960; 1977; 1987).

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21

Falci, Eric. "Rethinking Form (Yet Again) in Contemporary Irish Poetry." Irish University Review 50, no. 1 (May 2020): 164–74. http://dx.doi.org/10.3366/iur.2020.0443.

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This essay provides a reconsideration of the centrality of form in discussions of Irish poetry and suggests ways of revivifying those discussions by moving away from the tired dyad of mainstream lyric and experimental (or alternative or innovative) poetry. Moving through examinations of Paul Muldoon, Medbh McGuckian, Ciaran Carson, Sinéad Morrissey, Maurice Scully, and Catherine Walsh, this essay aims to pivot the conversation about Irish poetry so that more attention might be paid to the concrete textures and practices of contemporary poets such that we are better able to see and describe the implications and ramifications of their work.

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22

Matterson, Stephen. "Questions of Possibility: Contemporary Poetry and Poetic Form by David Caplan." Modern Language Review 102, no. 2 (2007): 499–500. http://dx.doi.org/10.1353/mlr.2007.0188.

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23

Wilkinson, Jessica. "Experiments in Poetic Biography: Feminist Threads in Contemporary Long Form Poetry." Biography 39, no. 1 (2016): 1–22. http://dx.doi.org/10.1353/bio.2016.0021.

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24

Ismayilova, Shamsura. "Status of ghazal as a classical form of poetry in modern poetry." Poetika.izm, no. 02 (2023): 111. http://dx.doi.org/10.59849/2663-2926.2023.2.111.

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25

Gordanpour, Yazdanmehr, and Tahereh Rezaei. "Form and perception of nature in Elizabeth bishop’s “questions of travel”." Revista de Estudios Norteamericanos, no. 25 (2021): 281–96. http://dx.doi.org/10.12795/ren.2021.i25.14.

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Elizabeth Bishop’s poetry is acutely form-conscious and human perception informs its descriptions of nature; critics who study Bishop’s poetry refer to her use of poetic artifice and note in passing the ethics of restraint and impersonality in her poetry. However, Bishop’s poetry is rarely discussed in the sphere of ecocriticism; and the formal significance of human perception infused with the descriptions of nature in her poetry is conveniently overlooked. Likewise, anthropogenic climate change is underrepresented in traditional ecocriticism which insists on removing form—and with it, any trace of the human—from the text. This article proposes that a study of Bishop’s travel writing and exploring the significance of concern for nature in conjunction with form-consciousness can contribute to a more profound understanding of both human-nature relationship and Bishop’s ecopoetic sensitivities. “Questions of Travel” is one of Bishop’s poems that directly grapples with the ethics of human presence in nature. The article explicates the textual and formal features of this poem to elucidate the function of form in its ecopoetic descriptions. The article shows how Bishop accepts the inevitability of human perception of nature and its literary corollary in ecopoetry as form-consciousness, and, thus, by implication, points to the importance of such poetry for a deeper understanding of the relationship between human beings and nature in the context of climate change.

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26

배규범. "The present theme and a form of Buddhist ‘Jangdu-che[藏頭體]’." Korean Classical Poetry Studies ll, no. 22 (May 2007): 269–98. http://dx.doi.org/10.32428/poetry..22.200705.269.

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27

Gärtner, Thomas. "Die Musen Im Dienste Christi: Strategien Der Rechtfertigung Christlicher Dichtung in Der Lateinischen Spätantike." Vigiliae Christianae 58, no. 4 (2004): 424–46. http://dx.doi.org/10.1163/1570072042596228.

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AbstractThe present article examines the arguments by which early Christian poets in Late Antiquity justify their attempt to combine Christian content and pagan poetical form. It focuses on the poetologically significant parts of their works, especially the proems. Whereas the earliest poets, i.e.Proba, Prudentius and Orientius, justify Christian poetry by its effects on the poet's personality and in the context of the poet's life, Juvencus prefigures another type of argument which is fully developed in Sedulius' Carmen paschale, according to which Christian poetry is justified by its material and formal qualities. This new type of argument has enormous reception in the Middle Ages and is especially adapted by Hrotsvith of Gandersheim who combines content and form as two coordinates of a more differentiated system.

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Kim Ji-Young. "A Study on the Zao-Yi(趙翼)`s poetry criticizing poetry in the form of poetry." CHINESE LITERATURE 56, no. ll (August 2008): 221–48. http://dx.doi.org/10.21192/scll.56..200808.010.

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29

Xing, Yijun, and Yipeng Liu. "Poetry and Leadership in Light of Ambiguity and Logic of Appropriateness." Management and Organization Review 11, no. 4 (July 29, 2015): 763–93. http://dx.doi.org/10.1017/mor.2015.18.

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ABSTRACTThis paper explores the relationship between poetry and leadership – in particular, how business leaders might leverage poetry in practice. Drawing on the theoretical lenses of logic of appropriateness and ambiguity, we suggest a conceptual model to understand the multilayered meaning of poetry, noting that poetry has four layers of meaning: the superficial meaning, the poet's evocative meaning, the reader's recasting into a modern situation, and the recipient's interpretation. Using the storytelling research method, we collected leadership narrative stories that indicate poetry as an effective communication tool in practicing leadership. From these data, we identify four approaches that leaders use to apply the multilayered meaning of poetry in contemporary business practice: drawing lessons from poets' experience through critical interpretation of the poem, inspiring leaders' heroic spirits, guiding leaders' rules of behavior, and adopting poetry as a tactic to influence others. Our study contributes to the argument of ambiguity as a source of intelligence and illuminates how poetry as an artistic form of story facilitates contemporary leadership practice in light of the logic of appropriateness framework.

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Rakhmatovna, Davlatova Adiba. "Harmony of poetic form and content in the poetry of abdulla aripov." ACADEMICIA: An International Multidisciplinary Research Journal 12, no. 5 (2022): 334–37. http://dx.doi.org/10.5958/2249-7137.2022.00440.2.

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31

Lake, Christina Bieber. "Seeing the Form: Denise Levertov's "The Jacob's Ladder"." Christianity & Literature 71, no. 4 (December 2022): 474–83. http://dx.doi.org/10.1353/chy.2022.0048.

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Abstract: Denise Levertov valorized the imagination as the perceptive faculty whereby it is possible for us to see God. Recent studies in neuroscience back up the insight—shared with Hans Urs von Balthasar and Rowan Williams—that engaging with poetry provides a defamiliarizing experience with language that engages the whole person, not just the mind. Here I read Levertov's poem "The Jacob's Ladder" as an argument for and a demonstration of how poetry provides the reader with a unique avenue for spiritual transformation.

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32

Smith, Elyssa B. "Poetry as Reflexivity: (Post) Reflexive Poetic Composition." Qualitative Inquiry 26, no. 7 (October 3, 2019): 875–77. http://dx.doi.org/10.1177/1077800419879202.

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Arts-based research offers avenues for in-depth explorations into self and others. Poetic inquiry as a form of arts-based research provides a medium for attending to (post) reflexivity throughout the qualitative inquiry process. Within this article, I attempt to illustrate my messy, spontaneous, and generative engagement with (post) reflexivity during the crafting of my dissertation—a process that leads to the creation of what I call (post) reflexion poetry. (Post) reflexion poetry offers a disruptive, nonlinear approach to (post) reflexive engagement. I encourage scholars to open up and interrupt their understandings of what it means to be a (post) reflexive qualitative researcher.

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33

Bowen, Bernadette Ann. "Poetry." Explorations in Media Ecology 20, no. 2 (June 1, 2021): 221–25. http://dx.doi.org/10.1386/eme_00086_1.

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These pieces of COVID-19 poetry in their pixelated form follow McLuhan’s playful use and misuse of the phonetic English language. They contribute to media ecology a continued poetic exploration into how our blurry presences in physical and digital spaces engender our landscapes at varying degrees and levels of experience. Through poetic exploration of this envirusment, I invoke the inherently insufficient and terminally playful qualities of language; both enabling and disabling our dualistic experiential accounts of proximity, relations and visceral corporeality in present-COVID. Depending on which dimension readers interpretatively focus on while reading, their own unique personal frame will guide their own unique translation.

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Xu, Jianzhong, and Chengxia Chang. "Poetic dialogue analysis of Chinese–English poetry translation." Language and Dialogue 2, no. 2 (August 13, 2012): 262–82. http://dx.doi.org/10.1075/ld.2.2.05xu.

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The translation of ancient Chinese Poetry into English is considered to be one of the most challenging tasks not only because of the different features between the two languages, especially as they belong to different linguistic families, but also the unique features of the ancient Chinese poetry itself.. This paper, by applying poetry dialogue analysis based on dialogism, explores the operation of its elements such as context, subject, sense, image, the reader and text form, and tries to seek out the mechanism for understanding the source text and reproducing what the source contains in the target language, thus shedding light on poetry translation studies.

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Harun, Mohd, Wiwit Artika, and Wildan Wildan. "Dysphemism in the form of hatred and profanity towards forest destroyers in Indonesian poetry." Studies in English Language and Education 10, no. 3 (September 16, 2023): 1627–46. http://dx.doi.org/10.24815/siele.v10i3.30663.

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Environmental challenges have inspired poets to use poetry as media to convey protest, sadness, or anger toward environmental damage. As a form of artistic expression, poetry is a powerful medium to convey concerns about ecology. This study aims to describe expressions of dysphemism in the form of hatred and profanity towards forest destroyers in Indonesian poetry. This qualitative study collected data from the three anthologies, namely (1) Riwayat Asap Membungkam Jerebu Lewat Sastra (The History of Smoke Silencing Haze through Literature), (2) Puisi Hijau Resonansi Serindit (Green Poetry: The Resonance of the Magpie Robin), and (3) Metamorfosis Rimba Sehimpun Puisi Hijau Warga SMA Cendana dan Penyair Tamu (Metamorphosis of the Jungle: A Collection of Green Poetry by Cendana High School Students and Guest Poets). The data were analyzed based on the theory of ecocriticism. The study shows that Indonesian poets (1) expressed hatred using the diction of greed combined with avarice expressions, and (2) expressed profanity using curse expressions. These dictions or expressions show that Indonesian poets are concerned about nature’s existence. If the situation is reversed, i.e., the forest and the earth are damaged, poets can act harshly according to the context and situation; they hate and condemn through their poetry. Through the use of dysphemism, environmental poetry encourages reflection and awareness of environmental damage caused by irresponsible human actions. The poem invites readers to consider the consequences of these actions and encourages changes in behavior to protect nature.

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36

Bogen, Don. "TRANSLATING THE CANON: THE CHALLENGE OF POETIC FORM." Vertimo studijos 4, no. 4 (April 6, 2017): 9. http://dx.doi.org/10.15388/vertstud.2011.4.10569.

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The literary translator taking on the task of rendering a major work of European poetry into contemporary English verse faces several challenges in regard to poetic form, including the problem of finding forms in English-language poetry today for conventions derived from foreign literary traditions and the need to engage the historical context of the work without sounding archaic. If a translation is to transmit the essence of a canonical text from a century or more ago, including its formal dimension, it must both convey what is distinct about the original, moving the reader toward the fundamental foreignness of the text, as Schleiermacher advised, and speak to the reader in the language of our time, because a translation that is not recognizable as good poetry in contemporary terms will not be read. This essay will compare the particular strategies of three successful but quite different contemporary translations of canonical works: Richard Howard’s versijon of Baudelaire’s Flowers of Evil, Robert Pinsky’s translation of The Inferno, and Seamus Heaney’s Beowulf.

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37

Dr. Kashmira Mehta. "A pioneer poet of ‘Sangar’ form of poetry in Kachchhi Literature:JanaabHaji Ibrahim Allarakhya Patel alias ‘Maqbool Kachchhi’." International Peer Reviewed E Journal of English Language & Literature Studies - ISSN: 2583-5963 4, no. 1 (June 10, 2022): 27–32. http://dx.doi.org/10.58213/ell.v4i1.48.

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This paper focuses on unique ‘Sangar’ form of poetry in Kachchhi literature. Mighty Kachchhi language emerged with innovative type of poetry known as ‘Sangar’ (means Chain). There is variety of experiments with literary forms in Kachchhi literature that can be rarely seen in other languages. The way a line is being repeated, ‘Sangar’ resembles ‘Kundaliya’ and ‘Áakhyaan’ type of poetry in Gujarati.Janaab Haji IbraahimAllarkhya Patel alias ‘Maqbool Kachchhi’was a pioneer poet of ‘Sangar’ form of poetry in Kachchhi.He was a grocer by profession;

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38

Cruickshank, Frances. "Broken Altars: The Work of Form in George Herbert’s Temple." Christianity & Literature 66, no. 1 (November 30, 2016): 24–38. http://dx.doi.org/10.1177/0148333116677446.

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George Herbert’s collection of poetry is very visibly structured: his famous shape poems are only the most obvious in an entire collection that is cleverly and carefully shaped. While this formality has suggested to some an approach to poetry either rigid and conventional or quaint and fussy, the content of the poems is far less fixed. It is deep and meditative, doubtful and unsettled. The poet is in pursuit of an emotional or spiritual authenticity he finds elusive, and that seems specifically precluded, even on his own account, by the highly artful forms of his poems. Close attention to this apparent discrepancy between the form and the content of the poetry reveals a richer understanding of the way form works—or the work form does—in Herbert’s spiritual poetics.

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39

Rahmawati, Aenun. "Reading poetry based on video modeling techniques of poetry performance records." LADU: Journal of Languages and Education 3, no. 3 (March 31, 2023): 129–38. http://dx.doi.org/10.56724/ladu.v3i3.198.

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Background: Reading poetry is an effort to convey the poet's message to his listeners. Purpose: This study aims to analyze the process of learning to read poetry and improve results. Design and methods: This experiment analyzes the improvement of the learning process, including the stages of attention, retention, reproduction, and motivation, as well as the improvement of student learning outcomes when reading poetry in terms of intonation, pronunciation, volume, gestures, and expressions. This research was conducted on Literary Club extracurricular students at SDIT ALIF. The method used in this study is a quantitative experimental method using the video modeling technique of recording a poetry performance by Helvy Tiana Rosa. Data analysis techniques in this study were in the form of videos during which students read poetry, observation sheets, field notes, and student test results in the form of performance tests. In this design, two groups are randomly selected and then given a pretest to find out the difference in the initial state between the experimental group and the control group. Each group that was randomly selected was the same for both the control group and the experimental group, namely 10 people Results: experimental class pretest data with an average of 14.10 while the control class obtained an average of 19.60. From the results of the posttest, it was obtained that the average posttest score of the experimental class was 17.50 and that of the control class was 26.30. Thus, it can be said that the skills of students have increased. However, based on the assessment with this technique, there is an insignificant increase in effect

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40

Ulmer, William A., and Ronald Tetreault. "The Poetry of Life: Shelley and Literary Form." South Atlantic Review 53, no. 3 (September 1988): 132. http://dx.doi.org/10.2307/3200651.

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Larkin, Peter, and Isobel Armstrong. "Language as Living Form in Nineteenth Century Poetry." Yearbook of English Studies 17 (1987): 307. http://dx.doi.org/10.2307/3507717.

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Brodsky, Joseph. "Poetry as a Form of Resistance to Reality." PMLA 107, no. 2 (March 1992): 220. http://dx.doi.org/10.2307/462635.

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Nicholson, Andrew. "Form and Content in Byron's Poetry and Prose." Byron Journal 13 (January 1985): 52–60. http://dx.doi.org/10.3828/bj.1985.4.

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Hall, Jean, and Ronald Tetreault. "The Poetry of Life: Shelley and Literary Form." Studies in Romanticism 31, no. 1 (1992): 113. http://dx.doi.org/10.2307/25600943.

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Bollig, Ben. "Lyric and Form: The Poetry of Alejandro Crotto." Bulletin of Hispanic Studies 93, no. 6 (June 2016): 683–99. http://dx.doi.org/10.3828/bhs.2016.43.

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Corfman, S. Brook. "The Calamity Form: On Poetry and Social Life." Rhetoric Society Quarterly 51, no. 3 (May 27, 2021): 254–57. http://dx.doi.org/10.1080/02773945.2021.1918521.

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Galperin, William. "The Calamity Form: On Poetry and Social Life." Modern Language Quarterly 82, no. 4 (December 1, 2021): 538–41. http://dx.doi.org/10.1215/00267929-9366022.

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Perry, John Oliver, and G. J. V. Prasad. "Continuities in Indian English Poetry: Nation, Language, Form." World Literature Today 74, no. 2 (2000): 357. http://dx.doi.org/10.2307/40155620.

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Kim, Youngmin. "Poetry of Open Form in Yeats and Pound1)." Yeats Journal of Korea 6 (July 31, 1996): 105–37. http://dx.doi.org/10.14354/yjk.1996.6.105.

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Carolan, Trevor. "Wild Form, Savage Grammar: Poetry, Ecology, Asia (review)." Manoa 15, no. 2 (2003): 211–12. http://dx.doi.org/10.1353/man.2003.0124.

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