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Journal articles on the topic 'Poetry of Everyday Life'
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Brown, Ashley, and John Hollander. "The Poetry of Everyday Life." World Literature Today 73, no. 3 (1999): 539. http://dx.doi.org/10.2307/40154955.
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Driscoll, M. J. "Herdís & Ólína: The Poetry of Everyday Life." Scandinavistica Vilnensis, no. 14 (May 27, 2019): 21–37. http://dx.doi.org/10.15388/scandinavisticavilnensis.2019.2.
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The twin sisters Herdís Andrésdóttir and Ólína Andrésdóttir were born on the island Flatey in Breiðafjörður, western Iceland, in 1858. Following the death of their father at sea three years later, the family was dispersed and the sisters did not see each other until half a century later, when they were reunited in Reykjavík. In the intervening years both sisters had become well known as capable verse-makers in the traditional style, but it had never, it seems, occurred to them to write any of their poems down, let alone publish them. They were encouraged by friends to do so, and in 1924 they brought out a collection of their verse, entitled simply Ljóðmæli (Poems). Their poetry was highly traditional both in its form, which principally made use of rímur and ballad metres, and in terms of its subject matter, dealing with nature, reflections on life’s joys and sorrows and so on. Ólína, like her cousin Theodóra Thoroddsen, also contributed to the revival of the þula, a form of poetry traditionally associated with children. The book sold well, and a second edition, with some additional poems, came out in 1930. A third edition was brought out in 1976, long after their deaths, containing much new material; this edition has since been reprinted twice. Critical reception was overwhelmingly favourable, both in the learned and more popular press. Though somewhat at odds with the literary establishment of the day, they nevertheless had several powerful supporters among the literary and intellectual élite, foremost among them professor Sigurður Nordal. Despite having been “world-famous in Iceland” in their old age, Herdís and Ólína are little known today, and their work – much of it very fine indeed – has yet to receive the scholarly attention it deserves.
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William, Jennifer Marston. "Beyond “Everyday Poetry”: The Life and Works of Mascha Kaléko." Shofar: An Interdisciplinary Journal of Jewish Studies 27, no. 1 (2008): 80–83. http://dx.doi.org/10.1353/sho.0.0305.
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Świerczewska, Beata. "Perseweracja motywów w poezji Jerzego Ficowskiego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 12, 2017): 250–62. http://dx.doi.org/10.24917/20811853.16.19.
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Perseveration of motifs in Jerzy Ficowski’s poetry Reading Ficowski’s poems requires researchers of his work to be erudites, thanks to which it is easier for them to move smoothly through the meanders of tradition and culture but also of everyday life presented in Ficowski’s image of the world. The image itself consists of the recurring (in every poetry volume) motifs and depictions. While reading Ficowski’s poems it is difficult not to notice this repetitiveness – sometimes exact and detailed, sometimes modified. An attempt to systematize a phenomenon such as perseveration of motifs in Ficowski’s poems led me to identifying the following thematic areas: memory and attitude towards the past, glorification of everyday life and elements belonging to it, proverbs and sayings as elements of folklore occurring in this poetry. In this article, through the analysis of Ficowski’s poems a phenomenon of perseveration of motifs used by a poet to create his own image of the world was shown.Key words: perseveration; past; memory; everyday life; proverbs; myth; folklore;
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Darenskiy, V. Yu. "MOTIF OF SPIRITUAL “INITIATION” IN BORIS RYZHY’S POETRY." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 320–29. http://dx.doi.org/10.35634/2412-9534-2020-30-2-320-329.
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The article is devoted to the analysis of existential meanings of Boris Ryzhy’s poetry. It is shown that his texts are saturated with the symbolism of radical personal transformation, which is traditionally denoted by the term “initiation” or the metaphor of “second birth”. They reveal an important archetypal meaning of the experience of symbolic death for the spiritual resurrection of man into a new life. “Death” as an artistic symbol represents the primary existential state of the meaningless and finite world; accordingly, the poetic text reflects the existential effort of struggle with death and human repose in Eternity. Due to this, B. Ryzhy’s poetic text stimulates the reader’s consciousness to go beyond everyday life and experience the “ultimate” existential meanings and States.
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MIDDLETON, PETER. "Folk Poetry and the American Avant-Garde: Placing Lorine Niedecker." Journal of American Studies 31, no. 2 (August 1997): 203–18. http://dx.doi.org/10.1017/s002187589700563x.
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What is the effect of placing speech in a poem? What is the effect of placing a poem in a collection of poems by other poets? These ordinary cultural acts of displacement are taken for granted by most writers and readers, but for the Objectivist poet Lorine Niedecker they represented highly conscious acts alien to her everyday world. Although her fellow Objectivists were marginalized by the literary world for much of their careers, they mostly lived and worked within the metropolitan cultures where their avant-garde poetry was read. She spent almost all her life in rural Wisconsin in relative poverty, keeping her writing life quite separate from her various working-class jobs and the local community. By reading her relations with the poetic avant-garde in terms of these acts of displacement, it is possible to appreciate the complexity of a poetic style that can appear to dissolve meaning into a limpid clarity that leaves nothing to interpret, and to recognize that the poetic avant-garde makes rarely questioned assumptions about the universal transmissibility of poetry.
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Rowland, Susan. "Review of Leaning toward the poet; Eavesdropping on the poetry of everyday life." Humanistic Psychologist 43, no. 4 (2015): 412–14. http://dx.doi.org/10.1080/08873267.2015.1047937.
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Lehmann, Olga V., and Svend Brinkmann. "Revisiting “The Art of Being Fragile”: Why cultural psychology needs literature and poetry." Culture & Psychology 26, no. 3 (July 9, 2019): 417–33. http://dx.doi.org/10.1177/1354067x19862183.
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Writers devote their lives to find words that faithfully resemble what is at the core of human experience and existence. Thus, psychologists interested in understanding human development in everyday life could turn toward writers and poets with humble curiosity. In this article, we illustrate how a narrative analysis of a work of art can be done, taking “ The Art of Being Fragile. How Leopardi can Save your Life” by the Italian writer and teacher Alessandro D’Avenia as a case. In addition, we reflect upon the mastery with which the author sheds light on aspects that theories in cultural psychology have tried to unveil. Such aspects are: (a) poetic activism: a revolution of the poetics of everyday life; (b) the poetics of human development; (c) the beauty within the fragile as a master; and (d) the intuition of the spirit as an invitation.
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Yugai, Elena, and Irina Bogatyreva. "“A sage in poetry, a fool in life”: Self-representation of the contemporary poet in everyday life." Shagi / Steps 7, no. 1 (2021): 239–75. http://dx.doi.org/10.22394/2412-9410-2021-7-1-239-275.
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Markov, Aleksandr V. "EL GRECO IN RUSSIAN POETRY." Vestnik of Kostroma State University, no. 1 (2020): 93–101. http://dx.doi.org/10.34216/1998-0817-2020-26-1-93-101.
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The name El Greco (Doménikos Theotokópoulos) is rarely found in Russian poetry, although French romanticism included him in the canon of world classics. This article assumes that El Greco’s reception in Russian poetry is due not so much to the infl uence of French romanticism or Spanish surrealism as to the stylistic features of the artist himself, who inherited Cretan icon painting, while in his mature period he followed the Renaissance principles of life-like and rivalry. As a result, El Greco is perceived in Russian culture as a classic imitating nature, and stylistic features are then interpreted as existentially signifi cant rather than a strange and bizarre artist. El Greco is then compared with the characters of his paintings, such as the apostles and evangelists, and is considered to be an artist, communicating something existentially signifi cant about fate. His landscape style was then interpreted as the transformation of artistic conventions into ontologically signifi cant constructions. A close reading of poetic texts dedicated to El Greco (Konstantin Balmont, Anna Akhmatova, Yevgeny Yevtushenko, Viktor Krivulin, Bella Akhmadulina, Svetlana Kekova), and taking into account the theoretical statements about El Greco (Alexandre Benois, Dmitry Likhachov) allows us to show that El Greco was not perceived within the framework of expressionism or surrealism, but in the key of icon-painting ontologism. The techniques of El Greco were then understood in Russian poetry as plotsignifi cant: chiaroscuro and colour turned out to be symbols of life’s upheavals, and the mission of the apostle and Orpheus was then identifi ed as a model for a poetic attitude to everyday life.
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S, Hari Selvi. "The Story of Sufferers in Indian Society - A Study of Mulk Raj Anand’s Coolie." SMART MOVES JOURNAL IJELLH 7, no. 10 (October 31, 2019): 5. http://dx.doi.org/10.24113/ijellh.v7i10.10023.
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Literature is any piece of writing that is valued as work art. Literature expresses the writers’ personality, emotions, and beliefs. Literature is generally defined as writing with artistic merit. Literature usually means works of poetry and prose that are especially well written. There are many different kind of genres in literature, such as play, poetry or novels. Literature is important in everyday life it connects individuals truth and idea in a society. Literature is a learning tool for subjects including history, medicine, sociology and psychology. Robert Frost defined literature as “a performance in words”. Charles Bukowski said “without literature life is a hell”.
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Wolff, Larry. "The Poetry and Prose of Everyday Life in Communist Kraków: Moths, Old Maids, and the Memoirs of Adam Zagajewski." Slavic Review 61, no. 2 (2002): 345–56. http://dx.doi.org/10.2307/2697121.
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This essay analyzes Adam Zagajewski’s recent memoir W cudzym pigknie (Another beauty), in which he reflects particularly on the decades of the 1960s and 1970s, when he was a student and young poet in Kraków. The essay addresses Zagajewski’s perspective on the city of Kraków, his reflections on communism in Wladyslaw Gomulka’s Poland, his sense of the relations between older and younger Polish generations, and his efforts to negotiate a personal balance between poetry and politics. Zagajewski’s memoir is discussed in the context of his own poetry, of Polish intellectual life, and of Kraków’s cultural history from the 1890s to the 1980s. Intellectual points of reference and comparison range from Tadeusz “Boy“ Żeleński and Stanisław Wyspiański in fin-de-siècle Kraków, to Witold Gombrowicz, Czesław Miłosz, and Adam Michnik in later twentieth-century Polish letters and politics. The essay, finally, attempts to assess the significance and implications of communism for Polish poetry, literature, and intellectual life.
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Кляус, Владимир Леонидович. "“The Bulgarian Taiga” of Komi in Naive Cinema and Poetry." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (August 14, 2021): 122–33. http://dx.doi.org/10.26158/tk.2021.22.2.010.
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В статье осмысляется фотодокументальный и поэтический материал, посвященный жизни болгар в Коми АССР в 1960-1990 гг., когда они работали на совместном советско-болгарском предприятии по заготовке леса в Удорском районе республики. Видеоролики на основе фотографий из семейных архивов и стихи, написанные как воспоминания о жизни на севере в СССР, представляют собой своеобразную форму наивной кинодокументалистики и наивной поэзии. И именно это делает их важным источником изучения повседневности болгар - трудовых мигрантов The article analyzes photo-documentary and poetic material devoted to the life of Bulgarians who worked on a joint Soviet-Bulgarian logging enterprise in the Udorsky District of the in the Komi Autonomous Soviet Socialist Republic in 1960-1990. Videos based on photos from family archives and poems written as memoirs of life in the north of the USSR are considered as a naive form of documentary film and naive poetry. This makes them an important source for studying the everyday life of Bulgarian migrant workers.
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Surdi, Elena. "Poems of home: domestic poetry written by Antonio Rubino and Emilia Villoresi." Rivista di Storia dell’Educazione 7, no. 2 (December 2, 2020): 21–35. http://dx.doi.org/10.36253/rse-9638.
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In the preface Della poesia domestica. Pensieri (“On domestic poetry. Thoughts”) (1839) Giulio Carcano outlines a connection between poetry and family life. The author believes that home and intimate relationships are by nature rife with poetry. In Poetry for childhood in the XIX Century (“Poesia per l’infanzia nel sec. XIX”) (2007) Renata Lollo unlocks the educational potential of this vision. The paper, leveraging on this hermeneutical vision, proposes domestic poetry as a the interpretative lense to analyze some works by Antonio Rubino (1880-1964) and Emilia Villoresi (1892-1979). On the Corriere dei Piccoli, between 1909 and 1934 Rubino published several components based on the daily life for a child at the time. The artist, capable of adopting a multimedial approach in his dialogue with childhood, always considered poetry as the optimal way to narrate and to educate to beauty. By describing in verses daily life and domestic chilhood life he unlocks all its depth and richness. Likewise in 1937 Emilia Villoresi published Picci, non far capricci, a collection of poems dedicated to her niece that narrate the life of a three year old child. The poems describe simple and funny life episodes and, through rime, they are conveyed to children through images they are familiar with, using a clear but fascinating language. For both authors poetry is a primary choice used to describe childhood and to addreess childhood, full of educational meanings. By dealing with apparently trivial issues (linked to domestic and everyday life), poetry makes literature available to the youngest and educates them to the values that are pillars of family life.
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Nalepa, Marek. "“Turn back the course of a river / the course of life / that is my mission.” On the poems by Wincenty Różański." Acta Universitatis Lodziensis. Folia Litteraria Polonica 55, no. 4 (December 31, 2019): 99–130. http://dx.doi.org/10.18778/1505-9057.55.06.
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The article is an attempt at discussing the most important features of Wincenty Różański’s poetry written in the final years of his creative period. This poetry is strongly subjective, manifesting the poet’s Catholicism, and entrusting himself to the Blessed Virgin Mary, but it also tackled the subject of everyday life, routine behaviors and activities. In addition, the poet’s poems are characteristic in terms of their dialogical and stylistic relations compared to other cultural contexts, especially in the case of Grzegorz Ratajczyk’s paintings, as well as the prose and poems by Edward Stachura.
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Sozina, Elena K. "NIZHNY TAGIL IN THE URALS CONTEMPORARY POETRY. EKATERINA SIMONOVA." Ural Historical Journal 70, no. 1 (2021): 114–22. http://dx.doi.org/10.30759/1728-9718-2021-1(70)-114-122.
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This article focuses on the images of Nizhny Tagil in the contemporary poetry of the Urals. The phenomenon of “Nizhny Tagil poetic school” or “Nizhny Tagil renaissance” emerged in the early 2000s when young poets of Evgeny Turenko’s circle entered the poetry scene. This “school” lasted for about a decade but made a mark in the history of literature. The paradoxical imagery of the native city in its representatives’ poems stems from the fact that Nizhny Tagil is mostly portrayed as a “negative locus” or as a kind of “negative space”, in D. Davydov’s words. This is observed primarily in the poems of E. Turenko himself; in the poetry of his students, whenever the city is mentioned, it is shown from a negative perspective or altogether replaced by the town of Kushva. A different image of the city is presented in the poetry of Ekaterina Simonova, who also emerged from the Nizhny Tagil school and is now living in Ekaterinburg. The image of Tagil in her poems is closely connected to the themes of memory, family, and the lineage of the poetess, to which she feels a personal belonging. This is the reason why in her poetic world objects are so important; they keep traces not only of memories and past lives, but also the impressions of close people to whom she gives voice in her poems. Capturing the history of everyday life, Simonova creates poetic novellas in which life-stories of different people flow into one another. Nizhny Tagil here is portrayed as a place to which the lyrical heroine constantly returns, its mental map is revealed through the trajectory of the heroine’s movements and her constant peering into herself as the “other”. It exists in the achronic dimension, it is truly an “eternal city”, serving as a reference point during her encounters with other cities and people.
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AVDYLI, Merxhan Nazmi. "Erotical Signs in The Poetry of Ismail Kadare." PRIZREN SOCIAL SCIENCE JOURNAL 3, no. 2 (August 24, 2019): 27. http://dx.doi.org/10.32936/pssj.v3i2.90.
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The motive of love, not only Kadare's poetry, but generally throughout the contemporary Albanian and world poetry, is one of the fundamental, general and extremely universal motifs. Such a motive has also prompted the poet Kadare to write poems that propose the aesthetics of one of the most general motives of man - the motive of love. The first and the first love in the verses of Kadare is described and emerges as a part of human life and as such comes out of special dimensions. Kadare, being a good builder of a full and complete poetry, would say, even if his poetry, if we can say erotic, we have a remarkable use of such signs, although in general the poetry of love does not occupy any remarkable place in Kadare's poetry, naturally in comparison to the poetry of other motifs, though it is quite manifested.
But, however, love in Kadare's poetry marks, among other things, a particular poetic word in general, and even in this regard, it is also a multiple pluralist expression, using words, expressions and figures unused by others, also giving different words and meanings, from everyday life, to various functions, marking high aesthetic and literary uplift, but also figurative. He is a good builder of various artistic figures, an innovator of creating new words and expressions, and a sublimant of the ideas he poses and realizes in his poetry.
Although it is a whole set of signs that Kadare uses in his poems, which are motivated by the feeling of love, we will in this case stop the signs he uses most, as well as those signs which make a special significance for his poetry. On this occasion, we will dwell on the signs, coinciding with the poetry, which appears as a poem of love, and which in Kadare occupies a place, though not deserved, we would say, like love, moon, flower, bride , the heart, the lips, the eyes, the cheeks, the throat, the heart, the soul. There are also a number of other signs that reinforce and sublimate the poetic ideas of Kadare's love motifs, but we believe that these are the signs that strengthen our conviction of the artistic achievement of his poetry as well as those that make up innovation in Albanian poetry generally, whether in terms of poetry, or in terms of the breadth of poetic figuration.
Key words: Poetry, Kadare, Love, Signs, Figure, Poet, Structure, Verse, Aspect, Erosion, Devotion, Sublimation, Heart, Eyes, Soul, Flower, Wax.
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Averbuch, Alexander. "Неизвестные стихотворения Василия Рубана." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 5 (November 27, 2017): 103–42. http://dx.doi.org/10.21900/j.vivliofika.v5.583.
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This paper discusses unknown poems of Vasilii Ruban written in the last three years of his life. These texts exemplify the so-called “poetry of the mundane” (bytovaia poeziia), dealing with the author’s everyday affairs. This study seeks to tie together the commodified, communicative, and aesthetic aspects of the mundane in Ruban’s poetry. The author proposes shifting the emphasis from these texts’ literary merits to the circumstances of their creation and their immediate function. They were not written for posterity, nor to exceed the boundaries of local interest. Ruban’s patrons were the real implicit readers of his poems; they understood his communicative strategy and accepted it as such. This poetry thus constitutes a remarkable source of information about the social and private life of Ruban’s patrons and the connections between them. Analyzing patrons’ relationships with the poet and responses to his requests, the article contextualizes Ruban’s poetry of the mundane within communicative conventions extant at the time.
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Dacko, D. "Analysis of the interpretation field of the CORONAVIRUS concept in German-language poetic Internet texts." Scientific Research and Development. Modern Communication Studies 9, no. 6 (December 9, 2020): 18–22. http://dx.doi.org/10.12737/2587-9103-2020-18-22.
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Classical concepts LEBEN (LIFE), TOD (DEATH), LIEBE (LOVE), NATUR (NATURE) as well as representations from other fields: religion (АPOKALYPSE, ARMAGEDDON), domestic life (ALLTAG (EVERYDAY LIFE), FAMILIENKRISE (FAMILY CRISIS), economics and politics (FINANZKRISE (FINANCIAL CRISIS), sport (FUßBALL (FOOTBALL), SPORT, DOPING (PERFORMANCE-ENHANCING DRUG), philosophy (ABSURDITÄT DES MENSCHLICHEN LEBENS (ABSURDITY OF HUMAN EXISTENCE) are explicated within the context of the German poetry discourse of the XXI century. However in 2020 due to the spread of coronavirus infection, which had an impact on world society, it becomes relevant to consider the methods of the CORONAVIRUS concept implementation in the context of German poetry Internet discourse of the XXI century.
Special attention focuses on three main groups of poetic texts: a poem- appeal; a poem-advice; a poem that creates a positive attitude; a poem that creates a sense of anxiety, which raise this problem. In the texts under study, the main set of linguostylistic means has been identified that serve as ways of manifestation of the CORONAVIRUS concept: epithets, chains of negative-evaluative lexical items, metaphors, rhetorical questions. However, the prevailing means are imperative constructions that have an influential character.
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Nelson, Tollof. "Theoretical Apparitions of Haiku : An Intermedial Interrogation of Modernity." Cinémas 10, no. 2-3 (October 26, 2007): 185–203. http://dx.doi.org/10.7202/024822ar.
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ABSTRACT At the turn of the twentieth century, the translation and the reception of haiku poetry allowed for theoretical advances beyond the purview of the literary. The haiku-idiom reinvented itself as a practice of poetry as audio-visual technique : haiku as a line of flight, medium of another relationship to language and to images. A hybrid-model of the modernist arts (poetry photography, film), the haiku-idiom became a vehicle for theories articulating the experience of a new spatio-temporal economy of images. As a mode of writing in laconic fragments, gestures of everyday-life, and shadows of memory, the haiku-idiom mobilized for others a relationship of movement, opacity, and distance to language.
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Sava, Doris. "Nichts für Schnellbetrachter: Doina Ioanids Poesie der leichten Töne." Germanistische Beiträge 44, no. 1 (June 1, 2019): 155–68. http://dx.doi.org/10.2478/gb-2019-0009.
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Abstract The article presents Doina Ioanid and her prose poems. In her poems, Ioanid records in detailed manner everyday life episodes in order to capture the fragile, authentic, genuine aspects and thus the poetry of simple life. The author use the apparent trivial aspects of life for selfreflections and for her escapes into fantasy. Her poems is the result of a cautious language precision and frugality, which make of DoinaIoanid one of the most representative and gifted Romanian poets of the young generation.
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Popielarz-Zajdel, Ewelina. "„Wierszem można odkorkować duszę” – o sacrum w twórczości Wacława Oszajcy." Dydaktyka Polonistyczna 15, no. 6 (2020): 57–71. http://dx.doi.org/10.15584/dyd.pol.15.2020.4.
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Wacław Oszajca is a Polish Jesuit, journalist, poet and publicist. His work is mainly focused around Christianity related matters. A Jesuit uses the category of the sacred as a synonym for what is saint. It defines the sacred as a force that puts together the chaos of everyday life, it is the Absolute, thanks to which we can reach faith in the infinity of the world. Oszajca tries to provoke the reader into thinking about the presence of the sacred in his life and shows that the division into the sacred and the profane should be removed. His work is a proof of adoration of everyday life and faith in a merciful but righteous God. When writing, he often uses contrasts and paradoxes, but above all his poetry is full of humor and joy.
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YEARSLEY, DAVID. "DEATH EVERYDAY: THE ANNA MAGDALENA BACH BOOK OF 1725 AND THE ART OF DYING." Eighteenth Century Music 2, no. 2 (September 2005): 231–49. http://dx.doi.org/10.1017/s1478570605000369.
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The Anna Magdalena Bach Book of 1725 is a heterogeneous collection of virtuosic and profound keyboard suites, light and often insipid dances, and a number of sacred songs whose dominant theme is death. This striking juxtaposition of the sacred and secular is hardly lessened by the fact that the songs are written in a disarmingly fashionable style which at first seems incommensurate with the existential issues addressed by the poetry. While scholars have generally seen the notebook’s less demanding pieces, including the songs, as a testament to Anna Magdalena’s taste for the galant style, little has been said about her apparent penchant for reflecting on and preparing for death through the medium of her personal musical notebook. By reading these poetic texts and their musical settings against the voluminous writings on the art of dying to be found in the family’s theological library, this essay argues for the centrality of the ars moriendi in the Bachs’ domestic life and in their music-making.
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Frank, Jason. "Aesthetic Democracy: Walt Whitman and the Poetry of the People." Review of Politics 69, no. 3 (June 2007): 402–30. http://dx.doi.org/10.1017/s0034670507000745.
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This essay argues for Walt Whitman's significance to contemporary democratic theory, neither as a theorist of moral or aesthetic individualism nor as a theorist of communitarian nationalism, but as a theorist of the democratic sublime. Whitman's account of “aesthetic democracy” emphasizes the affective and autopoetic dimensions of political life. For Whitman, popular attachment to democracy requires an aesthetic component, and he aimed to enact the required reconfiguration of popular sensibility through a poetic depiction of the people as themselves a sublimely poetic, world-making power. Through his poetic translation of the vox populi, Whitman hoped to engender a robustly transformative democratic politics. He found the resources for political regeneration in the poetics of everyday citizenship, in the democratic potentials of ordinary life.
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Xiao-bing, Zhao, and Zhao Wenqing. "About the Chinese Book “The Book of Poetry”." Humanitarian Vector 16, no. 1 (February 2021): 25–34. http://dx.doi.org/10.21209/1996-7853-2021-16-1-25-34.
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“The Shi Jing’’(‘‘The Book of Poetry”） is one of the first poems in the world, including Chinese poems, from the 11th century BC to the 6th century BC. During this period, about 3 000 verses appeared, of which 305 poems were selected by Confucius. Poetic texts in “The Shi Jing’are divided into three categories: regional songs, odes, hymns. The composition of the poems uses such techniques as Fu, Bi and Xing. These poems constitute the creative source (source) of Chinese poetry. “Fu”，“Bi” and “Xing” are important artistic features of “The Shi Jing”. “Fu”” - direct narration, parallelism. “Bi” is a metaphor, comparison. “Sin” means “stimulation”， it first speaks about others, then about what the poet wants to express. Fu and Bi are the most basic techniques of expression, and Xing is a relatively unique technique in “The Shi Jing”， even in Chinese poetry in general. “The Shi Jing” is an excellent starting point for Chinese literature, which has already reached a very high artistic level from the very beginning. "The Shi Jing” affects almost all aspects of the early social life of ancient China, such as sacrifice, banquet, labor, war, love, marriage, corvee, animals, plants, oppression and resistance, manners and customs, even astronomical phenomena, etc. It became historical value for the study of that society. The overwhelming majority of the poems in “The Shi Jing”reflect the reality, everyday life and everyday experience. There is almost no illusory and supernatural mythical world in it. As the first collection of poetry in China, “The Shi Jing” laid the foundation for the lyrical and realistic tradition of Chinese literature. “The Shi Jing” also has a huge impact on the genre structure and linguistic art of Chinese literature, etc., which is a role model for writers of later generations. “The Shi Jing”has already been translated into the languages of the countries of the world. “The Shi Jing”has been influencing Chinese poetics; it has become the source of the classical realistic tradition and literature in China. Lively description is essential for historical, anthropological and sociological research. We expect that as the cultural ties between China and Russia deepen, as well as the popularization and spread of Chinese-Russian translations, more and more Russian people will read “The Shi Jing”， study “The Shi Jing”， the Russian translation of “The Shi Jing” will improve and play its role as the original classic of Chinese literature. “The Shi Jing”is a book that cannot be read or translated forever. Keywords: “The Shi Jing” （“The Book of Poetry” )， regional songs, odes, hymns, artistic features, Chinese unique cultural value
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Marčetič, Adrijana. "A Tribute to Princip: Metapoetry and Commentaries." Transcultural Studies 11, no. 2 (April 10, 2015): 163–70. http://dx.doi.org/10.1163/23751606-01102001.
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Just after the end of the Great War Miloš Crnjanski wrote a poem dedicated to Gavrilo Princip, the assassin of Archduke Franz Ferdinand of Austria, in Sarajevo, on 28 June 1914. The title of the poem is “A Tribute to Princip” (“Spomen Principu”), and it was first published in Crnjanski’s early book of poetry Lyrics of Ithaca (Lirika Itake, 1919). Forty years later Crnjanski wrote a commentary on the poem, a sort of its prose paraphrase, and entitled it “On the Poem about Princip” (“Uz pesmu o Principu”); it was published in his Commentaries on Lyrics of Ithaca (Komentari uz Liriku Itake, 1959). Although by no means as significant as his famous poem “Sumatra”, and equally famous “Explanation of Sumatra”, that is considered a kind of Crnjanski’s personal poetic manifesto, as well as a poetic manifesto of Serbian modernism in general, “A Tribute to Princip” and its explanation represent an equally important testimony to Crnjanski’s poetic sensibility and his literary inspiration. The subject of the poem, the manner of poetic expression, on the one side, and the prose style of its commentary, on the other, clearly indicate what was considered by young Crnjanski the main role of the new, modern poetry he was advocating for: the break with the tradition, the rejection of the old and no longer productive poetic and national myths, and the affirmation of the new role of poetry in the everyday life. Therefore, opposing the standard interpretation of the poem, in this paper I argue that “A Tribute to Princip” is not a political poem but a “poem about poem”, which we could read as metapoetry or a poetry poem, providing that we apply the term with a little more freedom.
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Grodecka, Aneta. "Wektor poetycki w biografiach artystów: Olga Boznańska, Wojciech Weiss, Jerzy Tchórzewski." Poznańskie Studia Polonistyczne. Seria Literacka, no. 35 (November 5, 2019): 217–36. http://dx.doi.org/10.14746/pspsl.2019.35.10.
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Starting from the contemporary trends in biography and referring to findings in the field of anthropology of writing and new materialism, the author analyzes poetic forms created in painting studios. She considers the works of O. Boznańska, W. Weiss and T. Tchórzewski as poetic manifestations of the literary practice of everyday life, a type of poeticised documents. The presence of poetry in artists’ lives is multi-faceted: loose pages preserved in a scrapbook, entries in a journal and autonomous works printed in the press, hence their role in creative biography is different. The common ground is a syncretic perception of creativity; the preserved texts co-create a kind of artistic site where the boundaries between the publication, the exhibition and the project performance blur, requiring special editing operations.
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Hunter, Marcus Anthony, Mary Pattillo, Zandria F. Robinson, and Keeanga-Yamahtta Taylor. "Black Placemaking: Celebration, Play, and Poetry." Theory, Culture & Society 33, no. 7-8 (July 9, 2016): 31–56. http://dx.doi.org/10.1177/0263276416635259.
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Using Chicago as our case, this article puts forth a notion of black placemaking that privileges the creative, celebratory, playful, pleasurable, and poetic experiences of being black and being around other black people in the city. Black placemaking refers to the ways that urban black Americans create sites of endurance, belonging, and resistance through social interaction. Our framework offers a corrective to existing accounts that depict urban blacks as bounded, plagued by violence, victims and perpetrators, unproductive, and isolated from one another and the city writ large. While ignoring neither the external assaults on black spaces nor the internal dangers that can make everyday life difficult, we highlight how black people make places in spite of those realities. Our four cases – the black digital commons, black public housing reunions, black lesbian and gay nightlife, and black Little League baseball – elucidate the matter of black lives across genders, sexualities, ages, classes, and politics.
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Meier, Albert. "Wir sind Halbierte. Die Entdeckung der DDR in der westdeutschen Literatur vor 1989." Studia Germanica Posnaniensia, no. 37 (April 15, 2017): 201–11. http://dx.doi.org/10.14746/sgp.2016.37.16.
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West German literature has turned its back to the existence of the second German state until the 1980s. Only a few years before the fall of the Berlin wall, three writers started to make the GDR a subject of narration or poetry: Botho Strauß, Peter Schneider and Martin Walser. In different ways, yet unanimously, they complain about the division of Germany dealing with its impact on everyday life and private feelings.
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Epstein, Andrew. ""There Is No Content Here, Only Dailiness": Poetry as Critique of Everyday Life in Ron Silliman's Ketjak." Contemporary Literature 51, no. 4 (2010): 736–76. http://dx.doi.org/10.1353/cli.2011.0008.
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Moon, M. "The Black Swan: Poetry, Punishment, and the Sadomasochism of Everyday Life; or, Tradition and the Individual Talent." GLQ: A Journal of Lesbian and Gay Studies 17, no. 4 (January 1, 2011): 487–96. http://dx.doi.org/10.1215/10642684-1302334.
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Setyowati, Nanik, and Emzir Emzir. "ENVIROMENTAL INSIGHT IN UCIL THE MOUSE DEER FAIRY TALE COLLECTION WRITTEN BY TRIA AYU K (AN ECOCRITIC STUDY)." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 18, no. 1 (January 1, 2019): 107–12. http://dx.doi.org/10.21009/bahtera.181.010.
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ABSTRACT
The connection of nature with literary works raises concepts about ecological problems in literature among literary critics. Many environmental problems that occur at this time. Through poetry, fairy tales and other literary works, the writers mention this in their works. Ecocritic has a basic paradigm that every object can be seen in ecological networks, and ecology can be a helpful science in this critical approach. Environmental insight can be obtained through a literary work. Some writers in Indonesia make nature and the environment a prominent part of their works. In addition to literary works such as poetry and novels, fairy tales have first explored nature. In fairy tales, nature is described as the place of life of the characters. That way, fairy tales indirectly invite the audience to come into contact with environmental insights that need to be studied and applied in everyday life.
Keywords: environmental insight ; ecocritic; fairy tale; literary studies
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Naumenko, Nataliia. "The Culture of Wine in Ukrainian Baroque Poetry." Culturology Ideas, no. 14 (2'2018) (2018): 123–30. http://dx.doi.org/10.37627/2311-9489-14-2018-2.123-130.
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The article represents the results of the culturological analysis of Ukrainian baroque poetry with ‘wine’ for the prominent image. Just as the conceit of wine was never researched profoundly by culturologists and linguists, this article is an attempt to conceptualize the imagery of wine and culture of its consumption in Ukrainian literary criticism and cultural studies. Upon researching Ukrainian baroque poetry, the author of this article revealed some new connotations of the image of wine. First of them is a symbol of reproach declared to the authorities of either sacral or secular power (the conceptual pattern of it are the writings by Ukrainian polemist Ivan Vyshensky). However, even the strongest judgements sounded hopefully thanks to stylization in the mood of Christian liturgy. Secondly, wine was a reflection of joy of life, love, or friendship in Epicurean style. Thirdly, it was set up as a philosophical image of the human self as the most precious thing in the world. This idea was also supported staunchly by H. Skovoroda. Henceforth, wine in baroque poetry is not only an image of something material within the framework of the everyday life and rituals; it is a factor of reconciliation of Christian and Pantheistic worldview in the Ukrainians. Further researches of ‘wine’ conceit in Ukrainian poetry (and Ukrainian culture as a whole) would allow confirming anew the vision of a human-within-the-world as the world-within-a-human.
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Mawaddah, Nadrotin, Mutmainnah Mustofa, Solihatul Ulya, and Abdul Moueed. "Character Building in Lang Leav Poetry “Sea of Strangers”." INTERACTION: Jurnal Pendidikan Bahasa 8, no. 1 (May 6, 2021): 50–61. http://dx.doi.org/10.36232/jurnalpendidikanbahasa.v8i1.961.
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This research aims at analyzing the character building of selected poetries in Lang Leav’s “Sea of Strangers”. In this research, a qualitative approach is used as the research design, and the data was analyzed using content analysis. “Sea of Strangers” is a continuation of Lang Leav book series Love & Misadventures, Lullabies, and The Universe of Us. There were eight poetries analyzed and several character buildings found in those poetries. The character buildings that appear are the character of patient, hard-working, religious, strong, creative, independent, confident, being realistic, respectful, honest, caring, and loving. From the eight poetries analyzed, almost all of those poetries explained the women's strength when they feel the pain of heartbreaking, waiting, romance, and insight into everyday life. Besides the beauty of the words used by the writer, these poetries also contain a lot of inspiring messages.
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Spencer, Jeremy. "Un art du quotidien ? A partir de Georges Perec et Vilhelm Hammershøi." Labyrinth 22, no. 2 (February 17, 2021): 74. http://dx.doi.org/10.25180/lj.v22i2.238.
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An art of the everyday? Parting from Georges Perec and Vilhelm Hammershøi (Abstract)Contemporary continental philosophy seems to be deeply connected to art, whether it is poetry and literature (from Heidegger to Derrida), painting (Merleau-Ponty, Maldiney) or music (since Bergson). This connection is built upon the primacy of a trial of the invisible, which is very often a trial of the event. The aim of this article is to establish an art of the everyday freed from this contemporary "eventism". We thus examine how the researches of Georges Perec in literature and of Vilhelm Hammershøi in painting meditate on the strangeness of the everyday – its flatness, its silence – which are irreducible to this aesthetic trial as it can be conceptualized by the philosophy of the life of Deleuze-Guattari and by the humanism of Levinas. This research thus beckons towards an art of the common contesting the contemporary primacy of the vital and the (in)human.
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Moore, J. Peter. "Attention Equals Life: The Pursuit of the Everyday in Contemporary Poetry and CultureThe Lyric in the Age of the BrainPoetic Machinations: Allegory, Surrealism, and Postmodern Poetic FormPitch of Poetry." American Literature 89, no. 4 (December 1, 2017): 904–7. http://dx.doi.org/10.1215/00029831-4257988.
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Gaitanidis, Anastasios. "Building bridges between psychoanalysis and music." British Journal of Music Therapy 33, no. 2 (October 9, 2019): 80–82. http://dx.doi.org/10.1177/1359457519879795.
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In this article, I begin by presenting how a Greek song erupted within the flow of my everyday existence and allowed me to reconnect with past trauma, grief and psychic pain. Operating in a register which is different from that of symbolic language, and yet always already within it, music enables productive encounters with trauma and loss in everyday life. I then continue exploring the connections between music and language by employing Kristeva’s notions of ‘chora’ and the ‘semiotic’, which place the ‘musicality’ of language, its rhythm and tonality, and pitch and timbre at the centre of the analyst’s attention. I finish by referring to the work of Ogden who argues that both poetry/music and certain analytic sessions seem to generate powerful resonances and cacophonies of sound and meaning.
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Demyankov, V. Z. "Alien Creativity of Russian Macaronic Poetry." Critique and Semiotics 38, no. 1 (2020): 73–91. http://dx.doi.org/10.25205/2307-1737-2020-1-73-91.
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Traditionally, the status of foreigners in Russia, especially of West-Europeans, is fairly high. My linguistic analysis of Russian literary sources of the 18 th to the 21 st centuries aims at eliciting presumptions (i. e. indirectly expressed opinions) and/or stereotypes of foreigners disclosed in occurrences of Russian lexical items such as ‘inostranets’ (“foreigner”). This procedure yields a list of typical culturally relevant “parameters of aliens” in Russian culture. Stereotypes of alien behaviour and alien appearance, for short, stereotypes of “Russian aliens” are specific for Russian culture and include a privileged social status and extraterritoriality. Foreigners are typically expected to be both intellectually superior in issues of civilization and utterly ignorant of virtually all Russian peculiarities of everyday life and of Russian customs. Russian macaronic verses combining Russian with West-European expressions used to be popular in Russia, but they are much less frequent nowadays, i. a. because of certain shifts which the concept of “alien” underwent in the last decades of Russian history. The humor of Russian macaronic poetry is based on a sort of travesty, when a person held to be a foreigner because of admixture of foreign expressions (and therefore automatically occupying a privileged position) proves to be a pretender. “Alien creativity” of Russian macaronic verses may be looked at as a by-product of cultural adaptation of Russian culture to Western civilization.
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Mila Andriani, Ni Made Ayu. "STRUKTURMIWAHSUKSMAN GENDING RARÉ “MADE CENIK“." Jurnal Penelitian Agama Hindu 1, no. 2 (October 6, 2017): 418. http://dx.doi.org/10.25078/jpah.v1i2.277.
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<p><em>Gending is one form of tembang (poetry) which is one kind of Bali Purwa literature. Gending raré has no definite rules like any other form of gending. The form of gending rarè is very simple because it uses Balinese language everyday. Gending rarè also equips children's games. One of the Balinese gending is the gending rarè Madè Cenik which is sung at the joke.</em><em>.</em><em>This study examines the structure and meaning of gending rarè Madè Cenik. The theory used the theory of structure and the theory of hermeneutics. The type of this research is descriptive qualitative. Methods of data collection using observation techniques, unstructured interview libraries, and documentation. The collected data is managed by the technique of reduction, classification, interpretation, display data, before the analysis and concluded.<br />Based on research done gending rarè Madè Cenik built by pentatonic tones and titi tones slendro, wirama used is wirama 4/4, rhythm pattern. This poem poem is poetry poetry poetry (abcb, aaba), the form of poetry of this gending is a free verse, imagery that is expressed in this gending is the life of society, the feeling (feeling) that exist in this gending is a sense of sadness, disappointment . The meaning of gending rarè Madè Cenik is social life, its aesthetic meaning is that this gending is sung with madolanan one of them. This gending also has the meaning of ethical or moral education. People who hear or sing this gending, are expected to laugh at each other.</em><em></em></p>
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Asriningsari, Ambarini, and Azzah Nayla. "Implementation of Multicultural Context on Learning Writing Poetry in Senior High School." International Journal of Social Sciences and Humanities Invention 5, no. 5 (May 3, 2018): 4634–39. http://dx.doi.org/10.18535/ijsshi/v5i5.01.
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Indonesian society is a pluralistic society, so it needs understanding of multicultural values in every interaction through education. Cultural diversity must be understood and accepted as a uniqueness that is able to bring Indonesian society in the heterogeneous life of society. Schools play a key role in how an educational institution is able to transmit multicultural values. This study raises the problem (1) the application of multicultural context in the study of writing poetry in high school; and (2) student learning outcomes on the application of multicultural contexts on learning to write poetry in high school. This research design using qualitative descriptive approach through step 1: Preliminary observation, step 2: developing learning tools, compiling materials, and evaluation guides, step 3: applying the multicultural context to the learning of writing poetry to the class which is the activity enforcement in a classroom learning, 4) step 4: Formative evaluation and description of research results. The application of multicultural context in learning to write poetry is done through preliminary activities, core, follow-up, and reflection. Student attitudes after applied multicultural contexts begin to enthusiastically pay attention to teachers and mostly seem to seriously engage in discussion activities with group members. The skills of writing poetry on the aspect of the accuracy of word selection or diction, topics, and the message, have met the good category. In the skill students are able to choose the right word or diction, determine the theme, and understand the cultural differences that exist around them to be positively responded. Students are also quite able to understand the mandate implied in the poem to apply to everyday life.
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Klitzing, Anke. "“My Palate Hung With Starlight” – A Gastrocritical Reading of Seamus Heaney’s Poetry." East-West Cultural Passage 19, no. 2 (December 1, 2019): 14–39. http://dx.doi.org/10.2478/ewcp-2019-0010.
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Abstract Nobel-prize winning poet Seamus Heaney is celebrated for his rich verses recalling his home in the Northern Irish countryside of County Derry. Yet while the imaginative links to nature in his poetry have already been critically explored, little attention has been paid so far to his rendering of local food and foodways. From ploughing, digging potatoes and butter-churning to picking blackberries, Heaney sketches not only the everyday activities of mid-20th century rural Ireland, but also the social dynamics of community and identity and the socio-natural symbiosis embedded in those practices. Larger questions of love, life and death also infiltrate the scenes, as they might in life, through hints of sectarian divisions and memories of famine. This essay proposes a gastrocritical reading of Heaney’s poetry to study these topics in particularly meaningful ways. Gastrocriticism is a nascent critical approach to literature that applies the insights gained in Food Studies to literary writings, investigating the relationship of humans to each other and to nature as played out through the prism of food, or as Heaney wrote: “Things looming large and at the same time [...] pinned down in the smallest detail.”
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Bellass, Sue, Andrew Balmer, Vanessa May, John Keady, Christina Buse, Andrea Capstick, Lucy Burke, Ruth Bartlett, and James Hodgson. "Broadening the debate on creativity and dementia: A critical approach." Dementia 18, no. 7-8 (April 9, 2018): 2799–820. http://dx.doi.org/10.1177/1471301218760906.
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In recent years there has been a growing interest in person-centred, ‘living well’ approaches to dementia, often taking the form of important efforts to engage people with dementia in a range of creative, arts-based interventions such as dance, drama, music, art and poetry. Such practices have been advanced as socially inclusive activities that help to affirm personhood and redress the biomedical focus on loss and deficit. However, in emphasizing more traditional forms of creativity associated with the arts, more mundane forms of creativity that emerge in everyday life have been overlooked, specifically with regard to how such creativity is used by people living with dementia and by their carers and family members as a way of negotiating changes in their everyday lives. In this paper, we propose a critical approach to understanding such forms of creativity in this context, comprised of six dimensions: everyday creativity; power relations; ways to operationalise creativity; sensory and affective experience; difference; and reciprocity. We point towards the potential of these dimensions to contribute to a reframing of debates around creativity and dementia.
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Šuplinska, Ilga. "FUNCTIONS OF PERSONAL NAMES IN LATEST LATVIAN POETRY." Via Latgalica, no. 1 (December 31, 2008): 130. http://dx.doi.org/10.17770/latg2008.1.1596.
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In the period of postmodern culture, a lot of importance is attributed to mythological thinking and to the decoding of myths and current cultural signs. Therefore, the use of „talking” personal names which are perceived symbolically becomes relevant. As semiotic research points out: „For the mythological conscience it is common to see the world as a book, where cognition equals reading, which is based on the mechanisms of decoding and identification”. (Lotmans, Uspenskis 1993: 35) That means that for a better comprehension of prose, also in postmodern texts one has to pay attention to the choice of personal names, their frequency, and the presence and characteristics of cultural connotations. Bearing in mind that features of postmodern texts are the disregard of genre borders and marginalism, it can hypothetically be assumed that similar attitudes towards the use of personal names can be found in poetry. However, considering both recent studies of personal names and of poetry, it is possible to conclude that poetry pays little attention to the studies of personal names. Personal names are not very common in poetic texts, and poets use them quite precautiously (unless they link it to the tendencies within postmodernism as mentioned above). The objective of this article is to describe the functionality of personal names in latest Latvian poetry. The methodological basis of the work was obtained by studying the works of semioticians (R. Jakobson, Y. Lotman, B. Uspenskiy, Y. Levin, etc,), using the practical experience of philological text analysis (O. Nikolina, J. Kazarin), as well as by studying the attitudes of particular authors towards personal names (V. Rudnev, P. Florensky, A. Losev, G. Frege). The sources for the research for this article were anthologies of four young poetesses who were born in the 1970s and made their debut at the turn of the century, from which anthroponyms where taken for description: Inga Gaile’s „Laiks bija iemīlējies” (Time was in love, 1999) and „Kūku Marija” (Pastry Maria, 2007), Andra Menfelde’s „tranšejas dievi rok” (Gods dig trenches, 2005), Liga Rundane’s „Leluos atlaidys” (Great absolution, 2004), and Agita Draguna’s „prāts” (Mind, 2004). When analyzing the expressions of personal name in these anthologies, and thereby looking for mutual interconnections both within one anthology and from a comparative angle, a cultural sight of the generation born in the 70s (or at least of the „reading” intellectual part of that generation) could be identified. It turns out that the frequency and the uniformity/diversity of the usage of personal names can reveal tendencies of a particular trend. Clear spatial and associative semantic borders are revealed in the poetry of Agita Draguna and Liga Rundane, although it should be mentioned that personal names are very rarely used in the poetry. In contrast, the poetry of Inga Gaile and Andra Manfelde features a diversity of personal names, a tendency of appellativization, and a variety of interpretations of personal names. In the poetry of L. Rundane and A. Draguna it is possible to distinguish groups of personal names which unequivocally reveal the existence of their worlds, and mark the values of the lyrics. In the poetry of these authors two groups of personal names can be distinguished: 1) Poets: Andryvs Yurdzhs, Rainis, Oskars Seiksts (in the poetry of L. Rundane), Anthony McCann, Fjodor Tjutchev, Omar Hayam, Arseny Tarkovsky (in the poetry of A. Draguna) 2) Mythical characters: Shiva, Isida, Zuhra, Djemshid (in the poetry of A. Draguna), Virgin Mary (Jumprova Marija, in the poetry of L. Rundane). In the poetry of L. Rundane, one’s world has a Latgalian identity. In contrast, in the poetry of A. Draguna the world is more sought for, whereas one’s values seem to come from Eastern concepts of the mind and the meaning of a human life. In the poetry of I. Gaile and A. Manfelde the use of a personal name is aimed at: - marking one’s space, but unlike in the poetry of the authors mentioned above, it is full of doubts and controversies not only on the emotional level, but also regarding the values that one is looking for. Therefore personal names serve to reveal these controversies, not just to acknowledge one’s space; - a self-extinguishment of personal names and their change into simulacra, - or the process of mythologization of everyday life. It can be concluded that the limited use of personal names, of separate names, and of phrases which start with a capital letter, such as the lack of persistence in changing pronouns and generic names into the status of personal names (Miracle, You, Father of Noise, etc), proves the intensity of the perception of the mythical world, an expression paradigm common for postmodernism. (L. Rundane, A. Draguna). The relatively free and manifold use of personal names, their changes into generic names (contextual appellativization), the quest for general notions (lexical meanings), and the desire to create them (Barbie, harlequin, Aivazovsky, Lennon, Tanya, etc.) on the one hand create sumulacra, and on the other hand emphasize a mythologization of everyday life and the possibilities of its use in literary texts (through the use of figures or palimpsests).
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Olovčić, Adem. "SUSRET HEIDEGGERA I WITTGENSTEINA / THE ENCOUNTER OF HEIDEGGER AND WITTGENSTEIN." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 23 (November 10, 2020): 86–104. http://dx.doi.org/10.46352/23036990.2020.86.
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This paper focuses on language as a medium for a critique of the traditional metaphysical concepts, expressed in the philosophies of two contemporary philosophers, Martin Heidegger and Ludwig Wittgenstein, where the language is treated as a framework for understanding the world in a multitude of its, for philosophy significant determinants. Although Heidegger, in his philosophy, was primarily concerned about the question of the being, he seeks that sense in thought, which took him away to language, as the only place where the given questions can be examined. Considering that the truth of the being cannot be expressed in everyday, linguistically and instrumentally conceived language, Heidegger will in his thought reach the language of poetry, as place were the understanding of the truth of being and its related concepts is possible. Wittgenstein, on the other hand, will focus in philosophical thought on the problems of language, which, in his philosophy, will culminate in the notion of a language game. With this term, Wittgenstein, first of all had in mind the interconnectedness of the use of language and the life practice. Still, he did not think of a language as an everyday – practical instrument of communication, but rather, as a place where linguistic definitions of language, everyday life practices and real life events meet. In doing so, these thinkers, through their interpretations of linguistic issues, have reached a point in which is possible to understand their encounter.
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Lavery, Nick. "Review: Andrew Epstein’s Attention Equals Life: The Pursuit of the Everyday in Contemporary Poetry and Culture (2016)." RoundTable 1, no. 1 (May 24, 2017): 11. http://dx.doi.org/10.24877/rt.23.
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Kurbanov, M. M. "HISTORICAL INFLUENCE OF THE CREATIVE TRADITIONS OF PERSIAN CULTURE ON THE DEVELOPMENT OF FOLKLORE IN SOUTHERN DAGESTAN." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 392–97. http://dx.doi.org/10.35634/2412-9534-2021-31-2-392-397.
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The article highlights the problems related to how ancient Persian culture in the Middle Ages had a powerful influence on the formation and development of folklore of the peoples of South Dagestan. Regional, ethnic, linguistic and cultural symbiosis was formed In the Derbent region, Tabasaran and Lezgistan in the V-XVIII centuries, which led the folklore of the Tabasarans, Lezgins, Azerbaijanis, resettled here Iranian-speaking Tats, Persians and Arabs to mutual enrichment and intensive development. Domestic, cultural and commercial relations led to the fact that most residents began to freely speak the “old Turkic”, Persian, Lezgin and Tabasaran languages, which ethnic groups used in communication, trade and in everyday life. The result of the influence of Persian folk and Ashug poetry on the development of the creativity of the peoples of the region can be considered the formation of a single form of genre varieties of extra-ritual lyrics and wedding poetry in the folklore of Tabasarans, Lezghins, Agulians in the form of band-quatrains. Fairy tales of the peoples of the region were also positively influenced, they were enriched by Eastern plots, themes, ideas, colorful images, Persian toponymy and vibrant poetry of genres.
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Tharmenthira, Shopana. "Physiological norms in Silappatikaram." International Research Journal of Tamil 2, no. 2 (February 17, 2020): 53–59. http://dx.doi.org/10.34256/irjt2026.
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Silappatikaram an epic poetry was written by Ilanko Adikal. Silambu and Context (Athikaram) are combined and becomes Silappatikaram. The story of Silmba (Anklet) is therefore called Silappatikaram. It is called the Citizen's Epic because it was sung by ordinary people like Kovalan and Kannaki. It is the book that makes the life of the people very clear. Individuality, Family, Relative, Community Membership, Citizenship are Physiological Sites and characteristics that human beings need to protect, tasks to perform, and the norms by which an ordinary man can live in everyday life. The integrity of the political life, the rise of femininity, the belief in morality are the high principles of the Tamil people; Silappatikaram explains these. It persuades moral principles through fiction. In this way, it is considered to be the study of the Physiological norms of these People's through dance.
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Almos, Rona, Pramono Pramono, and Reniwati Reniwati. "PANTUN DAN PEPATAH-PETITIH MINANGKABAU BERLEKSIKON FLORA DAN FAUNA." Adabiyyāt: Jurnal Bahasa dan Sastra 13, no. 2 (December 31, 2014): 300. http://dx.doi.org/10.14421/ajbs.2014.13207.
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Pepatah-petitih is Minangkabau proverbs which contains advices and teachings from the elders. Every sentence found in Minangkabau proverbs contains the Minangkabau basic philosophy which is originally derived from the nature. The thought of Minangkabau people is based on natural phenomena. Minangkabau people learn from everyday life environment. Sometimes the Minangkabau proverbs are presented in form of poetry. Poetry is the most important kind of Minangkabau literature. It becomes a topic, kaba flowers, and ornate speech. Those poems and proverbs are Minangkabau traditional community knowledge (local genius) in the past. This article aims to describe the whole Minangkabau proverbs which contain the terms of flora and fauna and to explain the meaning of those proverbs. There are many terms of flora and fauna found in the proverbs of Minangkabau. The contents taught us in doing good, patience, pituah, perseverance, and truth. They contain rules and high values for the benefit of Minangkabau society.
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WEINER, STEPHANIE KUDUK. "Sight and Sound in the Poetic World of Ernest Dowson." Nineteenth-Century Literature 60, no. 4 (March 1, 2006): 481–509. http://dx.doi.org/10.1525/ncl.2006.60.4.481.
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This essay argues that Ernest Dowson's poems are organized according to patterns of color, in which bright hues fade to gray, and of sound, in which superfluous, even erroneous,punctuation marks generate syntactic strain and precisely modulate the pauses between words and lines. These patterns are central to Dowson's effort to estrange his literary language from everyday, communicative discourse and its reference to the meanings of the world, to make poetry a "pure" medium of art rather than a representation of life. As such, Dowson's poetry differs from the impressionist and naturalist art of the fin de sicle, with which his work is often incorrectly conflated, and it marks a cleavage between empiricist and anti-empiricist approaches to representation,especially in relation to matters of observation, objectivity, and particularity. Dowson's aestheticism represents an extreme limit of anti-empiricist literary formalism, whose legacy for modernism consists not principally in its successes but in its failures.
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Wolny, Ryszard W. "Andrew Taylor: Australia’s Poet of the (Extra)Ordinary." European Journal of Language and Literature 5, no. 3 (September 25, 2019): 7. http://dx.doi.org/10.26417/ejls.v5i3.p7-10.
Full textAbstract:
Andrew Taylor (1940-) has been regarded as one of the most significant living Australian poets largely due to the fact of his unusual use of the poetic language and the selection of topics. He undoubtedly belongs to the group of the poets, like John Kinsella, who create mastery in their so-called ‘niche’ market, quietly continuing to produce compositions of remarkable quality, and receiving national and international recognition for their achievements. Andrew Taylor’s Impossible Preludes (Poems 2008-2014) is a unique and beautiful retrospective on life, love and everything in between, with its full array of extraordinariness embedded in the ordinariness of everyday life. Each line is a story within itself, painting a picture for the reader to follow as vividly as one might expect in an art gallery. Every poem is full of colour and weight as it takes you on a journey into the mind of this creative and talented individual. Therefore, the aim of this paper is to disclose these elements in Andrew Taylor’s poetry that make it so extraordinary in its ordinariness and find out possible sources of this idiosyncrasy.