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Journal articles on the topic 'Poetry sequence'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Mariani, Paul, M. L. Rosenthal, and Sally M. Gall. "The Modern Poetic Sequence: The Genius of Modern Poetry." American Literature 58, no. 3 (1986): 465. http://dx.doi.org/10.2307/2925637.

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2

Lewis, Hannah. "The Fibonacci Sequence and Poetry." Math Horizons 26, no. 1 (2018): 2. http://dx.doi.org/10.1080/10724117.2018.1460116.

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3

Patmawati, Leni, Sumiharti Sumiharti, and Sujoko Sujoko. "ANALISIS CITRAAN PENGLIHATAN DALAM ANTOLOGI PUISI DI HADAPAN RAHASIA KARYA ADIMAS IMMANUEL." Aksara: Jurnal Ilmiah Pendidikan Bahasa dan Sastra Indonesia 2, no. 1 (2018): 159. http://dx.doi.org/10.33087/aksara.v2i1.45.

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This research is intended to decribe imagery that is found in Poetry Anthology Di Hadapan Rahasia by Adimas Immanuel. The method of this research is descriptive by using content analysis. The sourec of the data is pramary and secondary data. In this research, the primary data is taken from the sequence of beutiful words that have a meaning and visual imagery in their every linein Poetry Anthology in Di Hadapan Rahasia by Adimas Immanuel. The secondary data is taken from books and literature. Based on the result of the research, it can be concluded that there are 30 imagery in the poetry writte

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4

Weiskott, Eric. "Old English poetry, verse by verse." Anglo-Saxon England 44 (December 2015): 95–130. http://dx.doi.org/10.1017/s0263675100080078.

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AbstractCertain syntactical ambiguities in Old English poetry have been the focus of debate among students of metre and syntax. Proponents of intentional ambiguity must demonstrate that the passages in question exhibit, not an absence of syntactical clarity, but a presence of syntactical ambiguity. This article attempts such a demonstration. It does so by shifting the terms of the debate, from clauses to verses and from a spatial to a temporal understanding of syntax. The article proposes a new interpretation of many problematic passages that opens onto a new way of parsing and punctuating Old

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5

Selenitsch, Alex. "Assembly Lines." Axon: Creative Explorations 13, no. 1 (2023): 1–15. http://dx.doi.org/10.54375/001/81wxveivvb.

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6

Peter LaSalle. "From Mahoney’s Life: A Poetry Sequence." Callaloo 32, no. 1 (2008): 231–32. http://dx.doi.org/10.1353/cal.0.0346.

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7

Lionetti, Ruggiero. "A NOTE ON EURIPIDES, ALCESTIS 106." Classical Quarterly 70, no. 1 (2020): 429–32. http://dx.doi.org/10.1017/s0009838820000415.

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In the anapaestic sequences of Eur. Alc. 93–7 and 105–11, a fast-paced exchange takes place between two choreuts (or two groups of choreuts) eager to learn about Alcestis’ fate. The two passages pose several metrical and textual problems. The most serious is the presence at lines 94 and 106 of the ᴗ ᴗ – – sequence (a ‘catalectic monometer’), which finds no parallel in anapaestic poetry from any age or literary genre. The same sequence occurs at the beginning of the short anapaestic coda of lines 132–5, which, whether authentic or not, from a metrical point of view presents certain affinities w

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8

Leggo, Carl. "A Poem Can: Poetic Encounters." LEARNing Landscapes 9, no. 2 (2016): 351–65. http://dx.doi.org/10.36510/learnland.v9i2.780.

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All my adult life I have been a language and literacy educator in school and university classrooms. And for most of my adult life I have also been a poet. I read and write poetry; I teach poetry; I write about teaching poetry and about why poetry is important for living creatively in the world. In my poems I seek to remain open to possibilities for living poetically. I seek to see with the eyes of the heart and to hear with the ears of the heart. In a sequence of poems, citations, and ruminations, I ponder the signi cance of poetry.

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9

Lucas, John, and Holly A. Laird. "Self and Sequence: The Poetry of D. H. Lawrence." Yearbook of English Studies 20 (1990): 335. http://dx.doi.org/10.2307/3507618.

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10

Momčilović, Aleksandar, and Dunja Dušanić. "National Mourning and the Poetics of Public Grief: Jaroslav Seifert's Elegies for T. G. Masaryk." Slavic Review 83, no. 3 (2024): 559–75. https://doi.org/10.1017/slr.2024.501.

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AbstractThis paper explores the relationship between elegy, national mourning, and the poetics of public grief by taking as an example Jaroslav Seifert's sequence of elegies, Osm dní (Eight Days), published in 1937 to mourn the death of Czechoslovakia's first president, Tomáš Garrigue Masaryk (1850–1937). An extraordinary work of poetry—exceptional both in its ambition and in the apparent speed with which it was composed and published—Seifert's Eight Days has largely been forgotten today and remains little known outside of Czech literary criticism. This article offers a reading of the sequence

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11

Klein, Lucas. "What Does Tang Poetry Mean to Contemporary Chinese Writers?" Prism 18, no. 1 (2021): 138–69. http://dx.doi.org/10.1215/25783491-8922225.

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Abstract Examining how contemporary poets raised in China are looking at classical Chinese poetry from the Tang—in particular, the poetry and the figure of Li Bai 李白 (701–762)—this article questions the epistemological divide, common to scholarship, between premodern and modern Chinese poetry. The texts come from Shenqing shi 深情史 (Histories of Affection) by Liu Liduo 劉麗朵 (1979–); The Banished Immortal, Chinese-American poet and novelist Ha Jin's 哈金 (1956–) biography of Li Bai; the book-length poem-sequence Tang 唐, by Yi Sha 伊沙 (1966–); and poet Xi Chuan's 西川 (1963–) scholarly book Tang shi de

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12

Hühn, P. "Plotting the lyric: forms of narration in poetry." Literator 31, no. 3 (2010): 17–48. http://dx.doi.org/10.4102/lit.v31i3.56.

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This article is based on the assumption that lyric poems generally share the fundamental constituents of story and discourse as well as the narrative act with narrative fiction in that they likewise feature a sequence of incidents (usually of a mental kind), mediate and shape it from a specific perspective and present it from a particular point of time vis-à-vis the sequence of incidents. A general outline of the narratological categories which may be applied to poetry analysis is given using William Wordsworth’s “I wandered lonely as a cloud” as an illustrative example. The aim of the article

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13

Markova, E. A. "THE TRADITION OF ENGLISH-LANGUAGE ELEGY AND J. BRODSKY’s POETRY." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (2019): 1030–36. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1030-1036.

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In the present article J. Brodsky’s poetry is analyzed in the context of a particular elegiac tradition associated with some key figures of English-language poetry of the mid-to-late 20th century. These are W.B. Yeats, T.S. Eliot, W.H. Auden and S. Heaney. The aim of the article is to examine the continuity of the 20th century English poetry by the example of a sequence of dedication poems (elegies), in which each subsequent poem alludes to the previous one(s). The comparative method allows us not only to show the features of modern English-language poetry (for instance, the link between elegi

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14

OKATAN, Halil İbrahim. "Lirik Şiir Anlayışı ve Nedim’in Bir Gazelinin Lirik Şiir Ölçütleriyle Açıklanması Ölçütleriyle Yorumu." International Journal of Social Sciences 8, no. 33 (2024): 586–616. http://dx.doi.org/10.52096/usbd.8.33.37.

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As is it well known, the arts of painting, music, sculpture and architecture are made with materials unique to them. Painting is applied with paint, music with sound, sculpture with materials such as stone, marble or bronze. The material of each is used only in that specific art. Poetry, on the other hand, is an art made with language, our common means of communication which we use every day and always in our daily lives. This situation leads to both convenience and difficulty for literature and especially for the art of poetry. Although architectural arts made of stone and marble survive for

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15

Dunmande, Olufemi Ibukun. "Ritual form and mythologization of death in Wole Soyinka’s ‘Procession’." Tydskrif vir Letterkunde 54, no. 1 (2017): 181–95. http://dx.doi.org/10.17159/tvl.v.54i1.12.

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Critics make a large claim that Wole Soyinka mythologizes death and deploys ritual form in his dramatic works but hardly account for the same in this light regarding his poetry, especially "Procession", a sequence which bears so many marks of this style. Critics of "Procession" discount a lot from its richness in mythological and ritual forms but focus more on its topical, social and political nature. The trend in the criticism of the sequence is obviously informed by the historical and political context of the sequence and its inclusion in A Shuttle in the Crypt (1972), a collection on Soyink

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정소연. "Poetic History’s Meaning of Responding Sequence Chinese Translation Poetry by Kwon Seop and Gisaeng Ka－Ryeon." Korean Language and Literature ll, no. 167 (2014): 135–63. http://dx.doi.org/10.17291/kolali.2014..167.005.

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17

Da Silva, Alexandre Camilo, and Antônia Dalva Franco Carvalho. "Meaningful learning: the use of didactic sequences to work on poems and poetry with high school students." Concilium 24, no. 18 (2024): 236–50. http://dx.doi.org/10.53660/clm-4098-24s21.

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Exploring the relationship between literature and education, based on David Ausubel's theory of meaningful learning (1980), with the aim of training active readers capable of producing poetic texts is the central core of this work. To this end, the general objective was to implement a didactic sequence, based on the theory of meaningful learning, using poetry as a pedagogical tool to promote the formation of student readers. For this purpose, a didactic sequence was applied based on the methodological guidelines of Dolz, Noverraz and Schneuwly (2004). The work was carried out at the Full-Time

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18

Irving, Edward B. "The advent of poetry: Christ I." Anglo-Saxon England 25 (December 1996): 123–34. http://dx.doi.org/10.1017/s0263675100001976.

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Two masterpieces stand out of the mass of Anglo-Saxon religious poetry: The Dream of the Rood and the sequence of liturgical lyrics in the Exeter Book variously known as Christ I, the Advent Lyrics or simply Advent. The two works are similar in focus and technique as well as in quality. Both express the mystery of Incarnation in terms of a riddle: how can it be that Deus and Homo make their impossible contact? What terms can make this meeting graspable by the imagination? Both give eloquent voice to human suffering and human hope, and seem to recognize that it is only through appealing to thes

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Saeed, Jalal Anwer. "Reflection of The Relations Between Human Beings & Animal in Kurdish Poetry." Journal of University of Raparin 8, no. 1 (2021): 187–208. http://dx.doi.org/10.26750/vol(8).no(1).paper8.

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Since the beginning of its appearance on this planet, human being has felt alien in one hand because he has not been familiar to anything in the wide nature he has lived in and in the other hand he has been afraid and felt hesitated due to his fear to from all other creatures. But gradually he has been familiar with nature and his environment and tried at the beginning to align himself with it then to overcome it and to use them for his own interest, especially the animals which are the second sequence after human being in the planet. This align and controlling is not a matter of one night and

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20

Mussi, Amaline Boulus Issa. "IN TOUCH WITH JAMES ORVIL BEADY’S POETRY..." Linguagem em (Dis)curso 2, no. 1 (2001): 50–58. http://dx.doi.org/10.1590/1982-4017-02-01-12.

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Abstract I have chosen the myth criticism to emphasize the poetical function of myths and metaphors in James Orvil Beady’s poetry. A secondary proposal is to motivate students to increase e- theorical researches during introductory or complementary studies. In this aim, foundations for critical approaches were reached in e-sites all over Internet. First there is a study about Myth criticism and some different approaches to the subject Motherhood and Mother Earth’s myths throughtout time. In sequence a study about the role of metaphors in poetry. And the analysis of myths and metaphors in James

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21

Stockdale, Edwin. "Below/around/between." Writing in Practice 7 (January 28, 2022): 197–215. https://doi.org/10.62959/wip-07-2021-15.

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This essay focusses on the junctions and fault-lines of history, exploring the ways in which poetry can illuminate and populate spaces of uncertainty in the historical record in ways which are akin to – yet different from – non-fiction and prose fiction. It investigates poetics in relation to the interpretation of history, specifically the divergent interpretations of the life of Richard III, and how poetry facilitates a more open approach to historical speculation. To begin, it commences with the assimilation of historians’ interpretations of Richard III, based on records, material possession

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22

Romanenko, Olena. "UKRAINIAN VIDEO POETRY AS AN AESTHETIC PHENOMENON OF THE MODERN LITERARY PROCESS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 31 (2022): 61–65. http://dx.doi.org/10.17721/1728-2659.2022.31.12.

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The results of the study of video poetry as a genre are presented. The object of analysis is Ukrainian video poetry, created within the projects CYCLOP (Ukraine), "Overcoming Silence" (Ella Yevtushenko, Daryna Gladun, Lesyk Panasyuk, and others), #DigitalShevchenko, "Power of Speech", "Subjective" (Sofia Bezverkha and Marichka Yarmola), "rosdilovi" (Olga Mykhailyuk and Serhiy Zhadan), "By the way" (Natalia Parshchyk, etc.), ZEBRA festival (Germany). Ukrainian video poetry has been developing since the 2000s and was first presented as part of the CYCLOP festival, which became both a venue for a

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23

Caldwell, Mary Channen. "Conductus, Sequence, Refrain." Journal of Musicology 39, no. 2 (2022): 133–78. http://dx.doi.org/10.1525/jm.2022.39.2.133.

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Latin conducti do not typically come to mind when considering the medieval practice of French refrain citation; intertextual refrains were conventionally interpolated into French songs, narratives, and the upper voices of motets. Yet three conducti copied in late thirteenth-century northern French manuscripts intervene in this traditional narrative by engaging compositionally with French refrains: Veni sancte spiritus spes in GB-Lbl Egerton 274 (known as LoB or Trouvère F), and Marie preconio and Superne matris gaudia in F-Pn lat. 15131 (the St. Victor Miscellany). Previously identified as con

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24

Hickey, Ian. "Elegising the Past and Future: Seamus Heaney's ‘Route 110’ Sequence." Irish University Review 49, no. 2 (2019): 340–55. http://dx.doi.org/10.3366/iur.2019.0410.

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This article solely focuses on Seamus Heaney's ‘Route 110’ sequence from his final collection of poetry, Human Chain. The sequence is broadly founded in memory and sees the poet revisit a series of significant instances from his life. It can be argued that this poem is an elegy, not only in the sense of mourning someone else, but also an elegy for the self and for the past. ‘Route 110’ sees the poet reflect on life from the perspective that comes with experience. Notions of birth and rebirth, allusions to classical myth, and lamentation feature prominently throughout the course of the sequence

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Lewis Williams, Elizabeth. "Creating poetry from the BAS archives: Commentary on, and extracts from, a new poetic sequence, “Met Obs”." Polar Record 55, no. 5 (2019): 341–46. http://dx.doi.org/10.1017/s0032247419000512.

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AbstractThe Antarctic Treaty of 1959, which dedicates the continent to peace and international scientific cooperation in the face of rising east–west tensions, is informed in part by a shared scientific imaginary created by the UK and other nations which maintained scientific bases in Antarctica at the time. In this article, the poet offers works extracted from her longer sequence “Met Obs,” based on meteorological reports and journals from the UK station at Port Lockroy written in advance of the 1957–1958 International Geophysical Year (IGY). The poems engage with the work and circumstances w

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26

Allen, Thomas. "Angels, Guests and Sadists: On-Screen Poetry in the Cinema of Pier Paolo Pasolini." Film-Philosophy 27, no. 3 (2023): 377–400. http://dx.doi.org/10.3366/film.2023.0238.

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This article considers how poetry features in Pasolini’s cinema. It argues that the manner in which Pasolini films poetry provides insight into his theory of an affinity between poetry and film, and into more general judgements concerning social reality. The article begins with an analysis of the final sequence of Salò (1975) where I argue that Ezra Pound’s poetry provides a soundtrack for the spectacle of torture in which the film’s libertines engage. Following this, I consider Pasolini’s 1965 text “The Cinema of Poetry” and use this text as a way of reading the role played by a copy of Rimba

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27

Vickers, Brian. "Thomas Watson, Thomas Kyd, and Embedded Poetry." Studies in Philology 120, no. 3 (2023): 557–601. http://dx.doi.org/10.1353/sip.2023.a903806.

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Abstract: In this essay, I explore the relationship between Thomas Watson and Thomas Kyd in terms of the practice of “embedded poetry,” when a poet reuses borrowings from other poets. Both Kyd and Watson deployed such borrowings skillfully and consciously for a wide range of dramatic and poetic effects. After defining and illustrating Watson’s rhetoric of “Inventions,” I argue for Watson’s authorship of The Teares of Fancie , a 1593 sonnet sequence, and explore the many textual parallels between the poetry of Teares and Kyd’s plays. A close examination of the interplay between these two poets

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Kumar, Dr Rajiv. "John Donne : A Great Poet." SMART MOVES JOURNAL IJELLH 7, no. 12 (2019): 8. http://dx.doi.org/10.24113/ijellh.v7i12.10230.

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John Donne is one of the greatest of English religious poets, and the poets of the 17th century on whom his influence was most deep and lasting than all religious poets. As Joan Bennett tells us this is so because his temperament was essentially religious. A man of religious temperament is constantly aware, constantly perceiving the underlying unity, the fundamental oneness of all phenomena, and the perception of such a relationship, such an inherent principle of unity, is revealed even by the imagery of the earliest poetry of Donne. No doubt Donne's religious poetry belongs to the later part

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Khavzhokova, Lyudmila Borisovna. "Versification as a genre-forming factor in the sonnet sequence “Faithful to Love” by M. Bemurzov." Philology. Issues of Theory and Practice 17, no. 4 (2024): 1217–22. http://dx.doi.org/10.30853/phil20240176.

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The paper addresses the problem of identifying the role of versification factors in shaping certain genres and genre forms of Adyghe poetry. The study is based on the sonnet sequence “Faithful to Love” by the Circassian poet Mukhadin Hamidovich Bemurzov (1948-2007). The study aims to determine the genre-forming functions of meter, rhyme, and stanzaic structure in a specific literary context. The study is original in that it represents the first attempt to consider the listed components of versification as dominant genre features of sonnets comprising the sonnet sequence “Faithful to Love”. As

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Bogdanova, O. V. "Visual Poetry of Vasily Kamensky." Nauchnyi dialog 14, no. 5 (2025): 289–303. https://doi.org/10.24224/2227-1295-2025-14-5-289-303.

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This paper offers an interpretation of select poems by the early 20th-century avant-garde poet Vasily Kamensky. Through an examination of early works from Kamensky's collection of “reinforced concrete poems,” particularly “Tango with Cows” (1914), various examples of the poet's visual texts are explored. Possible interpretations of the complex, often elusive pictorial poems of the aviator-poet are proposed. The texts of the poems “Vasily Kamensky's Flight on an Airplane in Warsaw” and “Constantinople” are analyzed, focusing on the techniques and mechanisms that generate unusual visual impressi

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31

Hillier, Russell M. "Herbert’s pepper corn: Responsibility and reciprocity in The Temple." Christianity & Literature 66, no. 1 (2016): 109–38. http://dx.doi.org/10.1177/0148333115585281.

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In common with medieval piety and the theology of Richard Baxter, George Herbert’s lyrics express a responsive amor Dei or desire for God, required of humans if faith is to be maintained. In Herbert’s poetry his lyrical voices often become aware that they are recipients of God’s grace, but their discovery of, response to, and participation in the reception of that grace is no less paramount. Herbert’s poetry marks and celebrates this divine–human exchange. The article examines the nature of such human responsibility throughout Herbert’s poetry, and especially in the lyrics that make up The Tem

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Sánchez-Calle, Pilar. "Presence and Absence in Margaret Atwood’s Dearly." Canada and Beyond: A Journal of Canadian Literary and Cultural Studies 14 (January 21, 2025): 105–25. https://doi.org/10.14201/candb.v14i105-125.

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In Morning in the Burned House (1995), Margaret Atwood includes a sequence of elegiac poems mourning the process of her father’s illness and death. Her subsequent collection, The Door (2007), while not explicitly elegiac, explores topics such as memory, aging, death, loss, and decay. These subjects are often central to both traditional and contemporary elegies. Other poems in this volume deal with writing and poetry, examining their capacity to offer consolation in the face of death, a key aspect of elegy. Drawing on critical studies of elegy in contemporary English-language poetry and on the

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Riazantseva, Tetiana. "CYCLIZATION IN OLEKSA STEFANOVYCH’S POETRY." Слово і Час, no. 1 (February 3, 2022): 21–37. http://dx.doi.org/10.33608/0236-1477.2022.01.21-37.

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The article analyses the peculiarities of cyclization in Oleksa Stefanovych’s (1899—1970) poetry. Based on the theoretical definitions of a lyrical cycle (cycle of poems, sequence of poems) formulated in the works of Rolf Fieguth, Mikhail Darvin, Larisa Liapina, Ronald Vroon, Leonid Yanitskii, et al., the research outlines the main compositional, stylistic, thematic, and functional traits of Stefanovych’s lyrical cycles and demonstrates the evolution of certain key images in them. The material for analysis is taken from the collection of Stefanovych’s poetry published posthumously in Toronto (

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Iroegbu, Obinna. "Contrastive and Degenerative Transitivity as Thematic Reinforcement in Selected J. P. Clark Poetry." Journal of Language Teaching and Research 13, no. 1 (2022): 28–37. http://dx.doi.org/10.17507/jltr.1301.04.

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This article examines the stylistic implications of transitivity in selected poems by J.P. Clark, a foremost Nigerian poet. Transitivity is engaged from the perspective of Halliday’s ideational meta-function of language use, with attention paid to the participants and the processes. Twelve randomly selected poems from Clark’s (2010) Full Tide are analyzed. It is observed that, in some of these poems, there is deliberate foregrounding of the sequence or location of lexical forms, especially those pertaining to participants and processes. This foregrounding is established in what manifests as a

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Klein, Joachim. "Derzhavin and his “Marble Bust”." Izvestiia Rossiiskoi akademii nauk Seriia literatury i iazyka 83, no. 2 (2024): 22–30. http://dx.doi.org/10.31857/s1605788024020026.

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This paper deals with Derzhavin’s autobiographical poetry as exemplified by his poem “My Bust”. A marble bust which Derzhavin had ordered for himself is a source of hope and self-doubt for his lyrical speaker. Does he actually deserve the honour represented by this sculpture and, if the answer is yes, on which grounds? Accordingly, the lyrical monologue turns into a sequence of sharply contrasting moods of confidence and self-deprecation, which is unique in eighteenth-century Russian poetry. The dramatism of this monologue calms down at the end of the poem in a spirit of Horatian wisdom. The p

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NICHOLLS, PETER. "Of Being Ethical: Reflections on George Oppen." Journal of American Studies 31, no. 2 (1997): 153–70. http://dx.doi.org/10.1017/s0021875897005616.

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The poems of George Oppen continue to occupy a marginal place in most literary histories, even though his work encapsulates some of the major shifts in American writing between high modernism and contemporary Language poetry. In part this marginalization is due to the habit of tying Oppen to Louis Zukofsky's shortlived “Objectivist” tendency of the thirties. Oppen did indeed publish his first collection, Discrete Series, in 1934, and with a strong endorsement from Ezra Pound (“I salute a serious craftsman, a sensibility which is not every man's sensibility and which has not been got out of any

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Shutan, M. I. "The use of personal pronouns in lyrical poetry." Russian language at school 83, no. 4 (2022): 73–79. http://dx.doi.org/10.30515/0131-6141-2022-83-4-73-79.

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The article presents separate formulae that fix the morphological means of expressing the subject and subject-object relations in lyrical poetry. These formulae include personal pronouns with different grammatical characteristics (here the categories of person, number, and case are meant). The author performs a linguo-stylistic analysis of texts written by A. S. Pushkin, M. Yu. Lermontov, S. A. Esenin, B. L. Pasternak relying on the experience of studying the ways personal pronouns are semanticised in lyrical poetry. The paper concludes that the lyrical text does not exist outside the pronomin

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Sljivar, Vasilisa. "The dead body of/in Gennady Gor’s poetry." Filozofija i drustvo 33, no. 4 (2022): 834–48. http://dx.doi.org/10.2298/fid2204834s.

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This paper discusses the phenomenon of the corporeal, which in Gennady Gor?s poems represents the main instrument of understanding the absurd, extremely dehumanized, apocalyptic anti-world. The lyric hero, as sort of a chronicler, records the disintegration of the world-consciousness precisely through the disintegration of the body: his body, the body of people closest to him, as well as the body of nature, with which man identifies, and which is further manifested in the disintegration of language, the body of the text. Looking through the prism of the theme of death and violence, the aspects

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Darabus, Carmen. "Bizanțul în filtrul balcanic – poezie română din a doua jumătate a secolului XX / Byzantium in Balkanic filter – Romanian poetry in the second part of twentieth century." Swedish Journal of Romanian Studies 3, no. 1 (2020): 64–70. http://dx.doi.org/10.35824/sjrs.v3i1.20416.

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Talking about Balkanism in Romanian contemporary poetry means to betray, to a certain extent required by degradation or alteration, some literary themes and motifs. Finding ourselves in a geographical area of cultural contaminations, the influence of other peoples in Balkans comes naturally: the nostalgia of Byzantium perfection, continuous reporting at an ideal time, abstraction of the chronology. Balkan themes and motives in poetry are identifiable from the early writings of Romanian literature, including the folklore, with Anton Pann, the Vacarescu and Conachi poets – and their ludic descri

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Rahman, Arifa Ghani. "The Woman/Poet Wife:." Crossings: A Journal of English Studies 6 (August 1, 2015): 124–32. http://dx.doi.org/10.59817/cjes.v6i.217.

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The influence of Elizabeth Barrett Browning on Emily Dickinson’s poetry has been the subject of much speculation. The thematic similarities between the poetry of these two women and, sometimes, the use of similar or exact words have led some critics to accuse Dickinson of plagiarism. This paper considers this accusation in terms of Harold Bloom’s idea of the “anxiety of influence” to show how Barrett Browning inspired Dickinson to become at once a part of a strong female tradition as well as a deviant. The image of the wife as presented by Dickinson in her “bridal” poems has been compared with

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Rebronja, Semir. "AL-GHAZAL – ARABIAN LOVE POEM IN THE PRE-ISLAMIC AND UMAYYAD PERIOD." Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), no. 12 (December 15, 2014): 241–60. http://dx.doi.org/10.51728/issn.2637-1480.2014.12.241.

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The paper treats the Arabic love poetry and its main features in the pre-Islamic and Umayyad period. The formation, development and characteristics of this poetry are closely related to the nature of the poet, as well as the place of its origin. Based on this, we distinguish between urban and desert ghazals. From the point of stylistic peculiarities, as well as the poet‘s commitment to the aim of his poetry, urban ghazals are equalled with hedonistic and desert ghazals with uzrit or Platonic ghazals. The origins date back to the early periods and the beginning of the Arabic literary tradition.

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Moisiienko, Anatolii. "ARTISTIC SYNTHESIS IN CHESS SONNET." Слово і Час, no. 4 (August 3, 2021): 76–96. http://dx.doi.org/10.33608/0236-1477.2021.04.76-96.

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The article focuses on one of the visual types of syncretic poetry — chess poems. Years ago Anatolii Moisiіenko initiated the chess poetry genre in Ukrainian literature; in a number of critical papers, he presented the specifics of construction and functioning of such artistic structures, which are basically characterized by the symbiosis of proper poetry and chess composition. In this article, the author uses Viktor Kapusta’s books of poems “The Checkered Continent” and “Unguaranteed Migrations” to analyze the chess sonnets of the poet who added a new page to the history of Ukrainian visual l

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Bokarev, Aleksey S. "Cumulation as the organizing principle of Lev Rubinstein’s “file cabinet” poetry." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2023): 114–20. http://dx.doi.org/10.20339/phs.3-23.114.

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The article presents the tendency of contemporary poets to use lists and catalogues in their works in an attempt to “restore” figurative language of cumulation, which has an existentially mythological status rather than a conditionally poetic one. Historical poetics define this language as a sequence of externally dissimilar yet semantically identical phenomena stemming from archaic consciousness. Subject of the present research is the worldview specifics of Lev Rubinstein’s conceptual “Poems on Library Index Cards”, particularly, a complex of motives represented by cumulative structures. The

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Sarkisov, Ivan V. "TOWARDS A DESCRIPTION OF THE METRICAL STRUCTURE OF BURMESE POETRY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 2 (2021): 135–62. http://dx.doi.org/10.28995/2686-7249-2021-2-135-162.

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This article studies the rules of versification in Burmese traditional poetry. The topic of Burmese metrics has been studied incompletely and one of the main issues connected with its study is the lack of availability of traditional Burmese sources. This research is the first one to use statistical methods to study Burmese metrics. The approach is based on the material of 16 Burmese poetic texts (1279 lines in total) and certain information from the previous works as well. This research has shown two important ideas – the first is that until the 16th century, Burmese poems were written using a

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Hickey, Nora, and Amaris Feland Ketcham. "Troubling the sequential image: The poetry comics of Bianca Stone." Studies in Comics 13, no. 1 (2022): 47–65. http://dx.doi.org/10.1386/stic_00084_1.

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Bianca Stone’s poetry comics often cast narrative and common panel transitions aside to centre the lyricism and playfulness of text and image, while retaining some ‘hallmarks’ of comics such as the speech bubble and pictorial sequence. Stone’s Poetry Comics from the Book of Hours is one of the few single-authored collections of poetry comics currently in print. In addition to her poetry comics, Stone has collaborated with poets to create illustrated texts. Notably, her collaboration with the poet and translator Anne Carson produced a new translation of Antigone (Antigonick), which moves beyond

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Balmer, Josephine. "The Library versus The Lyre: The Paths of Survival and the Poetry of Textual History." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 12 (November 8, 2020): 76. http://dx.doi.org/10.12681/syn.25266.

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What is the relationship between poetry and scholarship? What can poetry add to the sum of knowledge that scholarship might not? Conceived as a coda to my 2013 study, Piecing Together the Fragments: Translating Classical Verse, Creating Contemporary Poetry, “The Library versus The Lyre” applies the same methods of critical discussion of, and commentary on, my practice as a poet and classical translator to my latest collection, The Paths of Survival (2017). This collection comprises a poetic sequence which moves backwards in time from the present-day to antiquity as it explores the fragility of

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Pulungsari, Rahadjeng. "MENGLONGSHI 朦胧诗DAN REVOLUSI KEBUDAYAAN CINA". Paradigma, Jurnal Kajian Budaya 8, № 1 (2018): 84. http://dx.doi.org/10.17510/paradigma.v8i1.188.

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<p>Misty poetry or 朦胧诗 <em>menglongshi</em> is a poem that appeared in the era of the 70s during the Cultural Revolution (1966-1976). The emergence of a new kind of poetry that is different from the previous poem marks a new way of writing poetry in China. Its uniqueness is in wordplay, metaphor, synesthesia, and symbols that are not open to its meaning. This new type of Misty poem also received attention from the Chinese government, because behind the symbols and sequence of sentences contain thoughts that are considered not in accordance with the government. Among these Mis

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Zrnic, Biljana. "Sūrdās’ poetry in the community of Dādūpanth." Asiatische Studien - Études Asiatiques 78, no. 4 (2024): 779–809. http://dx.doi.org/10.1515/asia-2023-0013.

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Abstract The paper examines the poetic material ascribed to the 16th-century bhakti poet Sūrdās recorded in the community of Dādūpanth. Seven Dādūpanthī manuscripts predating CE 1700 contain a considerable amount of Sūr poems not included in the Bryant and Hawley 2015 critical edition of the Sūrsāgar. This paper aims to introduce the Dādūpanthī strand in the early Sūrdās tradition by focusing on the earliest extant and so far unedited Dādūpanthī manuscript composed in Rajasthan, MS Sharma 3190, dated CE 1615–1621. The compilation represents the second oldest collection at our disposal of Sūrdā

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Helfer, Rebeca. "The Art of Poetry and the Art of Memory: Philip Sidney’s Mnemonic Poetics." Renaissance and Reformation 45, no. 2 (2022): 105–37. http://dx.doi.org/10.33137/rr.v45i2.39760.

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This article explores the significance of the art of memory as a mnemonic poetics in Philip Sidney’s literary theory and practice. The art of memory is more than an ancient mnemonic method, I argue; rather, it constitutes a poetics that evolves from Plato to Petrarch as part of an interdisciplinary dialogue and debate about how the past is remembered (particularly through love stories) and remade in the present. This tradition of mnemonic poetics is central to Sidney’s portrayal of the art of poetry as an art of memory in his Apology for Poetry, a tradition that Sidney remembers anew in his so

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Polilova, Vera. "Spanish Romancero in Russian and the semantization of verse form." Studia Metrica et Poetica 5, no. 2 (2019): 77–108. http://dx.doi.org/10.12697/smp.2018.5.2.04.

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In this paper, I analyze Russian translations and close imitations of Spanish Romancero poetry composed between 1789 and the 1930s, as well as Russian original poems of the same period marked by “Spanish” motifs. I discuss the Spanish romance as an international European genre, and show how this verse form’s distinctive features were transferred into Russian poetry and how the Russian version – or, rather, several Russian versions – of this form came into being. I pay special attention to the genesis of the stanza composed of a regular sequence of feminine (F) and masculine (m) clausulae FFFm.

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