Relevant bibliographies by topics / Poets, Marathi

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Academic literature on the topic 'Poets, Marathi'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Poets, Marathi"

1

Parulekar, Rajani, Arun Kolatkar, P. S. Rege, Narayan Surve, Mangesh Padgaonkar, and Dilip Chitre. "Six Marathi Poets." World Literature Today 68, no. 2 (1994): 313. http://dx.doi.org/10.2307/40150158.

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2

Bajaj, Nikita. "Suppression to Assertion: A Critical Study of the Selected Poems of Namdeo Dhasal and N.D. Rajkumar." SMART MOVES JOURNAL IJELLH 7, no. 11 (November 28, 2019): 21. http://dx.doi.org/10.24113/ijellh.v7i11.10128.

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This research paper deals with Dalit poetry in reference to the two collections of poems, namely, A Current of Blood by Namdeo Dhasal and Give Us This Day a Feast of Flesh by N.D. Rajkumar. The selected poems from these collections are critically analysed with the objective of seeking for the picture of Dalits’ life as created by the poets in their poems as well as analysing the poems as the critique of the caste hierarchy. Dhasal who is one of the significant poets of Marathi Literature and Rajkumar who has contributed immensely to Tamil literature spew out their anger and vehemence to castigate the upper-classes of the Indian society which have always acted as the oppressors of the Dalit caste. The poems of these two poets become the voice of the caste which had been silenced for long and thus their poetry has led to assertion of Dalit identity in the mainstream society.
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Dr Ravindra D. Hajare. "Exploring New Aesthetics of Tribal Poetry with Reference to Korku, Pawari and Banjara Dialects." Creative Saplings 1, no. 8 (November 25, 2022): 22–43. http://dx.doi.org/10.56062/gtrs.2022.1.8.171.

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Gond, Korku, Bhill, Pardhan, Madia, Pawar, Santhali are some tribal communities settled in the hills and forest of India. Many of them are found spread in Maharshtra. The area called Gondwan has the largest number of Gond and Pardhan communities, and once they had their territory there. Similarly, the Korku tribe is settled in the Melghat area of Vidarbha and Pawari in the western region of the Sahyadri. During the course of time, they lost their script, but they were able to preserve their dialects and culture, which is rich and erotic. They sing several folk songs at the festivities and cultural gatherings. Now, due to the spread of education and facilities, many talented poets and writers from the communities have come forward and produced a lot of literature, particularly poetry. They used Marathi script for their poetic expressions. The poets like Ramgopal Bhilavekar in Korku dialect, Santosh Pawara in Pawari dialect and Dr. Veera Rathod in Banjara dialect are some of the important names whose poems in their respective dialects have been taken for the study. This research article is an attempt to bring fore the tribal consciousness expressed by them and a serious and novel attempt to explore their aesthetics with some examples by translating them into English. Hopefully, it will provide an international platform for these tribal senses and sensibilities and bring before the developed world community the richness of rebellious thoughts and a beautiful cadence of content essential in their short but simple compositions.
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Colombo, Stefano. "Silent Poetry: The Disputation on the Immaculate Conception by Carlo Maratti, Revisited." Zeitschrift für Kunstgeschichte 85, no. 2 (June 1, 2022): 152–80. http://dx.doi.org/10.1515/zkg-2022-2003.

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Abstract This paper re-examines the Disputation on the Immaculate Conception by Carlo Maratti (1686) and its reception in hitherto understudied poems which were first published in 1686 and 1687. Although the poems are chiefly celebratory and refer to the tradition of encomiastic pictorial description, this essay demonstrates how they help us understand the beholder’s engagement with Baroque art. It first analyzes the poems as both encomiastic speech and ekphrastic poetry to explain how epideictic description persuasively moves readers to venerate the Virgin, thus rekindling the cult of the Immaculate Conception. Subsequently, a comparative reading of the poems and the painting demonstrates how art and literature mutually informed each other to create new aesthetic and intellectual values. A detailed comparison between visual and verbal languages will therefore offer a new interpretative framework to reassess the painting, the poems, and their public.
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S, Jesintha, and Chitra A. "Bhagavatamela during the Maratha Period of Tanjore." International Research Journal of Tamil 3, no. 3 (July 15, 2021): 60–67. http://dx.doi.org/10.34256/irjt2138.

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Our Tamil land has a rich history of art and culture. The popularly known ‘Muthamizh’ namely ‘Iyal’ – text or poetry, ‘Isai’ – music and ‘Nadagam’ – theatre has undergone various changes over a period of time due to various social and political factors in the society. Nevertheless, there are few art forms which follow the tradition with its original flavour. One such is the ‘Bhagavata Mela Nadakam’ which is an art form systemized during the Marata’s empire. This research work talks about it in detail. Marata’s period (17th to 19th century AD) is believed to be the glorious period for many art forms. During this period Bhagavata Mela gained its popularity with the patronage of the kings. With the support of literary evidences this research work aims at a detailed study of the patronage extended by the kings and about the growth of Bhagavata Mela and how it was systemized. Marata period plays a very important role for the growth of ‘Bhagavata Mela’. This work gives a detailed study on the systematic approach followed in Bhagavata Mela. An authority supervised the performing artist. There were certain rules to be strictly followed by the artist. They were honored with various titles and gifts, even with pieces of land sometimes. The Bhagavata Mela artists were also appointed as poets in King’s court during the Marata period. There are more such interesting facts. This research deals with the complete study of the evolution and growth of the Bhavata Mela during the Marata period including such interesting information.
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6

Halimi, Ahmad Jawid. "A Study of Nezami’s Haft Paykar and Its Counterparts in Dari Literature." International Journal for Research in Applied Sciences and Biotechnology 9, no. 1 (February 6, 2022): 112–17. http://dx.doi.org/10.31033/ijrasb.9.1.13.

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Nezami Ganjavi, one of the greatest romantic poets in Persian literature was born in 1141 in Ganja, modern – day Azerbaijan and lived at a time of intense intellectual activity. Since he was not a court poet, his name does not appear in the records of the dynasties. A prominent poet acquainted with Arabic and Persian literature, he was also learned in mathematics, astronomy, medicine, botany and the Quran. Nezami was one of the biggest Persian poets and the Haft Paykar perhaps his greatest work that translated twice before into English during the 20th century. In this article, with a brief reference to the Haft Paykar of Nezami, and its counterparts are introduced, which have been made by imitating, following and adapting from it. In addition to identifying the Haft Paykar idols, the stories of each idol will also be discussed and analyzed. The purpose, product and result of this research work is; the study of Nezami’s academic life and explanation of the Haft Paykar with its details, such as (Hasht Golgasht, Haft Akhtar, Haft Paykar, Haft Keshwar, Haft Delbar, Noh Manzar, Haft Aurang Maraghi, Haft Orang Jamali, Hasht Behesht, Haft Manzar, Haft Naghsh, Asmane Hashtom, Haft Akhtar, Reshtaye Gawhar), in the area of Persian language and literature; which has added to the richness of this scientific article. Purpose of research: Brief introduction of Haft Paykar Nezami Ganjavi and description of its peers in the field of Dari – Persian language and literature, with their modal and examples in details.
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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (October 31, 2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.

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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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8

Mandavkar, Veera. "मराठेतर संतकवींची कामगिरी (Performance of Non-Marathi Saint Poets)." SSRN Electronic Journal, 2021. http://dx.doi.org/10.2139/ssrn.3994139.

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9

Glushkova, Irina. "Janabai and Gangakhed of Das Ganu: Towards ethnic unity and religious cohesion in a time of transition." Indian Economic & Social History Review, September 8, 2021, 001946462110411. http://dx.doi.org/10.1177/00194646211041156.

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The Varkari tradition of the Marathi-language area of Western India is characterised by devotion to the god Vitthal of Pandharpur as well as the medieval saint-poets who praised him in songs and longed for his company. Modern narratives present Janabai, a poetess who lived presumably during the thirteenth to fourteenth centuries, as one of the Varkari saint-poets. Her rise to fame started in the last decade of the nineteenth century, and by the 1920s, although of obscure origin, she had been geographically pinned to Gangakhed on the Godavari River. The association with this tiny settlement in Marathwada was established by the famous Das Ganu, an itinerant minstrel and preacher. Janabai’s own celebrity reached its peak by the 1960s, when a sign of sanctity in the form of symbolic sandals was installed at the site which went on to become her temple in Gangakhed. In 1975 a new procession, that of Saint Janabai, was added to the list of more than 100 processions travelling at the same time each year to Pandharpur. This article looks into the process of nationalist ‘awakening’ and the manner in which fostering bonds of ethnic unity and religious cohesion have been essential for shaping shared identity. The Varkari tradition and its poets, including Janabai, became the main tools for the creation of a Marathi-language cultural environment and for the domestication of the terrain by and through the power of comprehensible Hindu symbols.
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10

"Marathi Poem Classification using Machine Learning." International Journal of Recent Technology and Engineering 8, no. 2 (July 30, 2019): 2723–27. http://dx.doi.org/10.35940/ijrte.b1761.078219.

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Poem a piece of writing in which the expression of feelings and ideas is given intensity by particular attention to diction (sometimes involving rhyme), rhythm, and imagery. It is used for showing different views. Every poet writes a poem with a different intention and different views. In the proposed system we have classified the poem according to its sentiments by using words of different categories. Machine learning algorithm SVM classifier is used for differencing the class of the poem. This system also enables the user to search the poem based on the poet name and poet type. For 341 poems of five categories 'Friend', 'Prem', 'Bhakti', 'Prerna' and 'Desh' accuracy achieved is 93.54%.
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Books on the topic "Poets, Marathi"

1

Gosāvī, Ra Rā. Śrī Naraharī Sonāra. Puṇe: Sārathī Prakāśana, 1991.

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2

Sinnarakara, Maṅgalā Ravīndra. Sattvācā sāgara Naraharī Sonāra. Mumbaī: Keśava Bhikājī Ḍhavaḷe, 1990.

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Gosāvī, Ra Rā. Śrī Niḷobā caritra. Puṇe: Sārathī Prakāśana, 1991.

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4

Abhayananda. Jnaneshvar: The life and works of the celebrated thirteenth century Indian mystic-poet. Naples, Fla: Atma Books, 1989.

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Vaishṇava, Maṅgalā. Śivadīna Kesarīnātha, vyaktī āṇi vāṅmaya. Auraṅgābāda: Kīrtī Prakāśana, 1985.

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Gokhale, D. N. Ekā caritrāce caritra: "Ḍô. Paṭavardhana, urpha, Mādhava Jūliyana" yā caritrācyā nirmitīcā caritrakārāne sāṅgitalelā vr̥ttānta. Mumbaī: Mauja Prakāśana, 1985.

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Rā, Gosāvī Ra. Śrī Niḷobā caritra. Puṇe: Sārathī Prakāśana, 1991.

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8

(Society), Kathā, ed. Sketches from memory. New Delhi: Katha, 2007.

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Khāṇḍage, Mandā. Kavīcyā gāvā jāve. Puṇe: Pratimā Prakāśana, 2001.

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Gandhe, Śirīsha. Lokakavī Śāhīra Rāmajośī. Mumbaī: Mahārāshṭra Rājya Sāhitya āṇi Sãskr̥tī Maṇḍaḷa, 2004.

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Book chapters on the topic "Poets, Marathi"

1

Creswell, Robyn. "“He Sang New Sorrow”." In City of Beginnings, 169–88. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182186.003.0007.

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This chapter discusses how marthiya is central not only to Adonis's revision of the classical corpus but also to his own poetry, which is full of a particular kind of elegy—those for fellow poets. It is by way of the elegy and its variations that Adonis negotiates his turn away from politics and seeks to establish a modernist countercanon, a series of imaginary filiations that provide him with a compensatory, nonpolitical authority. Even while bidding farewell, the elegist makes a claim upon his precursor, seeking to annex some of the previous poet's power. The elegy is in this sense another mode of translation, in which the poet asserts his right to a particular literary inheritance and projects its survival under unpropitious circumstances. Adonis's marathi are markedly distinct from the neoclassical and the collective elegy, his innovations spring from a refusal of their tropes and techniques.
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Curtis, Cathy. "Paris, Poets, and Poverty." In Alive Still, 41–58. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0004.

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Freelance income and frugality allowed Nell to embark on her first trip abroad in 1950. In Paris, she felt as though she had stepped into an Impressionist landscape. Bowled over by Chartres Cathedral and the museums, she also visited two of her art idols, Jean Hélion and Fernand Léger. She became involved with a German woman with whom she traveled to Florence and Rome. Back in New York, while living with Midi Garth, she enjoyed hanging out with several of the poets later known as the New York School: Frank O’Hara, John Ashbery, and Kenneth Koch. Bebop records played at her boisterous parties, which often included marathon games of poker. In her painting, she had embarked on a period of experimentation with figurative imagery. Midi and Brook evokes a pastoral scene in Vermont, where the women vacationed. Meanwhile, her freelance work included serving as designer of the Village Voice.
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Lago, Eva María Moreno. "DACIA MARAINI (1936)." In Poetas italianas contemporáneas en la Querella de las Mujeres, 149–92. Dykinson, 2018. http://dx.doi.org/10.2307/j.ctv153k4x7.8.

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Suzuki, Rieko. "Elizabeth Barrett and Shelley." In The Shelleys and the Brownings, 133–80. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856479.003.0007.

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The three sections that make up this chapter trace Shelleyan resonance/influence in Elizabeth Barrett’s writings, from her early works to her later poem, Casa Guidi Windows. Section One focuses on Barrett’s The Battle of Marathon, Prometheus Bound and The Seraphim. In Section Two, a comparison between Shelley’s “The Triumph of Life” and Barrett’s “A Vision of Poets” is undertaken. One can read Barrett’s “Vision” as a corrective to Shelley’s pessimism concerning the role of poets as they figure in his last poem. Section Three examines Casa Guidi Windows, as it utilizes some Shelleyan ideas and motifs, which derive largely from his Defence of Poetry. The chapter argues that Barrett’s use of the seasonal trope, as dramatized in Shelley’s ‘Ode to the West Wind’, deserves further attention. Finally, in order to provide a reading that deviates from the conventional interpretation, Isobel Armstrong’s formulation of the ‘radical aesthetic’ is deployed.
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Brietzke, Zander. "The Glencairn Template." In Magnum Opus, 177–98. Yale University Press, 2021. http://dx.doi.org/10.12987/yale/9780300248470.003.0009.

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O’Neill’s wordiness invites a theatrical reinterpretation with bold gestures and design elements to replace inordinate amounts of text. The final chapter nods at O’Neill’s cycle of one-act sea plays early in his career, as well as to the fine film adaptation by John Ford in 1940, The Long Voyage Home, to suggest ways that such a production might be done. Martha Gilman Bower’s unexpurgated version provides the text for a new adaptation that unfolds around Sara. The six hours that it would take to perform A Touch of the Poet and a re-edited version of More Stately Mansions qualify as, in a term phrased by Jonathan Kalb, “marathon theater.” Like Tony Kushner’s Angels in America, the first part of O’Neill’s epic is better known than the second. But surely an audience deserves to see how Sara responds to the death of her father, a marriage proposal, children, the Harford mansion as her home, and a very jealous mother-in-law. Time draws nigh for the great work of the Cycle to begin.
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