Academic literature on the topic 'Praise poetry (form)'
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Journal articles on the topic "Praise poetry (form)"
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Mojalefa, M. J. "The verse-form of Northern Sotho oral poetry." Literator 23, no. 1 (August 6, 2002): 85–96. http://dx.doi.org/10.4102/lit.v23i1.322.
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Although examples of certain Northern Sotho traditional oral genres have been collected over years, a study of verse-form in traditional initiation poetry has not yet been undertaken. This article will consider the way in which Northern Sotho traditional initiation poems are structured or arranged in verse-form. It will be attempted to indicate that traditional oral initiation poetry in Northern Sotho is not metrically defined (as in Western poetry) but that Northern Sotho oral poetry is also structured by its performance and by symmetrical boundaries and other techniques. The structure of the oral praise poem in verse-form as discussed in this article will show the way in which poetry material is organised according to Northern Sotho metrical (verse-form) principles.
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Wellendorf, Jonas. "No need for mead." Grammarians, Skalds and Rune Carvers II 69, no. 2 (September 26, 2016): 130–54. http://dx.doi.org/10.1075/nowele.69.2.02wel.
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This paper will see Bjarni Kolbeinsson as a representative of the new kind of skaldic poetry that had developed around the turn of the thirteenth century. By then, formal skaldic poetry had become an art form cultivated by men who had received schooling and clerical ordination. Skalds such as Bjarni had turned their attention from the praise of kings of the present or the near past towards subjects of the more distant past and religious themes. In Jómsvíkingadrápa, Bjarni brushed aside the Odinic mead hailed by former skalds and preferred to apply techniques of poetic composition that he had learned through the formal study of Latin poetry. A tongue-in-cheek rejection of the traditional exordial topoi and a sensibility for love poetry allowed him to compose a poem that not only rejected the past but also pointed towards the future.
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SHIJA, Terhemba. "Tragedy and its Cathartic Effect in Tiv Praise Poetry: A Reflection on Misery and Death in the Praise Poetry of Obadiah Kehemen Orkor." Nile Journal of English Studies 1, no. 1 (March 7, 2016): 67. http://dx.doi.org/10.20321/nilejes.v1i1.38.
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<p>There is an ironic sense of fatalism in the Praise Poetry of the Tiv people which is created to elicit honour, heroism and success. It is an art form that evokes extreme emotions but also purges them in a manner that puts the reader or hearer in control of himself.</p><p>This paper examines a selection of oral poems by Obadia Orkor from Ukum district of Benue State to prove that Tiv art is a secular craft that seeks rational interpretation of man’s tragic fate in the same manner Greek tragedies did in classical times.</p>
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Plumley, Yolanda. "Citation and allusion in the late Ars nova: The case of Esperance and the En attendant songs." Early Music History 18 (October 1999): 287–363. http://dx.doi.org/10.1017/s0261127900001881.
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In his Prologue, Guillaume de Machaut lists the ballade entée, or ‘grafted ballade’, as one of the many genres he is inspired to write to praise and honour all ladies. It is unclear from this fleeting reference, however, exactly what type of work Machaut meant by this term and whether he was referring to a purely poetic form or to one that involved music. That the practice of citation in lyric poetry was well established at this time is demonstrated by Machaut's own output, which reveals him to have been a master of this art; this literary tradition was to continue to thrive in the later fourteenth century.
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Todd, Richard, and Julia Carolyn Guernsey. "The Pulse of Praise: Form as a Second Self in the Poetry of George Herbert." Yearbook of English Studies 32 (2002): 292. http://dx.doi.org/10.2307/3509086.
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Miller, Edmund. "Book Review: The Pulse of Praise: Form as a Second Self in the Poetry of George Herbert." Christianity & Literature 50, no. 2 (March 2001): 354–56. http://dx.doi.org/10.1177/014833310105000221.
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Viljoen, L. "’n Retoriese analise van die vyf lykdigte in T.T. Cloete se Allotroop." Literator 16, no. 3 (May 2, 1995): 81–102. http://dx.doi.org/10.4102/lit.v16i3.640.
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A rhetorical analysis of the five funerary poems in T.T. Cloete’s AlloiroopThis article works from the premise that these poems form part o f a tradition that can he traced back to the funerary poetry of the Dutch Renaissance and from there to the funeral orations of Classical times. After referring to the current revival of interest in rhetoric, attention is given to the role which rhetoric played in Renaissance poetics and the influence it had on the practice of writing funerary poetry. The funerary poems in Cloete's Allotroop are then analysed, making use of the Renaissance descriptions of and prescriptions for funerary poetry researched by S.F. Witstein in Funeraire poëzie in de Nederlandse Renaissance. These analyses prove that Cloete’s poems make use of the elements basic to the Renaissance funerary poem and the classical funeral oration namely praise (laus), mourning (luctus) and consolation (consolatio) and that the rhetorical terminology devised centuries ago can still be useful in the reading of these poems.
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John Ottenhoff. "The Pulse of Praise: Form as a Second Self in the Poetry of George Herbert (review)." George Herbert Journal 24, no. 1-2 (2000): 65–69. http://dx.doi.org/10.1353/ghj.2013.0023.
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Anoosheh, Seyed Mohammad, and Mahsa Khalili Jahromi. "A Mystical Reading of Ḥāfiẓ’s Translation by Robert Bly and Leonard Lewisohn." Theory and Practice in Language Studies 10, no. 2 (February 1, 2020): 230. http://dx.doi.org/10.17507/tpls.1002.12.
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Robert Bly and Leonard Lewisohn are among the latest translators of Ḥāfiẓ who have selectively translated thirty ghazals of Ḥāfiẓ into English. A close investigation of their translation reveals how they have manipulated the original texts to a great extent which results in having merely a mystical interpretation of Ḥāfiẓ’s multi-layered poems. However, due to the literary form of Ḥāfiẓ’s poetry which is ghazal, it can be in praise of different issues such as nature, youth, beloved, loveliness, etc.; in Bly and Lewisohn’s translation, most of them have been ascribed to divinity. In other words, by means of translation, they have rendered their own worldview along with their personal reading of Ḥāfiẓ’s poetry. The authors argue that Bly and Lewisohn’s translation renders a mystical reading of Ḥāfiẓ’s poetry and presents him as a moral preacher whose poetry is saturated with mysticism and Sufism. Being highly against the American society’s materialism, by introducing Ḥāfiẓ as a mystic and insisting on mystical and spiritual interpretation of his poetry they intend to survive their society from corruption and cater to the moral and spiritual needs of the target culture. Since American literature compared to Persian literature, lacks some repertoire related to mysticism thus Lewisohn and Bly, by means of translation try to provide their culture with a sort of nourishment in order to contribute to the amendment of the society.
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Hunter, Richard. "(B)ionic man: Callimachus' iambic programme." Proceedings of the Cambridge Philological Society 43 (1998): 41–52. http://dx.doi.org/10.1017/s0068673500002133.
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A concern with the methods and style of praise and blame recurs, unsurprisingly, throughout Callimachus'Iambi. Theiambosis the aggressive modepar excellence, and Callimachus is the most generically-conscious of poets; whether he is writing hymns, aetiological elegy or funerary epigram he is always overtly engaged with the history and development of the literary form in which he operates. The nature of iambic poetry is, however, the explicit subject of two poems in particular,Iambus1 andIambus13, which thus have a special claim to be considered ‘programmatic’. The thirteenthIambusreturns to the choliambic metre of the first four poems, the metre most associated with Hipponax, who appears himself in the firstIambusas the authorising ‘voice’ for these poems, and is apparently spoken in the voice of the poet who to some extent takes up again the themes ofIambus1 (and indeed ofAitiafr.1); thus the temptation to see a ‘closed’ poetry book, framed by these two poems, is very strong.
Dissertations / Theses on the topic "Praise poetry (form)"
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Kgobe, Dominic Mamahlo. "Content, form and technique of traditional and modern praise poetry in Northern Sotho." Thesis, 1994. http://hdl.handle.net/10500/17072.
Full textAbstract:
This thesis is a critical evaluation of the content, form and technique of
traditional and modern praise poetry in Northern Sotho.
Chapter 1 presents the aim of the study and the method of research and
defines the concepts of poetry and praise poetry. Praise poetry is viewed from
a traditional and modern perspective.
Chapter 2 deals with the content and technique of praise poetry. Content
consists of oral praise poetry lauding the heroic deeds of men in battles and
casual encounters. Modern praise poetry comments on current events.
Devices for rapid composition of the praises are discussed. Techniques differ
between poets and according to time, place and occasion.
Chapter 3 covers the traditional praises of chiefs, warriors, initiates, animals,
birds, divining bones and totem praises, examining them from the perspective
of content and form. The praises extol human achievements, peculiar animal
characteristics and the interpretation of "mawa" of divining bones.
Chapter 4 deals with the development and transition from traditional to modern
form as well as the reciprocal influence. The content and form of modern
praises of chiefs, academics, community leaders, animals, birds, divining
bones, man-made objects and some natural phenomena are discussed. Many
modern poets have also written praises of fictional characters.
Chapter 5 compares oral and written praise poetry by concentrating on the
similarities and differences between traditional and modern praise poetry. This
study shows that there are differences in of theme, rhyme, beginning and
ending, sentence length and significant emphasis on man-made objects such
as cars and locomotives as exceptional modes of transport for commuters.
Chapter 6 concludes the study and proves that praise poetry is a living or
dynamic entity which will continue to exist. Praise poetry highlights persons,
interpersonal relationships, attitudes and values derived from an African
conceptions of the universe.African Languages
D.Litt. et Phil (African Languages)
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Kgobe, D. M. (Dominic Mamahlo). "Content, form and technique of traditional and modern praise poetry in Northern Sotho." Thesis, 1994. http://hdl.handle.net/10500/17072.
Full textAbstract:
This thesis is a critical evaluation of the content, form and technique of
traditional and modern praise poetry in Northern Sotho.
Chapter 1 presents the aim of the study and the method of research and
defines the concepts of poetry and praise poetry. Praise poetry is viewed from
a traditional and modern perspective.
Chapter 2 deals with the content and technique of praise poetry. Content
consists of oral praise poetry lauding the heroic deeds of men in battles and
casual encounters. Modern praise poetry comments on current events.
Devices for rapid composition of the praises are discussed. Techniques differ
between poets and according to time, place and occasion.
Chapter 3 covers the traditional praises of chiefs, warriors, initiates, animals,
birds, divining bones and totem praises, examining them from the perspective
of content and form. The praises extol human achievements, peculiar animal
characteristics and the interpretation of "mawa" of divining bones.
Chapter 4 deals with the development and transition from traditional to modern
form as well as the reciprocal influence. The content and form of modern
praises of chiefs, academics, community leaders, animals, birds, divining
bones, man-made objects and some natural phenomena are discussed. Many
modern poets have also written praises of fictional characters.
Chapter 5 compares oral and written praise poetry by concentrating on the
similarities and differences between traditional and modern praise poetry. This
study shows that there are differences in of theme, rhyme, beginning and
ending, sentence length and significant emphasis on man-made objects such
as cars and locomotives as exceptional modes of transport for commuters.
Chapter 6 concludes the study and proves that praise poetry is a living or
dynamic entity which will continue to exist. Praise poetry highlights persons,
interpersonal relationships, attitudes and values derived from an African
conceptions of the universe.African Languages
D.Litt. et Phil (African Languages)
3
Mtumane, Zilibele. "The poetry of S.M. Burns-Ncamashe." Thesis, 2000. http://hdl.handle.net/10500/17532.
Full textAbstract:
This thesis is a critical examination of the poetry of S. M. Bums-Ncamashe. In his
poetry Bums-Ncamashe handles poems of different categories; namely praise poetry,
elegiac poetry, didactic poetry and protest poetry. He also employs a number of devices
that determine amongst others, the form and imagery of his poetry. They are also used
to add clarity to the meaning of his poetry. All this is discussed in the chapters
numerated below:
Chapter one outlines the basic guidelines to be followed in this study. It presents the aim
of the study, scope of the work and method of research. A definition of the concept
poetry is also provided in this chapter. The biography of Bums-Ncamashe and the
influence of his background on his poetry are also part of this first chapter.
Chapter two discusses the characteristics of Bums-N camashe' s praise poetry and the
functions this poetry fulfils.
Chapter three is a discussion ofBums-Ncamashe's elegiac, didactic and protest poetry.
Chapter four discusses the devices that determine the form ofBums-Ncamashe's poetry.
These include repetition, contrast, compounding, ideophones, and interjectives.
Chapter five concentrates on imagery and other aspects of Bums-Ncamashe's poetry.
Imagery is discussed from the viewpoint of simile, metaphor, personification and
symbolism. Also included in this chapter is euphemism, hyperbole, idiomatic
expressions, humour, satire and adaptation.
Chapter six is a concluding chapter in which some findings and recommendations from
the entire study are reflected upon.African Languages
D.Litt. et Phil. (African Languages)
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Hiebert, Luann E. "Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry." 2016. http://hdl.handle.net/1993/31201.
Full textAbstract:
Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism.
In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures.May 2016
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Mdluli, Sisana R. (Sisana Rachel). "A reflective perspective of women leadership in Nguni oral poetic forms." Thesis, 2014. http://hdl.handle.net/10500/13174.
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This thesis utilizes the theory of feminism in all its implied branches in an attempt to critically review the subtle and sometimes deliberate subjugation of women in general and South Africa in particular. This occurs, in spite of the fact that there are laws in place that are meant to discourage women abuse. Juxtaposing this is the perspective conception of women, looking at themselves as subjects of virtue who deserve equal treatment to any other human being. It is through some oral forms that this reflection could be tested. Praise poetry, in the hands of a creative artist opens up a world of human emotions that could not be easily seen or felt, and yet it can simultaneously be used to manipulate situations. Language therefore could be seen as a powerful double-edged instrument. The patriarchal system, in this thesis, is exposed as that holy ideology turned unholy to achieve condescending agendas against women. The thin light of respect demonstrated by the traditionalist thinking is made to disappear into thin air, especially when contaminated by Western ideas.
It is the resoluteness and the fair obstinacy of some both traditional and modern women that determinedly stood up to conscientise the world in terms of respect for human life irrespective. In this research, an exploration of literary elements within four Nguni languages, that is Siswati, isiZulu, isiNdebele, and isiXhosa reveals the singularity of purpose, for these elements to be manipulated to achieve domineering intentions. Be that as it may, tibongo (praise poems/ praises) of outstanding women who have served in traditional leadership in these language groups give reason to challenge any idea that women should by virtue be relegated to the back seat. Through these tibongo it becomes apparent that because of the women leaders’ stubborn fairness and unparalleled foresight, they have become personifications of democratic values and as such, role models and symbolic hope not only for the empowerment of women, but also for their total liberation from all negative perceptions and oppressions.African Languages
D. Litt. et Phil. (African Languages)
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Kekana, Thupana Solomon. "Sebopego sa diretotumišo tša bogologolo tša ditaola tša Sepedi (Sepedi)." Diss., 2005. http://hdl.handle.net/2263/26171.
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Eiselen (1932: 1) commented that the Black population of South Africa attached a particular religious value to the dolos art. He consequently collected some of the dolos sayings, but did not delve deeper into them. 1932 can hence be considered to be an important year with regard to this genre in the traditional literature of the Bapedi. The aim of this mini-dissertation is to investigate and discuss the design of the traditional dolos sayings in particular, because this research area in Sepedi literature has been neglected. In addition to a discussion of the dolos art, an attempt will be made to also find out what this form of art means to the people concerned. An adapted narratological model will be used for the interpretation of the various sayings; i.e. the content, the compilation and the meaning of the dolos sayings will be discussed. In an investigation of this kind, it is inevitable that attention will also be paid to the praise poem as a commendation. In this case, a distinction between the traditional and the modern forms of this genre is made of necessity. This distinction is based mainly on the fact that the modern praise poem sings the praise of present-day subjects, while kings, heroes, counsellor, animals, different kinds of objects and last but not least, dolosses are extolled in the traditional praise poem. A set of dolosses consists of 42 pieces, four of which are not only important but also indispensable in such a set. They are Moremogolo (male), Selomi (male), Mmakgadi (female) and Selomi (female). When the dolosses are thrown, they land in a specific way. This is called the landing of the dolosses, which is then interpreted and explained by the dolos master. Dolos sayings resort under the traditional praise poem as a separate genre. They are mainly short sayings and are not divided into stanzas. The verse form of the dolos saying by its nature differs from that of the European verse. The form of the dolos saying is, amongst other things, determined by the fact that these sayings never came into being in a written form; they were recitations. For the rest, those verse form principles that characterise them as verses, namely coordination and correspondence, are indeed applied by the reciter. The principle of coordination determines in this case that the caesura divides the dolos saying into 2 or 3 mutually dependent metrical units. The correspondence principle reconciles the various mutually dependent metrical units with one another through an equal number of syllable and length peaks plus the repetition of word stems or words. In the investigation, special attention was paid to the structuring of the dependent metrical units. When long measure repetition is investigated in the stanza of the traditional poem, it is indicated how this form of repetition in the metrical units brings about a solid unit through the repetition of a single word. This means that the lines of poetry inside the stanza are also bound together by this repetition. The important functions of repetition are emphasis and the reinforcement of the core information of the line being repeated. When dependent metrical units are repeated in the dolos saying, it is particularly the last line or a section thereof that is involved in this. At the same time it is a very important characteristic (resp.metre) of the dolos saying. Finally, linking is also looked at in so far as it brings about the second or subsequent line within the stanza.Dissertation (MA (Sepedi))--University of Pretoria, 2007.
African Languages
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Books on the topic "Praise poetry (form)"
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Guernsey, Julia Carolyn. The pulse of praise: Form as a second self in the poetry of George Herbert. Newark: University of Delaware Press, 1999.
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Ceccucci, Piero, ed. Fiorenza mia…! Firenze e dintorni nella poesia portoghese d'oggi. Florence: Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-8453-329-6.
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In the Portuguese imagination Florence is justly considered the cradle of modern western civilisation. Seen and admired from the Renaissance on as the new Athens, for the Portuguese it has always represented not only a model of culture and civilisation to take as inspiration, but also and above all the locus amoenus of spiritual and intellectual harmony and balance, dreamed-of and unattainable, that floods and pervades the soul with a vague, nostalgic sentiment of admiration. Evidence of this, now as in the past, are the serried ranks of poets who for centuries have sung its praises and raised it to the rank of myth. This brief anthology proposes only a few of them, among the most renowned of recent generations. In a truly original way these poets have managed to convey to the hearts and minds of their compatriots their own stunned vision of the city, illustrating emotions that cannot fail to move even the Florentines and, in a broader sense, we Italians as a whole. Thus what is offered in these pages, in fine Italian translation, is this mesh of voices, an intimate and enthralling polyphony of city, poet and reader, unfurling in an evocative melody and proposing the legend of Florence in a new light – possibly more authentic and illuminating.
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ill, Bryan Ashley, ed. All things bright and beautiful. New York: Atheneum Books for Young Readers, 2010.
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Alexander, Cecil Frances. All things bright and beautiful. New York: HarperCollins, 2001.
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ill, Birkinshaw Linda, ed. All things bright and beautiful. [Wheaton, Ill.]: Tyndale House Publishers, 1995.
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Anna, Vojtech, ed. Todas las cosas radiantes y bellas. New York: Ediciones Norte-Sur, 2006.
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Alexander, Cecil Frances. All things bright and beautiful. Nashville, Tenn: Ideals Children's Books, 1992.
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ill, Morgan-Vanroyen Mary 1957, ed. All things bright and beautiful. New York: Platt & Munk, 1987.
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Meister, Felix J. Greek Praise Poetry and the Rhetoric of Divinity. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847687.001.0001.
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This monograph focuses on passages of archaic and classical Greek poetry where certain human individuals in certain moments are presented as approximating to the gods. The approximation pursued is different from any form of immortality, be it apotheosis, hero cult, or fame preserved in song. Instead, this monograph is concerned with the momentary attainment of central aspects characteristic of divine life, such as supreme happiness, unsurpassed beauty, or boundless power. The three main chapters of this monograph (Chapters 2, 3, and 4) illustrate the approximation of human figures to these aspects in wedding songs, victory odes, and drama respectively. This monograph also explores the relationship between such approximations and ritual. In some genres, the surrounding ritual context itself seems to engender a vision of someone as more than human, and this vision is reflected also in other media. In contrast, where such visions are not rooted in ritual, they tend to be more problematic and associated with hubris and transgression. What emerges from this study is the impression of a culture where the boundaries between man and god are more flexible than is commonly thought.
Book chapters on the topic "Praise poetry (form)"
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Johnson, A. W. "Centred Form and the Poetry of Praise." In Ben Jonson: Poetry and Architecture, 79–112. Oxford University Press, 1995. http://dx.doi.org/10.1093/acprof:oso/9780198117599.003.0005.
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Stainton, Hamsa. "Stotra as Kāvya." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 197–230. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0006.
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This chapter investigates the relationship between Sanskrit hymns of praise and classical Sanskrit literature. It first surveys the complicated and often ambiguous position of stotras within Sanskrit literary culture. Then it analyzes Jagaddhara Bhaṭṭa’s Stutikusumāñjali as an historically significant example of how devotional poets sought to elevate the status of the stotra form. Jagaddhara reaffirms the value of classical Sanskrit poetry and poetics even as he re-envisions this literary world as being justified and revitalized by devotional praise of Śiva. He incorporates and expands upon earlier traditions of poetry and poetics in creative ways, giving special prominence to the “flashy” style of poetry (citrakāvya) and the poetic figure of “repetition” (yamaka). His ambitious and innovative hymns, as well as those of later poets in Kashmir, testify to the vitality of Sanskrit literary production in the region and offer critical evidence in the debate about the so-called death of Sanskrit.
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Stainton, Hamsa. "Poetry as Prayer." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 159–96. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0005.
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This chapter develops the study of poetry as prayer. It reviews recent scholarship on prayer and evaluates the perils and potential of prayer as a category of analysis in the study of South Asian religions. Then, focusing on an important and previously unstudied text from fourteenth-century Kashmir—Jagaddhara Bhaṭṭa’s Stutikusumāñjali (Flower-Offering of Praise)—it analyzes various types of prayer sheltered under the umbrella of the stotra genre. In addition, it explores two creative ways of interpreting poetic prayer. First, it examines how Jagaddhara dramatizes Śiva’s interactions with Sarasvatī as the beautifully embodied form of poetry. Then it analyzes praise-poetry as a type of verbal prasāda, an offering received by a deity and then enjoyed by a community of devotees. Finally, the chapter argues that some of the evidence from Kashmir challenges a persistent view in the study of Hinduism that “true” prayer is a spontaneous outpouring of the heart.
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Stainton, Hamsa. "Poetry as Theology." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 97–158. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0004.
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This chapter delves into the complexity of poetry as theology. Focusing largely on the most influential period of theological composition in Kashmir, from the ninth century to the twelfth, it reevaluates poetry by some of the most well-known Śaiva authors from the region, including Utpaladeva, Abhinavagupta, and Kṣemarāja. It charts multiple ways that Sanskrit hymns can do theological work, and specifically how the poetic features of many hymns help to constitute their theological content. Some hymns show pedagogical concerns and serve as models for human audiences to emulate, both in their interpretations of specific positions and in their implementation of those positions in practice. The chapter argues, in particular, that the stotra form was appealing for non-dualistic authors seeking to reinterpret various practices and features of worship that might otherwise be seen as dualistic, including praise, prayer, and devotion.
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Balafrej, Lamia. "Potential World." In The Making of the Artist in Late Timurid Painting, 108–49. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.003.0004.
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Chapter 2 examines the representation of epigraphic inscriptions in Persian painting, inscriptions that appeared in pictures as ornaments adorning buildings. It argues for a shift in these inscriptions’ content and function in the late Timurid period. Until the mid-fifteenth century, inscriptions were mainly used to link painting to patron. But in the Cairo Bustan, the poetic verses were chosen so as to convey a celebration of the painter. As such they constitute an example of wasf (ekphrasis), a description of the visual that was also a discourse of praise. Moreover, the verses were picked from the poetry of ‘Abd al-Rahman Jami, a late fifteenth-century poet. The inscriptions thus staged a model for the pictures’ reception, a model in which the painting would circulate among famous poets such as Jami, prompting responses about the medium and its makers. A possible institutional setting for such a scenario was the majlis, a form of social gathering that fuelled the art of jawab (response).
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Meister, Felix J. "Divine Happiness in the Victory Ode." In Greek Praise Poetry and the Rhetoric of Divinity, 75–130. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847687.003.0003.
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This chapter aims to show that Pindar’s victory odes present athletic victors as enjoying, during the victory celebration, a moment of divine bliss as a reward for their achievement. The first part develops a general perspective on the themes of immortality and divinity in Pindar’s odes. Of particular interest are mythical narratives comprising a hero’s exploits and the subsequent reward in the form of his immortalization. This chapter argues that such narratives offer a paradigm for the victor’s athletic achievements and that the victory celebration serves as an earthly counterpart to the eternal symposium on Olympus. Sculpture at Olympia is interpreted to strengthen this interpretation. The second part of this chapter illustrates this argument through detailed interpretations of Nemean 1, Isthmian 4, and Pythian 10.
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Gil, Daniel Juan. "Resurrection, Dualism, and Legal Personhood: Bodily Presence in Ben Jonson." In Fate of the Flesh, 148–80. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823290048.003.0006.
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This chapter argues that Ben Jonson’s Volpone charts a massive cultural shift in which, within a rising capitalist order, a fully dualist understanding of resurrection is transformed into a legal personhood that allows the individual’s will to survive past the limit of death. Volpone represents the elegiac death knell for the specific form of counter-secularization that the rest of the book charts in which materialist and monist ideas of resurrection are celebrated for their critical power. However, Jonson’s own corpus of work is bifurcated between Volpone and his poetry, and most especially his poetry of praise and memorialization. In Jonson’s poetry he imagines that the separation of soul and body creates a gap in the symbolic fabric of the world, and he wants his poetry to fill this gap and he imagines his poems as an ersatz body. Jonson’s fantasy about poetry’s ability to make people present as textual bodies is similar to modern fantasies about the special incantatory power of “code” whether genetic code or computer-based code as a kind of language that does not represent but that enacts presence in the world.
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Brumbaugh, Michael. "The Poetics of Praise in the Hymn to Zeus." In The New Politics of Olympos, 90–124. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190059262.003.0004.
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This chapter further examines how Kallimachos depicts the poet and the praise he crafts as essential to kingship. It argues that the hymn’s lengthy narrative detailing Rhea’s postpartum search for a stream in the Hymn to Zeus is a metaphor for the poet’s own aporia, the sense of not knowing how to proceed, which he highlights in the hymn’s opening frame. In his narrative Kallimachos uses intertextual markers to contrast Arkadia with the landscape of the Theogony proem, where Zeus’ praises are abundant, and his reign is guaranteed. Drawing on the metaphor of water as poetry, Kallimachos casts Rhea’s search for a stream in which to bathe Zeus as analogous with the narrator-poet’s own search for the praises with which he will shower his honorand. In this way, Kallimachos makes three subtle assertions: true praise is difficult to come by; it is extremely important to kingship; and he is expert in crafting it.
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Jones, Kevin M. "Double-Edged Praise." In The Dangers of Poetry, 75–102. Stanford University Press, 2020. http://dx.doi.org/10.11126/stanford/9781503613393.003.0004.
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This chapter explores the patronage relationships between poets and political elites through the evolution of the panegyric in the colonial state. It looks at how the Hashemite state subsidized popular poets in order to cultivate their own political legitimacy and how dissident poets challenged the state through creative public performances. It argues that modern protest poetry emerged from the dissident panegyric, which became subversive when poets praised political elites for their commitment to policies that those elites could not or would not actually support. The chapter also shows how poetic engagement with social issues like women’s education and veiling shaped popular opinion and contributed to growing social cleavages between generations and how patronage rivalries contributed to new sectarian tensions in Iraqi political life.
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McAlpine, Erica. "Hart Crane’s Wrapture." In The Poet's Mistake, 119–36. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691203492.003.0006.
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This chapter reads Hart Crane's extreme license with words against stricter conceptions of error. For instance, in the second section of his poem “Voyages,” he describes the sea as “Laughing the wrapt inflections of our love”—his odd spelling of “wrapt” here conjuring the sense of both “wrapped” and “rapt” simultaneously, giving “inflections” an appealing physicality. Reading mistake along these lines is particularly Cranian: his letters make it clear that language's ability to elide, change, and intimate (rather than simply mean) excites and propels him into writing poetry. Accordingly, Crane's admirers tend to focus their praise on the very moments of inexplicability that his critics find most inhospitable. By placing “wrapt” and other neologisms in the context of this long-standing debate about Crane's work, the chapter suggests the benefit of reading his creativity as a form of mistake rather than the other way around.
Conference papers on the topic "Praise poetry (form)"
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Grominová, Andrea. "Может ли стать метареалистский текст привлекательным для студентов вуза?" In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.6.
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The poetry of metarealism is considered the poetry of the complexity of perception, interpretation, understanding, not only for students, but also for the researchers and literary critics themselves. The rich use of metametaphors, or the metabol, and their sequential accumulation makes it difficult to decode individual images and the meaning of the whole poem. Poetic texts of this kind, in addition, require their readers to have a general outlook on knowledge of history, culture, literature, technology, etc. Deciphering the meaning often resembles solving crosswords. To motivate university students studying Russian as a foreign language to read and understand the poetry of metarealism, one needs to arouse interest among them. Therefore, the purpose of this paper is to show the diverse use of information technology in the classroom on Russian literature, and more specifically in seminars on modern Russian literature to draw attention to metarealist poetry.