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Journal articles on the topic 'Quatrain'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Saefuddin, NFN. "MEMBUKA JENDELA PANTUN KEHIDUPAN: SUATU REFLEKSI KEGELISAHAN IBERAMSYAH BARBARY DALAM BERKARYA." TELAGA BAHASA 8, no. 2 (2020): 269–82. http://dx.doi.org/10.36843/tb.v8i2.67.

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Iberamsyah Barbary has a peculiarity in his work. He packages it by giving color about daily life and Indonesian taste.There is anxiety that can be seen in his work.The problem which is discussed in this study is how does the reflection form of Iberamsyah Barbary’s concern seeing modern life in his environment. This study aims to reveal the kind of reflection form of Iberamsyah Barbary’s concern about seeing modern life in his environment. As one of the literary man, he pays attention to presenting his thought through his works, for example, quatrains that have modern life nuance and have lots

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Kriuchkov, H. H. "UKRAINIAN MARSEILLAISE BY TARAS SHEVCHENKO." Shevchenko Studies, no. 1(24) (2021): 5–15. http://dx.doi.org/10.17721/2410-4094.2021.1(24).5-15.

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The article is devoted to the analysis of dіfferent translations of Taras Shevchenko "Testament" and National French Himn Marseillaise. Two value systems and specific psycholects of nostalgia, aggression, peace are examined. The aim of the article is to define the main psycholects in Taras Shevchenco poems, particularly in "Testament". In result of the comparison methods of several translations of "Testament" we have obtained three important psycholect of nostalgia, aggression and peace. All spheres use the concept of "love" and "mother country". The first and the second quatrains of "Testamen

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MOISIIENKO, Anatolii. "SONNET POEM BY MAXYM RYLSKYI: STRUCTURAL COMPOSITIONAL AND LANGUAGE FIGURATIVE ORGANIZATION." Culture of the Word, no. 92 (2020): 63–75. http://dx.doi.org/10.37919/0201-419x-2020.92.5.

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The systematic organization of Maxym Rylskyi’s sonnet verse is characterized by the dynamics of figurative creation, which begins in the first quatrain and, as a rule, preserves the “rise line” in the second quatrain in order to echo the synthesis in the final thirds. Thus, in the sonnet «The ax trembles, the silver darkened” two lines ─ the trembling sedge, which rises high with the darkened silver leaf, and the benefit of the green shadow from it for the weary, aching human body ─ in the first quatrain they seem to run in parallel. However, already in the second quatrain, probably, from the

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4

Bouchard, Jacques B. "L’enveloppe et le quatrain." Études littéraires 22, no. 1 (2005): 37–43. http://dx.doi.org/10.7202/500886ar.

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Parce qu'ils prennent en compte leur support, leur typographie, les Vers de circonstance ont sans doute joué un rôle à certains points de vue important dans l'évolution de l'oeuvre de Mallarmé vers le Coup de dés et dans l'abandon du vers au profit de la page.

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Itkin, Ilya B. "“The old doctor in a decrepit toga...”: оn an “unfinished” poem of Georgy Shengeli". Rhema, № 3, 2018 (2018): 9–14. http://dx.doi.org/10.31862/2500-2953-2018-3-9-14.

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This small article is an addition to the commentaries included in the first volume of the two volume edition of rhymes and poems by Georgy Shengeli published in 2017. We show that the quatrain “Старый доктор в обветшалой тоге...” (“The old doctor in the decrepit toga...” ) written in August 1943, which the compiler of the volume regards as unfinished, is in a fact a quite holistic extempore rhyme – the remake of a final strophe of Nikolay Gumilyov's rhyme “Bologna”. We bring forward the hypothesis that the first line of the Shengeli's quatrain contains an allusion to the first line of another

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Albertazzi, Liliana, Luisa Canal, Rocco Micciolo, Fulvio Ferrari, Sebastiano Sitta, and Iacopo Hachen. "Naturally Biased Associations Between Music and Poetry." Perception 46, no. 2 (2016): 139–60. http://dx.doi.org/10.1177/0301006616673851.

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The study analyzes the existence of naturally biased associations in the general population between a series of musical selections and a series of quatrains. Differently from other studies in the field, the association is tested between complex stimuli involving literary texts, which increases the load of the semantic factors. The stimuli were eight quatrains taken from the same poem and eight musical clips taken from a classical musical version of the poem. The experiment was conducted in two phases. First, the participants were asked to rate 10 couples of opposite adjectives on a continuous

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7

Hayes, Bruce P., and Margaret MacEachern. "Quatrain Form in English Folk Verse." Language 74, no. 3 (1998): 473. http://dx.doi.org/10.2307/417791.

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8

Hayes, Bruce P., and Margaret MacEachern. "Quatrain form in English folk verse." Language 74, no. 3 (1998): 473–507. http://dx.doi.org/10.1353/lan.1998.0152.

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Zainon Hamzah, Zaitul Azma, Normaliza Abd Rahim, Norizan Che Su, Siti Zobidah Omar, Arbaie Sujud, and Ahmad Fuad Mat Hassan. "Communication of Culture through Malay Quatrain." International Journal of the Humanities: Annual Review 6, no. 4 (2008): 135–42. http://dx.doi.org/10.18848/1447-9508/cgp/v06i04/42426.

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10

Minakar, Milad, and Amir Hossein Chitsazian. "The Study of Rubaiyat attributed to Khayyam in Movies." CINEJ Cinema Journal 8, no. 2 (2020): 324–52. http://dx.doi.org/10.5195/cinej.2020.271.

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Among the literati and men of culture of Iran, it is not exaggerated to call Khayyam one of the vaguest figures. One might recognize him certainly and resolutely through his philosophical and scientific works; however, it was his Rubaiyat attributed to him which created many arguments. This paper studies Hakim Omar Khayyam’s Rubaiyat in English and Persian language feature and non-biographical movies; hence, biographical movies depicting factual or imaginary life of Khayyam or any serials, TV productions, documentaries, non- English, non- Persian movies are not included. The aim is to expound

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11

Rosow, Lois. "Structure and expression in the scènes of Rameau's Hippolyte et Aricie." Cambridge Opera Journal 10, no. 3 (1998): 259–73. http://dx.doi.org/10.1017/s0954586700005425.

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The libretto for a tragèdie en musique might be regarded as a tabula rasa. Whereas an Italian dramma per musica generally differentiates between recitative poetry and aria poetry — versi sciolti on the one hand, strophic versi misurati on the other — its French counterpart contains page after page of supple vers libres, which lend themselves to a great variety of musical shapes. Indeed, apart from a few highly conventional gestures, one cannot necessarily tell simply by looking at the libretto how a tragédie en musique will have been set. The point might be illustrated by an example, a pair of

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12

Zand, Michael. "The Honey Bee: A Quatrain by Rumi." Mawlana Rumi Review 1, no. 1 (2010): 131. http://dx.doi.org/10.1163/25898566-00101014.

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13

Jinglei Ren, Yongwei Wu, Meiqi Zhu, and Weimin Zheng. "Quatrain: Accelerating Data Aggregation between Multiple Layers." IEEE Transactions on Computers 63, no. 5 (2014): 1207–19. http://dx.doi.org/10.1109/tc.2012.298.

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14

Whissell, Cynthia. "Sound Symbolism in Shakespeare’s Sonnets: Evidence of Dramatic Tension in the Interplay of Harsh and Gentle Sounds." English Language and Literature Studies 7, no. 4 (2017): 1. http://dx.doi.org/10.5539/ells.v7n4p1.

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This paper addresses the role of meaningful sounds in poetic communication. A sound symbolic system (Whissell, 2000) was employed to score Shakespeare’s 154 sonnets in terms of the percentage of Harsh (e.g., sh, oo, r, k, p) and Gentle (e.g., l, long e, th, eh, m) sounds in each line. Significant differences in the employment of emotional sounds across lines suggest that the structure of the sonnets is affectively dramatic. Four stages unfold across three quatrains and a couplet. These are the establishment of the problem (lines 1-4; excess of Harsh sounds), its enlargement (lines 5-8; greater

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15

Subi, Maria. "Vere Rosa: A Priapian Quatrain from the Appendix Vergiliana." Analele Universității de Vest. Seria Științe Filologice 61, no. 61 (2024): 49–57. http://dx.doi.org/10.35923/autfil.61.03.

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Within the realm of Latin literature, the figure of Priapus is frequently evoked, a symbol of eroticism, of virility and of nature’s fecundity, always armed with his fearsome willow scythe, an accessory meant to scare away birds and thieves from vineyards and orchards. Several poems included in the Appendix Vergiliana – even entitled Priapea – are dedicated to this divine guardian of gardens and vineyards. This collection of verses debuts with a quatrain: Vere rosa, which enumerates the various joys, but also the difficulties or dangers that the agricultural god experiences, at once with the c

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Mukhamedova, Fatyma Khamzaevna, and Fatima Abdulovna Alieva. "On the technique of artistic parallelism in Dargin quatrains." Litera, no. 8 (August 2021): 126–33. http://dx.doi.org/10.25136/2409-8698.2021.8.35286.

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The subject of this research is the quatrains &ndash; a variety of lyrical songs, one of widespread and popular poetic genres in the folklore of the peoples of Dagestan. The object of this research is the method of artistic parallelism in Dargin quatrains, which plays an important compositional role within the text structure, which is reflected in juxtaposition of images from the natural world and the psychological affections of the lyrical hero. The goal of this article lies in demonstrating the functional peculiarities of artistic parallelism technique in each particular case; as well as

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17

Pichon, Alban. "Épigraphes et quatrains errants." Figures de l'Art. Revue d'études esthétiques 24, no. 1 (2013): 59–70. http://dx.doi.org/10.3406/fdart.2013.1034.

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Intolerance (Griffith, 1915) s’ouvre sur un vers de Whitman. À l’image de cet exemple fondateur, nombre de films débutent par une citation poétique ou proverbiale. L’usage de l’épigraphe est ainsi passé de l’architecture à la littérature, puis au cinéma. Elle reste dans tous les cas un «seuil » (G. Genette) ; mais d’autres analogies, issues des études littéraires (A. Compagnon), se révèlent aussi pertinentes pour la décrire. En retenant l’image du «quatrain errant » , ce texte analyse la mise en scène et la teneur des citations inaugurales afin de mettre en évidence le rapport des épigraphes a

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18

Montini, Chiara. "WATTET LE QUATRAIN HÉROÏQUE OU LE CHAOS EN RIME CROISÉE." Samuel Beckett Today / Aujourd'hui 13, no. 1 (2003): 228–46. http://dx.doi.org/10.1163/18757405-90000169.

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19

Ford, Karen Jackson. "The Last Quatrain: Gwendolyn Brooks and the Ends of Ballads." Twentieth-Century Literature 56, no. 3 (2010): 371–95. http://dx.doi.org/10.1215/0041462x-2010-4004.

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20

Claes, Paul. "A new reading of the quatrain on the Ghent Altarpiece." Oud Holland – Journal for Art of the Low Countries 135, no. 1 (2022): 2–7. https://doi.org/10.1163/18750176-13501002.

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21

Razumov, Il'ya Kimovich. "Reconstruction of images encrypted in Nostradamus's "Prophecies"." Историческая информатика, no. 2 (February 2024): 109–21. http://dx.doi.org/10.7256/2585-7797.2024.2.70737.

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Previous historical and philological commentaries on Nostradamus' "Prophecies" by Prof. Brind'Amour, R. Prevost, P. Guinard, A. Penzensky, and D. Crouzet have led to the unexpected conclusion that many quatrains are uninformative as predictions; moreover, some of them describe events preceding the moment of publication, raising questions about the predictor's motivation. Against the background of the increased interest in the development of cryptology methods in the first half of the 16th century, it is appropriate to assume the existence of a hidden message in the "Prophecies". Recent work by

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22

Griffiths, Paul. "THROUGH ONE OF BOB'S WINDOWS." Tempo 70, no. 278 (2016): 78–82. http://dx.doi.org/10.1017/s0040298216000371.

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A short paper hardly stands in need of an epigraph, but I'm going to give mine one all the same. Here, then, are four lines, a quatrain, using every letter in the alphabet except for the loss of B, O, G, I, L, M, R and E. What vast wants can fantasy attack?What junk quanta has fantasy attun'd?What zany dad had an ax at hand?As Kant says, what a fuck-up …

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23

Zeyghami, Amir. "Some Remarks on the Term Abxāz in Classical Persian Literature and Historiography." Iran and the Caucasus 26, no. 2 (2022): 156–61. http://dx.doi.org/10.1163/1573384x-20220204.

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This article is devoted to the analysis of the occurrences of the term Abxāz in Classical Persian literature and Iranian historiography. Under the term Abxāz, generally, Persian poets and writers implied the whole territory of Georgia and not only proper Abkhazia located on the eastern coast of the Black Sea. New points have been made about the word tamūk in Luγat-i furs by Asadī Ṭūsī, as well as the Abkhaz language, based on a quatrain (rubā‘ī) by Xāqānī.

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Zhu, Dongmei, Nan Wang, and Fuqiang Yang. "Couplet Analysis of Linguistic Topology Using Deep Neural Networks in Cognitive Linguistics." Computational Intelligence and Neuroscience 2022 (October 11, 2022): 1–9. http://dx.doi.org/10.1155/2022/9123922.

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The work reported here primarily aims to realize the automatic generation of couplets using the linguistic topology of deep neural network (DNN). First, the symmetry, topology, and cognitive linguistics of language are explored to lay a theoretical foundation for subsequent model establishment and analysis. Then, the recurrent neural network (RNN) is employed to build the Seq2Seq model, and Liweng’s Guide to Rhyme (an ancient Chinese enlightenment reading material to poetry creation) is imported into the Seq2Seq model as a basic corpus. Eventually, the entire system is implemented automaticall

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Vīķis-Freibergs, Vaira. "Similarity and contrast as structuring principles in the Latvian Daina Quatrain." Journal of Baltic Studies 30, no. 3 (1999): 201–26. http://dx.doi.org/10.1080/01629779900000071.

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26

D'Heygère, François, Pierre Mariot, and Jean-Baptiste Renard. "QUATRAIN — A design support tool and a data processing sequence supervisor." Future Generation Computer Systems 9, no. 4 (1993): 321–28. http://dx.doi.org/10.1016/0167-739x(93)90034-m.

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Faraudo, Rosario. "Sor Juana and the Painters - A neo-baroque Perspective." Anuario de Letras Modernas 14 (July 31, 2009): 63–70. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.673.

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This text intends to explore how renewed interest in the Baroque has transcended the field of literature and Sor Juana is once more attracting the attention of artists who update the Baroque with contemporary techniques and attitudes. The text focuses mainly on a contemporary picture of Sor Juana, parodying the well-known portrait by Miguel Cabrera and how it also contains elements of the Neo-Baroque. In addition, this picture includes in the composition the first quatrain of one of the poet’s sonnets, which creates an ekphrastic dimension and multiplies the possible readings.

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Komyshev, M. A., and V. A. Baranov. "STYLOMETRIC ANALYSIS OF WORKS BYĞABDULLA TUQAYAND SÄĞİT SÜNÇÄLÄY: WHO IS THE AUTHOR OF THE POEM “SÖY ĞÖMERNE...”?" Social’no-ekonomiceskoe upravlenie: teoria i praktika 20, no. 2 (2024): 107–17. http://dx.doi.org/10.22213/2618-9763-2024-2-107-117.

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This article is devoted to determining the authorship of the Tatar quatrain “Söy ğömerne...” using stylometric methods. Ğabdulla Tuqay, to whom this text had been traditionally attributed, and Säğit Sünçäläy, evidence of whose authorship was discovered by literary scholars at the turn of the century, are considered possible authors. The paper tests several distance-based stylometric methods. The material of the study was a corpus of digitized original poems by Ğabdulla Tuqay and Säğit Sünçäläy in the modern literary variety of the Tatar language. The final sample for analysis included 10 texts

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어강석. "Composition Techniques and Poetic Effect in Mogeun's Quatrain with Seven-word Lines." Journal of Korean Literature in Classical Chinese ll, no. 48 (2011): 51–80. http://dx.doi.org/10.30527/klcc..48.201112.002.

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30

Fuchs, Barbara, and Philip S. Palmer. "A Lettered Utopia: Printed Alphabets and the Material Republic of Letters." Renaissance Quarterly 73, no. 4 (2020): 1235–76. http://dx.doi.org/10.1017/rqx.2020.218.

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Several early editions of Thomas More's “Utopia,” first published in 1516, include the Utopian alphabet, as well as a quatrain of poetry in Utopian and its Latin transliteration. This essay traces the material conditions for the Utopian alphabet, exploring the intellectual contexts and epistemological questions that underlie its presence in these early editions and its absence in others. Reproduced by four early modern European printers via woodcut, metal type, or engraved plate, the alphabet in its materiality becomes a key component of “Utopia,” underscoring the intersection between print te

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31

Green, R. P. H. "Ausonius’ Fasti and Caesares revisited." Classical Quarterly 49, no. 2 (1999): 573–78. http://dx.doi.org/10.1093/cq/49.2.573.

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This paper reconsiders certain questions about Ausonius’ two incomplete works on historical themes, Fasti and Caesares, with particular attention to points raised in a recent article by R. W. Burgess. Of the Fasti we have only a few tantalizing snippets, the packaging and not the core: what did the work look like when it left Ausonius? What was its coverage? was it in verse or prose? The Caesares as we have it breaks off in mid-quatrain, at line 139: did it go beyond Elagabalus? What of the evidence in Giovanni Mansionario that Ausonius treated certain imperatores from Decius to Diocletian?

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Henderson, Ian H. "Gnomic Quatrains in the Synoptics: An Experiment in Genre Definition." New Testament Studies 37, no. 4 (1991): 481–98. http://dx.doi.org/10.1017/s0028688500021913.

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An abiding challenge for NT study is that of defining generic relationships among texts. The problem is especially significant for gospel sayings material, literary texts which most explicitly evoke and imitate the styles and forms of spoken language. It will be useful, then, to define generically a hitherto unnoticed Synoptic sayings-type exemplified just seven times in the gospels, especially if a class of unusually difficult texts may thereby be illuminated. Its rarity notwithstanding, the ‘Gnomic Quatrain’ (GQ) should be of particular interest as a special elaboration of the much more fund

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Abdurashidov, Abduvalī. "The Formation of Ruboī Meters in Terms of Musical Rhythmic Rotations. By Abduvalī Abdurashidov. Translated by Evan Rapport, edited by Richard K. Wolf." Ethnomusicology Translations, no. 6 (September 27, 2017): 1–50. http://dx.doi.org/10.14434/emt.v0i6.23933.

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In this article, the Tajik maqom master and pedagogue Abduvalī Abdurashidov approaches the problem of ruboī (a type of quatrain) versification from the standpoint of music. He takes us step-by-step through the process by which he arrives at the ruboī meters, with fascinating results that remind us of the interdependent nature of poetry and music. Originally published in Tajik as “Tashakkul-i avzoni ruboī dar matn-i advor-i zarbi-i musiqī.” In Falak va mas’alahoi ta’rixī-nazariyavi-i musiqi-i tojik. Third International Symposium of Falak. Ministry of Culture of the Republic of Tajikistan: Dusha

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LI, Wei-Jun, and Yu-Fang YANG. "The Cognitive Processing of Prosodic Boundary and Its Related Brain Effect in Quatrain." Acta Psychologica Sinica 42, no. 11 (2011): 1021–32. http://dx.doi.org/10.3724/sp.j.1041.2010.01021.

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Choi, Seokwon. "The Study on the Boundary Characteristics of Dufu’s Seven-character-quatrain Series Poems." Journal of Chinese Studies 105 (August 31, 2023): 133–54. http://dx.doi.org/10.35982/jcs.105.6.

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36

Mackinlay, Elizabeth. "A SET OF VILLANELLES IN RESPONSE TO." Art/Research International: A Transdisciplinary Journal 5, no. 2 (2020): 585–98. http://dx.doi.org/10.18432/ari29574.

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In this review of (Re)birthing the feminine in academe: Creating spaces of motherhood in patriarchal contexts (2020) edited by L. Henderson, A. L. Black and S.Garvis), I take a poetic-is-personal-is-political approach in the form of a series of villanelles. Villanelle is a highly structured poetic form comprised of five tercets followed by a quatrain, with two repeating rhymes and two refrains. The fixed form of the villanelle is taken in this review to represent the highly structured and strictured institution of the university and yet turned around and made subversive through a creative and

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Patroeva, N. V. "Syntax of the «Poet of Thought» (To the 220th Anniversary of the Birth of Evgeny Baratynsky)." Russian language at school 81, no. 2 (2020): 50–55. http://dx.doi.org/10.30515/0131-6141-2020-81-2-50-55.

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E. A. Baratynsky’ influence on the 20th-century Russian philosophical lyrics is undeniable. The syntax used by the «poet of thought» demonstrates a tendency towards complication and archaization over time, which generally contradicts the aspirations for the democratization of the poetic syntax that emerged in the Karamzin era. The complexity of the syntactic structure in the poet’s search for a «metaphysical» language is achieved not by increasing the number of complex structures, which make up half of the sentences used by Baratynsky, but rather by saturating sentences with various kinds of c

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김창경. "The Beauty of Art of the Seven quatrain' Historical Poems in Late Tang Dynasty." Journal of North-east Asian Cultures 1, no. 23 (2010): 331–46. http://dx.doi.org/10.17949/jneac.1.23.201006.016.

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ΠΑΠΠΑΣ, Βασίλειος Λ. "Οι "Caesares" του Αυσονίου. Παρατηρήσεις και επισημάνσεις". Byzantina Symmeikta 26, № 2 (2016): 45. http://dx.doi.org/10.12681/byzsym.1191.

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Ausonius was a latin poet, born in Burdigala (Bordeaux), who, <em>inter alios</em>, composed the poetic work entitled "Caesares" between 379-383 A.D. This collection is an exposition of the lives of Roman emperors in verse (in hexameter and elegiac couplets). The collection is not complete. The work stops suddenly at the incomplete quatrain of Elagabalus. In this paper the author deals with the literary genre of the collection, the style of the poem, while he also attempts to trace the texts the poet used (Suetonius, Tacitus, the so[called <em>Kaisergeschichte</em>, Mar

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40

Huebner, Steven. "Lyric Form in Ottocento Opera." Journal of the Royal Musical Association 117, no. 1 (1992): 123–47. http://dx.doi.org/10.1093/jrma/117.1.123.

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In a study of Verdi's debt to Bellini published over 20 years ago, Friedrich Lippmann set the course for subsequent investigations of phrase structure in ottocento opera by using letters to describe the archetypal shape of many melodies written by Italian composers after 1830. He identified the most common pattern in the music of Bellini and the young Verdi as a1 a2 b a2, in which each letter represents a four-bar phrase in a prototypical 16-bar melody. The method has obvious risks of turning uncomfortably antiseptic for the analyst, but there is much to be said for its virtue of concision. It

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Aghamohammadi, Mehdi. "A Desire for the Marsupial Space: A Lacanian Reading of Lacan." Advances in Language and Literary Studies 8, no. 1 (2017): 111. http://dx.doi.org/10.7575/aiac.alls.v.8n.1p.111.

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Jacques Lacan is regarded as an influential French psychoanalyst in the 20th century. In the present article, first, a brief biography of this interpreter of Sigmund Freud is presented and then his key psychoanalytic theories, largely about the infant-mother-father relationship, are summarized. These data are finally analyzed mainly according to Lacan’s own ideas. In other words, this article is aimed at providing a Lacanian reading of Lacan. It reveals that his family in particular had a huge impact on his theories, which strongly reflect Lacan’s desire for his mother, specifically her marsup

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Grinbaum, Oleg. "Lermontov’s Borodino Strophe and Issues of Russian Verse Theory." Respectus Philologicus 21, no. 26 (2012): 44–58. http://dx.doi.org/10.15388/respectus.2012.26.15408.

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The paper considers several issues of Russian Verse Theory connected with the architectonics of Lermontov’s Borodino strophe. This rare and unique strophe is characterized by an odd number of lines (seven), peculiar rhyme, and mainly by the different number of syllables in its lines: five lines of the strophe contain nine syllables of iambic tetrameter, while the third and the seventh contain six syllables of iambic trimeter. Such a structure does not allow the use of traditional (statistical) methods of the study of verse rhythmics. To prove that, this paper describes the construction of “str

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Garrette, Robert. "Contraintes métriques et alchimie du style : enquête sur la phrase-quatrain dans les tragédies de Racine." Littératures classiques 28, no. 1 (1996): 295–310. http://dx.doi.org/10.3406/licla.1996.2538.

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Tsatsulin, Alexander. "Advertising Efforts as a Tool for Competition in the Market "Struggle" of Mobile Operators (First Quatrain)." Administrative consulting, no. 4 (April 2019): 61–77. http://dx.doi.org/10.22394/1726-1139-2019-4-61-77.

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Villeponteaux, Elizabeth. "Flashing Foil and Oozing Oil: Trinitarian Images in the First Quatrain of "God's Grandeur"." Victorian Poetry 40, no. 2 (2002): 201–7. http://dx.doi.org/10.1353/vp.2002.0015.

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Wahid, Mohd Effizan, and Rosnidar Ain. "The Integration of Artificial Intelligence in Pantun (Malay Quatrain): A Revolution in Creative Teaching and Learning." International Journal of Research and Innovation in Social Science IX, no. II (2025): 2416–26. https://doi.org/10.47772/ijriss.2025.9020190.

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The integration of artificial intelligence (AI) into the teaching and learning of pantun (Malay quatrain) represents a new revolution in contemporary education, fostering a more creative and innovative approach to learning. This study aims to explore the potential of AI in enhancing the teaching and learning process among students. Generally, with the integration of AI, the analysis of pantun works can be researched more comprehensively, including a deeper examination of rhyme schemes, values, and moral lessons embedded within them. AI assists students to discover the implicit meaning in pantu

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Tsatsulin, Alexander. "Advertising Efforts as a Tool for Competition in the Market "Struggle" of Mobile Operators (First Quatrain)." Administrative Consulting, no. 4 (June 7, 2019): 61–77. https://doi.org/10.22394/1726-1139-2019-4-61-77.

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Modern mobile commerce enterprises of any format and dimension, due to their flexibility and technological efficiency, are able to adapt to the changing environmental conditions and form new areas of activity in accordance with the challenges of the time. Mobile commerce is a continuation of e-commerce, the transfer of e-commerce into the most diverse mobile forms. Forms of the implementation of mobile commerce and its innovative mobile communication technologies allow you to transfer the information flow to mobile gadgets of users of the latest generations, giving them complete freedom in the

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Illouz, Jean-Nicolas. "Mallarmé, une poétique du don (À propos des 'Loisirs de la Poste' et autres 'Récréations Postales')." Revista Texto Poético 15, no. 28 (2019): 168. http://dx.doi.org/10.25094/rtp.2019n28a632.

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Le jeu formel du quatrain-adresse fait apparaître en miniature, et avec ironie, quelques-uns des enjeux fondamentaux de la poétique de Mallarmé: la forme maintenue comme un absolu jusque dans la réalisation, en mineur, de petits livres-fétiches ou poèmes-objets ; une érotique de la distance ; une pensée de la communauté littéraire (telle que la manifeste le lien épistolaire) qui se sait adossée à la solitude d’écrire.----------------------------------------------------------------------------MALLARMÉ, UMA POÉTICA DO DOM (A PROPÓSITO DE LOISIRS DE LA POSTE E AUTRES RÉCRÉATIONS POSTALES)O jogo f

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Utrera Torremocha, María Victoria. "El “Canto a la Argentina”, de Rubén Darío, en la tradición métrica de la poesía hímnica." Rhythmica. Revista Española de Métrica Comparada, no. 15 (February 2, 2018): 163. http://dx.doi.org/10.5944/rhythmica.21195.

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En este trabajo se lleva a cabo un análisis métrico del “Canto a la Argentina” de Rubén Darío” en relación con la oda y el himno heroicos y con las nuevas vías rítmicas de la poesía moderna. En el poema de Darío se combinan diversos metros, entre los cuales los ritmos ternarios del eneasílabo y, especialmente, el decasílabo anapéstico en serie revelan la relación dialógica con la tradición épica y el “Himno Nacional” argentino.In this study, a metrical analysis is undertaken of Rubén Darío’s “Canto a la Argentina,” using the heroic ode and hymn as points of reference, together with the innovat

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Whissell, Cynthia. "Emotion and Closure in the Sound Expressiveness of Quatrains from Fitzgerald's Rubaiyat of Omar Khayyam." Empirical Studies of the Arts 18, no. 2 (2000): 135–49. http://dx.doi.org/10.2190/r59x-f3l2-ac8f-j99e.

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This article follows two branches of Tsur's cognitive poetic theory to their logical conclusion and applies them to Fitzgerald's Rubaiyat of Omar Khayyam where they are fully validated. The first branch emphasizes the expressiveness of speech sounds (phonemes) and the second branch the importance of the Gestalt principle of closure to poetry. Rubaiyat were phonetically transcribed and their phonemes were then categorized in terms of emotional character. The closural device of a return to baseline described the preferential use of active phonemes in the rubaiyat while the closural allusion of d

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