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Journal articles on the topic 'Rhyming poetry'
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LIN, HONG. "TOWARD AUTOMATED GENERATION OF CHINESE CLASSIC POETRY." New Mathematics and Natural Computation 09, no. 02 (July 2013): 153–81. http://dx.doi.org/10.1142/s1793005713400024.
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The forms of Chinese classic poetry have been developed through thousands of years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary to keep the classic poetry up to date in the new settings of modern Chinese language. To ease the transition process, computing technology is used to help the readers as well as poetry writers to check the compliance of poems in accordance with the forms and to compose poems without the effort to learn the old grouping of rhyming words. A piece of software has been developed in a faculty/student research project at the University of Houston-Downtown to verify this idea. This software, called Chinese classic poetry wizard, provides the functionality of checking metrical forms and rhyming schemes. It also allows users to edit rhyme dictionaries and metrical forms. The new rhyming scheme proposed in this paper should rationalize the composition rules of classic Chinese poetry in the modern society; and the poem composition wizard will provide a handy tool for poem composition. This work will help revive Chinese classic poetry in modern society and, in a sequel, contribute to the current campaign of advocating Chinese traditional teachings.
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Chepiga, Valentina P. "Silver age of Russian poetry into French: towards the problem of poetic translation." Tyumen State University Herald. Humanities Research. Humanitates 8, no. 2 (2022): 79–93. http://dx.doi.org/10.21684/2411-197x-2022-8-2-79-93.
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This article studies the problems of translating Silver Age Russian poetry into French, namely Vladimir Mayakovsky, Anna Akhmatova, Marina Tsvetaeva, and Nikolai Gumilev. The author examines the main anthologies of Russian poetry published in France in the 20th century: the anthologies of 1947, 1965 and 1985, all three published by Paris publishers. This article focuses on the peculiarities of the translations, when analyzing the translation transformations and examining the strategies of translation practice in France. The linguistic form, consisting of the four macro-levels: morphology, word formation, vocabulary and syntax — is one of the most difficult both to translate and to compare translations. What strategies French translators use determines the degree of equivalence of the translation. The author also looks at the notion of the creativity of poetic translation and analyzes the strengths and weaknesses of rhyming and non-rhyming translations. Unrhymed translation brings us closer to conveying the meaning of the poem, but it deprives the poem of rhythm and melody, as well as reduces emotionality. A rhyming translation can convey the emotionality of the poem, but the search for rhyme can lead to approximation and diminish the equivalence of the poem. The author explains the choice of each translation strategy: in a rhyming translation, translators seek to preserve the author’s rhyme image, the “breath” of the poem; while in a non-rhyming translation, the translator is often “closer” to the original.
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Lin, Hong. "Software Aided Classic Chinese Poem Composition." International Journal of Computer-Assisted Language Learning and Teaching 4, no. 1 (January 2014): 63–83. http://dx.doi.org/10.4018/ijcallt.2014010104.
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The forms of Chinese classic poetry have been developed through thousands years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary for the classic poetry writing to be done in the new settings of modern Chinese language. In order to maintain the continuation of the poetry forms, computing technology can be used to help the readers as well as poetry writers to check the compliance of poems in accordance to the forms and compose poems without the effort to learn the old grouping of rhyming words. This work will help revive Chinese classic poetry in modern society and promote its writability.
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Tartakovsky, Roi. "Towards a theory of sporadic rhyming." Language and Literature: International Journal of Stylistics 23, no. 2 (May 2014): 101–17. http://dx.doi.org/10.1177/0963947013502404.
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A surprising amount of 20th-century (and earlier) English-language poetry employs rhyme, but not the rhyme we normally think of, which marks the end of the line in metrical poetry, but a kind of half-intentional half-accidental rhyme that can appear anywhere within the text. This type of rhyming, which I term ‘sporadic’ and distinguish from ‘systematic,’ has illuminating potential as it relies on, but also departs from traditional rhyme functions. As such, it asks for a new theorization. In this essay I elaborate the core characteristics of sporadic rhyming, and then exemplify and qualify these through a series of readings.
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McCormack, Andy. "Rhyme time." Nursery World 2020, no. 5 (March 2, 2020): 22–24. http://dx.doi.org/10.12968/nuwa.2020.5.22.
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Johnson, Joel A. "Oppressive Rhyming: George Orwell on Poetry and Totalitarianism." Perspectives on Political Science 48, no. 3 (January 18, 2019): 162–69. http://dx.doi.org/10.1080/10457097.2018.1535212.
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Chasar, Mike. "The Business of Rhyming: Burma-Shave Poetry and Popular Culture." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 29–47. http://dx.doi.org/10.1632/pmla.2010.125.1.29.
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This essay uses the example of the long‐lived and popular Burma‐Shave advertising campaign to argue that literary critics should extend their attention to the vast amounts of poetry written for advertising purposes in the nineteenth and twentieth centuries. The Burma‐Shave campaign—which featured sequences of rhyming billboards erected along highways in the United States from 1926 to 1963—not only cultivated characteristics of literary and even avantgarde writing but effectively pressured that literariness into serving the commercial marketplace. At the same time, as the campaign's reception history shows, the spirit of linguistic play and innovation at the core of Burma‐Shave's poetry unintentionally distracted consumers' attention away from the commercial message and toward the creative forces of reading and writing poetry. A striking example of popular reading practices at work, this history shows how poetry created even in the most commercial contexts might resist the commodification that many twentieth‐century poets and critics feared. (MC)
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Aleksandrova, Steliana. "Rhymes in the Poetry of Konstanty Ildefons Gałczyński (Aspects of Translation into Bulgarian)." Zeszyty Cyrylo-Metodiańskie 12 (December 15, 2023): 182–94. http://dx.doi.org/10.17951/zcm.2023.12.182-194.
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The article is devoted to the rhymes in the poetry of Polish author Konstanty Ildefons Gałczyński and the ways they have been translated into the Bulgarian language. First, distinguishing features of the poetic text and the concept of rhyme are discussed, after which basic characteristics of rhymes in Polish poetry are noted. An overview of Gałczyński’s translations into Bulgarian leads to the main focus of the paper which concerns translators’ difficulties in converting the original rhyming pairs into the target language. The analysis is based on three translations of one poem: “Rozmowa liryczna” (“Lyrical Dialogue”), made by two prominent translators, Parvan Stefanov and Dimitar Pantеleev between 1960 and 1984. The observations indicate that the Bulgarian versions of the poem modify the original rhyming patterns due to the specificity of each language, as well as the translators’ individual aesthetic preferences. Almost all rhyming lexical units in the Polish text are adjacent and feminine, while there is a significantly more frequent use of cross and masculine rhymes in the three Bulgarian versions. Also, the translators refuse to preserve several irregular rhymes. The article concludes that the approaches of Stefanov and Panteleev are related to general trends in translating rhymed poetry from Polish into Bulgarian. Among them, the increased presence of masculine rhymes, largely dictated by the analytic nature of the Bulgarian language, seems prominent.
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Ward, Barbara A., Rebecca Kai Dotlich, Elaine Magliaro, Jonda C. McNair, Mary Napoli, and Terrell A. Young. "Children’s Literature Reviews: Poetry for Children at Its Best: 2009 Poetry Notables." Language Arts 87, no. 6 (July 1, 2010): 478–86. http://dx.doi.org/10.58680/la201011545.
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However you like your poetry, whether in free verse or rhyming couplets, each year seems to bring new delights in the world of poetry, and this one was no exception. It seemed as though our poets simply got better and the poems they created were even more memorable than before. In this year’s list of the 20 notable poetry books, members of the NCTE Excellence in Poetry Committee hope readers discover a poem or two that will help you imagine all the possibilities of the spoken and the written word.
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Khan, Muhammad Yaseen. "Edit distance-based search approach for retrieving element-wise prosody/rhymes in Hindi-Urdu poetry." Indian Journal of Science and Technology 13, no. 39 (October 24, 2020): 4189–201. http://dx.doi.org/10.17485/ijst/v13i39.1489.
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Background: Prosody (rhyming words) is a connatural element of poetry, throughout its reach, across thousands of languages in the world. Since medieval era, the Indic poetry (principally the Hindi/Urdu poetry) has created an impactful flamboyance w.r.t the subjects, styles, and other creative aspects in poetry. Besides the message of heartfelt poetry, we see the Qafiya (i.e., rhyming words) is the core element, without which we may not consider anything Hindi/Urdu poetry but merely a piece of writing; alongside it, Radif (i.e., a phrasal suffix to qafiya) is also considered next to the intrinsic part in Ghazals. In this regard, the contributions of this paper are one–the development of an optimal technique for the prosodic (qafiya) suggestions/retrieval in Hindi/Urdu poetry; and two–the qafiya suggestions based on the attached subsequent radif. Methods: The work in this paper involves usage of a 13.46 M tokens tri-script corpus of poetry. Instead of phonetic value matching, the proposed methodology employs four different Edit Distances (i.e., Levenshtein, Damerau–Levenshtein, Jaro–Winkler, and Hamming distance) as the comparison measures for prosodic suggestions. Findings: The proposed work shows better results in comparison to ‘Qaafiya Dictionary’ powered by rekhta.org. Moreover, w.r.t the inter-metric similarity and running time Jaro–Winkler appears to be the most optimal algorithm for the rhyme suggestion, whereas the Levenshtein distance is the laziest technique. Novelty/Applications: This work benefits researchers of Indic natural language processing for lexical look-ups and analysis of creative literature, especially poetry.
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Mbaye, Babacar. "Rhyme's Challenge: Hip Hop, Poetry, and Contemporary Rhyming Culture." Popular Music and Society 39, no. 1 (December 2, 2014): 134–36. http://dx.doi.org/10.1080/03007766.2014.988432.
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Bhandari, Indra Bahadur. "Context of Poetry Teaching." Academia Research Journal 2, no. 1 (February 13, 2023): 177–82. http://dx.doi.org/10.3126/academia.v2i1.52357.
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Poetry is one of the most effective and widely written genres of literature. Looking at its form, it ranges from small compositions to large discourses. Poetry is created by the proper combination of sense and rhyme. It has a mixture of imagination and intelligence. The poem is written in both verse and prose styles. A specific form of language is used in poetry. Teaching the specific form of language poetry is considered as the most appropriate material to teach students of different levels the specific form of language. In poetry teaching, poetry teaching moves with the aim of improving pace, rhythm and rhythm, practicing reciting pronunciation, sentence structure, increasing vocabulary ability, developing compositional skills, develops the ability to express the meaning of specific characters, developing linguistic skills, and developing imagination. It is appropriate to do. Activities that attract students to the subject matter should be done first. After that, the difficulty related to semantics should be solved and knowledge on rhyming and poetic structure should be made. When teaching rhyming, first the teacher or the student should make ideal recitation, then group recitation and solo recitation should be done. After understanding the theme, the students should be encouraged to understand the poem after the question and answer session. As far as possible, pictures should also be displayed. The sense of intent should be made clear by repeatedly checking. An atmosphere should be created to determine the meaning of the poem itself. You should also make them write by giving questions that make the feeling clear. While doing these activities, students should be alerted if they leave the main part. Poetry is a very useful form of language teaching. Maybe the common reader has also enjoyed poetry, but learning linguistic skills is given priority while studying poetry.
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Yahya, Shaymaa Imad. "The poem “Idhhar Amwaj” by Al-Nabi, A Linguistic Study." JOURNAL OF LANGUAGE STUDIES 5, no. 4, 1 (August 31, 2022): 139–53. http://dx.doi.org/10.25130/jls.5.4.1.12.
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Nabi is one of the greatest Turkish poets in the poetry of Nudhum. He was born ın Urfa in 1642 and died ‘n Istanbul in 1712. He is one of the Divan poets and is famous for this style of poetry. Nab’ has vast imaginations in the field of Turkish poetry, for this pen used to write profusely. Most of his poems were based on the principle of poetry for the people. His poetry was in the shape of a rhyming couplets. Nabi was also capable of popular proverbs and aphorisms. He is the one who established a poetic style for himself along with his contemporaries, that is the style of poetry of Nudhum.
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Lyudmila B., Khavzhokova. "Metric-rhyming system of the Adyghe verse: problems of formation and development." Kavkazologiya 2023, no. 1 (March 30, 2023): 253–66. http://dx.doi.org/10.31143/2542-212x-2023-1-253-266.
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The article examines the metric-rhyming system of the Adyghe (Kabardian, Circassian, Ady-gheyan) literary verse. Metrics and rhyme, as well as the versification system, haven’t become the subject of special study to this day, which is the reason this stated topic is addressed. The primary attention, on one hand, is focused on the specifics of the syllabic-tonic meters (trochee, iambic, dactyl, amphibrach, anapest) development and the features of their functioning in different genres and genre forms, but on the other hand, the evolution of rhyme in national poetry is traced. The scientific novelty of the work lies in the first attempts to make a comprehensive study of the met-rical-rhyming system of the Adyghe verse at all stages of its development. Based on the results obtained, it is established that in the written poetry of the Circassians during the initial period of evolution, the “double rhyme” was applied; to date, all syllabi-tonic poetic meters in their multi-footed variations have been widely developed.
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Hughes, Janette Michelle, Laura Jane Morrison, and Cornelia Hoogland. "You Don’t Know Me: Adolescent Identity Development Through Poetry Performance." in education 20, no. 2 (October 24, 2014): 59–77. http://dx.doi.org/10.37119/ojs2014.v20i2.160.
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Our study concerns adolescents using poetry writing as an interrogative and creative means of shaping and creating “voices” or “identities.” Toronto-based high school students were challenged to be creators (rather than solely consumers) of available social practices within a digital landscape using mobile devices and social networking platforms. The students engaged in the processes of creating poetry that included experimentation with form (including spoken word, found, and rhyming couplet poetry), research, and writing-induced challenges of received ideas. Their creations of their multiple “Resonant Voices,” which in some cases were powerful statements of self-discovery and social criticism, were further amplified because they occurred in a formal educational setting.Keywords: adolescents; identity; digital literacies; multiliteracies; poetry; social practices; social networking sites; Facebook; pedagogy; mobile devices; Android app; poetic inquiry; metacognitive
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Dreyzis, Yulia Alexandrovna. "Poetic topolectization in the formative years of the Chinese “new poetry”." Ethnic Culture 5, no. 3 (August 28, 2023): 29–36. http://dx.doi.org/10.31483/r-107456.
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The paper explores the infiltration of topolect into the poetry of Liu Bannong and Crescent Moon Society authors, induced by the Folksong Collection Movement, often labeled as introducing vernacular into poetry. The language of Liu Bannong’s New Poetry presents a complex hybrid between the emerging literary norm, local Beijing vernacular and his native lect of the northern Taihu region. Many contemporaries noted his poetry’s merits and his invaluable contribution to New Poetry development, greatly facilitated by Liu Bannong’s professional linguistic training. Following Liu Ban Nong’s footsteps, the Crescent Moon Society suggested experimenting with a new poetic language through the prism of the vernacular. Theorizing was supported by poetic practice: the authors of the Crescent Moon Society included topolect vocabulary in the texts abundantly, and directly marked individual poems as colloquial. In addition to inlaying topolect vocabulary or including large fragments of text written in topolect, topolectization was also carried out through rhyming. Despite the fact that further influence of this topolect poetry remained underestimated, the emerging connection between topolect and the authentic embodiment of the idea of a national language has become important for any discussion about language reform in the new China.
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Chen, Quanze, Chenyang Lei, Wei Xu, Ellie Pavlick, and Chris Callison-Burch. "Poetry of the Crowd: A Human Computation Algorithm to Convert Prose into Rhyming Verse." Proceedings of the AAAI Conference on Human Computation and Crowdsourcing 2 (September 5, 2014): 10–11. http://dx.doi.org/10.1609/hcomp.v2i1.13189.
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Poetry composition is a very complex task that requires a poet to satisfy multiple constraints concurrently. We believe that the task can be augmented by combining the creative abilities of humans with computational algorithms that efficiently constrain and permute available choices. We present a hybrid method for generating poetry from prose that combines crowdsourcing with natural language processing (NLP) machinery. We test the ability of crowd workers to accomplish the technically challenging and creative task of composing poems.
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Al-Rifai, Nada Yousuf. "Exile and homesickness in the poetry of Ahmad Shawqi." Advances in Social Sciences Research Journal 8, no. 2 (February 28, 2021): 425–75. http://dx.doi.org/10.14738/assrj.82.9741.
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Ahmad Shawqi was raised in the royal palace, where his maternal grandmother – who sponsored him after the death of his mother – was a favoured maid at Khedive Ismail. Shawqi studied law in Egypt and Paris, and when he returned to Egypt, he became poet Laurette for Khedive Abbas Helmy II. Although Shawqi was brought up in the royal palace, as a poet, he felt the pulse of the Egyptian people and felt their pain and dreams. After the First World War broke out, in 1915, Shawqi was exiled to Spain where he was swept away by longing for his homeland. During his exile, the 1919 revolution erupted in Egypt, and his longing for his homeland intensified, and obsessed his heart and soul. Exile was the greatest ordeal that Shawqi went through in his life. In exile, he did not find relief except when resorting to his poetry, to which he revealed the pains of his heart. He also visited the memorials of the Muslims and their reign and civilization in Seville, Cordoba, and Granada. This resulted in Shawqi composing his lengthy poem “Arab countries and the greats of Islam”. Shawqi’s poems are considered masterpieces for their sincerity of emotion and beauty of description. Perhaps the most famous of these is The Seeniya; rhyming with the letter S, entitled “The Journey to Andalusia”, and his other longing poem, “The Nouniya; rhyming with the letter N”, in which he opposed the famous medieval Arab Andalusian poet, Ibn Zaidoun.
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Berschin, Walter. "Early Medieval Latin Poetry of Mary." Studies in Church History 39 (2004): 112–25. http://dx.doi.org/10.1017/s0424208400015035.
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In the tenth century Gandersheim was a small, proudly independent principality ruled by women. All who belonged to Gandersheim (except for the servants) were of noble birth, taking vows as canonesses - that is, free to leave the abbey, if they wanted. Hrotsvit, born around 935, was one of these canonesses. She was well aware of her talent for writing Latin and - as she confessed later in a rhyming prose-preface - ‘was not to lie sluggish in the heart’s dark cavern and be destroyed by the rust of negligence, but rather struck by the hammer of unfailing diligence, was to echo some small ringing note of divine praise.’ ‘In complete secrecy’ she began to write poems based on writings she had found in the library of Gandersheim.
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He, Fan. "THE PHENOMENON OF REPLACEMENT OF VOICEd-VOICELESS CONSONANTS IN RUSSIAN POETRY (BY THE EXAMPLE OF EXACT RHYMES IN LERMONTOV’s EARLY LYRICS (1828-1832))." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (October 25, 2019): 824–31. http://dx.doi.org/10.35634/2412-9534-2019-29-5-824-831.
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The aim of the article is to identify the phenomenon of the replacement of voiced-voiceless consonants in Russian poetry and to study its use for exact rhymes in Lermontov’s early lyrics. The main content of the article is the analysis of replacement of voiced-voiceless consonants as a phonetic phenomenon and a corresponding method of rhyming in Russian poetry, the history of its employment in Russian poetry. The analysis helps to reveal the conditions of the use of replacement of voiced-voiceless consonants in exact rhymes of Lermontov’s early lyrics. In the article, the new materials and statistical data of different kinds of rhymes in Lermontov’s early lyrics are summarized. The article is directed to the specialists in the history of Russian literature and the researchers of Lermontov’s works in general.
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Doud, Robert E. "Nature's Bonfire, Million-Fueled: The Poetic Cosmologies of G. M. Hopkins and A. N. Whitehead." Horizons 36, no. 1 (2009): 78–98. http://dx.doi.org/10.1017/s0360966900005983.
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ABSTRACTThis article provides a critical interpretation of Gerard Manley Hopkins' poetry and vision of reality by comparing some of his focal ideas with those of Alfred North Whitehead. There is a fairly explicit theological cosmology in Hopkins' poetry, just as there is poetic expression in the cosmology of Whitehead. The creative and idiosyncratic terms and phrases of Hopkins are explained as they are correlated with technical terms in Whitehead's cosmology. Some of the comparisons or tentative equations worked out in this article include creativity in Whitehead with instress in Hopkins, concrescence in Whitehead with inscape in Hopkins, style in Whitehead with selving in Hopkins, selftaste with satisfaction, and transmutation in Whitehead with rhyming in Hopkins.
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Zec, Draga. "A linguistic investigation of disyllabic or feminine rhymes in Serbian poetry." Juznoslovenski filolog 77, no. 2 (2021): 127–56. http://dx.doi.org/10.2298/jfi2102127z.
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This paper focuses on the prosodic properties of disyllabic, that is to say, feminine rhymes in Serbian poetry. On the basis of a quantitatively analyzed poetic database, which includes eight poets, four from the Romantic and four from the Post-Romantic period, we have identified word stress as a highly relevant prosodic property. The investigation of its role in creating rhyming pairs resulted in a classification of feminine rhymes into three types: resonant, semi-resonant, and non-resonant. This classification is based on the presence or absence of stress in the domain of rhyme, which begins with the rightmost strong metrical position in a line, followed by a weak final syllable. In resonant rhymes both lines that form a rhyming pair contain stress in their domains, in semi-resonant rhymes only one of the lines contains stress, while in non-resonant rhymes, stress is absent from both. The role of stress is demarcative: it signals the beginning of the domain of rhyme, thereby considerably promoting its effectiveness. The most effective are resonant rhymes, with demarcated domains in both lines, next in effectiveness are semi-resonant rhymes, with demarcation in only one of the lines, while non-resonant rhymes, which lack demarcation, are the least effective. Based on this classification, clear differences can be established not only among individual poets, but also among poetic eras. Moreover, the classification of feminine rhymes into resonant, semi-resonant and non-resonant allows for a detailed insight into their lexical composition, that is, into the prosodic profiles of words that constitute them.
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Siallagan, Emmanuella Anggi, and Ika Alfina. "Poetry Generation for Indonesian Pantun Using SeqGAN and GPT-2." Jurnal Ilmu Komputer dan Informasi 16, no. 1 (March 1, 2023): 59–67. http://dx.doi.org/10.21609/jiki.v16i1.1113.
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Pantun is a traditional Malay poem consisting of four lines: two lines of deliverance and two lines of messages. Each ending-line word in pantun forms an ABAB rhyme pattern. In this work, we automatically generated Indonesian pantun by applying two existing generative models: Sequential GAN (SeqGAN) and Generative Pre-trained Transformer 2 (GPT-2). We also created a 13K Indonesian pantun dataset by collecting pantun from various sources. We evaluated how well each model produced pantun by its formedness. Measured by two aspects: structure and rhyme. GPT-2 performs better with a margin of 27.57% than SeqGAN in forming the structure and 22.79% better in making rhyming patterns.
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Almaktary, Hussein. "A Poetic Approach to Teaching English: Personal Account." Journal of English Studies in Arabia Felix 1, no. 2 (October 10, 2022): 1–10. http://dx.doi.org/10.56540/jesaf.v1i2.23.
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This paper accounts for teaching English vocabulary through rhythmic patterns, including short verses. It is a personal account of poetry as a valuable tool for both learners and teachers. Adopting a qualitative research design, the study set out to refute the longstanding view that poetry is hard to learn and teach. It derives illustrations from the researcher’s personal experience, who is basically, besides composing poems, a teacher of English as a foreign language and curriculum designer. Ten short poems were used to clarify that poetry, which has taken a backseat in English language teaching for years, can now be a vivid teaching approach that numerous teachers and ELT experts advocate. On the main, verse-based teaching is motivational, amusing, and scaffolding. Based on the discussion, the study recommends using simple and easy-to-understand verses to enhance vocabulary learning, partially because rhyming words are more memorable and useable in conversational English. The study concludes with some suggestions to strengthen the evidence of the viability of poetry in TESOL programs.
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Farizova, Nina. "Romantic Poetry and the TV Series Form: The Rhyme of John Logan’s Penny Dreadful." Adaptation 13, no. 2 (October 19, 2019): 176–93. http://dx.doi.org/10.1093/adaptation/apz026.
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Abstract The creator of the TV series Penny Dreadful John Logan has stated that he drew inspiration for the first three seasons (2014–16) from English Romantic poetry. Characters in the series read and recite Blake, Clare, Keats, Shelley, and Wordsworth; comment on the nature of poetry; and make emotional connections through poetic affinities. Simultaneously, the structure of the series is gradually revealed to the audience as a pattern of doublings and couplings, of mirrors and parallels—all of which can be associated with the poetic device of rhyme. Rhyming shapes the sensory and cognitive experiences of the audience of the series; it also reflects the order of the diegetic universe, be it a freakish correspondence of incongruous things or God’s plan. Since these aesthetic choices seem to be part of the creator’s highly self-conscious design, the series becomes an adaptation of Romantic poetry, not only directly using the historical Romantic texts, but re-enacting in its organization the epistemological practice that rhyme is for English poetry.
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Kwong, Charles. "Translating Classical Chinese Poetry into Rhymed English: A Linguistic-Aesthetic View." TTR 22, no. 1 (October 21, 2010): 189–220. http://dx.doi.org/10.7202/044787ar.
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Rhyme is an important element in the fusion of sense and sound that constitutes poetry. No mere ornament in versification, rhyme performs significant artistic functions. Structurally, it unifies and distinguishes units within a poem. Semantically, it can serve to enhance or ironise sense. Emotively, it sets up pleasing resonances that deepen artistic appeal. And prosodically, rhyme can be seen as the keynote in a melody: rhyme is a modulator of pace and rhythm, while rhyme change can mark a turn of rhythm and sense in a long poem. Different languages have different combinations of linguistic resources for versification. This essay will revisit the debate on the use of rhymed English to translate classical Chinese poetry, moving beyond the general observations and experiential insights currently available to present concrete evidence on the rhyming resources and practices of English and Chinese. These comparative observations should shed new light on the linguistic and aesthetic issues involved in using rhymed English to translate classical Chinese poetry.
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MOVCHUN, Larysa. "GRAPHICAL PARAMETER OF UKRAINIAN RHYME." Culture of the Word, no. 92 (2020): 155–65. http://dx.doi.org/10.37919/0201-419x-2020.92.13.
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This study deals with the classification of Ukrainian rhymes based on visual and phonic signs. Ukrainian orthography is based on the phonemic principle, taking into account morphological, traditional and differential. It is well adapted to reproduce the consonance of words in a letter, so predominantly the reader does not experience the feeling of splitting the image of the rhyme. Despite the clarity of the concepts ‘visual’ and ‘phonic’, the terms ‘visual rhyme’ and ‘phonic rhyme’ defined in the scientific literature differently. Our purpose was to study the means of visual representation of rhyming words and analyze the degree of coincidence of the visual images of the rhyme components. Mainly the aesthetic intention is an impulse of employing graphic techniques that estrange visual images of components from each other or bind them on the basis of orthographic deviation. The authors of modern poetry actively apply foreign letter inclusions, rows of dots, figures and other non-alphabetic signs. Analysed material gave grounds for the rhymes distribution to phonic, formally phonic, phonic-and-visual, visual-and-phonic, formally visual. In phonic rhymes, the relative parts of the rhyming words are not identical in the letter. Formally phonic group includes rhymes with non-literal or foreign-literal components. Phonic-and-visual rhymes takes into account the cases of traditional notation of some letters. The vowels of these rhymes are identical. Visual-and-phonic rhymes expect complete correspondence between the vowels and the letters of the correlative parts of the rhyming words. Formally visual rhymes cover cases of visual identity of correlated parts of the rhyming words and dissimilarity of vowels. A refined rhyme classification will help to originate a modernized general systematics of Ukrainian rhymes.
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Sudardi, Bani, and Istadiyantha Istadiyantha. "Malay Poetry Socialization For The Nation's Moral Education." International Journal of Progressive Sciences and Technologies 41, no. 2 (November 19, 2023): 320. http://dx.doi.org/10.52155/ijpsat.v41.2.5695.
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This study method seeks to understand more about the excellent moral teachings in traditional Malay poetry. This study was carried out using a moral perspective and a qualitative approach that presents and describes data objectively. The data source for this study is classical Malay poetry, which presents moral ideas that are considered to be guidance for future generations of Indonesians despite the development of time and modern living. The document approach was used to collect data in this study. The results of this study show that syair (poetry), as an old literary output, expresses high values and recommendations that have a profound connection to society. Poetry expresses the author's feelings, thoughts, or personal experiences via rhyming and rhythmic stanzas. Moral education can be instilled through the means of Malay classical poetry education. The two poems discussed in this study reflect teachings based on morality about how people must live well in order to become good individuals and how they must avoid bad behavior by imbibing and implementing moral values and teachings that are good and acceptable to society. Educators can use classical Malay poetry to socialize the values of moral education on the poems (syair) as a guiding reference for the lives of the younger generation in today's modern era
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Wewer, Taina. ""I have ants in my pants": Classroom Rhyming Inspired by Roald Dahl's Poetry." Bookbird: A Journal of International Children's Literature 51, no. 3 (2013): 74–80. http://dx.doi.org/10.1353/bkb.2013.0040.
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Semenov, Vadim Borisovich. "Guillaume Troubadour and the Englins (towards the construction of the "Welsh" hypothesis of the origin of European rhyming stanzas)." Litera, no. 8 (August 2022): 171–86. http://dx.doi.org/10.25136/2409-8698.2022.8.38539.
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The subject of the study is the real and probable connections of Aquitanian (and in particular Poitevin) poetry of the High Middle Ages with the traditions of early Medieval Celtic (and in particular Welsh) literature. A narrower topic of research was the influence of Welsh poems in the form of Englyns on the early samples of Guillaume IX's poetry, primarily in the early forms of englyn milwr and englyn penfyr. An additional subject of research was the metric features of these early forms of Englyns. At the same time, a broader topic of research was the topic of the possible origin of exact rhymes in continental poetry of all subsequent historical periods from an ancient Welsh poetic source. The novelty of the study lies in the fact that, firstly, within its framework, for the first time in European literary studies, specific features of the metrics of early Welsh Englyns were considered, and secondly, for the first time in poetry, a hypothesis was presented about a possible Welsh source of the origin of the exact rhymes of the poetry of the troubadours and their followers, and this hypothesis was confirmed by separate historical and literary facts, as well as general directions of work with her were indicated. Important conclusions of the author are: 1) the hypothesis about the Welsh origin of European rhymes was considered against the background of the "Arabic" and "Latin" hypotheses and found no less consistent, 2) the considered early samples of Welsh Englyns demonstrated a much greater looseness of the meter than the researchers who wrote about them imagined, exact metric formulas for each of the two mentioned early forms were established, and with the help of these formulas, the non-syllabic character of the early Englins was proved.
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Islam, M. Adib Misbachul, Minatur Rokhim, and Muhammad Nida' Fadlan. "Literature and Society: Singir's Structure and Function for the Javanese Santri Community." Buletin Al-Turas 26, no. 2 (July 21, 2020): 253–68. http://dx.doi.org/10.15408/bat.v26i2.15218.
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AbstractThis article aimed to examine the structure of Javanese singir as an adaptation work of poetry tradition originating from outside Javanese culture and its function for the reading community. This study compared the six Javanese singirs of the library of Universitas Indonesia (Singir Ahli Suwarga, Singir Dagang, Singir Kiamat, Singir Nasihat Jaman Akhir, Singir Patimah, and Singir Santri) with some Arabic and Malay poetry and then discussed them in the social context of Javanese coastal communities. Through a comparative structural approach and sociological studies, this article found that Javanese singir was structurally linked with Arabic poetry rather than with Malay poetry. This could be found in the metrum system which was close to the metrum of kamil majzu’, and various rhyming patterns which were a combination of murabba’ rhyme and muzdawij. The influence of Malay poetry in the six singirs seemed to have little effect, which was limited to aspects of the rhyme pattern a-a-a-a, b-b-b-b that were not fully used. Through an examination of the connection between the six singirs and the reading community, this article also found that there were two functions of singir; entertaining, and didactic functions that taught various social and religious aspects to the Javanese santri community.
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Kruglyakova, Tatyana. "Spelling Rules as Poetry: How to Teach Russian?" Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 276–99. http://dx.doi.org/10.31860/2304-5817-2020-2-18-276-299.
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Poems that include formulas of spelling rules, specially written to help teacher of Russian Language were popular during the last century: one could find numerous rhymed rules in various textbooks, in article on teaching methodology, in tutorials, and in children’s books. Such rhymed rules address spelling mistakes, speech and versification errors, and distorted linguistic information. The article focuses on the problem of children’s perception and memorization of rhymed speech and expediency of usage of rhyming as a mnemonic method. Language particularities of didactical poems in Russian language (typical speech and grammatical errors, mistakes in poetic text construction) are considered. Children’s humorous modifications of the didactical poems ultimately serve as proof of their failure to deliver the desired educational outcomes. Ways of proposing linguistic information and its possible distortion (connected with text organization) are analyzed and studied. An important component question of this study probes why the Russian language teachers are still so fond of these poems as in-class instructional material.
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Gutsuliak, Mykola. "Uwagi o formie metrycznej polskich i ukraińskich wierszy Łazarza Baranowicza." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 5 (May 14, 2018): 192–202. http://dx.doi.org/10.24917/23534583.5.15.
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Polish and Ukrainian Poems of Lazar Baranovich in Metrical Aspect The purpose of the article is to provide a versificational analysis of poems written by Lazar Baranovich, the 17th cent. Ukrainian-Polish writer and church figure. The poems are investigated mainly in metrical aspect (partially also in stanzaic and rhyming aspects). The article shows which formal means were used frequently and which rarely. There is also an attempt to explain the motives of author’s application of a certain meter. ”Apollo’s Lute”, Baranovich’s poetry collection in Polish (1671), served to be the main textual source for the analysis.
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Pashabadi, Yadollah. "Technique and music of letter poetry in Nali’s poetry." Journal of the College of languages, no. 46 (June 1, 2022): 317–37. http://dx.doi.org/10.36586/jcl.2.2022.0.46.0317.
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Musicality is a fundamental feature of poetry that takes the interest of scholars and critics. Most poets rely on a variety of literary devices and techniques to bring music to their work like rhymes - words that appear at the end of lines in poetry - and on arranging words techniques in such a way to create a pseudo melody, which is achieved primarily by patterning (or repeating) certain sounds. Such a poetic rhetorical and verbal enhancer’s aspect represented ever since the beginning of the classical poetry has been manifested more evidently in Nali’s poetry. His poetry is marked with particular letters that have played a substantial role in the rhyming that rings like cymbals or jingle like internal elevated rhymes. Within a descriptive-analytical approach, the present study describes the musical techniques of Nali’s poetry, particularly of what is called letter poetry, and investigates the application of these letters as figures of rhetoric in Nali’s poetic style. The study traces the letter poetry types and its impacts on poetic meaning creation in the light of semantic framework. کورته مۆسیقای هۆنراوه هەر لە سەردەمانی کۆنەوه، گرنگییەکی تایبەتی پێدراوه و جێگەوپێگەیەکی ئەوتۆی له چوارچێوه و پەیەکەرەی شیعردا هەبووه. ئەم مۆسیقایه به ڕیزکردن و پاتبوونەوه و ڕێکخستنی وشە و پیته لێکچوو و هاوئاهەنگەکان پەیدا دەبێت. هەر له شیعری کلاسیکەوه تا ئەمڕۆ ئەم تەکنیکه له ڕازه و هونەره جۆربەجۆرەکانی ڕەوانبێژیدا خۆی نواندووه و دەرکەوتووه. له شیعری نالیدا به شێوازێکی زەق و بەرچاو پاتبوونەوەی پیتێکی دیاریکراو له هەندێ له هۆنراوەکانیدا دەورێکی مۆسیقایی بەهێز و زۆر دیاری به ئەستۆ گرتووه و ئاواز و مۆسیقای شیعرەکەی بەرزتر کردۆتەوه. به شێوەیەک که دەکرێت ناوی ئەو پیته ببڕین به سەر ئەو هۆنراوەدا و به «پیتەشیعر» ناوزەدی بکەین. ئەم توێژینەوە به شێوازی تەوسیفی – لێکۆڵینەوەیی هەوڵیداوه به خوێندنەوەی شیعرەکانی نالی هونەر و مۆسیقا و دەوری پیتەشیعر ڕوونبکاتەوه و وەک تەکنیک و هونەرێک له شێواز و شیعری نالیدا بیناسێنێت. له ئاکامدا توانیویه چەشن و کاریگەری و بەتایبەت لایەنە واتاییەکانی ئەم هونەره له شیعری نالیدا بخاته بەر چاو و تیشکی لێکۆڵینەوه و ڕاڤه و شرۆڤەیان لێبدات.
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Хавжокова, Л. Б. "Poetics of Ruslan Atskanov's sonnets: tradition and innovation." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 1(312) (June 26, 2023): 36–45. http://dx.doi.org/10.53598/2410-3489-2023-1-312-36-45.
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В статье исследуется сонетное творчество кабардинского поэта Руслана Ацканова. Основное внимание уделяется поэтике сонетов с целью установления их соответствия/несоответствия заявленному жанру. Выявляются главные мотивные линии, рассматривается образная система, исследуется метрико-рифмовочный комплекс. Детализированному анализу подвергаются отдельные сонеты, созданные по английской, итальянской и французской формам. Оценивается уровень художественного мастерства поэта, продемонстрированный при освоении этих жанровых форм. В целом в исследовании воссоздается индивидуально-авторский стиль Р. Ацканова, наиболее ярко проявившийся в сонетном творчестве поэта. The article examines the sonnets of the Kabardian poet Ruslan Atskanov. The main attention is paid to the poetics of sonnets in order to establish their accordance/discordance with the genre. The authors investigate the main motive lines as well as the figurative and metric-rhyming systems. Individual sonnets created according to English, Italian and French forms are subjected to a detailed analysis. The study assesses the level of artistic mastery of the poet, shown during the development of these genre forms. R. Atskanov’s extensive sonnetary, presented in four author’s poetry collections – “Ventilation” (2003), “Into the Circle” (2009), “After the Rain” (2014), “House in the Clouds” (2020) is presented as the material of the study. Based on the results obtained, the poet's contribution to the development of the "solid" form of the sonnet, the formation and evolution of the genre in Kabardian poetry is determined. The results of the study can be used in studying the history of Adyghe (Adyghe, Kabardian, Circassian) literature, recreating a complete picture of the evolution of the sonnet genre in national poetry, as well as in writing qualifying and other kinds of research papers.
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Gray, David. "Revising Robert Burns and the ‘No Female Bards’ of Ulster-Scots Poetry." Burns Chronicle 132, no. 2 (September 2023): 166–86. http://dx.doi.org/10.3366/burns.2023.0085.
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John Hewitt’s claim to ‘no female bards’ as part of the revival of what he called the rhyming weaver poets tradition narrowed the scope of scholarly interest, just as the once popular claim that many of the writers in this tradition were simply Robert Burns imitators had done. A variety of publications have provided a range of in-depth studies on the impact of Robert Burns in Ireland, and have done much to challenge the latter claim. However, the presence and output of Ulster-Scots women writers within this wider area of scholarship remains little known. Consequently, by exploring poetry from three writers, Olivia Elder, Sarah Leech and Margaret Dixon McDougall, this essay aims to advance several lesser-known eighteenth and nineteenth-century female Irish poets, add depth to the study of Ulster-Scots women’s writing, and provide new perspectives on Burns in Ireland.
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Bezrukov, Andrii. "Origins of a New Poesy in Late Medieval Europe: Proto-Renaissance Rhymes by Giacomo da Lentini and the Dolce Stil Nuovo." LITERARY PROCESS: methodology, names, trends, no. 21 (2023): 6–13. http://dx.doi.org/10.28925/2412-2475.2023.21.1.
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The article reviews the historical and literary background of a new poesy that appeared to be an outcome of the accumulation and release of the new poets’ creative energy in late medieval Europe. We primarily deal with the poesy of the Sicilian school and the Dolce Stil Nuovo (‘sweet new style’). The interest of literary criticism in the historical and cultural background of influential literary phenomena, which have not lost their relevance, is defined by the need for reinterpreting them in new paradigms. The methods of cultural, historical, biographical, hermeneutic, and comparative analyses as well as the method of generalisation have been exploited for this research. The European poetic tradition has passed a long way in searching for new forms and means of the artistic representation of reality. The emergence of the Sicilian School on the Apennine Peninsula in the 13th century became the initial stage of the literary and linguistic history of the Old World. It marked the beginning of Italian poesy the development of the Dolce Stil Nuovo and was largely the forerunner of Dante’s and Petrarch’s poems, laying the foundations of the philosophy of lyric poetry. The Sicilians gave a powerful impetus to the further development of poetic theory, images, and themes, which would be pivotal in stilnovismo, as well as to the assimilation of many authors of the Renaissance in Europe. The appeal to certain themes and motives as well as their transformation highlighted the idea of Sicilian authors about poetry as a specific kind of philosophy. We emphasise that the time of origination and a highly cultured environment have caused the refinement of art forms and stylistic devices for revealing the conceptual content of such verses. Giacomo da Lentini reconceptualised the approaches to rhyming and poetising, and most importantly — to the psychological perception of reality and understanding of love in the metaphysical dimension. The ideological and aesthetic unity of the poets of the Dolce Stil Nuovo, who developed the innovations of da Lentini, made it possible to relate them with the writers of the early Renaissance. The article also focuses on the specifics of literary activity during the expansion of new European poetry leading to the invention of a sonnet as the poetic form that follows a particular rhyming pattern.
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Jati, Ariya. "Ear-Pleasing Devices in The Police’s “Every Breath You Take”." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 2, no. 3 (October 23, 2018): 39–47. http://dx.doi.org/10.14710/culturalistics.v2i3.3167.
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This essay is concerned with sound devices in The Police’s “Every Breath You Take”. The sound devices include the rhythm, metre, and rhyme in the lyric. The study is led by the relation between poetry and music, and it is intended to allow the relation to be used in the teaching of English language and literature. The study applies a textual analysis, and it adopts Cuddon’s concept of poetic sounds. The analysis shows a rhythmical metrics in the rhyming lines of the lyric. In brief, the lyric is not musical, but it is also poetic. It is expected that the study will be suitable for general readership in English language and literature, with specific interest in music.
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Metreveli, Tornike. "Rhyming the National Spirit: A Comparative Inquiry into the Works and Activities of Taras Shevchenko and Ilia Chavchavadze." Nationalities Papers 47, no. 5 (September 2019): 894–912. http://dx.doi.org/10.1017/nps.2018.59.
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AbstractThe article is a comparative inquiry into the roles of Ilia Chavchavadze (1837–1907) and Taras Shevchenko (1818–1861) as national poets and anti-tsarist intellectuals within the context of their respective national traditions (in Georgia and Ukraine). During the period of their activity (19th and the beginning of 20th century), both Ukraine and Georgia were under tsarist imperial rule (albeit the two poets lived in different periods of Russian imperial history). Through their major works, each called for their communities to awaken and revolt against oppression, rejected social apathy caused by tsarist subjugation, and raised awareness about the historical past of their nations. By comparing the works and activities of the two poets and examining their impact on national mobilization in tsarist Ukraine and Georgia, this article argues that (lyric) poetry rather than prose (novel) constituted the agency of common national imagining. It was lyric and not epic poetry or novel, this article shows, that laid the foundation of nationalist mobilization as it framed the revolt of the “I” against colonialism as a revolt of the “I” against an oppressive society under which the cultural grounds for common imagining had been constructed.
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Dreyzis, Yulia A. "The Revival of Poetry Declamation in Contemporary China: The Case of Fenchunguan Poetry Group (Guangzhou)." Oriental Studies 20, no. 4 (2021): 145–57. http://dx.doi.org/10.25205/1818-7919-2021-20-4-145-157.
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The paper presents a description of the contemporary practice of poetry declamation in one of the literary communities of Guangzhou, among the poets who associate themselves with the tradition of the informal Fenchunguan group. The members of the group are authors and performers of classical poetry. They take an active part in the movement for the revival of traditional declamatory practices which were widely popular until the first decades of the 20th century. Their example allows us to trace some features of the declamation (oral presentation) used to promote poetry in classical formats (written texts) and thereby expand our knowledge of the written-oral dichotomy functioning within the Chinese tradition. The paper details the genealogy of the Southern School of text presentation, related to Fenchunguan, and analyzes how authors and performers appeal to the traditional practice of verbalizing poetry to construct and maintain a distinct “southern” (Cantonese) identity. This practice is utilized to create a distinct subspace within the system of national and local literature: quite a significant contribution is made by the original performing techniques of the Southern School (truncation of duration at the beginning of beats; repetition of rhyming words at the ends of phrases that coincide with the end of a poetic line, with a transition to a different pitch; merging adjacent lines into one phonetic-melodic unit) and the deliberate use of a local lect (Cantonese). In the process of (re)discovering the declamatory phenomenon, it becomes loaded with new aesthetic, social, practical and personal meanings. Those who participate in its functioning, thus, contribute to the great come-back of the classical type poetry and the spontaneous nature of declamatory practice.
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Alina Imtiaz. "Stylistic Analysis Of William Wordsworth Poem “Three Years She Grew In Sun And Shower”." MAIRAJ 2, no. 1 (July 17, 2023): 12–27. http://dx.doi.org/10.58760/mairaj.v2i1.12.
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The aim of this paper is to analyze William Wordsworth poem “Three years she grew in sun and shower”. This stylistic analysis focused on four levels of languages which are phonological level, graphological level, lexical level and grammatical level covering the sounds, rhyming scheme, literary devices and use of grammar. The phonological features employed in the poem were alliteration, assonance, metaphor, simile, personification, imagery and free repetition.The graphological features were use of capitalization and use of punctuation. This analysis found that Wordsworth positioned nature as essential part of life. As nature has power to educate better than all the wise. Nature was placed as a character in this poem nature is communicating with Lucy. In order to find the tools, tone, and all the other features of the poem the researcher apply the stylistic analysis method offered by Leech and Short in their works named “A linguistic guide to English poetry” in Longman (1969). This research is helpful to analyze the structure and style of Wordsworth’s poetry and his themes, views and treatment of nature.
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Dobzhanska-Knight, Nataliia. "TRANSLATING RELIGIOUS POETRY BY A NON-NATIVE – A TRANSLATOR’S PERSPECTIVE (BASED ON THE TRANSLATION OF THE “AKATHIST HYMN TO OUR LADY IN HOLM ICON GLORIFIED” FROM UKRAINIAN INTO ENGLISH)." RESEARCH TRENDS IN MODERN LINGUISTICS AND LITERATURE 1 (November 22, 2018): 17–31. http://dx.doi.org/10.29038/2617-6696.2018.1.17.31.
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The article deals with the peculiarities of translation of an Orthodox Christian poetic akathist prayer from Ukrainian into English by a native speaker of Ukrainian. The author analyses stylistic features of this type of religious discourse as well as processes involved in the translation work. The article dwells on the challenges and facilitating factors of translation. The challenges include a six-rhyme structure combined with a relatively poor selection of rhyming options, the syllable count, a system of word and sentence stresses different from Ukrainian, as well as a limited choice of vocabulary due to the peculiarities of style. The factors which facilitate the translation are also related to the stylistic features of akathist prayers which allow inversions and the use of alternative words and imagery as long as they are in sync with the style and the mood of the Orthodox hymn. The article shows which tools and procedures contribute to a successful result, in particular, rhyming dictionaries and thesauri. To secure the success of a translation performed by a non-native speaker of English, approval of the author and post-translation proofreading by a native speaker is indispensable, which includes both a clergyperson and a professional copyeditor. Consideration of all these factors will contribute to the quality of the translation.
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Weiskott, Eric. ""Loquela gravis iuvat": Gower's O deus immense and the Place of Poetry, 1398–1400." Studies in the Age of Chaucer 45, no. 1 (2023): 205–46. http://dx.doi.org/10.1353/sac.2023.a913916.
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Abstract: John Gower's medium-length Latin poem O deus immense , little thought of even by most Gowerians, brings his career into focus. O deus immense synthesizes strands of Gower's self-presentation pursued far more diffusely in his titanic trilogy Mirour de l'omme – Vox clamantis – Confessio Amantis . The place Gower clears for poetry in 1398, 1399, or 1400—the date of O deus immense is uncertain, a point addressed here at length—is characterized by its public, monitory, prophetic, and enigmatic dimensions. Focusing on the historically remote genre of political prophecy, this essay compares O deus immense with other Gowerian and non-Gowerian English political verse in English and Latin datable to 1398–1400, including Bede's Prophecy , an anonymous rhyming English poem of 1400 inedited until recently and therefore, like O deus immense , not factoring into previous critical assessments of the poetry of the Lancastrian coup. Attending to the complex relationship between poetics and politics at the turn of the fifteenth century in England, the essay positions O deus immense as pivotal in Gower's career and essential for an evaluation of what he contributed to the first generation of Lancastrian poetry. Gower's "most significant role" in the field of English political poetry, 1398–1400, was as its leading theorist and most skillful advocate, a role he plays most assiduously in O deus immense ; but it is both a credit to his depth of ambition and an explanation of the often violent contortions of his late Latin style that Gower's arguments for a poetry of moral clarity, social urgency, and political muscle transcend the very ideological commitments that transparently motivate them.
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Yazar, Emel, and Erhan Durukan. "Poetry Preferences of Secondary School Students - The Case of Trabzon Province." International Journal of Education and Literacy Studies 12, no. 1 (January 27, 2024): 25–36. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.25.
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In this case study which focuses on secondary school students (5th, 6th, and 7th grades), the goal was to investigate students’ preferences in poetry. In this study, the singular research designs have been employed. The context of the study was Trabzon city, and the participants were students in secondary schools in Ortahisar, Akcaabat and Yomra provinces in 2018-2019 academic year. The study was conducted with 490 students. Frequency and percentage calculations were made on the data obtained from opinion surveys and the results were analyzed. The study showed that in all three levels, three themes stood out: War of Independence and Ataturk, National Culture, and Reading Culture. Based on the findings, it was concluded that secondary school students like these three themes more and therefore prefer them more. Students prefer poems with 19-22 lines, both with rhythm and free verse and they prefer mostly rhyming poems. Also, title was found to be an important factor in poem preference and that students love and prefer poems with words they know, and lastly knowing the poet and that they know the poem beforehand also affected their preference positively.
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Al Farisi, Tsalits Abdul Aziz. "Eksistensi Bunyi pada Puisi-Puisi Raja Ali Haji." Stilistika: Jurnal Pendidikan Bahasa dan Sastra 13, no. 1 (January 29, 2020): 86. http://dx.doi.org/10.30651/st.v13i1.3659.
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ABSTRAKPenelitian ini bertujuan untuk mendeskripsikan pola persajakan pada beberapa puisi Raja Ali Haji dari perspektif bunyi, pola rima, dan simile yang kemudian mejadi ciri khas pola kalimat yang utuh pada jajaran ritme pemaknaan. Subjek penelitian adalah Gurindam Dua Belas karya Raja Ali Haji. Data dikumpulkan melalui kajian pustaka dan stilistika. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis. Hal tersebut dilakukan dengan cara mendeskprisikan fakta-fakta yang kemudian disusul dengan analisis. Peneliti mendeskripsikan fakta-fakta berupa diksi yang mengandung simile sekaligus pola bunyi yang kemudian disusul dengan analisis puisi Raja Ali Haji. Hasil temuan dalam penelitian meliputi unsur-unsur persajakkan dalam puisi Raja Ali Haji yang bertujuan untuk menemukan ciri khas kepenulisan gurindam pada pertengahan abad ke 18.Kata kunci: Simile, bunyi, rima puisiABSTRACT This research aims to describe the pattern of poetry in some poems of Raja Ali Haji based on a sound perspective, rhyming patterns, and simile which then characterizes the whole sentence patterns in the rhythm of meaning. The subject of research is Gurindam of Twelve works written by Raja Ali haji. Data collected through literature and stilistics study. This research method used description analysis. They are done by describing facts followed by analysis. On Ali haji Poetry, researches describe the facts of diction containing similes and sound patterns that are then followed by analysis. The findings in the study include elements of poetry in Raja Ali Haji's poem which aims to find the characteristics of the authorship of gurindam in the mid-18th century.Keywords: simile, sound, rima, poetry
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Polilova, Vera. "Spanish Romancero in Russian and the semantization of verse form." Studia Metrica et Poetica 5, no. 2 (January 28, 2019): 77–108. http://dx.doi.org/10.12697/smp.2018.5.2.04.
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In this paper, I analyze Russian translations and close imitations of Spanish Romancero poetry composed between 1789 and the 1930s, as well as Russian original poems of the same period marked by “Spanish” motifs. I discuss the Spanish romance as an international European genre, and show how this verse form’s distinctive features were transferred into Russian poetry and how the Russian version – or, rather, several Russian versions – of this form came into being. I pay special attention to the genesis of the stanza composed of a regular sequence of feminine (F) and masculine (m) clausulae FFFm. In Johann Gottfried Herder’s Der Cid, this clausula pattern was combined with unrhymed trochaic tetrameters, but, in early twentieth-century Russia, it emancipated from this metrical form, having retained the semantic leitmotifs of the Spanish romance, as well as its “Spanish” theme. I contextualize other translation equivalents of romance verse and compare them to the original Spanish verse form. I show (1) which forms poets used in translating romance verse and how those forms correlate (formally and functionally) with the original meter. Further, I discuss (2) when and how the trochaic tetrameters rhyming on even lines (XRXR) – originally used in translations of Spanish romances in German and English poetry – became the equivalent of romance verse in the Russian tradition. Finally, I demonstrate (3) how, in Konstantin Balmont’s translations of Spanish poetry, the FFFm clausula pattern lost its connection with trochee. After Balmont, other poets of the Silver Age of Russian literature started using it in original non-trochaic compositions to express “Spanish” semantics.
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Ivanova, Tetiana. "GENRE PECULIARITIES OF THE LITERATURE OF THE NORMAN PERIOD (12TH 13TH CENTURIES)." Scientific Journal of Polonia University 56, no. 1 (June 1, 2023): 63–68. http://dx.doi.org/10.23856/5610.
Full textAbstract:
The period of French domination left an important mark on the later history of English literature, which, in some cases, is more common with the artistic devices and style of French literature of the Norman period than with the study of Anglo-Saxon literature, from which it was artificially divorced. The Norman conquest conditioned certain specific features of language development. The main one was the spread of three languages in the Kingdom of England – French among the ruling class, English among the broad masses of the population, and Latin in church affairs and administration. This affected the linguistic and genre character of English medieval literature.Methods used in the study: general scientific (analysis and synthesis, induction and deduction), methods of theoretical research (from abstract to concrete), historical method Among the feudal lords, the most popular genre was chivalric poetry, which was brought from France by trouver singer-poets. The most common manifestation of chivalric poetry was the rhyming chivalric novel, which reflected the customs of the upper feudal class, promoted heroic deeds, the code of chivalric morality, and examples of human virtues. The novels about King Arthur and the Knights of the Round Table became the most popular.
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McIlfatrick-Ksenofontov, Miriam. "Fetching Poems from Elsewhere: Ciaran Carson’s Translations of French Poetry." Interlitteraria 21, no. 1 (July 4, 2016): 51. http://dx.doi.org/10.12697/il.2016.21.1.5.
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Ciaran Carson is a renowned Northern Irish poet with a distinguished record of translating poetry from Irish, Italian and French. This article focuses on his translation practice as evidenced in his three volumes of French poetry in translation: sonnets by Baudelaire, Mallarmé and Rimbaud; prose poems by Rimbaud; and poems by Jean Follain. Guided by the music, the matter, and the linguistic and ontological going-beyond of the originals, Carson variously ‘adapts’ prose poems to a rhyming alexandrine format, makes explicit use of derivation, shifts spatio-temporal perspective, and ‘doubles’ his French translations with English originals. Carson’s approach of ‘fetching’ poems from ‘elsewhere’ is assessed in the light of Meschonnic’s poetics of translation, which would define the overarching objective as producing new poems in English which do in English what the originals do in French. The analysis of Carson’s new poems is also informed by conceptualizations of creativity and originality arising from research in cognitive science, literary studies and critical theory. Carson’s practice of working under constraints suggested by the original poems and exploiting possibilities offered by and between the two languages leads to an expressive plurality that unsettles notions of source and target language. His translation artefacts and commentaries are examined for the light they shed on originality and derivation; writing and translating; the subjectivity of the translator; and the relationship between original poem and new poem.
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G. GIDO, NATHANIEL, MICHAEL VINCENT S. CASIÑO, and KISHA L. HALINA. "ELIZABETH BISHOP’S ONE ART: PHONOLOGICAL ANALYSIS." International Journal Of Multidisciplinary Research And Studies 05, no. 07 (July 11, 2022): 01–08. http://dx.doi.org/10.33826/ijmras/v05i07.2.
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Elizabeth Bishop Poem's One Art is utilizing textual analysis employing phonological analysis. The poem reveals rhyming sounds that are evident in poem like alliteration and assonance. It is argued that Bishop's poetry achieves real power just by being honest. In order to connect with her audience and write a poem about a subject that many people, especially women, care about, the poet, a woman draws on her own life experiences. She touches on a sensitive subject for many women when she mentions losing a gold watch or forgetting names: the dread of losing something dear to them, like their mother's watch, or of becoming older and forgetting things or experiencing memory issues. It's important to keep in mind that the poet's own experiences and viewpoints influence the poetry and aid in making the audience believe it. The reader will see a comparison of losses between several items in this poetry. The poet employed rich structural and sardonic structure to create a very straightforward but deep poem. She rejects the statement "Loss is not difficult to maser," so you can tell. The final line's shift to "Loss is not so difficult to learn" may be a sign that the poet is finding it harder and harder to cope with the loss of his loved one. Bishop demonstrates how embracing loss and losing the little things enhances the ironic nature of poetry. She is, after all, a tiny "one art." She thinks she can start a new life and progress if she can get out of pain and let go of her emotions, but she finds that to be too challenging. Bishop turns losing into an art form and investigates how, if we can master it, we may become detached from the hurt of loss. Elizabeth Bishop's father passed away when she was just eight months old, her mother later died of a mental condition, and she eventually lost her lover to suicide. We could therefore consider this poem to be partially autobiographical. In it, the poet lists a number of things we might lose in life in order of increasing importance, with the loss of a loved one serving as the list's ultimate resolution.
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Nastopka, Kęstutis. "Literary Intertextuality of Tomas Venclova‘s Poetry." Colloquia 42 (June 1, 2019): 29–47. http://dx.doi.org/10.51554/col.2019.28653.
Full textAbstract:
Borrowing from poetry which belongs to another literary epoch or is written in another language is a constituent part of poetic action. According to Thomas Stearns Eliot, “Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.” In semiotic terms, this can be described as transformation of another poetic language. Algirdas Julius Greimas said: “Meaning is nothing else but transposing one level of language into another level, or one language into another, a different one.” This paper aims to describe the traces of interaction of poets who wrote in different languages and to discuss the direction of transformation of poetic language.The most authoritative teacher of the young Tomas Venclova was Boris Pasternak. The early poems of the Lithuanian poet remind us of Pasternak’s poems from his collection Above the Barriers in their metric variations, rhyming schemes, and alliterative clusters. Two poems by Venclova dedicated to the memory of Pasternak were written in 1960 and 1961. What Venclova ‘steals’ from Osip Mandelstam is mostly semantic figures. In a number of poems, Venclova gets very close to the polyphonic language of this Russian poet. Joseph Brodsky is another constant dialogic partner of Venclova. Sometimes Venclova quotes or paraphrases Lithuanian poetic texts. His poems integrate Lithuanian history of the 20th century, and touch upon the themes of the Holocaust, partisan movement, and the victims of the occupational regime.The values paradigm in Venclova’s poetry is supported by Dante and Shakespeare, as well as a number of 19th and 20th century poets, such as Keats, Baudelaire, Rilke, Apolinnaire or Dylan Thomas. Cyprian Norwid’s “A Funeral Rhapsody in Memory of General Bem” and Czesław Miłosz’s “Ars Poetica?” are also used as poetic subtext. In his later period, Venclova wrote five poems on Biblical stories.Venclova’s connections with the Lithuanian poetic tradition can be defined as hyponymous relationship of belonging: the language and the historical memory. The poetic meanings created by Venclova are actualisations of subtexts of poetry written in many languages. Therefore we can consider Venclova to be a European poet who writes in the Lithuanian language.