Relevant bibliographies by topics / The poet

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'The poet'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "The poet"

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Sandler, Stephanie. "Scared into Selfhood: The Poetry of Inna Lisnianskaia, Elena Shvarts, Ol´ga Sedakova." Slavic Review 60, no. 3 (2001): 473–90. http://dx.doi.org/10.2307/2696811.

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Sandler analyzes the poetry of three contemporary Russian women poets, focusing on one poem by each poet from the late Soviet period. Using psychoanalytical theory and philosophical theories of the sublime, she assesses how fear creates a sense of self for each poet. In all the texts examined, the poet's self is shattered in order to be built up again. Poetic identity means a writer's identity, particularly to Sedakova and Lisnianskaia, and all three poets find a sense of self by resisting some conventional notions of the woman poet.
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Jones, Thomas. "Poem: Capitalist Poet." Critical Perspectives on Accounting 7, no. 5 (October 1996): 585. http://dx.doi.org/10.1006/cpac.1996.0059.

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Mestre, Juan Carlos, and Mark Aldrich. "El poeta / The Poet." Sirena: poesia, arte y critica 2006, no. 2 (2006): 108–15. http://dx.doi.org/10.1353/sir.2006.0158.

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Deudney-Theron, E. "Metapoëtiese raakpunte in die poësie van Gerrit Kouwenaar en Breyten Breytenbach." Literator 12, no. 2 (May 6, 1991): 49–58. http://dx.doi.org/10.4102/lit.v12i2.758.

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Prompted by the poem "brief in een fles voor breyten" in which a certain poetic relationship between the Dutch poet Gerrit Kouwenaar and the Afrikaans poet Breyten Breytenbach is implied, the author of this article traces the outlines of a meta-poetics common to both poets and through which their poetry has intertextual links with the poetics of among others Poe, Mallarme and Wallace Stevens. The following common denominators are found in Kouwenaars’s body of works and Breytenbach’s ("yk") and Lewendood: the proliferation of the subject, the ‘killing’ of life in language, the extended metaphor of food, eating and excretion and the living poem as a present absence.
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Amin, Prof Dr Waria Omar. "Al-Jawahiri In A Statistic Research." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 212, no. 1 (November 12, 2018): 185–210. http://dx.doi.org/10.36473/ujhss.v212i1.659.

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Muhammad Mahdi Al-Jawahiri (1898 – 1997) was born in Najaf city of Iraq, to a family of poets and traditional learning. His father, his two brothers, and many other members of his family were poets. He is considered the greatest poet in the history of Arab literature, and said to be the last Neoclassic Arab.This paper is a statistical study of Al- Jawahiri’s poetry. It shows the number of lines of each poem, the meters on which he composed them, and their percentage. It is the first statistic research ever conducted about an Arab poet. The conclusions are shown in a table in the end.
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Doost, Roger. "Poem: “The Accountant; The Poet”." Critical Perspectives on Accounting 8, no. 1-2 (February 1997): 146–48. http://dx.doi.org/10.1006/cpac.1996.0102.

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Zarodova, Yu P., N. O. Laskina, and I. E. Loshchilov. "Yuri Sopov’s Poem “Arthur Rimbaud” (1919): Text and Contexts." Studies in Theory of Literary Plot and Narratology 17, no. 1 (2021): 228–63. http://dx.doi.org/10.25205/2410-7883-2021-1-228-263.

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The article introduces publication of the full text of the narrative poem “Arthur Rimbaud” by the Omsk poet Yuri (Pyotr Ivanovich) Sopov (1897–1919), written shortly before his tragic death in the explosion at A.V. Kolchak’s residence on August 25 (or 26), 1919. The text previously had been known by fragments only, by virtue of quotations included in the newspaper obituary by the poet Georgy Maslov, who briefly survived Sopov. A number of details allow us to conclude that Sopov is fairly accurate when rendering facts of Rimbaud’s life and must have been familiar with the French poet’s biography, not just with echoes of the legend. Therefore, the numerous occasions in the poem, where he prefers fiction over fact, should be considered as the result of a deliberate choice. In the perception of contemporaries, the image of the author of the poem partially merged with the mythologized image of its hero. First of all, this concerns poets of the circle of the Omsk literary and artistic association “Chervonnaya Troika” and writers close to the group “Pamir” (“Siberian brigade”). The poet Leonid Martynov (1905–1980) repeatedly turned to the image of Rimbaud, translated his poems, compared his image, biography and character to his own, in poetry and in prose. The article shows that the perception of the French poet in Martynov’s creative laboratory during his long career was mediated by the memory of Yuri Sopov’s poem.
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Suleimanova, Maryam Saidovna, and Mariza Magomedova. "On the adequacy of translation of the lyrics by Fazu Aliyeva into the Russian language." Филология: научные исследования, no. 12 (December 2021): 21–29. http://dx.doi.org/10.7256/2454-0749.2021.12.37085.

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The subject of this research is the adequacy of translation of Avar poetry into the Russian language on the example of the poem “If They Will Draw My Portrait” by the National Poet of Dagestan Fazu Gamzatovna Aliyeva. The object of this research is the lyrical works of Fazu Aliyeva and other Dagestan poets. Using the method of comparative analysis, the authors draw parallel between the Avar and Russian versions of F. Aliyeva’s poem, which has been translated by the Russian poet-translator Vladimir Turkin. The goal of this article lies in the comparative study of the lyrical poem by the Avar poet and its literary translation into the Russian language. The question of the literary translations of poetic texts from the native languages into the Russian language remains relevant at all times. The degree of accuracy and adequacy of the translation of modern or classic Dagestan poetic texts into the Russian language is yet to be fully researched. The novelty of this work consists in comprehensive analysis of the adequacy of translation of the lyrical texts of the Avar poet Fazu Aliyeva into the Russian language. The adequate professional translation into the Russian language is invaluable for the development of literature of the Caucasian peoples (and all national literatures of the peoples that are part of the Russian Federation). This helps them reach a wider readership. Juxtaposition of the original poetic text and its translation into the Russian language proves that Vladimir Turkin has achieved full adequacy of conveying the Avar text, despite the discrepancy in translating spatial details, which not in the slightest distorts the stylistic and emotional-expressive peculiarities inherent to the poem by the Dagestan poet Fazu Aliyeva.
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Aliphan, G. K. "Continuity in the work of Abai and Lermontov." Turkology 6, no. 104 (January 12, 2020): 78–90. http://dx.doi.org/10.47526/2020/2664-3162.020.

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The content of the article is based on the poem "Duma" by M.Y. Lermontov. It occupies a special place in the poet's work. "Duma" is a work with a deep and rich content, reflecting the thoughts of the poet, concerned about the future of his generation. Abai translated this poem into the Kazakh language. This article examines the problem of the creative continuity of the two poets, associated with the translation of the "Duma" into the Kazakh language and its ideological and thematic content. M.Y. Lermontov was never satisfied with the current social situation and the people he was surrounded with. He was too sophisticated and innovative poet for his time. He was deeply anxious about present and future of the Russian society. “The thought” is a work with profound meaning as a result of his criticism. Just as M.Y. Lermontov Abay mercilessly criticized inadequacies of his living time. Abay tried to remedy people and their morality with his humanistic philosophy. The article depicts common ideas and philosophy of the both poets on the basis of contents and translation of one poem.
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Aliphan, G. K. "Continuity in the work of Abai and Lermontov." Turkology 6, no. 104 (January 12, 2020): 78–90. http://dx.doi.org/10.47526/2020/2664-3162.020.

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The content of the article is based on the poem "Duma" by M.Y. Lermontov. It occupies a special place in the poet's work. "Duma" is a work with a deep and rich content, reflecting the thoughts of the poet, concerned about the future of his generation. Abai translated this poem into the Kazakh language. This article examines the problem of the creative continuity of the two poets, associated with the translation of the "Duma" into the Kazakh language and its ideological and thematic content. M.Y. Lermontov was never satisfied with the current social situation and the people he was surrounded with. He was too sophisticated and innovative poet for his time. He was deeply anxious about present and future of the Russian society. “The thought” is a work with profound meaning as a result of his criticism. Just as M.Y. Lermontov Abay mercilessly criticized inadequacies of his living time. Abay tried to remedy people and their morality with his humanistic philosophy. The article depicts common ideas and philosophy of the both poets on the basis of contents and translation of one poem.
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Dissertations / Theses on the topic "The poet"

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Kinsella, Michael. "Poet to poet : Seamus Heaney's Wordsworth." Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/14185/.

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Bender, Lucas Rambo. "Du Fu: Poet Historian, Poet Sage." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493294.

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This dissertation argues that Du Fu’s (712-770) ascent to the pinnacle of the Chinese literary pantheon was bound up with a revolution in the ways poetry was understood to be a serious endeavor. In Du Fu’s time, poetry had been valued for sustaining a time-transcending ritual institution descended from the ancient sages. Those later critics who placed Du Fu at the center of the poetic canon, by contrast, have generally located the his verse’s “serious” value in its embodiment of admirably accurate and appropriately felt perceptions of the precise historical circumstances that occasioned its composition. Although these latter critics have often claimed great antiquity for this latter vision of poetry’s moral significance, I argue that it was not an intellectual possibility in the Tang, and that it only came to be broadly persuasive when Du Fu’s collection was extensively remade through the addition of commentarial and contextualizing paratexts that were previously unprecedented within the Chinese critical tradition. Placed back into its original intellectual and material context, then, Du Fu’s poetry reads very differently than it has to post-medieval critics. It was, however, no coincidence that Du Fu was chosen as the center of this radical reinvention of the Chinese poetic tradition. It is possible to trace in the poet’s early collection a process of divergence from the norms of his time, leading ultimately to the creation of a new poetic language that does in fact raise many of the questions that Du Fu’s most influential critics have sought to answer. Yet this new poetic language never fully delivers the reassuring claim that these later critics have seen in his collection: that the good man will always be able to understand and movingly convey the moral truth of his experience. Instead of demonstrating the poet’s apprehension of such natural and given truth, Du Fu’s mature verse dramatizes itself as within the process of seeking for sense, a process that it leaves always open and unfinished.
East Asian Languages and Civilizations
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Tolley-Stokes, Rebecca. "The Publisher-Poet." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/5769.

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Seibel, George L. IV. "Being a Poet." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1346412172.

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Tovey, Paige Elaine. "Countless cross-fertilizations : Gary Snyder as a Post-Romantic poet." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/672/.

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This thesis examines Romantic (including American Transcendentalist) legacies in the poetry of Gary Snyder. It traces connections and conversations between Snyder and his Romantic predecessors, especially Wordsworth, Blake, Shelley, Emerson and Thoreau, and it seeks to demonstrate the workings of what Snyder himself calls “cross-fertilizations.” Snyder’s understanding of cultural influence is based on the Buddhist concept of interconnection. My thesis applies Snyder’s recurrent theme of interconnection and interdependence to his own relationship with Romantic visions, ideas and forms. Through examining Snyder’s poetic achievements in the light of the Romantic tradition, the thesis attempts to deepen current understanding of his work by suggesting that he should be considered not only as an ecological, post-modern or Beat poet, but also and centrally as a post-Romantic writer. My thesis is structured upon four main, interlocking concerns: eco-Romanticism, the Romantic poet as visionary and prophet, Romantic poetic form, and mountains and rivers as holistic Romantic emblems. It covers a wide range of Snyder’s poetry and prose from across his career in relation to these concerns. The first two chapters, centred on eco-Romanticism, address Snyder’s ecological inheritance from the Romantics; they examine the British Romantic pastoral tradition alongside Snyder’s contemporary eco-Romantic verse. Chapters Three and Four build on the poet’s sense of necessary individuality by focusing on the Romantic role of the poet as prophet in Snyder’s work. They trace the notion inherited from Romanticism of the poet who is conflicted by divergent roles: isolated visionary seer, on the one hand, and the prophetic poet whose role is to speak to and for society, on the other. In my chapters (Five and Six) on the forms through which the post-Romantic poet expresses his vision, I take as my point of departure Shelley’s assertion, from A Defence of Poetry, that “every great poet must inevitably innovate upon the example of his predecessors in the exact structure of his peculiar versification,” and I examine how Snyder’s “peculiar versification” follows and yet innovates upon the tradition of experimental and unconventional form set forth by his Romantic predecessors in such seminal works as Lyrical Ballads. In my final two chapters, I bring the thesis to a close by focusing on Snyder’s use of two Romantic emblems, mountains and rivers, as dialectical, interdependent elements of nature. Responding to their interaction, Snyder renews Romantic modes of representing the universe and the mind. The thesis draws on other American poets (including Williams, Pound and Stevens) in studying how a major American poet has shaped his art, meanings and identity out of a Romantic and post-Romantic poetic and cultural tradition.
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Cooke, Peter David. "Gustave Moreau, #painter-poet'." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307413.

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KAPLAN, SHEILA. "MURILO MENDES: COLLECTOR POET." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=14602@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Nesta série de ensaios interdependentes sobre Murilo Mendes, buscamos iluminar diferentes aspectos de sua obra, em especial aquela produzida na Itália, onde o autor se fixou de 1957 até sua morte, em 1975. O fio implícito que liga estes ensaios é a indagação sobre a sua relação com o repertório da cultura ocidental, elemento destacado tanto em sua poesia quanto na prosa. Relação esta que o distingue de outros escritores modernistas, uma vez que, para Murilo Mendes, não se tratava de contrapor uma cultura à outra, mas de formar um conjunto único, em que as diferenças não assumem posição hierárquica, nos moldes, por exemplo, de uma equação centro-periferia. A metáfora do colecionador, que guia o primeiro ensaio, é utilizada como uma chave que permite analisar sua prosa-inventário da tradição ocidental. O surrealismo à brasileira do autor, tema de outro ensaio, mostra o modo peculiar como Murilo absorveu as vanguardas do início do século XX. E o seu projeto universalista é tratado no terceiro capítulo. Os textos que compõem este estudo procuram, assim, acercar-se dessa obra por meio de uma escrita ensaística, conforme definição de Adorno, em que os vários pontos se entrelaçam como em um bordado. Escrita marcada pelo experimento, mais do que pela busca de um pensamento sistêmico e conclusivo.
This is a series of interdependent essays on Murilo Mendes which focus on different aspects of his work, particularly the texts he wrote in Italy, where he lived from 1957 until his death in 1975. The thread that implicitly runs through these essays is his relationship with the Western cultural repertoire, an aspect that stands out in both his poetry and his prose. Indeed, it is this that differentiates him from other Modernist writers. Murilo Mendes was not interested in setting one culture against another, but in uniting them in such a way that their differences were not represented hierarchically, such as center versus periphery. The metaphor of the collector that appears in the first chapter serves as a key for analyzing his body of prose from the Western tradition. His Brazilian-style surrealism is the object of another essay that discusses the particular way he incorporated the European vanguards of the early twentieth century. The third chapter is about his universalism. Overall, this study seeks to address the work of Murilo Mendes using the essay form as defined by Adorno, where points in the different texts interweave like a tapestry. The style is more experimental than strictly systematic or conclusive in its thinking.
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JUNIOR, JUAREZ DE QUEIROZ CAMPOS. "PARMÊNIDES THE LOGOS POET." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26061@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A interpretação do Poema de Parmênides tradicionalmente tem como fontes Platão, Aristóteles e os neoplatônicos. Recentemente as questões lógicas e filológicas relacionadas ao verbo ser vem atraindo atenção não só de comentadores da filosofia antiga como Charles Kahn, mas também da filosofia analítica a partir dos críticas de Frege e Russell. Nesta dissertação, utiliza-se como eixo interpretativo os textos de Gorgias e Melisso sobre o ser, considerando a hipótese de que como estes pensadores desenvolveram os seus trabalhos em uma época mais próxima a Parmênides do que Platão e Aristóteles as suas interpretações nos fornecem uma leitura mais aproximada do sentido inicial do Poema. A partir da apresentação dos diversos sentidos do verbo ser pela filologia e das formulações de Kahn, será investigado o ser nas formulações de Melisso, Górgias comparando-o com o ser de Parmênides.
Plato, Aristotle and the Neo-Platonists have traditionally been considered to be the main sources for interpreting Parmenides The Poem. However, in the last century, the logical and filological dilemmas regarding the concept of being have begun to draw the attention of other scholars seeking more precise interpretations of The Poem, such as ancient philosophy commentator Charles Kahn and analytical philosophers Frege and Russell. In this paper I will argue that philosophers Gorgias and Melisso offer a more accurate interpretation of the concept of being discussed in Parmenides original text. Consequently, it will also be shown that in order to understand precisely The Poem, it is necessary to focus on the interpretations drawn by the two pre-Socratic philosophers supra-cited regarding the Poem, rather than to emphasize on the analysis made by Plato and Aristotle. The main reason supporting this argument that will be presented is that the works of such pre-Socratic philosophers were written in a time period much closer to the one of Parmenides than the works of Plato and Aristotle were. In order to build my argument I will first analyze the filological meanings of the concept of being. Then I will scrutinize the formulations of this concept as Kahn presents them. After that, I will examine the formulations of the concept of being in the works of both Melisso and Gorgias. Finally, I will compare and apply all of these formulations and meanings to Parmenides original text, and therefore conclude my argument.
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Oade, Stephanie. "Catullus : lyric poet, lyricist." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:469ce045-65e7-4df3-8a1e-c16e4195b9f7.

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There exists between lyric poetry and music a bond that is at once tangible and grounded in practice, and yet that is indeterminate, a matter of perception as much as theory. From Graeco-Roman antiquity to the modern day, lyrical forms have brought together music and text in equal partnership: in archaic Greece, music and lyric poetry were inextricably (now irrecoverably) coupled; when lyric poetry flowered in the eighteenth century, composers harnessed text to music in order to create the new and fully integrated genre of Lieder; and in our contemporary age, the connection between word and music is perhaps most keenly felt in pop music and song 'lyrics'. In 2016, the conferral of the Nobel Prize for Literature on Bob Dylan brought to wider public attention the nature of lyric's poetical-musical bond: can Dylan be considered a poet if the meaning, syntax and expression of his words are dependent upon music? Is music supplementary to the words or are the two so harnessed that the music is in fact a facet of the poetic expression? The connection between music and poetry is perfectly clear in such integrated lyric forms as these, but a more indeterminate connection can also be felt in 'purely' musical or poetic works - or at least in the way that we perceive them - as our postRomantic, adjectival use of the word 'lyrical' shows. Describing music as lyrical often suggests that it carries an extra-musical significance, a deeply felt emotion, something akin to verbal expression, while a lyrical poem brings with it an emotive aurality and a certain musicality. Text and music of lyrical quality may, therefore, invoke the other for the purpose of expression and emotion so long as our understanding of lyric forms remains conditioned by the appreciation of an implied music-poetry relationship This thesis works within the overlap of music and poetry in order to explore the particular lyric voice of Catullus in the context of his twentieth-century musical reception. Whilst some of Catullus's poems may have been performed musically, what we know of poetry circulation, publication and recitation in first-century BCE Rome suggests that the corpus was essentially textual. Nevertheless, Catullus's poetry was set to music centuries later, not in reconstruction of an ancient model, but in new expression, suggesting not only that composers of the twentieth century found themes in Catullus's poetry that resonated in their own contemporary world but that they found a particular musicality, something in the poetry that lent itself to musical form. I argue that it is in these works of reception that we can most clearly identify the essence of Catullan lyricism. Moreover, by considering the process of reception, this thesis is able to take a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms.
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Svanefjord, Natasha. "Varför är Platon poet?" Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30074.

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Books on the topic "The poet"

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Maude, Caitlín. Caitlín Maude: File, poet, poeta. Bali: Edizioni dal sud, 1985.

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Karajanov, Ilija. Poet na providenijata, poet na svetoto i poet na tišinata. Skopje: Menora, 2008.

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Connelly, Michael. The poet. New York: Time Warner, 1997.

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Goodridge, Ben. Swamp poet. Santa Fe, NM: Crosstime/Crossquarter Publishing Group, 2010.

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War poet. Manchester, England: Carcanet, 2014.

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The poet. Crows Nest, NSW: Allen & Unwin, 2006.

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editor, Aḥmadī Hadīyah, and Sherrill Sarah B. editor, eds. Shāʻir: Poet. Tihrān: Nashr-i Bunʹgāh, 2014.

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Connelly, Michael. The poet. Boston: Compass Press, 1996.

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Thomas, Kimberly. Da poet. Columbus, MS: Good News Pub. Ministries, 2000.

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Goodridge, Ben. Swamp poet. Santa Fe, NM: Crosstime/Crossquarter Publishing Group, 2010.

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Book chapters on the topic "The poet"

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Moeyes, Paul. "Georgian Poet." In Siegfried Sassoon Scorched Glory, 68–92. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230374560_4.

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Brian, Sonia-Wallace. "RENT Poet." In Art and the City, 100–113. New York : Routledge, 2017. | Series: Routledge studies in urbanism and the city: Routledge, 2017. http://dx.doi.org/10.4324/9781315303031-8.

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Raychaudhuri, Anindya. "Facebook poet." In World Literature and Dissent, 120–40. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780203710302-8.

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Page, Norman. "The Poet." In A. E. Housman, 179–206. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24584-0_9.

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Anne Bentley, Christa. "“Poet-Composers”." In The Routledge Companion to Popular Music Analysis, 416–25. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315544700-28.

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Reece, Bob. "Frank the Poet." In Exiles from Erin, 151–83. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21557-7_8.

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Dutton, Richard. "Poet and Critic." In Ben Jonson Authority Criticism, 40–69. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1057/9780230372498_2.

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Dutton, Richard. "Poet and State." In Ben Jonson Authority Criticism, 70–104. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1057/9780230372498_3.

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"Poet." In Fat Art, Thin Art, 82. Duke University Press, 1994. http://dx.doi.org/10.2307/j.ctv1220jt9.39.

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"POET." In In My Unknowing, 9. University of Pittsburgh Press, 2020. http://dx.doi.org/10.2307/j.ctvx077bd.7.

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Conference papers on the topic "The poet"

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Paul, Johns, Jie Liang Ang, Tianyuan Fu, Bingsheng He, Shengliang Lu, Sien Yi Tan, and Feng Cheng. "Poet." In SIGSPATIAL '20: 28th International Conference on Advances in Geographic Information Systems. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3397536.3422230.

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Wang, Rui, Joel Lehman, Jeff Clune, and Kenneth O. Stanley. "POET." In GECCO '19: Genetic and Evolutionary Computation Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3321707.3321799.

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Shulgina, Olga Aleksandrovna. "Poet, Storyteller, Translator." In 4th International Research and Practical Conference for Pupils, chair Yulia Gerasimova Milyakhova. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-530490.

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McConnell, M. L., L. Angelini, M. G. Baring, S. Barthelmy, J. K. Black, P. F. Bloser, B. Dennis, et al. "GRB Polarimetry with POET." In GAMMA-RAY BURST: Sixth Huntsville Symposium. AIP, 2009. http://dx.doi.org/10.1063/1.3155969.

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Hisamutdinova, R. R. "YULILIYA DRUNINA: POET, VETERAN, HUMAN." In A glance through the century: the revolutionary transformation of 1917 (society, political communication, philosophy, culture). Vědecko vydavatelskě centrum «Sociosfera-CZ», 2017. http://dx.doi.org/10.24045/conf.2017.1.22.

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Hill, J. E., M. L. McConnell, P. Bloser, J. Legere, J. Macri, J. Ryan, S. Barthelmy, et al. "POET: POlarimeters for Energetic Transients." In 2008 NANJING GAMMA-RAY BURST CONFERENCE. AIP, 2008. http://dx.doi.org/10.1063/1.3027941.

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Ciprian, Ion. "A COMPOSER... A POET... A MELOGRAM." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s25.034.

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Yi, Qing, Keith Seymour, Haihang You, Richard Vuduc, and Dan Quinlan. "POET: Parameterized Optimizations for Empirical Tuning." In 2007 IEEE International Parallel and Distributed Processing Symposium. IEEE, 2007. http://dx.doi.org/10.1109/ipdps.2007.370637.

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Zhang, Daniel (Yue), Bo Ni, Qiyu Zhi, Thomas Plummer, Qi Li, Hao Zheng, Qingkai Zeng, Yang Zhang, and Dong Wang. "Through the eyes of a poet." In ASONAM '19: International Conference on Advances in Social Networks Analysis and Mining. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3341161.3342885.

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Saraswati, Ekarini. "Habitus Poet, Social Capital, and Literary Works." In 2018 3rd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/amca-18.2018.165.

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Reports on the topic "The poet"

1

Sanchez, Tamara. The Poet, the Rebel, and the Wardrobe Coat. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1679.

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Boyle, Edward. The Poet Revealed: A Future for Human-Centered Design. Fort Belvoir, VA: Defense Technical Information Center, September 1990. http://dx.doi.org/10.21236/ada226648.

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Godfrey, Brendan B. Investigation of Alleged Research Misconduct by Lincoln Laboratory Members of the 1998-5 POET Study Team. Fort Belvoir, VA: Defense Technical Information Center, January 2007. http://dx.doi.org/10.21236/ada627344.

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WILMARTH, WILLIAM. Characterization of Post-Cleaning Solids Samples from the 2H Evaporator Pot. Office of Scientific and Technical Information (OSTI), March 2004. http://dx.doi.org/10.2172/822143.

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Hong, Weiwei, and Jean Parsons. Guo Poem. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1665.

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Quevedo. The Pout. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1230.

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Sun, Q., M. Boucadair, S. Sivakumar, C. Zhou, T. Tsou, and S. Perreault. Port Control Protocol (PCP) Extension for Port-Set Allocation. RFC Editor, February 2016. http://dx.doi.org/10.17487/rfc7753.

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Arbuckle, B., W. Breen, and A. H. Mumin. Port Radium geology. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2015. http://dx.doi.org/10.4095/296608.

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Jenkins, Ryan, Michael Kreger, and Robert Frosch. Post-Tensioning Technologies. Purdue University, October 2013. http://dx.doi.org/10.5703/1288284315186.

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Cheok, Geraldine S., and Long T. Phan. Post-installed anchors:. Gaithersburg, MD: National Institute of Standards and Technology, 1998. http://dx.doi.org/10.6028/nist.ir.6096.

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