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Journal articles on the topic 'The poet'
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1
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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Rashid, Jihad Shukri. "مضامين و انديشههاى شعرى فقى قادر ههمهوند." Twejer 3, no. 3 (December 2020): 779–820. http://dx.doi.org/10.31918/twejer.2033.21.
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Abdul Qadir Rasool was one of the poets of the nineteenth century. He is known as Faqe. He was a talented poet but his works are still being disregarded and unknown to others. Searching and understanding his poems will clarify his new innovations in poetry. By analyzing the collected works and poems of Persian poets and Quranic verses, he could utilize conceptual semantics in his poetical works. His poems are the symbol of desire, sympathy, using the persuasive of metaphors and dominating words to spread splendid compound literary works. He was able to combine the impacts of both his life experience and the complicated community issues of sultan Aziz Ottoman era in his works intelligently. In this research, the researcher attempted to indicate the notions of the poet to give the ability to understand his concepts and his views, and they are important to understand ingenuity he innovated in his poems. Key words: Faqe Qader, Elegy, Saki poem, Blaming poem, Prison poems.
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Williams, John. "Wordsworth, Shelley, and the Riddle of Peter Bell." Romanticism 23, no. 1 (April 2017): 75–87. http://dx.doi.org/10.3366/rom.2017.0308.
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In 1819 Shelley was moved to anger and derision when Wordsworth published Peter Bell. His satirical response was predicated on an ironically autobiographical interpretation of the poem, and in this respect, Shelley's reading of the poem merits further study with respect to both poets. Hazlitt, Keats, Lamb, and others, were quick to note the egotistical drive that informed Wordsworth's writing, but in Peter Bell the Third Shelley claimed that Wordsworth went far beyond that. He insisted that Wordsworth had unintentionally satirised himself with devastating accuracy in the manner of Thomas Moore's satire on political apostasy, The Fudge Family in Paris. Shelley's reading of the poem casts a fresh light on the importance of Peter Bell for an appreciation of the complexity of Wordsworth's development as a poet at the time of writing Lyrical Ballads, a complexity that relates both to the controversial style of Peter Bell, and to the ambivalent relationships within the poem between poet, narrator, protagonist, and reader.
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Thomson, David E. "Lifespan development in the academy of American poets." Scientific Study of Literature 5, no. 1 (November 19, 2015): 83–98. http://dx.doi.org/10.1075/ssol.5.1.04tho.
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The present study investigated lifespan writing tendencies among members of the Academy of American Poets (N = 411). All original English language poems (N = 2,558) available on the Academy website during 2013 were included provided that each poet was represented by at least two poems. Correlations of the age in which each poet published each poem with established indicators of lifespan development were small to moderate (r’s from -.11 to .16). Contrary to lifespan development for expository and emotionally expressive writing, poets tended to employ past tense and use less emotionally valenced language as they aged. Multilevel analysis revealed no significant relationships between publishing age and maturation outcomes, although that process did indicate various curvilinear relations. I conclude by discussing the implications of automated text analysis on literary analysis of career development.
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K, Sivamani. "Rural Cultural Elements Presented in the Poems of the Poet Sirpi." International Research Journal of Tamil 4, SPL 1 (February 28, 2022): 259–65. http://dx.doi.org/10.34256/irjt22s136.
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The earthy antiquity and culture of the writer can be speaking the strength of his writings. The culture can serve as a bridge between the people who followed the ethics to live the better life and their living environment. One of the most noteworthy poets and sculptors in the history of contemporary Tamil poetry. One of the most noteworthy poets and sculptors in the history of contemporary Tamil poetry. A village river on the banks of the poet-sculptor's poem is a unique rural story based on the lives of human beings who are realistically moving. As a Kongu vernacular poem, it is full of pro-speech and eloquent poetry. Thus, this article outlines some of the anthropological elements found in the poems of The Poet Sirpi, such as the cultural elements of the rural people of the Kongu region, such as the realistic mind of the rural people, the unpretentious way of life, the relationship, the harmony with nature, the cultural specialties, the friendship, the regional case.
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İsmailova, E. "PRAISE OF HUMAN FEELINGS IN M.SHAHRIYAR'S POEM “SAHANDIYA”." East European Scientific Journal 3, no. 5(69) (June 15, 2021): 37–40. http://dx.doi.org/10.31618/essa.2782-1994.2021.3.69.60.
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There is nothing that can affect the spirit and national consciousness of the people as an artistic word. Glorification, propagation and transmission of human feelings from generation to generation is the highest task of the art of speech and literature. In this sense, there is a greater task and responsibility before genius masters of a word. In keeping the people alive, instilling human feelings, and glorifying the highest human feelings such as patriotism, heroism, and bravery, the poets held a leading position in all periods of society. The works of the poet Mohammad Hussein Shahriyar (1906-1988), the most famous figure of both South and North Azerbaijani literature, and the pearls of art he created, especially the poem “Sahandiya” written in a modern style, are of great interest to many readers today. The main purpose of the article is to acquaint the modern reader with the valuable heritage of the poet, promote this heritage by demonstrating the artistic features and importance of the poem “Sahandiya”, which is considered one of the masterpieces among the poet's works written in the native language.
Although the poet does not speak in an open context in the poem, the city of M.A. Sabir, remembering Shamakha and Shirvan, actually reminds of the problem of divided Azerbaijan.
The last parts of the poem are dedicated to the problem of separation, one of the most painful issues of a divided Azerbaijan. The master described the enthusiasm of the poets of North Azerbaijan for his voice as the support of the mountains, the clear dawn of the waters of the Araz, holding the lamp in the darkness, "the sturgeon of that foal." Due to these features - the high appreciation of national and spiritual interests, the poem "Sahandiya" remains relevant at all times.
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Đurđevic, Đorđe. "HODOČAŠĆE KA POEZIJI." Lipar, no. 71 (April 2020): 115–26. http://dx.doi.org/10.46793/lipar71.115dj.
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The paper examines the angelological-poetic relations in the poetry of Vasko Popa, Branko Miljković and Vojislav Karanović. Beginning with the medial position between the poet and the poem, the angel, with the poet‘s intervention, becomes an active principle in discovering the poem as such. He simultaneously exists in the space of the poem itself, as well as in the space of its realization in language, and its role is doubly translational: it translates the poet into the space of poetry and brings poetry closer to the poet. The given process flows through the original approximation and depiction of the poet and the angelic being / body, and it ends in the creation of a poem, which is, in its characteristics, close to the angelological complex.
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Nilofar, Naila. "Gaya Bahasa Kiasan dalam Wekwekwek Sajak-Sajak Bumilangit Karya K.H. A. Mustofa Bisri." ATAVISME 10, no. 1 (June 29, 2007): 75–83. http://dx.doi.org/10.24257/atavisme.v10i1.232.75-83.
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A poem can be studied from many aspects. It can be studied from structures and parts of it, as a poem is a structure set from many poetic facilities. A writer describes about the figure of speech in a collection of poem Wekwekwek created by K.H. A. Mustofa Bisri. A poet uses different language from the daily language. For daily language is not enough to describe what a poet feels. Expressing of meaning only in a poem is not enough. A poet wants a reader can feel and do what he feels and done.
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Nugroho, Henriono. "The Famous Poet in Harpur’s Poem." ATAVISME 12, no. 1 (June 30, 2009): 23–30. http://dx.doi.org/10.24257/atavisme.v12i1.154.23-30.
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This research aims to discuss literary work through stylistic analysis based on sistemic functional linguistics and literature semiotic system. The research methods used are the librarian study, descriptive method and objective intrinsic approach. The research result shows that the semantic analysis has produced the automatized linguistic meaning and foregrounded linguistic meaning. Next, the first meaning produces the subject matter and the secong meaning produces the literary meaning. Later, the literary meaning produces theme. Finally, it is proved that the subject matter tells about harmony; the literary meaning is about Shelley’s fame; and, the theme is about a famous poet.
Abstrak:
Penelitian ini bertujuan mengkaji karya sastra melalui analisis stilistika berdasarkan ilmu bahasa fungsional sistemik dan sistem semiotik karya sastra. Metode penelitian menggunakan studi pustaka, metode deskriptif, dan pendekatan intrinsik objektif. Hasil penelitian menunjukkan bahwa analisis semantik menghasilkan makna bahasa latar belakang (the automatized linguistic meaning) dan makna bahasa latar depan (the foregrounded linguistic meaning). Makna pertama menghasilkan masalah utama (subject matter) dan makna kedua menghasilkan makna sastra (literary meaning). Makna sastra menghasilkan tema. Masalah utama berkisah tentang harmoni, makna sastra tentang ketenaran Shelley, dan tema tentang seorang penyair terkenal.
Kata kunci: makna bahasa latar belakang, makna bahasa latar depan, makna sastra, tema.
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Friedman, Linda Wieser. "Poem: The soul of a Poet." Critical Perspectives on Accounting 7, no. 1 (February 1996): 100. http://dx.doi.org/10.1006/cpac.1996.0011.
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Pérez Estrada, Rafael, and Mark Aldrich. "El poeta asesinado / The Murdered Poet." Sirena: poesia, arte y critica 2006, no. 2 (2006): 94–95. http://dx.doi.org/10.1353/sir.2006.0147.
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Barbosa, Tereza Virgínia Ribeiro, Andréia Santos Marques, Andreza Júnia Ferreira, Marcelo Pimenta Marques, and Tereza Pereira do Carmo. "Mito, literatura e filosofia." Revista do Centro de Estudos Portugueses 22, no. 31 (December 31, 2002): 27. http://dx.doi.org/10.17851/2359-0076.22.31.27-37.
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<p>A abordagem de <em>O Mito, </em>texto do poeta Carlos Drummond de Andrade, é um terreno fértil para reflexão teórico-filosófica. Para nossa análise utilizaremos aqui, várias definições de diferentes autores acerca do que vem a ser ‘mito’. O poema tem como eixo central a figura de Fulana. Em todo o poema podemos perceber uma busca para compreender esta Fulana misteriosa e multifacetada. Este caráter ambíguo e enigmático já é designado pela forma como o poeta a nomeia. O termo <em>fulana </em>significa: <em>uma idéia vaga de alguma pessoa, alguém que não se quer nomear ou depreciação de uma pessoa qualquer</em>. Tomada com letra maiúscula, como o poeta nos apresenta, esta palavra se transforma em um substantivo próprio, individualizando Fulana. Assim, Fulana para o poeta não é uma fulana qualquer, mas a Fulana. A nossa associação de Fulana com o título do poema é uma leitura de Fulana como metáfora de mito.</p> <p>The study of <em>O Mito </em>by Carlos Drummond de Andrade, is a fertile field for the theoretical and philosophic reflection. In our analyses we will use many definitions by different writers about what the “myth” is. The poem has the image of “Fulana” as its central point. Along the whole poem we can perceive an attempt to comprehend this mysterious and multifaceted “Fulana”. The form that the poet takes to name her designates this ambiguous and enigmatic characteristic. The term “Fulana” means: <em>a vague idea about a person, someone that we don’t want to name or the depreciation of any person</em>. Taken with the capital letter, as the poet presents, this word changes into a substantive, individualizing Fulana. Though, Fulana for the poet is not any Fulana, but the Fulana. The association of Fulana with the title of the poem is our reading of Fulana as a metaphor of the myth.</p>
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Purwanto, Sugeng, and Idha Nurhamidah. "First love simplicity: A systemic-functional perspective study of Karina Del Campo�s Do You Remember Our Love?" EduLite: Journal of English Education, Literature and Culture 3, no. 2 (September 2, 2018): 161. http://dx.doi.org/10.30659/e.3.2.161-172.
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The current study aims at exploring the intended meaning and structure of a poem entitled �Do You Remember Our Love?� written by a poet, ��Karina Del Campo (2009) in both interpretational and systemic functional perspectives. In the former, the poem was examined interpretatively in order to find out the possible stance of the poet; meanwhile the later was an analytical representation of systemic functional grammar in the framework of construing the three domains of meanings: ideational, interpersonal and textual in order to arrive at the field, the tenor and the mode of the discourse.� It turns out that the poem is �a reflection of a woman�s feeling (the poet�s) toward her ex-boyfriend�finely described in a repeated style of the major clause, supported and elaborated in several minor clauses. The poet tries very hard to ignite her ex-boyfriend�s love memories with her and to possibly invite him to reunite even though it seems to be a mission impossible. The poem has both social and psychological impacts on the poet herself and the readers in a wider scope.
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Haft, Adele J. "Imagining Space and Time in Kenneth Slessor’s “Dutch Seacoast” and Joan Blaeu’s Town Atlas of The Netherlands: Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas, Part Three." Cartographic Perspectives, no. 74 (January 3, 2014): 29–54. http://dx.doi.org/10.14714/cp74.1199.
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“Dutch Seacoast” by the acclaimed Australian poet Kenneth Slessor (1901–1971) is thecenterpiece of The Atlas the five-poem sequence opening his 1932 collection Cuckooz Contrey. Like the other four poems, “Dutch Seacoast” pays tribute to cartography’s “Golden Age,” Toonneel der Steden van de vereenighde Nederlanden being the poem’s epigraph and the title that Joan Blaeu gave to one of two volumes comprising his Town Atlas of the Netherlands (1649). While focusing on Blaeu’s exquisitely ordered map of Amsterdam, Slessor suggests that he is gazing at the map described by his poem and invites us to consider how poets and cartographers represent space and time.An intensely visual poet, Slessor was also attracted to lyrical descriptions of objects: his inspiration for “Dutch Seacoast” was a particularly poetic, but sparsely illustrated, catalogue of maps and atlases. After reprinting the poem and describing its reception, my paper traces the birth of “Dutch Seacoast” (and The Atlas generally) in Slessor’s poetry notebook, the evolution of the poem’s placement within the sequence, and the complex relationships between the poem, the catalogue, and Blaeu’s spectacular atlas. Comparing Blaeu’s idealistic view of Amsterdam with that city’s dominance during the Dutch“Golden Century,” Slessor’s darker obsessions with the poem’s ending, and his “other countries of the mind” with his native Australia, we come to understand why “Dutch Seacoast” remained for the self-deprecating poet one of his eight “least unsuccessful” poems.
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Harrison, S. J. "Drink, suspicion and comedy in Propertius 1.3." Proceedings of the Cambridge Philological Society 40 (1994): 18–26. http://dx.doi.org/10.1017/s0068673500001802.
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Propertius 1.3 famously begins with the drunken poet returning from a night out to find his puella Cynthia asleep. The sleeping Cynthia is then apparently idealised by the poet through a series of comparisons with mythological heroines, until she wakes up and shows her true and less elevated character, shrewishly nagging the poet for staying out late with another woman, and thereby destroying his illusions. Some of the wit and irony of the situation has been pointed out in previous accounts of the poem; this treatment takes a closer look at the text, especially at the mythical analogues for Cynthia applied at the beginning of the poem, and argues that part of the wit and amusement of the poem derives from its articulation of the poet's suspicions of Cynthia's infidelity. This is not a tragic or dramatic effect, but rather a clever and amusing comedy; the amusing self-characterisation of the poet as a drunken bumbler racked with lust and suspicion is fully consistent with the kind of elegist envisaged by Paul Veyne, who rightly stresses that Roman love-elegy has much more to do with literary entertainment than with the intense analysis of passion. The scene is being narrated by the poet with retrospective wit and irony against himself; to use the convenient terms employed by Winkler in his book on Apuleius, the poet as auctor (writer of the poem) provides an entertaining view of the poet as actor (character in the poem's story).
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Chavarría Alfaro, Gabriela. "El viento como máscara poética, análisis de un poema de Roberto Sosa." Revista de Filología y Lingüística de la Universidad de Costa Rica 23, no. 1 (August 30, 2015): 35. http://dx.doi.org/10.15517/rfl.v23i1.20389.
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En este artículo se trata la construcción de la voz lírica en el poema "El viento" y el estudio de esta voz lírica como una representación de la subjetividad del poeta, la cual está basada en un concepto metafísico del poeta mismo.This article deals with the Iyrical voice construction of the poem "El viento" and the study of this lyrical voice as a representation of the poet's subjectivity, which is based on a metaphysical concept of the poet himself.
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Dowker, A., B. Hermelin, and L. Pring. "A savant poet." Psychological Medicine 26, no. 5 (September 1996): 913–24. http://dx.doi.org/10.1017/s003329170003525x.
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SynopsisPoems by an individual with a diagnosis of Asperger's Syndrome were analysed and compared with those of a comparison poet. Though the savant poet performed less efficiently on formal language tests supposed to tap creativity, there were few differences between the two poets in regard to the poems' content and the use of various structural devices. The poems by the savant referred more often to aspects of self-analysis, while descriptions of people not related to the self were less frequent. Both poets made use of similes and metaphors. The results are discussed in terms of different modular domains within the language system.
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Barakhas, Widad Almas, and Sarab Khlil. "A Pragma-Stylistics Analysis of Lowell and Snodgrass’ Confessional Poems." International Journal of Linguistics, Literature and Translation 4, no. 11 (November 29, 2021): 170–81. http://dx.doi.org/10.32996/ijllt.2021.4.11.18.
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Analyzing any text according to pragmatic principles means approaching the text's meaning and the writer's intention. This study investigates the role of pragmatics theories in interpreting and understanding poetic text and their impact on the poet's style. In other words, how the poets exploit pragmatics theories, such as Searle's speech acts, Grice's maxims, and deixis, in their style of writing to convey their intended meaning to the readers. Therefore, two confessional poems are selected to be analyzed pragma-stylistically: The Dolphin was written by Robert Lowell (1973), and Mementos 1 was written by W. D. Snodgrass (1960s). The current study aims to: 1) analyze the texts of selected poems by applying pragmatics theories to find out the style of each poet through which one can reach the right interpretation of the poem.2) find out the most dominant type of speech acts used by each poet. 3) investigate any flouting of Grice's maxims. 4) identify types of deixis and find out the most dominant types used in confessional poems. The present study concludes that 1) representative speech acts are performed more than other types.2) most of Grice's maxims are flouted, and the quantity maxim is the most dominant flouted by each poet. 3) Both poets use person deixis more than other types.
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Karlsson, Gunnar. "Drög að réttarsögu orðlistar á Íslandi." Lög og bókmenntir 18, no. 1 (June 13, 2018): 11–37. http://dx.doi.org/10.33112/ritid.18.1.2.
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Medieval Icelandic law contains no provisions about copyright. Authors used without hesitation narrative texts by others, but poets were paid for composing laudatory poems about kings and narrators for telling stories at their courts. The art of storytelling became a speciality of Icelanders, who were also hired to write biographies of Norwegian kings. It was considered reprehensible to use the poetry of others as one's own work. Two Norwegian poets may have got the cognomens skáldaspillir (Destroyer of poets?) and illskælda (Bad or Evil poet?) for plagiarism. An Icelandic poet composed a laudatory poem about a woman but changed it to fit another one, receiving a bitter revenge. In Icelandic sagas stanzas occur frequently and, unlike borrowings in prose, their authors are usually named. In the medieval law of Iceland it is forbidden to compose about people not only derogatory but also laudatory poetry. Conceivably it has been considered to give the author some kind of power over the person who was the subject of the poetry. Proper copyright, though, does not occur in Icelandic law until the beginning of the twentieth century.
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Syahputra, Fikry Prastya, Indah Permata Sari, and Tengku Silvana Sinar. "PHONOLOGICAL LEVEL IN ALLAMA IQBAL’S POEM “THE BIRD’S COMPLAINT”: A STYLISTIC ANALYSIS." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 13, no. 2 (December 31, 2018): 79–90. http://dx.doi.org/10.18860/ling.v13i2.4459.
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Allama Iqbal is one of some poet who declares himself as a fighter toward social arouse and problem in his country. Through his poet, he created a spirit to restrain against injustice in his country. This study aimed to analyze one of Allama Iqbal poet in the term of a phonological level. The theory used is a stylistic approach. It found that the poet used alliteration, assonance, consonance, rhyme scheme, and onomatopoeia as the phonological devices in stylistics. The phonological devices in the poem are used to create a good rhyme or musical in order to make the poem more beautiful when it is read loudly. Consonance is the most phonological devices applied in the poem, and the sound /n/ is the most consonance sound found in the poem. The assonance is in the second place with the sound /ə/ and /ɪ/ as the most assonance sound used in the poem. The alliteration found is sound /n/ and /s/ as the most alliteration sound found in the poem. In the rhyme scheme, the poem almost has the monotonous rhyme because almost all of the stanzas have the rhyme ‘aa,' but it also contains the rhyme ‘ab.'
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Fayyaz, Parwana. "Jami’s Rhetoric of Old Age and Aging in Salaman va Absal." Afghanistan 5, no. 1 (April 2022): 30–59. http://dx.doi.org/10.3366/afg.2022.0083.
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Between the years 1480 and 1484 AD, Jami wrote a long and extraordinary narrative poem, the masnavī of Salaman va Absal. At the time of its completion, Jami was about seventy years old. In this article, I discuss the significance of the poet’s age at the time he wrote this poem, while also examining the Sufi–Neoplatonic interpretations of old age embedded in the poem itself. I argue that Jami uses old age as a rhetorical device, and aging as an induction into a new mode of thinking. This allows the poet to emancipate himself from the poem’s aesthetics and its aesthetic constraints, to focus instead on its metaphysical purpose and potential. In so doing, the poet elevates his poetry to the status of a kind of perfection, which involves transforming the poetic form. Only then does Jami complete his treatise on the unity of oneness (as opposed to duality) from the perspective of an elderly poet. The unusual, passionate love between Salaman and Absal is presented as a Sufi–Neoplatonic interpretation of transcendence and sublimation. Using an interdisciplinary research methodology, this article examines these ideas through a close reading and analysis of the three chapters of the poem in which Jami draws particular attention to images of old age and aging. With this article, I hope to demonstrate the importance of old age studies within Persianate Studies more broadly. This shift in focus prompts a re-evaluation of the late works of classical and medieval Persian poets and their discussions of creativity, imagination, and memory in old age.
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Miranda, José Américo. "Álvares de Azevedo: um poeta cismarento." Revista do Centro de Estudos Portugueses 31, no. 45 (June 30, 2011): 81. http://dx.doi.org/10.17851/2359-0076.31.45.81-96.
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<p>Este artigo analisa “Cismar”, de Álvares de Azevedo, investigando as soluções formais encontradas pelo poeta para dar expressão ao conteúdo ideacional do poema</p><p>This article analyzes Álvares de Azevedo’s poem entitled “Cismar”, investigating the formal techniques employed by the poet to convey the work’s main ideas.</p><p> </p>
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Al-Husseini, Sahar Abdul Ameer Haraj. "Graphematic Emblems in Selected Poems by John Hollander Sahar Abdul Ameer Haraj Al-Husseini." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES, no. 226(1) (September 1, 2018): 49–60. http://dx.doi.org/10.36473/ujhss.v0i226(1).172.
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Graphematic poem or shape poem or pattern poem, like any other poem, is a poem that discusses diverse and common subjects like love, idea, time and many other topics ; yet with a certain difference that is the subject is similar to the printed format of the text. To say that it presents a picture of certain familiar object that is similarly the subject of the poem. Such poems are likewise termed shaped verse. They are not new for they are part of a long convention that ranges from Alexandrian Greek poets to Lewis Carroll and beyond. John Hollander(1929 –2013) is an American poet who wrote pattern poetry with a variety of diverse themes . His Types of Shape (1969) offers twenty-five shaped poems in the convention of George Herbert, a seventeenth century English poet. Graphematic poems must also to a certain degree own their special self-reflective picture in so far as the shape as well as the content are concerned. They show a wide array of themes and Hollander's graphematic poems show fascinating investigates with unbending forms that undermine the authority of his writing. Hollander in uniting content and form supports creating one authoritative outcome in the field of poetry.
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Al-Husseini, Sahar Abdul Ameer Haraj. "Graphematic Emblems in Selected Poems by John Hollander Sahar Abdul Ameer Haraj Al-Husseini." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, no. 1 (September 1, 2018): 49–60. http://dx.doi.org/10.36473/ujhss.v226i1.172.
Full textAbstract:
Graphematic poem or shape poem or pattern poem, like any other poem, is a poem that discusses diverse and common subjects like love, idea, time and many other topics ; yet with a certain difference that is the subject is similar to the printed format of the text. To say that it presents a picture of certain familiar object that is similarly the subject of the poem. Such poems are likewise termed shaped verse. They are not new for they are part of a long convention that ranges from Alexandrian Greek poets to Lewis Carroll and beyond. John Hollander(1929 –2013) is an American poet who wrote pattern poetry with a variety of diverse themes . His Types of Shape (1969) offers twenty-five shaped poems in the convention of George Herbert, a seventeenth century English poet. Graphematic poems must also to a certain degree own their special self-reflective picture in so far as the shape as well as the content are concerned. They show a wide array of themes and Hollander's graphematic poems show fascinating investigates with unbending forms that undermine the authority of his writing. Hollander in uniting content and form supports creating one authoritative outcome in the field of poetry.
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Wang, Emily. "Russia’s Radical Byron: Reexamining the “Decembrist Pushkin”." Comparative Literature 74, no. 1 (March 1, 2022): 73–98. http://dx.doi.org/10.1215/00104124-9434524.
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Abstract Lord Byron’s reputation in Russia’s literary imagination might surprise those who remember him not only as a multifaceted poet or political commentator, but also as a sexual libertine. Following his death in Greece, the tempestuous Byron came to stand for both freedom and romanticism in Russia, especially for the poets who would become associated with the Decembrist Uprising, a failed attempt by liberal nobles to reform the absolutist state by military coup in 1825. Perhaps even more importantly, Byron also became identified with the primary candidate for the role of Russia’s national poet: Alexander Pushkin. Though much as been written about Pushkin’s “Byronic apprenticeship,” this article focuses on how Pushkin’s responses to the English poet led him to depart from—and even conflict with—a specifically political version of Byronism promoted by his contemporaries. In particular, it analyzes Russian poetic response to Byron’s death, including works by Pushkin, Ivan Kozlov, Wilhelm Küchelbecker, Kondraty Ryleev, and Dmitry Venevitnov. It also considers Pushkin’s “To the Sea” (1824), analyzing an extended polemic with Prince Pyotr Viazemsky about Byron’s political legacy that this poem initiates.
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Arora, Jhanvi, and Santosh Kumar Bharti. "Rhetorical Analysis and Classification of Poem Text." International Journal of Semiotics and Visual Rhetoric 5, no. 1 (January 2021): 57–71. http://dx.doi.org/10.4018/ijsvr.2021010105.
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Poetry is one of the richest forms of literature, which in itself includes all components of language a human learns; by components here, the context is towards the rhetorical devices. The rhetorical devices constitute the witty use of words used in the reference to things. The work intends to identify the forms of creative references used by the poets to contrast their style of writing and categorize the text on the basis of the same. On the basis of each such prominent device such as rhymes or alliteration, one can derive the boundary or similarity percentage amongst the poems, which can be further extended to compare the writing style of the poets. The method of analysis holds a good value to study different poets of the modern and renaissance era and could be helpful in contrasting their way of putting things into words. Keywords NLP Analysis of Poem, Poem Analysis, Poem Classification, Poem Comparison, Poem Qualifiers, Poet Classification, Poetry Analysis, Poetry Recommendation System
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De Wind, M. B. "Bevrijding en verzoening in ‘Libera nos, Domine’." Literator 15, no. 1 (May 2, 1994): 115–24. http://dx.doi.org/10.4102/lit.v15i1.654.
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The poem "Libera nos, Domine" appears in the Dutch poet Geerten Gossaert's only published volume of poetry. Experimenten (1911). This poet of the Generation of 1910 has lately drawn renewed interest. In my opinion this particular poem is important, especially in the current literary climate where emphasis is placed on intertextuality. In addition, liberation and reconciliation are topical issues in the current political and religious climate. Gossaert hid behind many disguises which also manifested themselves in his use of a pseudonym. Regarding this poem, it is commonly held that the poet used the disguise of the apostle going to Emmaus. In my opinion the poet also hid behind another figure, and made use of other intertexts. The prevailing view is that the title "Libera nos. Domine” can he traced back to the Lord's prayer as it appears in the Vulgate: it is believed to derive from "Libera nos a malo". In my view the title "Libera nos, Domine" refers to a different intertext, the Requiem, allowing for a different interpretation of this poem.
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Kamal, Dr Sera Tarek. "Lamentation of Ibn Al-Rumi to Abu Al-Husain Yahiya Bin Umar Bin Al Hussein Bin Zaid Bin Ali(May Allah be pleased with him)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES, no. 226(1) (September 1, 2018): 95–118. http://dx.doi.org/10.36473/ujhss.v0i226(1).189.
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Lamentations have formed an important theme throughout the successive periods of Arab poetry, especially the Abbasid period, for the multifaceted and humanistic aspects of this original poetic purpose, on the one hand, and because it transcends merely a positive emotional attitude of the elusive and negative people and life on the other. It is also worthy of research and guidance, and it is important to know the importance of human life and its causes. And its poets deserve attention . It was "the son of Rumi" who lived a life filled with oppression and injustice, one of the most prominent poets of this purpose and notify it, and seems to be overlooked as much as the poet and value this was motivated by the Astitharh carefully study a range of modern researchers, led by "Akkad" who Straighten him a complete study titled " son Abrome his life from his hair, "Abdul Hamid good in his study" Ibn Al-Rumi spelling "and other studies that have tried to explore this Mknunat felt Ahaaraly technical and substantive levels. With regard to the purpose of lamentation, the scholars unanimously agreed on the distinction of Ibn al-Rumi in it, and enabled him to know his data, especially the technical ones, but what is taken on these studies interest in certain poems other than the poet in this regard, especially those inherited by his children without paying attention to other poems The poet sang in religious and social figures that had an impact on changing the behavior of the society by diagnosing its shortcomings and standing up against the oppression and oppression practiced by the ruling authority against some of them, especially the "students" who suffered from the marginalization and persecution of power. and supporter of the family of Ali bin AbiTalib ( The poet of the poems, which included the heat of the passion and honesty, and the high level of artistic which provided the poet these characters, especially their hero, "Hussein bin Yahiya ibn Umar bin Zaid bin Ali" In this regard, because it included the sincerity of emotion, and creativity in the embodiment of poetic images coated with verbal templates, the poet's keenness to choose the most beautiful and plush; to fit the status of the lure and the end of the greatness he chose for himself, not a monk in a moral unit that the impact in the poem that included beyond One hundred percent, the visions of the Poet were gathered Life, time, alarm, and patience, which we tried to study, taking the technical and social approaches to uncover the meanings of the poem artistically and objectively .
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Kamal, Dr Sera Tarek. "Lamentation of Ibn Al-Rumi to Abu Al-Husain Yahiya Bin Umar Bin Al Hussein Bin Zaid Bin Ali(May Allah be pleased with him)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, no. 1 (September 1, 2018): 95–118. http://dx.doi.org/10.36473/ujhss.v226i1.189.
Full textAbstract:
Lamentations have formed an important theme throughout the successive periods of Arab poetry, especially the Abbasid period, for the multifaceted and humanistic aspects of this original poetic purpose, on the one hand, and because it transcends merely a positive emotional attitude of the elusive and negative people and life on the other. It is also worthy of research and guidance, and it is important to know the importance of human life and its causes. And its poets deserve attention . It was "the son of Rumi" who lived a life filled with oppression and injustice, one of the most prominent poets of this purpose and notify it, and seems to be overlooked as much as the poet and value this was motivated by the Astitharh carefully study a range of modern researchers, led by "Akkad" who Straighten him a complete study titled " son Abrome his life from his hair, "Abdul Hamid good in his study" Ibn Al-Rumi spelling "and other studies that have tried to explore this Mknunat felt Ahaaraly technical and substantive levels. With regard to the purpose of lamentation, the scholars unanimously agreed on the distinction of Ibn al-Rumi in it, and enabled him to know his data, especially the technical ones, but what is taken on these studies interest in certain poems other than the poet in this regard, especially those inherited by his children without paying attention to other poems The poet sang in religious and social figures that had an impact on changing the behavior of the society by diagnosing its shortcomings and standing up against the oppression and oppression practiced by the ruling authority against some of them, especially the "students" who suffered from the marginalization and persecution of power. and supporter of the family of Ali bin AbiTalib ( The poet of the poems, which included the heat of the passion and honesty, and the high level of artistic which provided the poet these characters, especially their hero, "Hussein bin Yahiya ibn Umar bin Zaid bin Ali" In this regard, because it included the sincerity of emotion, and creativity in the embodiment of poetic images coated with verbal templates, the poet's keenness to choose the most beautiful and plush; to fit the status of the lure and the end of the greatness he chose for himself, not a monk in a moral unit that the impact in the poem that included beyond One hundred percent, the visions of the Poet were gathered Life, time, alarm, and patience, which we tried to study, taking the technical and social approaches to uncover the meanings of the poem artistically and objectively .
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YEKBAŞ, Hakan. "Persian Poets In View Of Divan Poet." Journal of Turkish Studies Volume 4 Issue 2, no. 4 (2009): 1126–55. http://dx.doi.org/10.7827/turkishstudies.665.
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TOKAT, Feyza. "Karakalpak Poet and Bard Berdak's Poem "Genealogy"." Journal of Turkish Studies Volume 7 Issue 4-II, no. 7 (2012): 2873–88. http://dx.doi.org/10.7827/turkishstudies.4118.
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Maniam, Krishanan, Sivakumar Subramaniam, Umathevy Veerasamy, and Muthukumar Palanisamy. "POET VELUSWAMY'S ARULPURIYAVU POEM ANTHOLOGY: A STUDY." Journal of Indian Studies 10, no. 1 (June 1, 2016): 40–47. http://dx.doi.org/10.22452/jis.vol10no1.3.
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Creed, Robert Payson. "How the Beowulf Poet Composed His Poem." Oral Tradition 18, no. 2 (2004): 214–15. http://dx.doi.org/10.1353/ort.2004.0058.
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Calin, William. "The Poets' Poet: Intertextuality in Louis Aragon." Symposium: A Quarterly Journal in Modern Literatures 40, no. 1 (March 1986): 3–15. http://dx.doi.org/10.1080/00397709.1986.9956773.
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Apesos, Anthony. "The Poet in the Poem: Blake’s Milton." Studies in Philology 112, no. 2 (2015): 379–413. http://dx.doi.org/10.1353/sip.2015.0014.
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Naf'an, Abdul Wahhab. "Tasybi>h dalam Puisi “Ba>nat Su‘a>d” Karya Ka’b bin Zuhair." Adabiyyāt: Jurnal Bahasa dan Sastra 15, no. 1 (April 28, 2017): 1. http://dx.doi.org/10.14421/ajbs.2016.15101.
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Poem "Ba>nat Su'a>d" is a masterpiece by the poet of Ka’b bin Zuhair. The Poem was delivered directly in front of The Prophet Mohammad. This article aims at exploring the elements of tasybi>h in the poem. The poet uses tasybi>h in expressing his feelings about Su'a>d, na>qah, The Prophet Mohammad., muhajirin and the unbelievers. This research breaks down the elements of beauty in this poetry. It can be concluded that the exposure through the used forms tasybi>h, the poet really managed to achieve the goals/ Garad}} of his poetry marked with the provision of forgiveness from The Prophet Mohammad. That is why, the poem was awarded a burdah directly by the The Prophet Mohammad.
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Blakesley, Jacob. "Examining Modern European Poet-Translators ‘Distantly’." Translation and Literature 25, no. 1 (March 2016): 10–27. http://dx.doi.org/10.3366/tal.2016.0235.
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Despite the flourishing of Translation Studies as a discipline, there has been little comparative assessment of modern European poet-translators, much less from a quantitative perspective. This article illustrates the use of statistical analysis of modern European poet-translators to understand literary currents and translation trends within and among national European literatures. Statistical results reveal fundamental differences in the practice of translation among European poets, specifically, twentieth-century Italian, French, Spanish, and English-language poets. It becomes clear which European poets translated the most and from which languages, as do contrasts in translation trends between national literatures through the twentieth century.
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Gouli, Mohan Raj. "Forms of nature in Laxmiprasad Devkota’s “The Rain”." Batuk 5, no. 1 (January 31, 2019): 45–51. http://dx.doi.org/10.3126/batuk.v5i1.27923.
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<p">Poets use different forms of representation for nature in their poetry. Poets get relevant subject matters to produce their verse when they encounter different forms of nature in course of their daily lives. Changing seasons and different conditions of nature significantly encourage the poets to express their deeply rooted feelings in multiple ways of representation depicting multiple forms of their surroundings. This article attempts to explore how Laxmiprasad Devkota, the great poet of Nepal, represents the rain in particular and other elements of nature in general in his poem entitled “The Rain.” To deal with the representation of nature in this poem, I have used the tool of ecocriticism that facilitates to study the relationship between literature and nature as well as nature and human beings.
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Suksanguan, Pattarakorn, Sajjaporn Waijanya, and Nuttachot Promrit. "The extraction of beautiful sound patterns from Sunthorn Phu’s poem using machine learning technique and internal rhyme rule." International Journal of Advances in Intelligent Informatics 7, no. 2 (July 31, 2021): 198. http://dx.doi.org/10.26555/ijain.v7i2.613.
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The melodious poems have been written from the distinctive features of poetry or based on each country's typical style. Especially, Thai poems which composed by the use of specific forming, such as Internal Rhyme to develop melodiousness. The most attractive and well-known poems were composed by a genius Thai poet named Sunthorn Phu. He is a role model for Thai poets. UNESCO honored him as the world’s great poet and the best role model in poetry works. In this article, we proposed extracting 15,796 sentences (Waks) of the beautiful sound patterns of Phra Aphai Mani’s tales by machine learning technology in conjunction with the rules of internal Rhyme Klon-Suphap by using the Apriori Algorithm. The extraction of vowel rhymes separated by a group of Waks including 1) Poem Wak No. 1; 2) Poem Wak No. 2; 3) Poem Wak No. 3; and 4) Poem Wak No. 4. In this article, “Wak” means sentence. The created tool can extract the internal rhyme patterns and the 25 popular pattern vowels. The popular pattern illustrates the melodiousness of the Poem and sets up a standard of how to melodiously compose a poem. Then, the evaluation of the experiments was done by using 144 Waks selected from the extraction of the beautiful patterns and evaluated by the consistency score from 3 experts. The average accuracy score resulted in 95.30%.
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Ferreira de Lima, Francisco. "A quinta estação de Jorge de Sena." e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes 03 (2019): 51–56. http://dx.doi.org/10.53943/elcv.0219_08.
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Based on the reading of some poets of the 16th century, which explored the topos of changing, through which one gets the irreversible asymmetry between the cycles of nature and of human life, the text presents a brief approach of the poem «As quatro estações eram cinco» by Jorge de Sena. The goal is both to highlight affinities and emphasize differences in depicting time between the 20th century poet and his predecessors.
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Kabir, Saleh Muhammad, Zakir Alhaj Shariff, and Muhammad Tukur Abdullahi. "Zajal al-Asīr fī Madḥ al-Shaykh Usman Al-Bashir, Qaṣīdah Nūnīyah li-Musa Kalim Al-Qali: Dirāsah Taḥlīlīyah Adabīyah." Al-Ma‘rifah 18, no. 1 (April 30, 2021): 97–108. http://dx.doi.org/10.21009/almakrifah.18.01.09.
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This study aims to study the life of the poet Musa Kalim Al-Qali and his eulogy poem. The method used in this study is the descriptive-analytical approach, where the researchers read the selected poem and then follow it with study and analysis. The poem chosen was Zajal al-Asīr which contains his praise to Sheikh Usman Al-Bashir. The results of this study indicate that (1) the beginning of the poem (maṭla‘ al-qaṣīdah) invites the reader to follow what he will say about the praised Sheikh; (2) good disposal (ḥusn al-takhalluṣ) of the poem, the poet proceeded directly with the topic, noting that he did not explore his poem with a prologue or propaganda introduction; (3) a good syllable (ḥusn al-maqṭa‘) in the poem, the last words upon which the poet stood was well tolerated and kept a pleasure in listening in the most eloquent expression and the most beautiful meaning; (4) the sincerity of emotion (ṣidq al-‘āṭifah), the poem was distinguished by the sincerity of emotion, the heat of feeling, and the acuity of feeling.