Academic literature on the topic 'Totem Poem'
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Journal articles on the topic "Totem Poem"
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Ferawati, Ferawati, Sultan Baa, and Iskandar Iskandar. "Investigating Rupi Kaur’s selected poems: an analysis of figurative language." International Journal of Humanities and Innovation (IJHI) 5, no. 1 (2022): 20–26. http://dx.doi.org/10.33750/ijhi.v5i1.142.
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This research describes figurative language in Rupi Kaur’s selected poem in her book of poems, Milk and Honey, The Hurting. This research focused on the type of speech found and then analyzed its meaning. This research used descriptive qualitative using the theory of figurative language by Keraf. The authors read selected poems and interpreted them. Then find out the type of Figurative language used and the meaning of the selected poems by Rupi Kaur, The Hurting. This research showed that Rupi Kaur combined some figurative languages in her poems. The result of analyzing poems found eight types of figurative language. Those figurative languages are simile, metaphor, personification, epithet, synecdoche (totem pro-parte and pars-prototo), metonymy, apophasis, and alliteration. The poet creating and using this figurative language is a way to express her ideas, feelings, and thoughts about rape, sex, and abuse
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OKOYE, Chike, and Ikechukwu Emmanuel ASIKA. "Totems and Pantheons: Paradigmatic Muses in Achebe’s Poetry." Nile Journal of English Studies 1, no. 1 (2016): 47. http://dx.doi.org/10.20321/nilejes.v1i1.36.
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<p>Poetry is arguably the most ancient, direct and forceful genre of literature; whether written or oral. African’s foremost novelist and widely acclaimed father of literature, Nigeria’s Chinua Achebe, is mostly known for his prose works, especially the novel Things Fall Apart. Little comparatively, is known of his poetry. But the fact remains that Achebe is a good poet as he is widely recognized as a good novelist. Although the scale of preference tilts more to his prose works than poetry nevertheless; he made lasting impressions and remarks with his poems which are worthy of note. The collection, Beware Soul Brother exists to bear testimony on the personality of Achebe as a poet and what poetry achieves in society. Incidentally, his collection of poems, Beware Soul Brother is a veritable and worthwhile corpus of his characteristic package of Igbo lore, reminiscences, experiences and unique writing style; in the grand genre of poetry. Select poems in the collection make deft use of Igbo religious and cultural tenets which Achebe the poet masterfully weaves as muse, paradigm and cultural rooting in order to portray the Igbo cosmology and worldview. This paper explores his art and style in presenting the gods, totems and guiding ancestral wisdom of the rich, ancient lore of the Igbo. Select poems from the collection form the crux and illustrations of the thrust of this paper and demonstrates Achebe’s strong affinity with the cultural artefacts of his native custom. The implications of these in his culture are also predicated on his poems for effectiveness and to achieve a desired goal of portraying the poet as not just purveyor of his native custom and tenets but a crusader who preaches for social restoration and the need to mend walls and build bridges after years of war and wreckages.</p>
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McCoskey, Denise E. "Reading Cynthia and Sexual Difference in the Poems of Propertius." Ramus 28, no. 1 (1999): 16–39. http://dx.doi.org/10.1017/s0048671x00001806.
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‘she is always and never the same’(advertising slogan for ‘Contradiction’, a ‘fragrance for women’ by Calvin Klein, 1999)In the first poem of his second book, Propertius presents an emphatic declaration of his status as a love poet, slyly incorporating a detailed recusatio to Maecenas, who he claims has requested that he compose epic instead. Later in the poem, Propertius' preference for elegy over epic seems to be echoed by the predilections of his lover Cynthia, who, as Propertius insists, finds the entire Iliad distasteful. According to Propertius, Cynthia's aversion to the poem emerges from a very specific source: the epic's primary female protagonist, Helen. For, as Propertius recalls it, Cynthia disapproves of the whole epic precisely because she finds fault with its ‘leuis’ heroine: si memini, solet ilia leuis culpare puellas,/et totam ex Helena non probat Iliada (‘If I remember, she is accustomed to castigate mutable women and does not approve of the whole Iliad because of Helen’, 2.1.49f.).
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Vilardell Domènech, Laura. "Les vicissituds de la traducció al castellà d’elements heroics i medievals del Canigó, de Jacint Verdaguer. El cas de «La Maladeta»." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 3, no. 3 (2014): 143. http://dx.doi.org/10.7203/scripta.3.3805.
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Resum: En aquest article s’estudien les dificultats de traduir «La Maladeta», un passatge de Canigó, de Jacint Verdaguer. Creiem que aquest fragment és prou representatiu de la temàtica del poema èpic verdaguerià, ja que ha estat un dels més traduïts a totes les llengües i, a més, conté elements heroics i medievals del poema. És per això que hem cregut oportú de fer l’anlàlisi de la traducció dels fragments, per poder treure’n unes conclusions que ens serveixin per avaluar la qualitat de cada versió.Paraules clau: Verdaguer, Canigó, medieval, traducció. Abstract: In this article we study the translation’s difficulties of «La Maladeta», an extract of Canigó by Jacint Verdaguer. We think that this piece is enough representative of the Verdaguer’s epic poem theme, because it has been one of the most translated sections of the poem, and, in addition, it contents heroic and medieval elements. So, we have considered appropriate to make the analysis of each translation of this passage, in order to draw some conclusions which help us to assess the quality of each version. Keywords: Verdaguer, Canigó, medieval, translation.
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Rocha, João Cezar De Castro. "Teoria Mimética e vulnerabilidade do sujeito – Ou: René Girard, Sigmund Freud e Oswald de Andrade | Mimetic Theory and the vulnerability of the subject – Or: René Girard, Sigmund Freud and Oswald de Andrade." Revista PHILIA | Filosofia, Literatura & Arte 3, no. 1 (2021): 69–77. http://dx.doi.org/10.22456/2596-0911.113117.
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ResumoEsse artigo propõe um contraponto entre a teoria mimética de René Girard, as considerações freudianas sobre sujeito e a obra de Oswald de Andrade. O sujeito mimético coincide com o sujeito antropofágico oswaldiano, pois idêntica divisa poderia defini-los, transformando o alheio em próprio, e transformá-lo a tal ponto que as fronteiras entre o eu e o outro se confundem. Cada um a seu modo, Oswald de Andrade e René Girard assimilaram criativamente a lição freudiana, especialmente a leitura de Totem e Tabu (1913). O pensador e poeta brasileiro inverteu os termos da equação, descobrindo “a transformação permanente do Tabu em totem”.Palavras-chave: Teoria Mimética Girardiana. Sujeito Mimético. Antropofagia em Oswald de Andrade. Totem e Tabu. AbstractThis article proposes a comparison among René Girard’s mimetic theory, Freudian assumptions on the self and Oswald de Andrade’s work. The mimetic self coincides with the Oswaldian anthropophagic subject, since the identical division could define them, transforming the other in the self, and transform it in such a way that the limits between the self and the other can be confused. Each one in his own way, Oswald de Andrade and René Girard assimilated creatively Freud’s lesson, especially the reading of Totem and Taboo (1913). The thinker and Brazilian poet inverted the terms in the formula, descovering ‘the permanent transformation of the Taboo in totem.’Keywords: Girardian Mimetic Theory. Mimetic Self. Anthropophagy in Oswald de Andrade. Totem and Taboo.
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Siqueira, Flavia Regina Pereira Santos de, Elimar de Abreu dos Santos, Bruno Bessa Guerra, and Arildes Lima de Almeida. "Relato da experiência de discentes de engenharia da computação no apoio à avaliação institucional." Research, Society and Development 8, no. 11 (2019): e218111458. http://dx.doi.org/10.33448/rsd-v8i11.1458.
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A avaliação institucional através da participação da comunidade externa é uma importante ferramenta para a verificação e acompanhamento de aspectos relacionados à instituições de ensino superior. Nesse contexto, o artigo vem divulgar um projeto de extensão que teve por objetivo auxiliar na autoavaliação de uma universidade. O objetivo deste texto é fazer um registro do trabalho que foi realizado na Universidade e ao mesmo tempo procura contribuir para o debate sobre ensino e extensão nas engenharias. O trabalho focou na construção de um Totem Itinerante construído por discentes de engenharia. Para tal, os integrantes do projeto definiram as metas para o desenvolvimento de um software a ser utilizado na pesquisa, o plano para a confecção da estrutura física do Totem e os locais a serem visitados a fim de realizar a coleta de dados. O conteúdo das questões presentes no formulário incluía informações a respeito da faixa etária do participante, infraestrutura, acessibilidade e segurança na universidade. Após a conclusão das metas estabelecidas para criação do Totem, a pesquisa pode ser realizada em cinco locais da universidade. Diante dos resultados obtidos após a pesquisa com a utilização do Totem, verificou-se aumento significativo no número de participantes de vários segmentos o que contribuiu para maior abrangência da avaliação institucional e que podem promover melhorias no âmbito da Universidade. Além disso, vale ressaltar que para os discentes envolvidos, foi uma aplicação dos conhecimentos adquiridos em seus cursos de graduação em engenharia.
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Amanda, Ulpa Rizki, and Muhammad Walidin. "Gaya Bahasa Figuratif dalam Syair Ana Ma’a Al –Irhab (Aku Bersama Terorisme) karya Niizar Taufik Qabbani." Diwan: Jurnal Bahasa dan Sastra Arab 14, no. 1 (2022): 42–51. http://dx.doi.org/10.15548/diwan.v14i1.700.
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This study aims to describe terrorism through figurative language styles, both comparisons and linkages. This studyuses a stylistic approach that focuses its study on forms of linguistic formation, especially those contained in literarytexts. Stylistics is intended to explain the function of beauty in the use of certain linguistic forms, from aspects of sound, structure, lexical, figurative language, rhetorical means, to graphology. Based on the results of the above research on the poem ? ??????? by Nizar Taufik Qabbani, it was found that the types of figurative language styles in the lines of the poem, among others, are simile ( ?? ? ? ? ?? ), metaphor (???? ? ? ??? ), allegory ( ?? ? ?? ?? ), metonymy ( ? ??? ? ?? ). ), and synecdoche ( ?? ?? ?? ) in the type of pars pro toto and in the type of totum properte, but dominates in the description of the term terrorism in this poem.
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Frend, W. H. C. "Donatus ‘paene totam Africam decepit’. How?" Journal of Ecclesiastical History 48, no. 4 (1997): 611–27. http://dx.doi.org/10.1017/s0022046900013439.
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Jerome was writing De viris illustribus in c. 393, and his verdict on Donatus of Carthage conceded that he had indeed ‘deceived nearly the whole of Africa’, an aim echoed by Augustine in his satirical anti-Donatist poem composed the same year. In fact, the year 393 had not been a good one for the Donatists. The high-handed acts of the new bishop of Carthage, Primian (391–412+), had provoked a schism among moderate and traditional members of the Church in proconsular Africa and Zeugitana (modern Tunisia). About one hundred bishops from these provinces had rallied to the cause of Maximian, a deacon in the Church at Carthage who was also a descendant of Donatus himself. In the meantime, the Catholic Church, condemned to minority status since the reign of Julian (361–3), had begun to reassert itself through Aurelius, its new bishop of Carthage (392–430). In 393 it held an important council at Hippo where Augustine, even though only a presbyter, had been the preacher.
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Namba, Janaina. "A proibição do incesto em Lévi-Strauss e Freud: algumas aproximações." Revista de Antropologia 61, no. 1 (2018): 176. http://dx.doi.org/10.11606/2179-0892.ra.2018.145521.
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Em As estruturas elementares do parentesco (1949), Lévi-Strauss se refere à proibição do incesto como uma regra encontrada em todos os povos e em todos os tempos, ou seja, uma regra universal que marca a passagem da natureza para a cultura. Já Freud, em Totem e tabu (1913), descreve essa regra como uma consequência de um ato parricida, que daria origem à cultura. A proposta deste texto é refletir sobre algumas aproximações que podem ser feitas entre a antropologia estrutural de Lévi-Strauss e a psicanálise freudiana no que diz respeito à proibição do incesto.
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Alsaid, Manar, Suliman Hawamdeh, and Bobbie Sartin Long. "Implicit Bias and Cultural Competence: A Framework for Enhancing Tacit Knowledge Transfer." International Journal of Knowledge Engineering and Management 9, no. 25 (2021): 6–30. http://dx.doi.org/10.47916/ijkem-vol9n25-2020-84919.
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A competência cultural se refere à capacidade de se comunicar e interagir com pessoas de diferentes culturas, ao mesmo tempo que reconhece a existência de preconceitos implícitos. O preconceito implícito sugere que os estereótipos e julgamentos preconcebidos podem afetar o julgamento de alguém e podem levar a ações não intencionais. Os eventos recentes que se seguiram à morte de George Floyd geraram protestos em todo o mundo em apoio ao movimento Black Lives Matters e à justiça social. Os eventos destacaram a necessidade de reexaminar as práticas atuais de policiamento e enfocar as questões sociais e culturais que afetam o policiamento. O trabalho policial é complexo e às vezes exige que os policiais tomem ações rápidas e tomem decisões em frações de segundo, especialmente ao lidar com situações traumáticas, como apreender criminosos, proteger cenas de crime, preservar evidências, ajudar nas investigações e fazer testes em tribunais. Às vezes, essas tarefas são percebidas negativamente pelo público como resultado de incidentes violentos e encontros adversos com policiais. O trabalho de policiamento requer indivíduos altamente treinados com um espectro de habilidades, conhecimentos e competências. Neste artigo, examinamos algumas das questões culturais e estruturais relativas ao trabalho policial e propomos uma estrutura conceitual que pode servir como um preditor para melhorar a competência cultural e a mudança comportamental.
Dissertations / Theses on the topic "Totem Poem"
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Tunstall, Lucy Suzannah. "Vision and visual art in Sylvia Plath's 'Ariel' and last poems." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/24401.
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This dissertation is concerned with Sylvia Plath's late works. Engaging with critical discussion of what constitutes the corpus of Ariel, I show that an appreciation of the editorial history reveals the beginning of a third book (the last poems), and opens up those difficult texts to fresh enquiry. Recent work in Plath studies has focused on visual art. Kathleen Connors and Sally Bayley's Eye Rhymes examines Plath’s own artwork in ‘an attempt to answer the question, How did Plath arrive at Ariel? (1) I contribute to that discussion, but also ask the questions, How did Plath leave Ariel behind and arrive at the even more remarkable last poems, and how did visual art enable those journeys? I argue that Ariel’s characteristically lucid style is informed by the dismantling of depth perspective in Post-Impressionist painting, and by the colour theory and pedagogy of the Bauhaus teachers. My work is underpinned by an appreciation of Plath’s unique cultural moment in mid-century East Coast America. I show how Plath’s knowledge of the theories, practice and iconic images of visual art, from the old masters to the Post-Impressionists, offered new possibilities for stylistic development. Working with archival materials including annotated works from Plath’s personal library and drafts of her poems, as well as published material, I examine the synthesis of visual and literary influences. Demonstrating specific textual relations between Plath and the work of Emily Dickinson, T. S. Eliot and W. B. Yeats, as well as other poets, I show that Plath’s visual poetics combine influences from the modern poets with her New Critical training and with painting and sculpture. I offer new readings of rarely discussed poems, such as ‘Totem’, ‘The Munich Mannequins’ and ‘Child’, as well as fresh insights into the well known works, ‘Tulips’, ‘The Moon and the Yew Tree’, ‘Fever 103º’, and ‘Edge’.
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Aboelhassan, Mustafa Osman Elrayah. "Robustní řízení synchronního stroje s permanentními magnety a spínaným tokem." Doctoral thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2013. http://www.nusl.cz/ntk/nusl-233605.
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Je jasné, že nejúspěšnější konstrukce zahrnuje postup vícefázového řízení, ve kterém každá fáze může být považována za samostatný modul. Provoz kterékoliv z jednotek musí mít minimální vliv na ostatní, a to tak, že v případě selhání jedné jednotky ostatní mohou být v provozu neovlivněny. Modulární řešení vyžaduje minimální elektrické, magnetické a tepelné ovlivnění mezi fázemi řízení (měniče). Synchronní stroje s pulzním tokem a permanentními magnety se jeví jako atraktivní typ stroje, jejíž přednostmi jsou vysoký kroutící moment, jednoduchá a robustní konstrukce rotoru a skutečnost, že permanentní magnety i cívky jsou umístěny společně na statoru. FS-PMSM jsou poměrně nové typy střídavého stroje stator-permanentní magnet, které představují významné přednosti na rozdíl od konvenčních rotorů - velký kroutící moment, vysoký točivý moment, v podstatě sinusové zpětné EMF křivky, zároveň kompaktní a robustní konstrukce díky umístění magnetů a vinutí kotvy na statoru. Srovnání výsledků mezi FS-PMSM a klasickými motory na povrchu upevněnými PM (SPM) se stejnými parametry ukazuje, že FS-PMSM vykazuje větší vzduchové mezery hustoty toku, vyšší točivý moment na ztráty v mědi, ale také vyšší pulzaci díky reluktančnímu momentu. Pro stroje buzené permanentními magnety se jedná o tradiční rozpor mezi požadavkem na vysoký kroutící moment pod základní rychlostí (oblast konstantního momentu) a provozem nad základní rychlostí (oblast konstantního výkonu), zejména pro aplikace v hybridních vozidlech. Je předložena nová topologie synchronního stroje s permanentními magnety a spínaným tokem odolného proti poruchám, která je schopná provozu během vinutí naprázdno a zkratovaného vinutí i poruchách měniče. Schéma je založeno na dvojitě vinutém motoru napájeném ze dvou oddělených vektorově řízených napěťových zdrojů. Vinutí jsou uspořádána takovým způsobem, aby tvořila dvě nezávislé a oddělené sady. Simulace a experimentální výzkum zpřesní výkon během obou scénářů jak za normálního provozu, tak za poruch včetně zkratových závad a ukáží robustnost pohonu za těchto podmínek. Tato práce byla publikována v deseti konferenčních příspěvcích, dvou časopisech a knižní kapitole, kde byly představeny jak topologie pohonu a aplikovaná řídící schémata, tak analýzy jeho schopnosti odolávat poruchám.
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Mohlala, Mankgoke Jonas. "‘Bamasemola’ : seretotumišo sa E.M. Ramaila." Diss., 2008. http://hdl.handle.net/2263/27041.
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The purpose of this study is to trace and describe the form, origin and history of the praise poem ‘Ba Masemola’. This praise poem was included in the volume Seriti sa Thabantsho (1956). In that period, E. M. Ramaila collected and transcribed traditional praise poems of different groups, such as the Bapedi, the Batau, the Mapulana, and others. During his collection, Ramaila urged these groups not to forget their descent and history, and pointed out that these particulars were all brought together in their praise poems. Of the clans that are represented by their praise poems in this volume, only the Batau are discussed in this study. The Batau is a large group that is in its turn divided into five smaller groups, namely the Mphanama, Masemola, Nchabeleng, Makobe and Bakgaditsi groups. From among these smaller units the ‘Ba Masemola’ are selected for closer examination. Among the praise poems about the ‘Ba Masemola’ different kings are praised, for instance Mokwene, Tseke, Mabowe, and others. Not all these poems will be scrutinised, though occasional reference will be made to them. The most important concepts that are discussed in this study are the following: the praise poem, the narrative poem (poem with epic characteristics) and the epic. These genres share certain characteristics, yet also differ from each other. With regards to the content of the poem, several important characters are praised. The foremost figures that are mentioned here are the praise poet, the praised one and the ‘audience’. Their conduct differentiate them from characters found in (other) narratives works. The actions that are described can be divided into two groups, namely those that operate autonomously from other actions, and those that link with other actions. Nevertheless, all these happenings belong to the past. The milieu in this praise poem largely corresponds to that found in the narrative works, mainly because in the traditional settings, the praise poem is a declamatory piece that has several characteristics in common with the stage performance. In the description of the structural composition of this praise poem, a distinction will be made between the poem as literary work and the poem as verse. In the first case the theme, title and structure of the poem will be examined. The description of the structure of ‘Ba Masemola’ entails the different techniques Ramaila employs to carry across his ‘message’ and elucidates his point of view. In the examination of the verse composition, the first emphasis is on metrical principles that govern form, i.e correspondence and co-ordination, and the way in which Ramaila used them is then illuminated. In the stylistic finish of the poem there is a noticeable emotional charge. This can be mentioned as an important quality of the poem, and brings to the fore the bravery and fearlessness of the clan of GaMasemola.<br>Dissertation (MA)--University of Pretoria, 2008.<br>African Languages<br>unrestricted
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Carter, Louise. "Luke Davies and the electrified lyric : praise and lament in Australian postmodern romantic poetry." Thesis, 2021. http://hdl.handle.net/1959.7/uws:67135.
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Romanticism has always had a vibrant presence in Australia’s poetic landscape. In the critical discussion about Australian romantic poetry, the American literary scholar Paul Kane is highly visible. His 1996 book Australian Poetry: Romanticism and Negativity famously links Australian romanticism with aesthetics and states of ‘negativity.’ Kane argues that romanticism as an aesthetic movement reached Australia ‘belatedly,’ and that it came ‘in the guise of an absence.’ Negativity thus became a ‘driving force’ for Australian poets, resulting in a ‘strain’ of romantic poetry that is characterised by a recurrence of themes relating to emptiness and inauthenticity. This thesis argues that since the emergence of postmodernism in the later 20th century, a new strain of Australian romanticism has appeared: one that is material, relational, embodied, and positive. The distinct aesthetic forces of postmodernism and romanticism combine to produce an energetic charge, similar to an electric current. I refer to this new Australian style of poetic lyricism as ‘postmodern romanticism.’ The long love poem ‘Totem Poem’ (2004) by contemporary Australian poet Luke Davies is at the centre of my analysis as an exemplar of postmodern romanticism. Davies’ poetry repeatedly brings together opposites – such as the secular and sacred, the worldly and otherworldly, the ancient and modern, and the sincere and ironic – to create modes of aesthetic plenitude and disorder (or re-ordering). ‘Totem Poem’ combines the irony of postmodernism with the earnestness of romanticism, creating an effect of amplification: ‘Totem Poem’ is the 21st-century equivalent of a courtly love poem, written not for a lute or lyre, but for electric guitar. The interplay of opposites within Davies’ poetry extends to a dichotomy between the ebullient joyousness of ‘Totem Poem’ and the profound sadness of Davies’ later work Interferon Psalms (2011). The thesis also studies Robert Adamson as a contemporary Australian praise poet, and reflects upon the history of ‘lament’ within Australian poetry, arguing that lament recurs historically in Australian literature as a space for marginalised voices to bring public expression to personal suffering. These ideas are explored creatively in the accompanying poetry collection Golden Repair. The collection comprises a titular long poem, followed by a sequence of individual lyrical poems that embrace a postmodern romantic mode to express praise and lament in context of 21st-century urban and suburban Australia.
Books on the topic "Totem Poem"
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Wasserman, Burton D. Between the totems of labor and love: Poems. Fithian Press, 2001.
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Ahmed, Ali Jimale. When donkeys give birth to calves, totems, wars, horizons, diasporas: Poems. The Red Sea Press, 2012.
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Davies, Luke. Totem: Totem Poem Plus 40 Love Poems. Allen & Unwin Pty., Limited (Australia), 2004.
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Hoover, Paul. Totem and Shadow: New and Selected Poems. Talisman House Publishers, 2000.
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Hoover, Paul. Totem and Shadow: New and Selected Poems. Talisman House Publishers, 1999.
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Gogol, Nikolai Vasilevich. Dead souls, 1842 (In Russian Language) / Die toten Seelen / Mertvye dushi : poema Mertvye dushi : Poema. AST, 2005.
Find full textBook chapters on the topic "Totem Poem"
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Rodden, John G. "Weimar, 1994 Difficulties with the Truth: Coping with the DDR’s Past in the New Eastern Classroom." In Repainting the Little Red Schoolhouse. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195112443.003.0021.
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Eight thirty A.M. Another school day, another school—this time the Schiller Gymnasium in the Thomas Mann Street. It’s a fine morning in late October. I greet Frau Losart, a German teacher, and Herr Gerrelov, a Russian teacher. They’re happy to talk to me about changes at the school since my visit during the dying days of the DDR in the fall of 1990, when it was still the Schiller EOS, the only EOS in Weimar. Weimar has witnessed many changes since then, especially in education, including the transformation of three POS into Gymnasien: the Goethe Gymnasium, the Hoffman von Fallersleben Gymnasium, and the Sophiengymnasium. The classical names reflect the importance of German culture in Weimar. Indeed, “Weimar— the Heart of German Culture,” runs the slogan in the official tourist brochure, which features, incongruously, both a picture of a young couple drinking Coca-Cola (the caption [in English]: “You can’t beat the feeling!”) and a pitch for a private bus tour line: “For more than a century,” says the ad, in stately German script, Weimar “has been a magnet for all those who revere German classicism. . . .” Or: those who mummify it. “Stadt der toten Dichter” (Dead Poets’ City), journalistic wags from the west have dubbed Weimar instead. But the eastern and western slogans do, ironically, somehow fit together. For certainly the city’s two biggest cultural drawing cards are its two greatest dead poets: Goethe and Schiller. Not the least of the city’s honors to the latter dead poet is the Schiller Gymnasium itself. Built in 1927, it was originally a Berufsschule (trade/vocational school) for girls; two years later, it became a coeducational Realschule. In 1936, the auditorium with its Nietzsche window was added, in honor of the city’s third great dead poet. In 1945, the school was used as an emergency hospital for soldiers wounded at the front. After the war, the Schiller Oberschule was the only school in Weimar to confer the Abitur; it became one of the first EOS in 1960 and a Gymnasium in 1991.