Relevant bibliographies by topics / Venda poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Venda poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Venda poetry"

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Milubi, N. A. "Development of Venda poetry from oral tradition to the present forms." South African Journal of African Languages 8, no. 2 (January 1988): 56–60. http://dx.doi.org/10.1080/02572117.1988.10586750.

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Lotman, Rebekka. "Fearlessness and Resistance in the Gulag: Estonian Prison Camp Poetry." Interlitteraria 28, no. 2 (December 31, 2023): 187–208. http://dx.doi.org/10.12697/il.2023.28.2.2.

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During and after the Second World War, over 50,000 Estonians were sent to Soviet prison and forced labour camps. Within these camps, some of the repressed Estonians developed their own subculture – prison camp poetry, secretly written on sheets of paper and also memorised. The poems examined in the article were composed predominantly during the latter half of the 1940s and the 1950s, within various prison camps situated in the Karaganda Region, the Kazakh ASSR (Spassky), the Komi ASSR (Vorkuta, Intalag, and Ukhta), Mordovia (Dubravslag), the Gorki Oblast (Unzhlag) and the far northern camps of Kolyma and Krasnoyarsk Krai (Norilsk). The focus of this article is on the emotional depth of these poems and how they encapsulate feelings of fear and fearlessness, despair and hope, anger and sorrow, vengefulness and loathing. The article demonstrates how not succumbing to fear became a survival strategy within a regime of terror for Estonian Gulag poets, and how poetry provided diverse avenues for exploring this approach. Fear was transformed in various ways: Artur Alliksaar’s poetry confronts the possibility of cataclysm with beauty, while the lyrical selves of Valve Pillesaar, Leenart Üllaste, and Helmut Joonuks chose to shut down their minds. Venda Sõelsepp and Annus Rävälä, on the other hand, replaces his fear with sarcasm, while Enno Piir and Enn Uibo’s poems call for terror to be turned against the system itself.
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Zilberman, Regina. "O poeta da diversidade." Revista do Centro de Estudos Portugueses 26, no. 36 (December 31, 2006): 33. http://dx.doi.org/10.17851/2359-0076.26.36.33-38.

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<p>Estudo da obra de Mário Quintana, vendo nela a diversidade e as relações com outros poetas.</p> <p>Étude de l’oeuvre de Mário Quintana, à partir de la diversité du poète e de quelques relations avec d’autres poètes.</p><p> </p>
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Pereira, Mateus da Silva. "T. S. Eliot e Ferreira Gullar: a dialética da morte em The hollow men e Nova concepção de morte." Babel: Revista Eletrônica de Línguas e Literaturas Estrangeiras 2, no. 2 (December 31, 2012): 45–57. http://dx.doi.org/10.69969/revistababel.v2i2.963.

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Este artigo irá abordar como os poetas T.S Eliot e Ferreira Gullar, respectivamente inglês e brasileiro, tratam do tema morte em dois de seus poemas. Tendo em vista as premissas teóricas de Philippe Ariès, historiador francês, para o que se entende por morte no ocidente, o texto pretende observar como os poetas se diferenciam no tratamento do tema a partir de seus universos antagônicos resultando assim em duas produções que, ao mesmo tempo em que são distintas, estão, inevitavelmente, dependo uma da outra para que o significado do trabalho venha à tona.
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K, Rakku. "A Comparison of Alternative Forms of the Epic Manimegalai." International Research Journal of Tamil 3, S-1 (June 12, 2021): 97–103. http://dx.doi.org/10.34256/irjt21s115.

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According to the motto, “Change is the only thing that changes” occur over time in civilization and culture. Similarly in in the Literature, the creators create their ideas (themes) according to the change of time –epic, drama, poetry to the readers. Thus the Manimgalai epic written by sethalichattanar teaches Buddist concepts. Alternative forms are born with the aim of further simplifying the concept of the maimegalai and presenting alternative ideas with the intention of introducing the reader to his or her own ideas. Thus the various myth of genetics are their forms, literary style, content, opinions etc will feature change. This article seeks to illustrate how Manimegalai and their other forms of ‘Manimegalai play’ ‘manimegalai venba’ which originated has taken shape and significance distortions.
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Jamison, Stephanie W. "Śleṣa in the Ṛg Veda?: Poetic Effects in Ṛg Veda X.29.1." International Journal of Hindu Studies 19, no. 1-2 (April 2015): 157–70. http://dx.doi.org/10.1007/s11407-015-9175-0.

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Álvarez Ramos, Eva. "La posmodernidad en la poesía contemporánea española: la búsqueda de los orígenes." Ogigia. Revista Electrónica de Estudios Hispánicos, no. 10 (December 29, 2020): 25–28. http://dx.doi.org/10.24197/ogigia.10.2011.25-28.

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El concepto de posmodernidad se ha convertido, en los últimos años, en la piedra filosofal de las artes. No hay manifestación artística contemporánea que no venga respaldada por este membrete estandarte de una idea un tanto líquida y de difícil solidificación. ¿Es posible, no obstante, elaborar una datación exacta de la lírica posmoderna? ¿Hemos de relacionar directamente posmodernidad con una determinada generación poética?, o ¿es factible hablar de poemas y poetas posmodernos huyendo de los márgenes ideológicos generacionales?
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C, Sadhanandan. "Agathinai Literary Theory in Tolkappiyam." International Research Journal of Tamil 4, S-13 (October 6, 2022): 25–31. http://dx.doi.org/10.34256/irjt224s134.

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The Theory of the Tamil people and the theory of Tamil literature are intertwined with the agathinai and Agam traditions. Agam literature flourishes on the basis of love in Ainthinai. Seeing the proliferation of literary genres, the field of "Paatiyal" (Treatise on poetic composition) emerged in an attempt to define grammatical principles for literature. Although there are about 46 paatiyal books appearing in the Tamil world, there are only 10 paatiyal books which are available in their entirety today. Taking into account the ideas of Agathinai and Agathurai of Tolkappiyar and the views of Ilapuranar and Nachinarkiniyar, who interpreted them, the twelve pattiyals, the Venba paatiyal, the Navaneetha paatiyal, the Grammatical explanation-pattiyal, the Thonnool explanation, the Swaminatham, the Prabandha genealogy, the Prabandha deepikai, the Prabandha thirattu, and the Prabandha deepam are the types of literature created. On the basis of Agathinai and Agathurai, the grammatical principles for the literary categories such as Ainthinai Poetry, Kaikalai, Kovai, Venilmalai, Nayanappathu, Payodharappathu, Pukalchi Malai, Naamamalai, Perumakilchi Malai, Madal, Ulaamadal, Anuragamalai, Kurathipaattu, Mangala Vellai (Mangala Vallai) and Thoothu have been defined. The purpose of this article is to explain and illustrate these principles.
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Alerta, Honeylet. "Modern Indonesian Poetry and Short Stories for Pre-College and Non-Indonesian Readers by Ied Veda Sitepu." UNITAS 96, no. 2 (2023): 49–55. http://dx.doi.org/10.31944/20239602.03.

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De Carvalho, Rebeca Waltenberg, and João Hermem Fagundes Tozatto. "Contribuição ao sistema de gestão do laboratório de materiais de construção do curso de construção civil do Cefet-RJ." Revista de Gestão e Secretariado (Management and Administrative Professional Review) 14, no. 2 (February 9, 2023): 1643–53. http://dx.doi.org/10.7769/gesec.v14i2.1648.

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A indústria da construção civil responde por 15 a 50% do consumo de recursos naturais extraídos no planeta (FINESTRA, 2009). Em decorrência, muitas dessas matérias primas estão escasseando atualmente. A produção de materiais de construção também contribui significativamente para a poluição do planeta, com o lançamento de gases e poeira na atmosfera. Além disso, a construção civil é a maior produtora de resíduos de toda a sociedade. No Brasil, a maior parte desses resíduos vai para depósitos inadequados (muitas vezes clandestinos), o que contribui expressivamente para a degradação do ecossistema (PORTAL COMPET, 2006). Este projeto repensou a utilização do Laboratório de Materiais de Construção, caracterizando o espaço útil – sua funcionalidade, as atividades ali realizadas, limitações - bem como os materiais utilizados. A partir de um estudo diagnóstico realizado, estabeleceu-se critérios para uma melhor gestão do mesmo e estudou-se possibilidades quanto à redução da quantidade de materiais e insumos utilizados nas aulas, priorizando-se o reaproveitamento e/ou reciclagem do todo ou da maior parte destes. Além disso, espera-se que a presente pesquisa venha estimular os estudantes dos Cursos Técnicos de Construção Civil (Edificações e Estradas) a entenderem o papel da Gestão Ambiental – tanto no ambiente acadêmico quanto em um canteiro de obras. Assim, quando inseridos no mercado de trabalho, tornem-se multiplicadores e promovam uma mudança gradativa dos atuais e dispendiosos métodos hoje utilizados.
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Dissertations / Theses on the topic "Venda poetry"

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Spiers, Carmen. "Magie et poésie dans l’Inde ancienne : édition, traduction et commentaire de la Paippalādasaṁhitā de l’Atharvaveda, livre 3." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLP054.

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Cette thèse allie une étude de l’Atharvaveda, une tradition rituelle de l’Inde ancienne, à l’édition avec traduction et commentaire d’un livre d’hymnes appartenant à sa liturgie. L’auteur défend l’association de l’Atharvaveda avec la « magie », définie selon des critères structuraux plutôt que descriptifs, au moyen d’une étude historique de l’évolution au cours de l’époque védique (1500 à 500 avant notre ère) du rôle de l’Atharvaveda au sein de la communauté des prêtres-poètes brahmanes d’où elle émane, dans une position marginale par rapport aux trois Veda majeurs. Le rôle rituel des hymnes est ensuite étudié : l’analyse du discours finalement idéologique du poète védique sur le pouvoir de la parole, ainsi que du contexte concret des rites empreint des rivalités virulentes entre prêtres, suggère que l’application de la théorie austinienne de la performativité, souvent évoquée dans le domaine, n’est pas adaptée à l’interprétation rituelle des hymnes. L’auteur soutient que ceux-ci sont mieux compris sous un angle rhétorique en tant que véhicule d’un discours persuasif. Cette approche permet de rendre compte de la raison de la complexité poétique que peuvent atteindre ces hymnes. La seconde partie de ce travail comporte une édition critique des quarante hymnes du livre 3 du recueil atharvanique du nom de Paippalādasaṁhitā, accompagnée d’une première traduction en français et en anglais, ainsi que d’un commentaire détaillé pour chaque hymne
This thesis combines a study of the Atharvaveda, an ancient Indian ritual tradition, with an edition, translation, and commentary of a book of hymns from its liturgy. The author defends the association of the Atharvaveda with “magic”, defined according to structural rather than descriptive criteria, by examining the historical evolution, over the course of the Vedic period (1500-500 bce), of the tradition’s role within the community of brahmin poet-priests to which it belongs, though in a marginal position with respect to the three major Vedas. Next discussed is the ritual role of the Atharvavedic hymns: by analyzing the Vedic poet’s ideological representation of the power of the word, as well as the pragmatic context of the rites marked by violent rivalries among priests, the author argues that the oft-encountered application of Austinian performative theory is not suited to the ritual interpretation of Atharvavedic hymns. These are better understood from a rhetorical angle as elements of persuasive discourse, an approach which can account for the poetic complexity reached by some hymns. The second part of this thesis is a critical edition of the forty hymns that make up the third book of the Atharvavedic collection of hymns known as the Paippalādasaṁhitā, with a first translation into English and French, as well as a detailed commentary to each hymn
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Olivera, Mendoza Luis Mauricio. "Doble invocación y venida de los Dioscuros : las transformaciones en las isotopías temáticas de la muerte, del amor y de la escritura en Amour á mort de César Moro." Master's thesis, Pontificia Universidad Católica del Perú, 2016. http://tesis.pucp.edu.pe/repositorio/handle/123456789/8026.

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La pregunta que formula la presente investigación gira en torno a las razones por las cuales César Moro escogió el mito de los Dioscuros para su poemario Amour à mort. En los párrafos que siguen se revisará las opiniones críticas de varios grupos de intelectuales que, a nuestro criterio, han aportado argumentos generales y específicos que proporcionan lucidez y debate en el camino hacia una de las posibles respuestas satisfactorias a la pregunta. En principio, los razonamientos críticos sobre la obra de Moro se remontan a los años en que el poeta logró publicar algunos poemarios en lengua francesa, continúan, con algunas intermitencias causadas por la escasa publicación de la obra del poeta, después de su fallecimiento, a lo largo de la segunda mitad del siglo veinte, y prosiguen de manera consolidada durante las primeras décadas del siglo en curso, gracias a la mayor cantidad de publicaciones de su obra, a partir de 1980, y la celebración del centenario de su nacimiento en el 2003. En el párrafo final incorporaremos nuestra hipótesis de trabajo acerca del núcleo intratextual sobre el cual reside la elección del mito de los Dioscuros.
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Milubi, Ntshavheni Alfred. "Aspects of Venda poetry : ( A reflection on the development of poetry from the oral tradition to the modern forms)." Thesis, 1988. http://hdl.handle.net/10386/2157.

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Sebola, Moffat. "Tsenguluso ya vhurendi ha N. A. Milubi yo livhahanywa na thyiori ya new criticism." Thesis, 2019. http://hdl.handle.net/10386/2969.

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Thesis (M. A. (African Languages)) -- University of Limpopo, 2019
The study analyses N.A. Milubi’s Tshivenḓa poetry. N.A. Milubi is one of the prominent Tshivenḓa modern poets. The study selected N.A. Milubi’s poems from the books he published as an individual as well as from the poetry anthologies in which he contributed his poetry. The publications that are analysed in this study are: Muhumbuli-Mutambuli (1981), Vhuṱungu ha Vhupfa (1982) Ipfi ḽa Lurere, Muimawoga (1990), Muungo wa Vhuhwi (1995) and Khavhu dza Muhumbulo (2001). The study is based on the New Criticism theory where both the form and meaning of the poem are analysed. The New Criticism theory emphasises a close reading of the text as a significant factor that determines or reflects the artistic and aesthetic value of a literary work. An appraisal for N.A. Milubi’s artistic prowess, in as far as Tshivenḓa poetry is concerned, is also provided in this study.
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Books on the topic "Venda poetry"

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Ramaofisi, N. L. Mutingati: Venda poetry. Johannesburg: Educum Publishers, 1987.

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Phaswana, K. J. Nthovhedzeni: Venda poetry. Johannesburg: Educum Publishers, 1989.

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Muenda, L. N. T̳alusani: Venda poetry. Johannesburg: Educum Publishers, 1989.

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Thagwane, E. M. Luvholela: Venda poetry. Johannesburg: Educum, 1987.

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Milubi, N. A. Aspects of Venda poetry. Hatfield, Pretoria: J.L. van Schaik, 1997.

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Rasifudi, N. L. Lwendo lwa muelekanyi: Venda poetry. Johannesburg: Educum Publishers, 1987.

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Mavhaga, Mulingoni Phineas. Ngosha dza vhurendi: Venda poetry. Johannesburg: Educum Publishers, 1989.

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Makhado, T. Miludzi ya shango. Elim Hospital, South Africa: Bila Publishers and Communications, 2012.

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Ngwana, D. M. Vhakale vha hone. Makhado: Guyo Buguni, 2021.

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Mavhaga, Mulingoni Phineas. Posa it̳o: Vend̳a poetry. Johannesburg: Educum Publishers, 1987.

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Book chapters on the topic "Venda poetry"

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Brereton, Joel P., and Stephanie W. Jamison. "Introduction." In The Rigveda, 1–8. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190633363.003.0001.

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This chapter introduces the text, situating it in the textual universe of the Veda, briefly describing its structure and contents, as well as the language in it which it was composed. It locates the text between the literary tradition from which it derives, that of Indo-European praise poetry, and the religious tradition into which it feeds, that of Classical Hinduism. It also contextualizes the text in world literature as a whole, arguing that, though the Rigveda is the first attested Sanskrit text, it displays a mature mastery of poetic technique, and also argues that the ritual system it evinces shows a similar degree of sophistication.
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Edmunds, Lowell. "Hypostases of Helen." In Stealing Helen. Princeton University Press, 2015. http://dx.doi.org/10.23943/princeton/9780691165127.003.0005.

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This chapter reexamines the evidence for two cults of Helen, as part of a discussion into the origins of Helen and her myth outside of her narrative. Some scholars have posited that Helen, before becoming humanized into a heroine in Homer's epic, had originated as a goddess, and is thus hypostatized as an essential or real being who exists before and outside of myth and poetry and somehow enters the extant sources. To make matters more obscure, there are two such goddesses—two hypostases. In one, Helen is the avatar of an Indo-European goddess, who is also reflected in certain goddesses in the Rig Veda. In the other hypostasis, Helen is a goddess of cult.
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Hawley, John Stratton. "The Poet’s Petition and Praise." In The Memory of Love, 175–94. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195373981.003.0008.

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Abstract How many days have I lost ignoring Hari? My tongue has tasted the slandering of others— seeds sown to weigh down future lives. My wardrobe has been stocked with clean and lovely clothes; every part of my body massaged; Forehead mark in place, I was a leader among men, but I made myself a slave to the senses. Then it dawned on me. I shook with the fear of death. I even started whining to Brahma¯ and the gods. Poor wretched Sūr! Where does it all lead? To a belly full, and once it’s full, to sleep. Ma¯dhav, please, control that cow. Night and day she wanders over paths that are no paths, too elusive to be caught, And starved, so starved—why can nothing fill her? She’s stripped the Veda-tree of all its leaves. From the eighteen jars she’s drunk Pura¯n. a-water and still there’s no slaking her thirst. Place the six kinds of taste before her and she’ll sniff around for more, Eating what’s unhealthy, food she shouldn’t touch, things the tongue can scarcely describe. Oceans, mountains, forests, heaven and earth— she forages through them all. They’re not enough. So every day she tramples down the fields of fourteen worlds and even there she cannot be contained.
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K, Nivetha, and Abirami R. "REGIONAL LITERATURE IN INDIA." In Research Trends in Language, Literature & Linguistics Volume 3 Book 1, 135–39. Iterative International Publisher, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3bglt1p4ch1.

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India is a highly diverse nation that welcomes individuals from many cultural backgrounds. Moreover, the traditions of Hindu writings and scriptures frequently dominate the country's literature. Indian classical literature is undoubtedly among the world's oldest and most diverse. In addition, the earliest works of this literature involve the transfer of information orally. The origins of Indian literature stretch back to about 1500 and 1200 BCE. In addition, the Sanskrit literature comprises the corpus of literature known as Rig Veda. The researchers employed a qualitative technique to understand the evolution and many forms of classical works from the Renaissance to the present. This paper addresses the Indian Regional Literature comes from many different languages and literary styles. It includes novels, poetry, short stories, plays, and folktales, among other things. Each area of India with its own language and literary style adds to this genre, making it a treasure trove of literary gems that show how diverse India's society is.
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Malamoud, Charles. "A Body Made of Words and Poetic Meters." In Self and Self-Transformation in the History of Religions, 19–28. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195144505.003.0002.

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Abstract The problem I would like to examine is quite simple, in a way: How does the sacrifice affect the sacrificer? What happens to the sacrificer, to his self, during the sacrificial process? In what respect, and to what extent, is he modified by it? Let it be clear that I am not looking for psycho-physiological answers to these questions. I am not trying to trace the measurable transformations to which a human organism is submitted when exposed to the material conditions and to the mental stress involved in the sacrificial process. I am trying to find not what happens “really” but what is supposed to happen. I wish to understand what is taught by the dogmatic texts of the Veda in a language we can very well call metaphorical. Of course, it is not impossible to draw some hints from these texts that could be used for a scientific interpretation. But I don’t think that effort could take us very far. In any case, we should not refrain from trying to understand the consistency of the injunctions of Vedic discourse on the aim and means of the sacrificial rite.
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"Premier Livre." In Crenne, Hélisenne de ([1541] 2023). Les quatre premiers livres des Eneydes du treselegant poete Virgile, Traduictz de Latin en prose Francoyse, par ma dame Helisenne, 70–127. Acta Universitatis Gothoburgensis, 2024. http://dx.doi.org/10.21524/kriterium.55.b.

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Les Quatre Premiers livres des Eneydes du treselegant poete Virgile, Traduictz de Latin en prose Francoyse, par ma dame Helisenne, A LA TRADUCTION DESQUELZ Y A PLURALITE DE PROPOS, QUI PAR MANIERE DE PHRASE Y sont adjoustez : ce que beaucoup sert à l’elucidation et decoration desdictz Livres, dirigez à tresillustre et tresauguste Prince Francois premier de ce nom invictissime Roy de France. De Crenne [Marque de l’imprimeur : des chardons dans un vase, avec le texte « Patere aut abstine. » [à gauche] – « Nul ne s’y frotte. » [à droite)] Avec Privilege. On les vend à Paris, en la Rue neufve nostre Dame à l’enseigne sainct JEHAN Baptiste, pres saincte GENEVIEFVE des Ardens, par Denys Janot
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George, Coulter H. "Sanskrit." In How Dead Languages Work, 133–56. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198852827.003.0005.

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The chapter begins with a discussion of Sanskrit’s place in the Indo-European family tree, showing how both the roots of individual words and the patterns seen in grammatical endings have close correspondences to Greek, Latin, and English. It also considers some of the features that are especially characteristic of Sanskrit, such as the voiced aspirate stops (seen in words like dharma) and the complex workings of sandhi, whereby the ends of Sanskrit words change their shape to match the sounds that occur at the beginning of the following word. In the second half, it turns to several short excerpts from the Rig Veda, demonstrating not only how its language has more connections to English than one might think at first but also how it draws on some of the same poetic diction found in other Indo-European traditions.
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"The Frogs Have Raised Their Voice: Ṛg Veda 7.103 as a Poetic Contemplation of Dialogue." In Dialogue in Early South Asian Religions, 37–48. Routledge, 2016. http://dx.doi.org/10.4324/9781315576978-7.

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