Journal articles on the topic 'Venda poetry'

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.

<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>

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.

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.

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?

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.

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.

During the 90s of the 20th century revival of Latgalian literature took place in the Republic of Latvia. It was a gradual process; in 2001 in “History of Latvian Literature" created by the Institute of Literature, Folklore and Art of the University of Latvia (ILFA) Ieva E. Kalniņa wrote about poetry of the 90s where she admitted that “it is already quite customary that poetry can be read in Latgalian written language”. Recent studies of Latvian literature in the 90s of the 20th century show that authors have different attitude towards Latgalian literature: Guntis Berelis has not included the revival of Latgalian literature in his list of the new phenomena of Latvian literature in his book “History of Latvian Literature”; among the ILFA researchers only Ieva E. Kalniņa mentions Oskars Seiksts, Anna Rancāne, Andris Vējāns, Osvalds Kravalis along with Vends and Livs among other phenomena of the 90s poetry; meanwhile in the review of prose and drama Latgalian literature is not mentioned at all. In 2007 Māris Salējs in his essay “Reflection on Latvian Literature 2000–2006” included Latgalian poets in the description of Latvian poetry, thus Valentīns Lukaševics and Juoņs Ryučāns together with Kārlis Vērdiņš and Marts Pujāts make up a characteristic trend. In the description of other genres Latgalian literature is not mentioned in this publication either. In this article the similarities and differences of Latvian and Latgalian literary revival process of the late 80s and the 90s of the 20th century are examined with special attention to the literary monthly magazine „Karogs” (Flag). The article deals with the development of literary process, cultural and historical methods are used to reach the aim of this paper – to find out what elements constitute the way to the establishment of Latgalian literature in Latvian cultural space and the importance of literary magazine „Karogs” in this process. There are several common trends of Latvian and Latgalian literary renewal in the 80s and 90s of the 20th century literary process: 1) return of repressed Latvian and Latgalian writers and their work to Latvian culture (such as Marta Skuja); 2) broad entry of exile literature into circulation for Latvian readership (Jānis Klīdzējs Marija Andžāne, etc.); 3) reprinted works, written during the 20s and 30s and unpublished in the Soviet time (Aleksandrs Adamāns); 4) in both traditions a number of exile periodicals begin to come out and some Latvian time periodicals are restored („Acta Latgalica”); 5) return of exile archives to Latvia („Latgaļu sāta”). Postmodern tendencies are observed not only in works of Aivars Ozoliņš, Jānis Vēvers or Gundega Repše, but also in creative work of O. Seiksts. Latgalian language and literature in Latvian cultural space has a special situation: there are important tasks to complete – to create a new alphabet, restore confidence in Latgalian literature in both traditions, the young and middle generation have to start writing in Latgalian tradition. Monthly magazine “Karogs” vividly reveals the new trends in Latgalian literature of the turn of the 80s and 90s, an important role is played by editor Andris Vējāns. It was „Karogs” which published one of the most influential texts of national awakening in Latgalian tradition – poem by O. Kravalis „Brōļ, pīmiņ!” (Brother, remember!). This publication is undeniably regarded as programmatic in Latvian and Latgalian literary traditions, declaring the return of Latgalian tradition and accepting the existence of both literatures. Among important publications in 1988 in the magazine about remembrance of Latgale cultural week, there was an article by Antons Stankēvičs „Atkusnī uzplaucis zieds” (A thaw flower) and Juris Pabērzs’ article „Skan joprojām” (It still sounds) where the role of the minister of culture Voldemārs Kalpiņš was emphasized. Poetry section published a poem of Antons Kūkojs „Atceroties Latgales kultūras nedēļu pirms 30 gadiem” (Remembering Latgale cultural week 30 years ago). The 1989 concept of magazine „Karogs” is obvious in publications of Latvian and Latgalian texts as a desire to respect the two literary traditions and present them to readers throughout Latvia. In 1990 and 2000 when the editor is Māra Zālīte, works of Roberts Mūks, A. Rancāne, J. Klīdzējs are published, some of them are in Latgalian, but mainly publications are in the Latvian literary language. There are two important articles in „Karogs”. Issue No.4, 1994 published Janīna Kursīte’s article „Latgaliešu literatūra – kas tu esi?” (Latgalian literature – who are you?), where the importance of dialects was emphasized and their ability to enrich the Latvian language, also this article pointed out the importance of periphery for the development of centre. Regarding recent Latgalian literature J. Kursīte’s assessment is blunt:”If one looks more carefully at what is published in the Latgalian literary language, one cannot overlook that artistically much of it is “rubbish”.” In 1997 was published Ilga Muižniece’s elegant review „Rūgtais pieradums – (ne dzīvot)” (Bitter habit – (not to live)) about O. Seiksts’ and V. Lukaševics’ novel „Valerjana dzeive i redzīni” (Valerjan’s life and opinions). The 90s mark two cultural traditions of Latgalian literature: 1) to some extent in the Latvian tradition Latgalian literature is viewed as an ethnographic tradition, which shows the possibilities of the Latvian language, diversity of traditions, complements Latvian literature with Latgalian vitality and charm, marks its catholic orientation, shows the natural beauty of Latgale; 2) Latgalian literature is considered an independent literature, writing in Latgalian is authors’ way of self-expression, it does not try to add anything to Latvian literary tradition, and it is based in Latgale and together with the Latvian literary tradition forms Latvian literature. Revival of Latgalian literature is one of the brightest features of culturally restored independent Latvia.

Bharathiar is one of the greatest poets of the twentieth century in the history of Tamil poetry for two Thousand years. Poetic personality plays a major role in Bhartiyar's pluralistic personality which led to the theoretical development of 'Bhartiyam'. Bharathiyar, who innovated in taste, substance, richness and words (simple style), has used various forms of Yappu to say Tamil Yappilakkanam in terms of form. In the twentieth century epic Bharathiyar poetry, ‘Yapalumai’ is embodied in various dimensions, such as manipulating various forms of Pa, Pavinam and music, performing Yapir innovations, making some flexibility and making new attempts. Bharati has made some innovations in Yapiyal by dealing with the traditional pa and pavinam forms like venpa etc. and the musical proof yap forms like vannam, sindhu, kirtanai etc. Bharathiar is also the author of poems on scene, power, air, sea, jagasithram and liberation. Bharati, who has followed the tradition and practiced various forms of sacrament, has also sown renewal poetry. These are the many forms of sacramental forms used by Bharatiyar.

This article discusses the possible influence of Lucretius in the poetry of Count of Noroña. Descended from a family of noble ancestry, Gaspar Maria de Nava ‒his Christian name‒ had an excellent classical education. It is not surprising, therefore, that Lucretius, as a poet of refined rhetoric art and master of the didactic genre in Rome, inspired some of his verses. Specifically, Lucretian echoes are analyzed in three of his poems: “La venida de la Primavera”, “Imprecación contra la guerra” and “La muerte.” As an introduction to the cultural and literary context, the reasons why De Rerum Natura was a work very appreciated among the enlightened are explained.

The Tamil literary and grammatical field has grown to be remarkably and rich. In popular the specialiced field of knowledge yappilakkanathurai, has been enriching itself from the oral tradition over time and renewing itself on many levels. Among the five types of grammars in tamil, the yappilakkanam refers to the five types of pages, namely Venba, asiriyappa, kalippa, vancippa, Marutpa incorporate. Sivaprakasar, who is considered to be one of the three most famous 17 th century AD writters, has used the four distinctive types of pagodas Various books of poetry were created. So, developed in later stages of development such as pavinam, inavinam, sindhu vanna virutam, santa virutam, etc. in more than thirty works sung by him. This article explores how Sivaprakasar explores the fact that he has sung the song of pa form, which many may be his fathers, taking only the traditional form of sacrament setting up.

Ana Cristina César, a escritora que fez parte de um grupo caracterizado como “geração mimeógrafo” nos anos 1970-1980, foi marcada pelo gosto pela escrita desde a infância, quando aos quatro anos começa a ditar suas poesias para a mãe. Mais tarde, formaria técnica e personalidade próprias aos seus escritos, desenvolvendo um estilo marcado pelo uso da linguagem coloquial, centrando-se em aspectos individuais e cotidianos. Entre escritas de si, num exercício de autorreflexão e registro sobre a própria vida e a poesia marginal, marcadas por publicações mimeografadas, basicamente artesanais e pagas pelos próprios autores, Ana, assim como outros poetas marginais, escapava à padronização imposta pelo mercado de produção cultural. Sua atividade transgressora, os envolvia em todas as fases por que passavam seus livros: da edição à venda. Assim, Ana C. constitui-se pouco a pouco como escritora do cotidiano, das impressões urbanas, desenvolvendo uma técnica de recorte e colagem, que se forma através de fragmentos, formando uma escrita por vezes desconexa, ainda que com forte caráter confessional e reflexivo sobre o próprio fazer literário.

No Brasil, muitos ficcionistas e poetas têm aproveitado a disseminação dos recursos de publicação para lançar seus livros por conta própria. O fenômeno é analisado na entrevista concedida pelas agentes literárias Luciana Villas-Boas e Lucia Riff, que celebram a profissionalização do mercado editorial e dizem da ampliação da tiragem de determinados livros em nosso território, mas lastimam que as boas vendas se limitem basicamente aos best-sellers importados e que, contrariamente ao que era de se esperar, a ficção e a poesia nacionais tenham menos leitores do que no passado.Talvez aqui encontremos mais um gargalo decorrente do baixo investimento na área de educação. No momento em que a escola brasileira conseguir tornar seus alunos capazes de realizar leituras complexas, a literatura de qualidade -- a começar pela nossa própria -- certamente ganhará mais apreciadores. Quem sabe a valorização interna reforce de tal modo a autoestima da ficção e da poesia tropicais que os leitores estrangeiros passem a vê-las com outros olhos?

O papo de Maria Lucia Guimarães de Faria com as poetas Marília Garcia e Masé Lemos gira predominantemente em torno da produção poética das duas, mas, como ambas são doutoras em Letras, além de tradutoras, estas atividades correlatas vêm à tona em vários momentos. Os assuntos que animam a conversa vão desde o próprio ato de escrever – o quanto de premeditação e de espontaneidade ele comporta – e o engajamento metapoético que a poesia assume ao tomar a si mesma como objeto de reflexão, até as condições de recepção e circulação da poesia, os novos suportes, a cena poética atual e o inter-relacionamento entre os poetas contemporâneos. O instante presente é de muita permeabilidade entre as artes e de intercâmbio entre os fazeres humanos. Assim, o pensar sobre poesia é continuamente tomado por questões de natureza vária que aquecem e adensam o debate.