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Articles de revues sur le sujet « Lections of work with poetry »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 1 février 2022

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1

Kuznetsova, E. V. « Reception of Charles Baudelaire’s work in the poetry of Igor Severyanin ». Sibirskiy filologicheskiy zhurnal, no 4 (2020) : 105–18. http://dx.doi.org/10.17223/18137083/73/7.

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The paper considers Igor Severyanin’s approaches to the retransmission of Charles Baude-laire’s creative heritage in his lyrics. In the late 19th – early 20th century, there was a surge of interest in the works of French symbolists and their predecessors, especially to the fate and literary heritage of the author of “Flowers of evil.” Severyanin addressed Baudelaire’s poetry later, at the turn of the 1910s, referring both to his original texts, and translations and critical articles by his older contemporaries (V. Bryusov, F. Sologub, Viach. Ivanov, Ellis, Andrej Belyj, etc.). The analysis covers the peculiarities of this second-wave “Baudelairianism,” its differences from senior and junior symbolists’ apprenticeship, namely, the ironic game in-volving both the image of the “pariah poet” and some of the key themes and motifs of his poetry. In 1909, Severyanin begins mastering Baudelaire’s style by translating his sonnets, but later these, not being entirely successful, are ironically reinterpreted and published in the col-lection “Poesoantract” as purposeful parodies. Another version of the reception is presented in the poem “Sextina” (1910). Weaving a web of verbal puns, the Russian poet inscribes himself in the Pantheon of the famous rulers of doom, while destroying Baudelaire’s tragic aura and placing himself in the vacant place of the poet persecuted by public opinion. Thus, the Severyanin’s reception is seen to reveal the evolution of pre-modernist and modernist cultural codes being a part of the mass discourse, ironic distancing from them, and their loss of philo-sophical and ideological foundations. A conclusion is drawn that the deferential attitude to Baudelaire’s legacy is due both to the change in the readers’ perception in general and to the Severyanin’s aspiration for new avant-garde poetics.
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Bellows, Nathaniel. « Poetry : Work ». Yale Review 89, no 1 (janvier 2001) : 73–74. http://dx.doi.org/10.1111/0044-0124.00476.

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Revyakina, Nina. « Juan Luis Vives on the use of Ancient literature in education ». Hypothekai 5 (septembre 2021) : 214–35. http://dx.doi.org/10.32880/2587-7127-2021-5-5-214-235.

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The work “On Education” (De tradendis disciplinis) by the Spanish humanist Juan Luis Vives (1492/3–1540) is considered from the perspective of the use of ancient literature during the in-itial period of child school training (from 7 to 15 years). Vives’ appreciation of the Latin language, a positive attitude towards teaching Greek at school, and the influence of ancient languages on modern European languages — Italian, Spanish, and French are discussed. The article draws attention to some features in teaching the Latin language that are not characteristic of the hu-manists who preceded Vives and also wrote about school. They are as follows: using the native language as an instrument for mastering Latin at the initial stage of learning, and using modern literature - writers, grammarians, humanists, which helps to learn ancient languages in the subsequent period. These features can be explained by Vives’ epoch when national states were being estab-lished, national languages were strengthening, and pedagogical thinking was developing. The article also examines the issue brought up by Vives himself about the attitude to pagan literature and to some, in Vives’ opinion, morally questionable poets. With all the inconsistency of Vives and the low persuasiveness of his self-censorship, the solution to this problem comes down to se-lecting such authors the study of whose works will protect school students from vices. The article shows that both Latin and Greek literature (works on oratory, poetry, comedy, history, my-thology, etc.) are widely used in teaching. Ancient writings not only form and enrich the language, but also provide versatile knowledge, mainly of humanitarian kind, help to bring up an ed-ucated and cultured person. This is supported by a large survey of over 100 ancient authors, modern writers, scientists, humanists, early medieval writers, “church fathers”, publishers, translators, and commentators provided at the very end of Vives' discussion on education, with brief characteristics of many of them.
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Mooney, Sharon Fish. « Grief Work and Poetry ». Journal of Christian Nursing 36, no 2 (2019) : 124. http://dx.doi.org/10.1097/cnj.0000000000000587.

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Clymer, Lorna. « The Work of Poetry ». Eighteenth-Century Studies 40, no 4 (2007) : 659–64. http://dx.doi.org/10.1353/ecs.2007.0039.

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Segal, E. « The Work of Poetry ». Poetics Today 22, no 4 (1 décembre 2001) : 866–67. http://dx.doi.org/10.1215/03335372-22-4-866.

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Mermin, Dorothy. « Recent Work in Victorian Poetry ». Victorian Literature and Culture 20 (mars 1992) : 378. http://dx.doi.org/10.1017/s1060150300005271.

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Broman, Walter E. « The Work of Poetry (review) ». Philosophy and Literature 22, no 1 (1998) : 246–48. http://dx.doi.org/10.1353/phl.1998.0006.

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Russo, Richard A. « Dream poetry as dream work. » Dreaming 13, no 1 (2003) : 13–27. http://dx.doi.org/10.1023/a:1022134200865.

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McHale, Brian. « How Does Dylan’s Poetry Work ? » Poetics Today 41, no 4 (1 décembre 2020) : 731–37. http://dx.doi.org/10.1215/03335372-8720155.

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Furman, Rich, Michelle Enterline, Riki Thompson et Allison Shukraft. « Poetry Matters : A Case for Poetry in Social Work Practice ». Journal of Social Intervention : Theory and Practice 21, no 1 (7 mars 2012) : 5. http://dx.doi.org/10.18352/jsi.283.

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WENZEL, SIEGFRIED. « THE WORK CALLED CONGESTA AND FIFTEENTH-CENTURY ENGLISH THEOLOGY ». Traditio 73 (2018) : 291–319. http://dx.doi.org/10.1017/tdo.2018.5.

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Congesta, written about the middle of the fifteenth century in England and only partially preserved, is a massive sermon commentary, originally in five volumes, covering the Sundays of the church year, some feast days and common sermons for saints, and two special occasions (“In Time of Persecution” and “For Religious”). Of the entire cycle only forty-six sermons are extant in two manuscripts (Oxford, Magdalen College MSS 96 and 212). The commentary deals at great length with the Epistle or Gospel lection of the respective Mass. Its anonymous author, probably an English Carthusian, excerpted long passages from over 130 named authors and anonymous works, including Petrus Berchorius, Saint Brigid of Sweden, and the Imitatio Christi. The sermons, which are basically moral postillation of the lections and show much concern with the qualities of a good pastor, can be seen as part of the reforming tendencies in the English church marked especially by Thomas Gascoigne. The article describes and discusses the sermon cycle, analyzes the sermon for 23 Trinity, and discusses the structure of the sermons and some of the authors of the later Middle Ages that are quoted or excerpted. An appendix lists the authors and anonymous works quoted in alphabetical order.
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Lück, Heiner. « VII. Der Erfurter und Wittenberger Kirchenrechtslehrer Henning Goeden (um 1450–1521) und die Lehre des kanonischen Rechts in Wittenberg ». Zeitschrift der Savigny-Stiftung für Rechtsgeschichte : Kanonistische Abteilung 107, no 1 (1 juin 2021) : 300–332. http://dx.doi.org/10.1515/zrgk-2021-0007.

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Abstract The teacher of Canon Law Henning Goeden (um 1450–1521) at the universities of Erfurt and Wittenberg and the academic teaching of Canon Law at Wittenberg University. An essay on the occasion of his death 500 years ago. The essay deals with the professor of Canon Law Henning Goeden at the Central German universities Erfurt (founded 1392) and Wittenberg (founded 1502). It contains important facts of Goeden’s academic biography, of his scientific and practical work (consilia), his church offices and his relationship to the Lutheran reformation. The practice of teaching of Canon Law within the system of lections at the Wittenberg Law Faculty under the conditions of the reformation and the increasing influence of Protestant Ecclesiastical Law is considered too.
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Kharlamova, Sofya A. « Some Notes on the Translation of De liberis educandis Made by S. I. Pisarev ». Philologia Classica 15, no 2 (2020) : 322–30. http://dx.doi.org/10.21638/spbu20.2020.209.

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The article covers the translation of Plutarch’s treatise De liberis educandis made by S. Pisarev, which was the first Russian translation of Plutarch’s works from ancient Greek (1771). In trying to find out what editions were used by Pisarev for his oeuvre, the author focuses on some particular features of his translations, such as the use of italics in marking the poetic quotations. Though the marking is not uniform, its style, as compared to the editions and Latin translations of the treatise in the 16th — early18th century, allows supposing that Pisarev used a bilingual edition, either within a collection of Moralia or as a separate book. Theoretically, seven such editions could have been employed. Further analysis of variae lectiones in these editions as reflected in Pisarev’s translation leads to the conclusion that we have to choose between two editions that is, by Rivandrus (1583) and an authoritative Frankfurt ed. of 1599 reproduced twice in the 17th century (1620, and then 1624, in Paris). Since the only discernible difference between them turns to be an inverted word order in a poetic quotation, the author analyses the word order in Pisarev’s text to finally decide in favour of the Frankfurt edition.
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Gartner, M. « Becoming Longfellow : Work, Manhood, and Poetry ». American Literature 72, no 1 (1 mars 2000) : 59–86. http://dx.doi.org/10.1215/00029831-72-1-59.

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Moloney, Catherine Therese. « William and Henry James ». Journal of Interdisciplinary Studies 14, no 1 (2002) : 25–46. http://dx.doi.org/10.5840/jis2002141/22.

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This essay suggests that literary studies have a crucial role to play in the liberalisation of professional and vocational education and training. Prose and poetry contents of current literature syllabuses demand rigorous moral and ethical explication. Instructive in this regard was the societal interplay of professional texts in medicine with journalistic and fictional works, specifically in relation to spes phthisica, in the nineteenth century. Thus, the works of Willian and Henry James, with their synergies and antipathies, extended the discussion from medical to theological texts. The lectio divina in general and the Carmelite mystics in particular influenced the writings of both James brothers. These considerations highlight the relevance of liberal arts education in the twenty-first century.
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Zhang, Weidi, Donghao Ren et George Legrady. « Cangjie's Poetry ». Proceedings of the ACM on Computer Graphics and Interactive Techniques 4, no 2 (30 juillet 2021) : 1–9. http://dx.doi.org/10.1145/3465619.

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This paper describes the conceptual background, artificial intelligent system design, and visualization strategies of an interactive art experience: Cangjie's Poetry. This artwork provides a conceptual response to the human-machine reality in the context of language, symbols, and semantic meanings. In the Cangjie's Poetry art installation, the intelligent system (Cangjie) constantly observes surroundings through the lens of a camera, writes poetry using its symbolic system based on its interpretation, and explains the evolving poem in natural language to audiences in real time. Due to the global pandemic of COVID-19, multiple presentation formats of this work were developed, which include in-person installation, virtual installation, and a special edition with pre-rendered video. This work prioritizes ambiguity and tension between machinic vision and human perception, the actual and the virtual, past and present.
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Martone, J., et Joe David Bellamy. « American Poetry Observed : Poets on Their Work ». World Literature Today 59, no 3 (1985) : 434. http://dx.doi.org/10.2307/40140949.

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Malekoff, Andrew. « Demystifying and Celebrating Group Work Through Poetry ». Social Work With Groups 30, no 1 (décembre 2006) : 71–96. http://dx.doi.org/10.1300/j009v30n01_07.

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YEH, AIDEN. « Poetry from the heart ». English Today 21, no 1 (janvier 2005) : 45–51. http://dx.doi.org/10.1017/s0266078405001100.

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Task-based classroom work in Taiwan that uses a mix of traditional teaching, multimedia, and online video. In this paper, I discuss how poetry can be used as a topic of discussion and the basis for a task-based project for university students who have had little exposure to American poetry. The use of multimedia and online video as tools in the course of this project is also discussed and attention is likewise given to student feedback on a questionnaire administered online. Students' critical reflections and subjective analyses of their performances and their feelings toward the project reveal positive results, allowing me to conclude that the integration of poetry into language-teaching work, if delivered effectively, can hone students' thinking, reading, listening, writing, speaking and analytical skills. It is not only the amount of hard work that matters, but how far the imagination is stretched.
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Liu, Yusen, Dayiheng Liu et Jiancheng Lv. « Deep Poetry : A Chinese Classical Poetry Generation System ». Proceedings of the AAAI Conference on Artificial Intelligence 34, no 09 (3 avril 2020) : 13626–27. http://dx.doi.org/10.1609/aaai.v34i09.7100.

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In this work, we demonstrate a Chinese classical poetry generation system called Deep Poetry. Existing systems for Chinese classical poetry generation are mostly template-based and very few of them can accept multi-modal input. Unlike previous systems, Deep Poetry uses neural networks that are trained on over 200 thousand poems and 3 million ancient Chinese prose. Our system can accept plain text, images or artistic conceptions as inputs to generate Chinese classical poetry. More importantly, users are allowed to participate in the process of writing poetry by our system. For the user's convenience, we deploy the system at the WeChat applet platform, users can use the system on the mobile device whenever and wherever possible.
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Amram, Fred M. « Poetry as Focus for Technology, Work and Values ». Bulletin of Science, Technology & ; Society 8, no 5 (octobre 1988) : 475–80. http://dx.doi.org/10.1177/027046768800800502.

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Tulloch, P. « Poems from the "Being at Work" Poetry Challenge ». Minnesota Review 2007, no 68 (1 mars 2007) : 13. http://dx.doi.org/10.1215/00265667-2007-68-13.

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Wadoski, Andrew. « Milton’s Spenser : Eden and the Work of Poetry ». SEL Studies in English Literature 1500-1900 55, no 1 (2015) : 175–96. http://dx.doi.org/10.1353/sel.2015.0007.

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Rajan, Tilottama. « Keats, Poetry, and "The Absence of the Work" ». Modern Philology 95, no 3 (février 1998) : 334–51. http://dx.doi.org/10.1086/mp.95.3.438880.

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Sutton-Spence, Rachel. « Aspects of BSL poetry ». Sign Language and Linguistics 3, no 1 (31 décembre 2000) : 79–100. http://dx.doi.org/10.1075/sll.3.1.05sut.

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The British Sign Language poetry of Dorothy Miles is a major contribution to the canon of BSL poetry. This paper considers her work as an example of “oral poetry”, in the tradition of other oral (i.e. unwritten poetry). Following definitions of oral poetry primarily from Finnegan (1977), I explore the degree to which Miles’ BSL work may be considered “oral” from the perspective of composition, transmission and performance, and linguistic structure. Although there are ways in which BSL poetry does share similarities with other spoken language “oral” poetry, the unique relationship between sign language and spoken language creates situations in which the BSL poetry is unlike either oral or written poetry.
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Dorasamy, Nirmala. « Reflections on Work Integrated Learning ». International Review of Qualitative Research 5, no 1 (mai 2012) : 105–8. http://dx.doi.org/10.1525/irqr.2012.5.1.105.

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This article uses a nontraditional form to provide insight into the experiences of students and mentors during work integrated learning, through poetry pieces. Mentors play a pivotal role during the period of experiential learning, during which student exposure to the world of work has to be nurtured, thereby ensuring that the experience is mutually beneficial to both the student and the mentor. The author is one of the mentors for students engaged in work integrated learning for three months in their final year of study toward a national diploma in public management. Students and mentors reflect on their experiences through feedback reports, which constitute an important part of reviewing the work integrated learning experience. With these resources, the author explores the experiences of students and mentors through poetry. Such a qualitative approach provides valuable insight into their experiences, which underscores the impact of work integrated learning on student preparation for the world of work. Further, the poetry pieces are employed to highlight the roles and responsibilities of students and mentors in the work integrated learning relationship.
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Turdybaev, K. « Karakalpak poetry and the artistic character of dedication poetry in the works of I. Yusupov ». Turkology 6, no 104 (12 janvier 2020) : 64–77. http://dx.doi.org/10.47526/2020/2664-3162.019.

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The article examines the place of I. Yusupov's poetry in the history of Karakalpak literature and genre features of dedicated poems in the poet's work. Artistic approaches in the poetry of I. Yusupov renew the artistic form of poetry. The poet's additions to the types of initiations in literature increased the significance of the genre. Therefore, we believe that a special study of this genre in the poet's work will serve to reveal the peculiarities of the poet's lyrics. In this article, we will focus on the nature of the development of the genre of initiation in the poet's work. The works of scientists who commented on the poet's work laid the foundation for the methodological conclusions of our article. Dividing I. Yusupov's poems into types, a thematic, genre, poetic analysis will be carried out. Civic pathos, lyrical thought, poetic clarity, poetic culture and other qualities are characteristic of the poet's work. The poetic tradition of Ibragim Yusupov continues in modern Karakalpak poetry.
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Turdybaev, K. « Karakalpak poetry and the artistic character of dedication poetry in the works of I. Yusupov ». Turkology 6, no 104 (12 janvier 2020) : 64–77. http://dx.doi.org/10.47526/2020/2664-3162.019.

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The article examines the place of I. Yusupov's poetry in the history of Karakalpak literature and genre features of dedicated poems in the poet's work. Artistic approaches in the poetry of I. Yusupov renew the artistic form of poetry. The poet's additions to the types of initiations in literature increased the significance of the genre. Therefore, we believe that a special study of this genre in the poet's work will serve to reveal the peculiarities of the poet's lyrics. In this article, we will focus on the nature of the development of the genre of initiation in the poet's work. The works of scientists who commented on the poet's work laid the foundation for the methodological conclusions of our article. Dividing I. Yusupov's poems into types, a thematic, genre, poetic analysis will be carried out. Civic pathos, lyrical thought, poetic clarity, poetic culture and other qualities are characteristic of the poet's work. The poetic tradition of Ibragim Yusupov continues in modern Karakalpak poetry.
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Pazur, Sarah. « First Person : The principal’s dream work ». Phi Delta Kappan 102, no 8 (26 avril 2021) : 58–59. http://dx.doi.org/10.1177/00317217211013940.

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Post-COVID, K-12 leaders will face pressure to return to familiar norms and structures. Sarah Pazur explains why it is especially urgent for them to evoke the power of poetry to imagine educational reform on the other side of this global pandemic. In this personal first-person narrative, she explains how poetry has affected her practice and describes how school leaders can use it to do the work of critical pedagogy, which requires leaders to imagine different possibilities for how schools can operate.
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Mul, Geert, et Eef Masson. « Data-Based Art, Algorithmic Poetry ». TMG Journal for Media History 21, no 2 (1 novembre 2018) : 170. http://dx.doi.org/10.18146/2213-7653.2018.375.

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The award-winning media artist Geert Mul (the Netherlands, 1965) has been making computer based artworks for over twenty-five years. A large portion of his oeuvre, and his more recent work in particular, relies heavily on existing images, often sourced online. With the help of image analysis software, Mul reworks the pictures into new combinations, attracted by the unexpected results that algorithmic operations produce, and the revelatory potential they hold. The artist refers to this work as ‘data-based art’ – a term revealing not only of his own process as a maker, but also of his take on how people today engage with the world around them and make sense of it. At the conclusion of a large-scale retrospective of his work, Eef Masson spoke with him about some of the key ingredients of his visual practice and the inextricable relations between them: information, databases and collections; randomness and rules; and crucially, makers and audiences or users. In the course of the conversation, Mul also reflected on how his work ties in with much older traditions of play, in artistic practice, with data and the rules for their recombination.
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Pasquin, Lesley. « Poetry as Breath : Teaching Student Teachers to Breathe-Out Poetry ». LEARNing Landscapes 4, no 1 (1 avril 2010) : 255–63. http://dx.doi.org/10.36510/learnland.v4i1.375.

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Poetry is a form of creative expression that exists to share a truth, an insight, or a feeling that enriches our humanity."Teaching" poetry requires us to be readers and writers of poetry ourselves. It requires that we are saying, "Poetry matters." I work with second-year student teachers in my Language Arts Methods class at McGill University to develop a passion for the poetic; to learn what Muriel Rukeyser refers to as breathing-in experience and breathing-out poetry. Using my own writing process and immersing my students in the genre, they begin to construct the complex understanding of why poetry matters and why that understanding is crucial to teaching it.
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Colla, Elliott. « Egyptian Movement Poetry ». Journal of Arabic Literature 51, no 1-2 (6 avril 2020) : 53–82. http://dx.doi.org/10.1163/1570064x-12341402.

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Abstract Poetry has long had a central place in the repertoires of modern Egyptian protest movements, but just as social science accounts of these movements downplay the role of expressive arts (such as poetry), literary studies of colloquial Egyptian poetry have downplayed the performative dynamic of this poetry, as well as its role within social movements. This essay develops the concept of “movement poetry” within the Egyptian social movements, with a special focus on the protest cycle of 1968-1977. In so doing, it discusses the work of Abdel Rahman el-Abnoudi (ʿAbd al-Raḥmān al-Abnūdī), Ahmed Fouad Negm (Aḥmad Fuʾād Nijm), Samīr ʿAbd al-Bāqī, and others, and considers the conventions and repertoires that extend to Egyptian activists in the present.
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Salohiddinova, Nigora. « Zebo Mirzo's poetry and image ». International Journal on Integrated Education 2, no 6 (12 décembre 2019) : 115–18. http://dx.doi.org/10.31149/ijie.v2i6.218.

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Little (book author), Katherine C., Mark Albert Johnston (review author) et Mark Albert Johnston (review author). « Transforming Work : Early Modern Pastoral and Late Medieval Poetry ». Renaissance and Reformation 38, no 4 (9 février 2016) : 208–10. http://dx.doi.org/10.33137/rr.v38i4.26395.

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Kilcup, Karen L. « Anthologizing Matters : The Poetry and Prose of Recovery Work ». symploke 8, no 1 (2000) : 36–56. http://dx.doi.org/10.1353/sym.2000.0014.

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Sayers, Janet Grace, et Deborah Jones. « Truth Scribbled in Blood : Women's Work, Menstruation and Poetry ». Gender, Work & ; Organization 22, no 2 (1 août 2014) : 94–111. http://dx.doi.org/10.1111/gwao.12059.

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Khair, Syukril, Bambang Suwarno et Arono Arono. « Translation Analysis of Student’s Work (Study of Poetry Translation) ». JOALL (Journal of Applied Linguistics & ; Literature) 1, no 1 (4 février 2018) : 119–40. http://dx.doi.org/10.33369/joall.v3i2.6862.

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The literary translation still becomes such of debating among several experts and researchers, especially at translation studies. The aim of this study was to find out what kinds of techniques of translation were applied in translating the poems of Maya Angelou, and how the appropriateness of techniques were applied by the students. Mollina & Albir’s classification of translation techniqueswas used as the primary theory in the analysis of the translation texts.This study was descriptive qualitaive and content analysis. The data were taken from text translations of two poems which consist of 550 data from 10 students as translators. The research findings revealed that14 techniques were used by students. The result showed that there were 14 translation techniques which were used, compensation, literal translation, modulation, linguistic amplification, discursive creation, linguistic compression, reduction, amplification, adaptation, transposition, borrowing, established equivalent, particularization, and description. The next finding showed that the appropriate techniques wereapplied at 69.3%. Meanwhile, inappropriate techniques were at 30.7%. The conclusion of this study was that students used the most at compensation and the lowest was description. The students mostly successful in applying appropriate technique at delivering messages, but were flub in recreating thepoetical aspect in Target Language. In some cases, this indicated deficiency in determining the equivalent expression in the target text. The suggestion for further researchers is to explore a similar study by investigating on figurative speech and poetical aspect at poetry translation.
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Клещина et Natalya Kleshchina. « Poetry in Teaching English ». Socio-Humanitarian Research and Technology 4, no 1 (17 mars 2015) : 41–43. http://dx.doi.org/10.12737/10324.

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English poetry plays an important role in teaching English as personal focused approach application method. This paper considers the poetry value and poetry teaching purposes, such as learner’s increase of cultural and intercultural awareness and pronunciation skills. The poetry can be also used in teaching grammar, lexis, reading and translation. In conclusion this work offers some ways for effective use of poetry in teaching English.
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Richter, Duncan. « Philosophy and Poetry ». Essays in Philosophy 12, no 2 (2011) : 254–72. http://dx.doi.org/10.5840/eip20111225.

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Philosophy certainly has connections with science but it is not itself a science. Nor is it literature. But it is related to literature in a way that excessive emphasis on science can obscure. In this paper I defend the rather old-fashioned view that philosophy is essentially linguistic. I also argue, less conventionally, that there is an unavoidable personal aspect to at least some philosophical problems, and in answering them we must speak for ourselves without being able to count on every other speaker of our language agreeing with us or even understanding what we say. Where the rules of our language are not set we must, so to speak, make them up for ourselves as we go. In this way philosophy requires the kind of linguistic creativity more often associated with poetical kinds of literature. Drawing on the work of Cora Diamond and Alice Crary, I argue that philosophy should be regarded as, not identical with, but continuous with poetry.
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Shires, Linda. « VICTORIAN WOMAN’S POETRY ». Victorian Literature and Culture 27, no 2 (septembre 1999) : 601–9. http://dx.doi.org/10.1017/s1060150399272245.

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PART OF THE EXCITEMENT of reading Victorian woman’s poetry lies in its manifold refusals to adopt wholesale the codes and conventions of the male poetic tradition. Such refusal may manifest itself in the bold rewriting of forms (as in Elizabeth Barrett Browning’s Sonnets from the Portuguese), or in the unhinging of domestic or romantic pieties through irony and other doubling strategies (as in Dora Greenwell’s “Scherzo” or Christina Rossetti’s “Winter: My Secret”). Both the rewriting of male forms and the attack on conventional ideologies opened up new subject positions for women. For example, women’s responses to poetic tradition and to each other’s work initially made use of expressive theory to explore sexual and religious passions simultaneously (as in the poetry of the Brontës), while towards the end of the century, when religion and sexuality were not so inextricably intertwined, women could openly celebrate non-hierarchical sexualities (as in the lesbian poems of Michael Field).
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Van Giessen, Eric. « Reflexive Poetry ». New Sociology : Journal of Critical Praxis 1, no 1 (26 juin 2020) : 73–81. http://dx.doi.org/10.25071/2563-3694.9.

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These four poems are excerpts from a multifaceted project entitled Queerly Faithful: A Queer-Poet Community Autoethnography on Identity and Belonging in Faith Communities. This project attempts to bolster and critique contemporary studies of queer and faith identities as they manifest in the lives of queer people of faith by approaching the subject with a queer sensibility (Holman Jones & Adams 2010: 204). One facet of this approach involved my use of poetry as a personal reflexive medium on the research process itself. The poems invite the reader into my experience as I wrestle with articulating methodology, theory framing, data presentation, and the questions and challenges of producing a fixed document to present the findings of a queer project that resists fixedness. By blurring the lines between poetry/narrative/storytelling and social science writing, I invite the readers “to become coparticipants, engaging the storyline morally, emotionally, aesthetically, and intellectually” (Ellis & Bochner 2000: 745). The poems, which are scattered throughout the research paper, nuance the traditional academic language and prose analysis in the paper and serve to challenge conceptions of ‘proper’ social science writing and position the writing itself as a method of inquiry (Prendergast, Leggo & Sameshima 2009; Richardson & St. Pierre 2005; Richardson 1993). The poems in isolation, as presented here, invite the reader to consider the strengths and challenges of social science research and articulate my struggle to honour the sacred stories of my participants through fixed language. The poems play with the questions: what does it mean to be a social justice researcher and how might our work, methodologically as well as topically, critique and undermine oppressive epistemologies that elevate and prioritize certain voices over others?
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Fitzpatrick, Katie. « Gender, Body, Poetry ». Ethnographic Edge 2, no 1 (18 octobre 2018) : 21. http://dx.doi.org/10.15663/tee.v2i1.36.

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I offer here three poems which engage a feminist approach to gender and the body. They emanate (tangentially) from my ethnographic work in schools and my own embodied experiences as a woman. While I write more conventional academic prose and conduct research in schools on gender and sexuality (Fitzpatrick 2018; Fitzpatrick and Enright 2017; Fitzpatrick and McGlashan in press, 2016; McGlashan and Fitzpatrick 2017, 2018), I offer a poetic exploration of these issues here in an attempt to engage with writing that is both cognitive and sensory (Sparkes and Smith 2014), while evoking emotion, cultural nuance and reflexivity (Faulkner 2009). In so doing, I also bring myself directly into the text (Brkich and Barko 2013) in the hope that a different kind of engagement with issues of body may result. The contemporary moment offers up many challenges to writing about gender, sexuality and the body. As gender binaries are broken down and challenged, and new approaches to the body and sexuality are engaged (e.g. Allen and Rasmussen 2017), new challenges are posed. Engaging in poetic inquiry (Rinehart 2012; Richardson 1994) into gender and sexuality might help reimagine gender and body in aesthetic as well as political ways. Such an engagement is personal, disruptive and uncertain. In this, I am inspired by Patti Lather’s (2007, 6) notion of being lost. She encourages researchers to embrace getting lost, as a process “which shakes any assured ontology of the ‘real,’ of presence and absence, a postcritical logic of haunting and undecidables.” I contend that all ethnographic work is in some ways lost, at the very least in issues of politics, representation and voice (Fitzpatrick in press). Lather (2007, 1) calls such engagement with uncertainty and voice “getting lost at the limits of representation”. She explains that: “At its simplest, getting lost is something other to commanding, controlling, mastery. At its most complex...we spend our lives with language trying to make it register what we have lost, longing for lost wholeness.” (11). Poetry is one way to engage with a methodology of being lost; one way to engage a struggle to communicate what we cannot ever adequately represent (Rinehart, 2012). In this spirit, I offer the following poems, which engage with being lost at the edges of gender sexuality and body, and which can only communicate my own experience, in intersection with what I read, discuss and observe socially and politically.
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Hryhorchuk, Yulia. « AUTHOR’S PRAYER IN THE WORK OF WІRA WOWK ». Polish Studies of Kyiv, no 35 (2019) : 105–13. http://dx.doi.org/10.17721/psk.2019.35.105-113.

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The article is devoted to the analysis of the genre of the author’s prayer in the literary works of Wіra Wowk. The object of study for the first time was not only poetic, but also the writer’s prose and dramatic texts. The analysis of biographi- cal and literary works testified that the genre of prayer is an integral part of the Wіra Wowk’s work. This genre is multivariate embodied in the writer’s prose, poetry and drama. On the basis of the analysis of biographical and literary criticism, the organicity of the genre of prayer in the work of Vera Vovk and the specifics of his embodiment in prose, poetry and drama is emphasized. It is noted that short aphoristic verses and prayers are characteristic of poetry, and long prayers and meditations are characteristic of prose and drama. The writer puts prayers in the context of the work (characters’ prayers) or introduces them into the plot as inserted elements (author’s prayers). These are prayer-requests, thank-you prayers and prayers-glorification, and also prayers-confessions and prayer-reflexions. Their recipients are the Lord God, the Virgin Mary and the saints (Teresa of Lisieux, Francis of Assisi, Nicholas of Myra). The topics of these prayer texts cover the themes of creativity, spiritual quest, and the fate of the native land. The author’s prayers of Wіra Wowk also have a wide palette of artistic means, namely: biblical reminiscentism (introduction to the text of allusions and symbols from the Old and New Testament), synthesis of poetry and prose (to reproduce the dialogue be- tween earthly and heavenly), symbolism and metaphorical, thanks to which in a few words it is possible to express a deep meaning. Especially brightly these funds are reflected in the poetry of Wіra Wowk. These are verbal prayers and prayers without words (colors, sounds of musical instruments), as well as prayer speech and silence prayer, prayer acts and prayer contemplation. In Wіra Wowk’s poetry there is a distinct and unusual image of the Creator God, embodied in the symbolic guises of the Master, the Gardener, the Jeweler, the Astronomer, the Builder, the Film Director, whom no one sees, and the Captain on the river of life. The analysis shows that the genre of prayer is an integral component of the artistic thinking of Wіra Wowk. The literary prayers of the writer are not copies of canonical texts, but are original works.
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Sabri, Shirin. « The Purpose of Poetry ». Journal of Baha’i Studies 1, no 1 (1988) : 39–58. http://dx.doi.org/10.31581/jbs-1.1.5(1988).

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This paper seeks out justifications for the work of Bahá’í artists of our time. It argues that now is the time for Bahá’í artists to begin working towards the flowering of our civilization. It argues for art as a unifying force which can create links of understanding between the believers. It suggests that art, and poetry in particular, provides a means of approaching the spiritual or intellectual reality which underlies material existence. It is intended as an appeal to Bahá’í poets and to artists of all disciplines.
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Nizomova, Shoxista Shodiyevna. « Images In Modern Uzbek Poetry ». Psychology and Education Journal 58, no 1 (29 janvier 2021) : 754–58. http://dx.doi.org/10.17762/pae.v58i1.824.

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Like other forms of art, fiction reflects the mental state and thoughts of the people in it. Life always consists of people’s lives, work activities, struggles, emotions, experiences. The descriptive theme of literature is, first and foremost, man. There is no image of man, and there is no fiction where it is not intended. Accordingly, the concept that occupies a central place in the science of literature is also the concept of the image hero. The concept of image has a wide and narrow meaning. While the concept of emblem in the broadest sense represents a landscape of life in which the thoughts and feelings of the creator are embodied, in the narrowest sense it represents the image of a human being reflected in a work of art. This article looks into the imagery in modern Uzbek literature and poetry.
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Naumova, L. G., et V. A. Ganich. « MOBILIZATION, CONSERVATION AND REPLENISHMENT OF GRAPEVINE GENETIC RESOURCES OF YA.I.POTAPENKO DON AMPELOGRAPHIC COLLECTION IN 2019 ». Russian Vine 14 (25 décembre 2020) : 30–36. http://dx.doi.org/10.32904/2712-8245-2020-14-30-36.

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The article reflects the results of work on the mobilization, conservation, replenishment and study of genetic resources of grapevines of the Don ampelographic collection named after Ya.I. Potapenko (Novocherkassk, Ros-tov region) in 2019. Mobilization, conserva-tion, replenishment and study of plant bio-diversity, identification of new and assess-ment of stocks of used species, is gaining theoretical, scientific and practical signifi-cance, and is currently relevant. Most of the native and sparsely distributed grapevine varieties are now preserved only through col-lections. The process of grape selection is closely related to the need to preserve and replenish collections, since this is the main base for large-scale ampelographic and ge-netic selection works, which are currently effective and very effective in science and production and thus practically significant for the Russian grape-growing industry. Cur-rently, the preserved gene pool of grapevines in the collection includes 870 varieties, the collection is supplemented with 5 new grape varieties (Suholimanskij belyj, Traminer be-lyj, Granatovyj, Dostojnyj, Mriya). Two sources of economically valuable traits for high-quality wine – making were identified: Laсukere and Neizvestnyj donskoj varieties.
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OMOHA, OWOJECHO. « Memory and Poetry ». Matatu 47, no 1 (22 août 2016) : 205–20. http://dx.doi.org/10.1163/18757421-90000402.

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When William Wordsworth declared two hundred years ago: “I have said that poetry is the spontaneous overflow of powerful feelings; it takes its origin from emotion recollected in tranquillity,” T.S. Eliot challenged the assertion that “poetry is not a turning loose of emotions, but an escape from emotions; it is not the expression of personality, but an escape from personality.” The intellectual confrontation notwithstanding, the two poets little thought that they were laying a foundation for memory studies in the twentyfirst century. “Recollection” assumes storage in the past and “escape from personality” implies imagination that is beyond self –a principle anchored on existing ideas stored in the mind. This article studies The Chattering Wagtails of Mikuyu Prison by Jack Mapanje as a work of imagination beyond the personality of the poet, but tenaciously holds that the feelings and images expressed by the author reflect his past encounter with a brutal regime in Malawi. This gives vent to the theme of memory and imagination that has become a focus of study in recent times.
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Sharipova, Munira. « RADIF IN SHAYBANI'S POETRY ». INTERNATIONAL JOURNAL OF WORD ART 5, no 3 (30 mai 2020) : 195–200. http://dx.doi.org/10.26739/2181-9297-2020-5-30.

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The article examines the radif in Shaybani Devon, their structure and quantity. The peculiarity of the poet's use of radifs is that he chose words as radif that were not used or rarely used by other creators in addition to the traditional radifs that are often repeated in classical literature.Itis explained that theradif serves as the main pillar that defines the whole device of the poetic work, and that all thoughts are connected to this radif. It has been concluded that the Shaybani radifs served to emphasize a specific purpose by increasing the impact of the poem
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Sultangalyeva, Zh. « MODERN KAZAKH POETRY AND LYRICS F.UNGARSYNOVA ». BULLETIN Series of Philological Sciences 74, no 4 (9 décembre 2020) : 330–35. http://dx.doi.org/10.51889/2020-4.1728-7804.67.

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The article presents a detailed analysis of the multifaceted poetic work of the famous poetess F. Ungarsynova. This is the indissoluble unity of the lyrical hero and author, and the poet's finest poetic speech, and the variety of the genre of her works, and the complex world of the image of the lyrical hero. The article attempts to describe the aesthetic worldview and work of F. Ungarsynova in a comparative manner. Particular attention is paid to the artistic world and the linguistic means of F. Ungarsynova, who have her own poetic style. Also considered is the enormous influence of the poet's work on modern Kazakh poetry. The article draws attention to the fact that the poetess managed to combine such principles as open citizenship and piercing lyricism, purity and nobility of human relations and the tragedy of unrequited love, lines about sacred friendship and wise thoughts about the poet’s craft. Her poems are an impressive picture of modern reality.
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