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Artigos de revistas sobre o tema "German poetry Birds in literature"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 16 de fevereiro de 2022

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1

Boase-Beier, Jean. "Translating Patterns of Style in 'Hour of the Wolves'." ELOPE: English Language Overseas Perspectives and Enquiries 18, no. 1 (2021): 139–49. http://dx.doi.org/10.4312/elope.18.1.139-149.

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For a translator of poetry, it is important to analyse the style of the original poem in order to gain access to the poetics from which the poem arose. I consider here the translation of a German poem, ‘Stunde der Wölfe’, by Volker von Törne, into English. Stylistic patterns in the original poem include the central metaphor of wolves and many other metaphors: birds, paths and journeys, night and winter. There are images of curtailment, intervention and impediment caused by natural agents such as wolves, hawks, wind and snow. And there are several patterns of repeated sounds. The translator mus

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2

Acri, Andrea. "On birds, ascetics, and kings in Central Java Rāmāyana Kakawin, 24.95–126 and 25." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 166, no. 4 (2010): 475–506. http://dx.doi.org/10.1163/22134379-90003611.

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In the first part of the paper I introduce stanzas 95-126 of Sarga 24 and the whole of Sarga 25 of the Old Javanese Rāmāyaṇa, which present the most difficult and least understood pieces of poetry in the whole of Old Javanese literature. The two sections, displaying a close relationship between each other on account of several shared lexical items and corresponding motifs, describe in allegorical terms animals, birds and plants in order to satirically represent ascetic and political characters of mid-9th century Central Java. Because of their idiosyncratic language and style, and because of th

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3

Ross, S. "Birds in the Hand: Fiction and Poetry about Birds." Interdisciplinary Studies in Literature and Environment 12, no. 2 (2005): 297–98. http://dx.doi.org/10.1093/isle/12.2.297.

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4

Durrani, Osman, and Peter Hutchinson. "Landmarks in German Poetry." Modern Language Review 97, no. 2 (2002): 504. http://dx.doi.org/10.2307/3736966.

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5

Guthrie, John. "Eighteenth-Century German Translations of Pope’s Poetry." Publications of the English Goethe Society 82, no. 2 (2013): 67–84. http://dx.doi.org/10.1179/0959368313z.00000000017.

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6

Skrine, Peter, Marian R. Sperberg-McQueen, and Paul Fleming. "The German Poetry of Paul Fleming." Modern Language Review 87, no. 1 (1992): 252. http://dx.doi.org/10.2307/3732406.

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7

Leeder, Karen. "INTRODUCTION: THE ADDRESS OF GERMAN POETRY." German Life and Letters 60, no. 3 (2007): 277–93. http://dx.doi.org/10.1111/j.1468-0483.2007.00387.x.

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8

Eskin, Michael. "German Poetry after the Wall: An Introduction." Germanic Review: Literature, Culture, Theory 77, no. 1 (2002): 3–6. http://dx.doi.org/10.1080/00168890209597447.

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9

Komilovna, Khaydarova Dildora. "The Literary Relations In Uzbek And German Poetry." American Journal of Social Science and Education Innovations 02, no. 12 (2020): 294–97. http://dx.doi.org/10.37547/tajssei/volume02issue12-51.

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Our Uzbek classical poetry has a special role in the world literature as its ideological and artistic maturity and the richness of its genres as well. The names of such poets as Alisher Navoi, Firdavsi, Jami, Hafiz, Nizami, Umar Khayyam and Babur who were recognized as great figures, have been rediscovered and continue to have an impact on world poetry. In this regard, many great epics of Oriental literature have been studied and translated into European languages. In this article, I will discuss the literary relations in Uzbek and German poetry.

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10

BRIDGWATER, PATRICK. "BAUDELAIRE'S COUSINS GERMAN: THE IMPACT OF BAUDELAIRE ON GERMAN POETS AND POETRY." Forum for Modern Language Studies XXXI, no. 4 (1995): 326–44. http://dx.doi.org/10.1093/fmls/xxxi.4.326.

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11

Leeder, Karen. "ThePoeta Doctusand the New German Poetry: Raoul Schrott'sTropen." Germanic Review: Literature, Culture, Theory 77, no. 1 (2002): 51–67. http://dx.doi.org/10.1080/00168890209597450.

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12

Keith-Smith, Brian, Florian Krobb, and Jeff Morrison. "Poetry Project: Irish Germanists Interpret German Verse." Modern Language Review 99, no. 4 (2004): 1114. http://dx.doi.org/10.2307/3738594.

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13

Ziolkowski, Theodore, and James Rolleston. "Narratives of Ecstasy: Romantic Temporality in Modern German Poetry." World Literature Today 62, no. 2 (1988): 277. http://dx.doi.org/10.2307/40143622.

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14

Werner, Meike G. "Vom Annex zum Atelier." Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, no. 2 (2019): 399–409. http://dx.doi.org/10.1515/iasl-2019-0018.

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Abstract In 1960, two competing anthologies of modern poetry were published in an attempt to renew and internationalize German poetry: Günther Steinbrinker’s Panorama moderner Lyrik and Hans Magnus Enzensberger’s Museum der modernen Poesie. This essay argues that the success of Museum over Panorama was based on Enzensberger’s comparative approach to modernist poetry in the first half of the twentieth century as a “chrestomathy” (a textbook) for a “world language of poetry”. This chrestomathy also provided the blueprint for his own German-language poems, which he published the same year in a co

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15

Boase–Beier, Jean. "Bringing Together Science and Poetry: Translating the Bystander in German Poetry after the Holocaust." Comparative Critical Studies 2, no. 1 (2005): 93–105. http://dx.doi.org/10.3366/ccs.2005.2.1.93.

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16

Sherwood, Peter, Bruce Berlind, and Dezso Tandori. "Birds and Other Relations: Selected Poetry of Dezso Tandori." Modern Language Review 84, no. 2 (1989): 543. http://dx.doi.org/10.2307/3731675.

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17

Hofman, T. "Obstetrics literature. About translation experience." Voprosy kul'turologii (Issues of Cultural Studies), no. 2 (February 1, 2020): 17–22. http://dx.doi.org/10.33920/nik-01-2002-02.

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The following article tackles the question of translating as a transformation on several levels: of the language use; of the translater who is a medium; the reader and, last but not least, the author who receives a mirror of his original text. This idea I explain referring to my own experience as a translater from Russian to German, parcularly the Book of Food by Igor Klekh. My argument contradicts Walter Benjamin as I plead for a conscious involvement of the reader’s horizont and a careful treatful of the original text, except we deal with poetry. Else even prose might be transformed into poe

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18

Durrani, Osman, and Martin Swales. "German Poetry: An Anthology from Klopstock to Enzensberger." Modern Language Review 83, no. 1 (1988): 245. http://dx.doi.org/10.2307/3728639.

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19

Swales, Martin, and Osman Durrani. "German Poetry of the Romantic Era: An Anthology." Modern Language Review 83, no. 1 (1988): 248. http://dx.doi.org/10.2307/3728640.

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20

Melin, Charlotte A. "German Women's Poetry Circa 1900: A Forgotten Anthology." German Quarterly 87, no. 1 (2014): 49–66. http://dx.doi.org/10.1111/gequ.10197.

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21

Malý, Radek. "The Figure of Ophelia in Expressionist Poetry: German and Czech Comparison." Porównania 27, no. 2 (2020): 197–217. http://dx.doi.org/10.14746/por.2020.2.10.

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The study deals with the rendition of the figure of Ophelia in Czech modern poetry in comparison with the poetry of European Expressionism. The image of Ophelia’s aesthetic death from Shakespeare’s drama Hamlet has influenced and inspired a whole range of artworks. It strongly reverberated in German Expressionist poetry, especially that by Georg Heym, Gottfried Benn and Georg Trakl. The Czech poets who approached this topic in the spirit of Expressionism include Jan Skácel, Vladimír Holan and Jiří Orten. The study further addresses these works in the light of the Ophelia complex as defined by

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22

Landa, Sara. "On the Interplay between Poets’ and Philologists’ Translations of Chinese Poetry into German." Comparative Critical Studies 17, no. 2 (2020): 245–62. http://dx.doi.org/10.3366/ccs.2020.0361.

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‘[I]t has unfortunately become a fashion that people who obviously cannot claim to have any legitimation or any understanding in the field of sinology […], take hold of the sinological works of others and exploit them merely for business reasons’, complains the sinologist Leopold Woitsch in 1924, referring to Albert Ehrenstein's newest translations of Chinese poetry. The debate on who could authoritatively translate Chinese poetry was fiercely contested in German modernist circles and still rages to this day. Most scholars still contrast ‘poetical’ and ‘scholarly’ translations of Chinese poetr

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23

Leeder, Karen. "THE POETRY OF SCIENCE AND THE SCIENCE OF POETRY: GERMAN POETRY IN THE LABORATORY OF THE TWENTIETH CENTURY." German Life and Letters 60, no. 3 (2007): 412–29. http://dx.doi.org/10.1111/j.1468-0483.2007.00396.x.

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24

Petrič, Jerneja. "The first translations of Harlem renaissance poetry in Slovenia." Acta Neophilologica 41, no. 1-2 (2008): 3–12. http://dx.doi.org/10.4312/an.41.1-2.3-12.

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From the present-day perspective Harlem Renaissance poetry represents an epoch-making contribution by America's black authors to the mainstream literature. However, in the post World War 1 era black authors struggled for recognition in their homeland. The publication of a German anthology Afrika singt in the late 1920s agitated Europe as well as the German-speaking authors in Slovenia. Mile Klopčič, a representative of the poetry of Social Realism, translated a handful of Har lem Renaissance poems into Slovene using, except in two cases, the German anthology as a source text. His translations

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25

Mays, J. C. C. "The Third Walker." Irish University Review 46, no. 1 (2016): 48–62. http://dx.doi.org/10.3366/iur.2016.0200.

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A review of the two most recent collections by Billy Mills and Catherine Walsh: namely, Imaginary Gardens and Astonished Birds/Cara, Jane, Bob and James, both published by hardPressed poetry in 2012. An attempt is made to describe how both authors are concerned to write a different kind of poetry than that which achieves greater public success in our time, as represented by recent collections by Harry Clifton.

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26

Garber, Frederick. "Beyond Enchantment: German Idealism & English Romantic Poetry. Mark Kipperman." Wordsworth Circle 19, no. 4 (1988): 210–12. http://dx.doi.org/10.1086/twc24042674.

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27

Pratt, T. M., and Patrick Brady. "Rococo Poetry in English, French, German, Italian: An Introduction." Modern Language Review 90, no. 3 (1995): 722. http://dx.doi.org/10.2307/3734327.

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28

Van den Abeele, Baudouin. "Michael J. Warren, Birds in Medieval English Poetry. Metaphors, Realities, Transformations." Cahiers de civilisation médiévale, no. 248 (October 1, 2019): 430–31. http://dx.doi.org/10.4000/ccm.3020.

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29

Malcolm, Aylin. "Birds in Medieval English Poetry: Metaphors, Realities, Transformations. By Michael J. Warren." ISLE: Interdisciplinary Studies in Literature and Environment 27, no. 3 (2020): 680–81. http://dx.doi.org/10.1093/isle/isaa065.

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30

McClelland. "Shaping Multilingual Identity in Angelika Overath's Bilingual Romansh–German Poetry." Modern Language Review 114, no. 3 (2019): 480. http://dx.doi.org/10.5699/modelangrevi.114.3.0480.

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31

Alfers, Sandra. "The Precariousness of Genre: German-Language Poetry from the Holocaust." Oxford German Studies 39, no. 3 (2010): 271–89. http://dx.doi.org/10.1179/007871910x540062.

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32

Salimzanova, Dilyara A., and Gulnara T. Gilfanova. "The Problem of Historical Choice in East German Literature: Johannes Bobrowski in Context of the Postwar Literature of the 1950s-1970s." Journal of History Culture and Art Research 6, no. 5 (2017): 342. http://dx.doi.org/10.7596/taksad.v6i5.1253.

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<p>The article tells about works of the famous German writer Johannes Bobrowski (1917-1965) born 100 years ago; the world literary community celebrates his 100 anniversary as in 2017. The poetic speech of Bobrowski, difficult for perception, reflected the main perspective of his poetry: history of the people and communication of the person with the nature. Art development of history, author’s cycle of stories and two novels of the original narrative technique in the conditions of totalitarian regime and continuous censorship, in many respects predetermined development of a genre of the h

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33

Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.

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AbstractResearch on the history of fiction of the early modern period has up to now taken primarily the novel into consideration and paralleled the rise of the novel as the leading genre of narrative literature with the development of the modern consciousness of fictionality. In the present essay, we argue that contemporary reflections on fictionality in epic poetry, specifically, the carmen heroicum, must be taken into account to better understand the history of fiction from the seventeenth century onwards. The carmen heroicum, in the seventeenth century, is the leading narrative genre of con

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34

Kuznetsova, T. N., and E. R. Mikhaylova. "WORKS OF F. SCHILLER IN THE CHUVASH LITERATURE: FEATURES OF TRANSLATION INTO CHUVASH LANGUAGE." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (2019): 982–85. http://dx.doi.org/10.35634/2412-9534-2019-29-6-982-985.

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The article is devoted to the features of translation of German poetry into the Chuvash language. Using the example of F. Schiller’s ballad “Der Handschuh” (“Glove”) and its translation into Chuvash, performed by the Chuvash poet S. Shavly, a comparative analysis of the translation and the original is carried out, and the quality of the translation of the work is determined. The purpose of the study is a comprehensive analysis of the translation of F. Schiller’s poem “Der Handschuh” into the Chuvash language, consideration of the linguistic features of the poetry translation. When translating

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35

Kellner, Beate. "Apologie der deutschen Sprache und Dichtkunst in Johann Fischarts Geschichtklitterung." Daphnis 49, no. 3 (2021): 379–415. http://dx.doi.org/10.1163/18796583-12340024.

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Abstract In competing with Rabelais’ French novel Garguanta, the German author Fischart aims to illustrate the richness of the German language and its poetry in his comic novel Geschichtklitterung. Focusing on the second chapter of this text, which has so far been viewed as nothing more than an absurd play on language, this article offers a new interpretation and demonstrates how the German author stylizes himself as a poeta vates in his Pantagruelian prophecy and presents himself as a being purified by wine in his poem “Glucktratrara”. In the end, inspired by Apollo and the Muses, he seems to

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36

Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.

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To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of

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37

Wanner, Adrian. "A Forgotten Translingual Pioneer: Elizaveta Kul’man and her Self-Translated Poetry." Polylinguality and Transcultural Practices 16, no. 4 (2019): 562–79. http://dx.doi.org/10.22363/2618-897x-2019-16-4-562-579.

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Elizaveta Borisovna Kul’man (1808-1825) is a unique figure in the history of Russian literature, or more precisely, the history of Russian, German, and Italian literature. A child prodigy with formidable linguistic gifts, Kul’man stands out both with her polyglot prowess and outsized literary productivity. At the time of her premature death at age seventeen, Kul’man left behind a vast unpublished oeuvre in multiple languages. The edition of her works published by the Imperial Russian Academy in 1833 contains a trilingual compendium of hundreds of parallel poems written in Russian, German, and

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38

Lingwood, Chad G. "The Conference of the Birds." American Journal of Islam and Society 22, no. 3 (2005): 145–47. http://dx.doi.org/10.35632/ajis.v22i3.1691.

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In medieval Islamic civilization, poetry was widely acknowledged to be themost intimate vessel for conveying Sufism’s hidden truths. The spiritualstates and stations traversed by adepts along an ascending path to the realityof God’s unity largely defies simple descriptions into ordinary prose oreveryday language. The subtleties necessary to evocatively describe a spiritualjourney that is, by its very essence, ineffable, necessitates a linguisticmedium that could at once reveal secrets of inner contemplation and mysticalperception while simultaneously concealing such information from the“uninit

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39

Be'eri, Eyal. "Yearning, Control, and Creativity: The Carnivorous Bird in Literature and Poetry." Moreshet Israel 19, no. 1 (2021): 159–84. http://dx.doi.org/10.26351/mi/19-1/7.

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During my travels in India, I was captivated by the allure of the carnivorous Indian eagle. Inspired by that experience, this article seeks to examine various motifs associated with literary representations of birds of prey. The first section explores the motifs of physiological and androgynal bisexuality associated with these creatures, and the androgynous motif of them as expressed in the works of Jerzy Kosiński and Sarah Sheila. The work of Abraham Mapo, and William Shakespeare’s poem “The Phoenix and the Turtle,” are the basis of the next discussion about aspects of the experience of trans

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40

Sullivan, Kelly. "Yeats's Birds: Recognising the Animal." Modernist Cultures 16, no. 1 (2021): 114–37. http://dx.doi.org/10.3366/mod.2021.0322.

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Yeats's use of avian imagery forms part of his turn toward a modernist poetics, particularly in volumes written in response to social and political upheavals, world war, and revolution in Ireland. Yeats's birds vacillate between symbolic presences and literal creatures, but in his most experimental work, he uses the avian to explore the limits of human consciousness and of empathy, epistemological queries central to modernism. Considering Yeats's post-1914 poetry through a less anthropocentric view, this article interprets his engagement with politics and revolutionary action from an ecologica

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41

Houghton-Walker, Sarah. "Forms of Repetition in ‘The Robins Nest’." Romanticism 26, no. 2 (2020): 139–52. http://dx.doi.org/10.3366/rom.2020.0460.

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This essay uses Clare's interest in birds as a lens to focus its examination of the way his poetry exhibits a particular kind of attention to attention. More particularly, it explores various ways in which repetition functions in Clare's poem, ‘The Robins Nest’. The essay argues that the tension between specifics and generalities which inevitably arises in the construction of natural history, and the gap between natural history and poetry, are significantly negotiated in ‘The Robins Nest’ through the poet's use of forms of repetition. These in turn both invite the reader's attention to the wor

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42

Clarke, Robert, and Gregory Divers. "The Image and Influence of America in German Poetry since 1945." German Quarterly 76, no. 1 (2003): 125. http://dx.doi.org/10.2307/3252311.

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43

Classen, Albrecht. "Love, Sex, and Marriage in Late Medieval German Verse Narratives, Lyric Poetry, and Prose Literature." Orbis Litterarum 49, no. 2 (1994): 63–83. http://dx.doi.org/10.1111/j.1600-0730.1994.tb00045.x.

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44

Jones, Lawrence G., and Marina Tarlinskaja. "Strict-Stress Meter in English Poetry, Compared with German and Russian." Slavic and East European Journal 38, no. 3 (1994): 517. http://dx.doi.org/10.2307/308863.

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Zajas, Paweł. "Hans Joachim Schädlich und die niederländische Lyrik." Internationales Archiv für Sozialgeschichte der deutschen Literatur 46, no. 1 (2021): 1–23. http://dx.doi.org/10.1515/iasl-2021-0001.

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Abstract The paper reveals the backstage of a modern Dutch poetry anthology Gedichte aus Belgien und den Niederlanden (1977), published by an East German publisher Volk & Welt. An analysis of the surviving correspondence, publishing reviews, and peritexts (afterwords) has shown the mechanisms of transfer in literary translation to the GDR. This historical-literary case study illustrates the ways in which the political and cultural function of anthologies enabled the introduction of formal/content innovations into the East German literary system.

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Meier, Albert. "Wir sind Halbierte. Die Entdeckung der DDR in der westdeutschen Literatur vor 1989." Studia Germanica Posnaniensia, no. 37 (April 15, 2017): 201–11. http://dx.doi.org/10.14746/sgp.2016.37.16.

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West German literature has turned its back to the existence of the second German state until the 1980s. Only a few years before the fall of the Berlin wall, three writers started to make the GDR a subject of narration or poetry: Botho Strauß, Peter Schneider and Martin Walser. In different ways, yet unanimously, they complain about the division of Germany dealing with its impact on everyday life and private feelings.

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47

Sager, Laura M. "German Unification: Concepts of Identity in Poetry from the East and West." German Quarterly 76, no. 3 (2003): 273. http://dx.doi.org/10.2307/3252082.

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48

Mal Mazou, Oumarou. "Fulani Oral Literature and (Un)translatability: The Case of Northern Cameroon Mbooku Poems." Territoires, histoires, mémoires 28, no. 1-2 (2017): 109–31. http://dx.doi.org/10.7202/1041652ar.

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This paper sets out to examine the translatability of Fulani oral poetry from Northern Cameroon, especially the mbooku genre, in a literary perspective. The corpus is gathered from selected oral poems that were transcribed and translated into German, English and French by different translators. The study reveals that it is possible to translate Fulani poems into European languages so that the target texts perform the same literary functions as the source texts, in spite of linguistic and cultural difficulties that occur during the transfer process. Thus, the author proposes a retranslation in

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49

T Mukhuba, Theophilus. "An Analysis of Jack Mapanje’s Poetry with Particular Reference to his use of Obscuring Devices." International Journal of Applied Linguistics and English Literature 6, no. 7 (2017): 30. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.30.

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Jack Mapanje’s poetry is a true reflection of his society through the use of obscuring devices. These obscuring devices are necessary to ensure that the literary work reaches its intended audience in a totalitarian society. Overall, Jack Mapanje’s poetry exploits creatures from the world of nature—mammals, birds, amphibians, reptiles and insects—for close association with life experiences in various contexts and situations and with people he viewed with contempt and disgust and those he regarded with tenderness and compassion. He utilises them to conceptualize and construct a wide range of ide

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Baruzdina, S. A. "GOOD BAD TIME." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (2021): 246–53. http://dx.doi.org/10.35634/2412-9534-2021-31-2-246-253.

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The article discloses the axiological potential of the qualitative metaphor of time on the example of emotive prose and poetry of German-speaking authors. Time as an abstract notion is rendered metaphorically. Metaphor, taken as an image, is a universal pattern that is used to form emotional and evaluative categories. It encompasses an image representation, evaluation information and attitude expression, both positive and negative. There is an attempt to assess the correlation between ameliorative and pejorative evaluation of time in poetry and emotive prose discourse in the German-language li

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