Готові списки джерел за темами / Poems song

Добірка наукової літератури з теми "Poems song"

Автор: Grafiati
Опубліковано: 10 січня 2023
Оновлено: 28 січня 2023

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій

Статті в журналах з теми "Poems song":

1

INGLESE, FRANCESCA. "“Watch Out For The Sharks”: Gender, Technology, and Commerce in the American Song-Poem Industry." Journal of the Society for American Music 7, no. 3 (July 30, 2013): 295–315. http://dx.doi.org/10.1017/s1752196313000230.

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AbstractSince the early 1900s, song-poem entrepreneurs, often referred to as “song sharks,” have fueled a diffuse and largely hidden American industry that produces music to accompany the poems and lyrics of amateur writers. These entrepreneurs have long been demonized in the popular media for preying on the naiveté of their clientele. Yet despite charges of exploitation, this musical equivalent of the vanity press has survived for over a century. Although the vast majority of song-poets and their song-poems have remained in obscurity, in the 1990s, song-poems developed a cult following among record collectors; as “anonymous collaborations,” these recordings highlighted tensions between poignant personal expression and impersonal commercial rendering that appealed to listeners with a penchant for the obscure. This article draws on advertisements, sheet music, media coverage, and personal interviews to piece together a history of the song-poem industry, with particular focus on the gendered dimensions of the practice, the role of technology in the production process, and the multiplicity of meanings embedded in song-poems for both song-poets and collectors.
2

Bharadwaj, S. "Dylan Thomas’s “In Country Sleep”: His Paradoxical Sensibility." Studies in Linguistics and Literature 4, no. 4 (September 9, 2020): p12. http://dx.doi.org/10.22158/sll.v4n4p12.

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In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.
3

Zholkovsky, A. K. "On the main-meta-song by Bulat Okudzhava." Voprosy literatury, no. 5 (November 29, 2021): 126–50. http://dx.doi.org/10.31425/0042-8795-2021-5-126-150.

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The article analyses Bulat Okudzhava’s ‘The Main Song’ [‘Glavnaya pesenka’] (1962). The poem’s metapoetic leitmotif and expressive structure are examined in a broader context of corresponding common literary motifs, Okudzhava’s poetic invariants, and immediately contemporary subtexts, including in song lyrics. The intertextual field comprises poems of the same metric structure, namely, three-foot amphibrachs. M. Gasparov specified themetre’s appropriate halos: suggestions of a drinking song ( ‘zazdravnaya,’ sung to toast someone’s health); a ballad; an allusion to Heine’s manner (memory, dreams, daily life); a Romantic intonation; and, lastly, a ceremonial verse, including metapoetic works, i.e., written by poets about poetry (namely, V. Bryusov’s, A. Akhmatova’s, and V. Khodasevich’s poems). Okudzhava’s ‘The Main Song’ belongs with the aforementioned series, as well as with poems united by the leitmotif of walking (departing), rejection and the actual process of poetry writing. A detailed analysis of Okudzhava’s intertext and method helps reveal the originality of the poet’s take on a traditional topic.
4

Gashi, Syzana Kurtaj. "Browning’s and Serembe’s Love Poems." SEEU Review 15, no. 2 (December 1, 2020): 31–41. http://dx.doi.org/10.2478/seeur-2020-0015.

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Abstract Browning’s and Serembe’s love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the ‘By the Fire-Side’, one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe’s ‘Song for Longing’, considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning, to his love relationship with a famous poetess Elizabeth Barrett, their elopement and union in Italy, and Serembe to his love for a girl from his native village, who immigrated to Brazil and subsequently died. In these poems, both poets explore the intimate atmosphere they tried to establish for their beloved women, by describing the places that witnessed the birth and growth of their love. ‘By the Fire-Side’ and ‘Song for Longing’ comprise a common element; they are personal love poems that describe their ideal love, personal feelings, and passion of their love. While Robert Browning in his poem writes about a peaceful and satisfied married life, full of sweet memories and images of his wife, Zef Serembe’s poem is a picture of his sentiment, primarily of solitude and disillusionment. The comparative and descriptive research methods have been helpful while conducting this research paper.
5

Han, Christina. "Turning Songs into Poems and Poems into Songs: Intersections of Literary Sinitic and Vernacular Korean in Chosŏn Literature." Sungkyun Journal of East Asian Studies 21, no. 2 (November 1, 2021): 211–35. http://dx.doi.org/10.1215/15982661-9326219.

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Abstract This article investigates the dynamic intersections of Literary Sinitic and vernacular Korean and their impact on the innovations in poetry and song in fifteenth- through nineteenth-century Chosŏn Korea. More specifically, it traces the evolution of poetry or song discourse and explores the different strategies employed by Chosŏn poets and songwriters to render oral songs into text. It also investigates the differing views on the function of poetry and song, musical and textual preservation, and emotional and lyrical immediacy, which influenced the composition and translation of song-poems. The article probes the creative collaboration and competition between Literary Sinitic and vernacular Korean, and the fluid relations between translation and vernacularization. On the whole, it explores the ways in which the evolution of poetry-song discourse and the ensuing literary innovations contributed to Chosŏn's complex linguistic ecology.
6

Kamitova, Alevtina Vasilevna. "FEATURES OF POEMS-SONGS OF THE UDMURT POET AIVO IVI." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 82–87. http://dx.doi.org/10.35634/2224-9443-2020-14-1-82-87.

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This article discusses the features of the functioning of the song genre in the creative practice of Aivo Ivi. The appeal of the Udmurt poets of the beginning of the XX century to the creation of literary songs, which were alterations, imitations, re-singing and stylization of folk songs, was a common phenomenon and played a positive role in the development of national literature. In this work, on the example of Aivo Ivi's creativity, the characteristic features of the poems-songs created by him are revealed. It is determined that his texts represent improvisation of folk songs with preservation of traditional plots, complicated by signs of time. In some cases, the popular melody of Russian songs was attracted by the Udmurt poet to "service" his compositions. In building the text on the basis of a simple plot line, the calculation for the ease of perception of information by the reader is obvious. It is established that the author's songs of Ivo Ivy went beyond the book existence. It is summarized that the song texts created by him as a whole were formed under the influence of socio-cultural trends and the previous song-poetic tradition. The "folk" form of poems, their adaptation to the tunes understandable to the illiterate population allowed the poet to realize ideological and educational meanings, were a way of creative self-realization, introducing the reader to the artistic word.
7

Wiaderny, Jacek. "Title: Refrains of trauma: Eugeniusz Tkaczyszyn-Dycki’s songs." Tekstualia 2, no. 53 (July 29, 2018): 71–78. http://dx.doi.org/10.5604/01.3001.0013.3293.

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The article focuses on Eugeniusz Tkaczyszyn-Dycki’s songs, that is poems containing the word „song” in the title (e.g. „Song for Ms. Mościcka”). Although they are called „songs”, they are not intended to be performed orally; instead, they explore the musical potencial of their form for strictly textual purposes. The discussion follows Magdalena Łopata’s typology of Tkaczyszyn-Dycki’s songs, which refl ects the poet’s own differentiation between „somebody’s” songs, songs „about something”, „some” songs and songs „for somebody”. Subsequently, the article problematizes Tomasz Majeran’s conception of the refrainity” of Tkaczyszyn-Dycki’s poems. The Lacanian theory of trauma and tuché helps explain this particular aspect of Tkaczyszyn-Dycki’s poetic writing.
8

Rosenfeld, Aaron. "Wine, Poems, and Song." Pedagogy Critical Approaches to Teaching Literature Language Composition and Culture 17, no. 2 (March 24, 2017): 203–34. http://dx.doi.org/10.1215/15314200-3770117.

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9

Dolby, William, and J. I. Crump. "Song-Poems from Xanadu." Asian Theatre Journal 12, no. 1 (1995): 198. http://dx.doi.org/10.2307/1124478.

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10

Setia Sari, Winda. "Stepping Out of The Cultural Identity: A Critical Analysis of Cathy Song’s Memory Poetry." International Journal of Culture and Art Studies 2, no. 1 (April 30, 2019): 54–59. http://dx.doi.org/10.32734/ijcas.v2i1.948.

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Cathy Song, a Chinese-Korean ancestry woman poet, grew up in Hawaii, America. In “What Belongs to You”, a poem taken from her second poetry publication, she chronicles the memory of a child who is trapped between her dream and devotion. The theme of the poem is portrayed in a strong poetic devices. The poems lean in vivid visual imageries to evoke to the poet’s life memory. The speaker of What Belongs to You dreams of having the freedom and attempts to escape from her parental tie. Ironically, she finds herself devote to her family and tradition. The poems use past materials ranging from domestic domain and landscape which define the speaker’s personal memory. Comparing than Cathy’s Song first poetry publication, arguably, the cultural materials in the poem cannot be traced through Song’s poetic devices as an ethnic woman poet. In fact, song locates the dream and devotion in visual imageries and nostalgic tones in a general way. This is true; Song has denied herself as a cultural visionary. Song merely mines the memory from the point of view and identity of a woman, leaving her cultural traits behind.
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Також вас можуть зацікавити розширені добірки на тему "Poems song" для конкретних типів джерел:
Статті в журналах Дисертації Книги

Дисертації з теми "Poems song":

1

Redman, Carolyn E. "Songs to the moon: a song cycle by Jake Heggie from poems by Vachel Lindsay." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1101848827.

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2

Redman, Carolyn Elizabeth. "Songs to the moon a song cycle by Jake Heggie from poems by Vachel Lindsay /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101848827.

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Thesis (D.M.A.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xiv, 159 p.; also includes graphics Includes bibliographical references (p. 147-149) and discography.
3

Ng, Kam-lung, and 吳錦龍. "A study of the Yuan period criticism of the Song poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634085.

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4

Tse, Wai-lok. "Female singers and the ci poems of the Tang and Song periods Ge ji yu Tang Song ci /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38322110.

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5

Tse, Wai-lok, and 謝煒珞. "Female singers and the ci poems of the Tang and Song periods=." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38322110.

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6

Lai, Hing-fong Camilla. "Ci poems on plum blossoms of the southern Song period (1127-1279) /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19929638.

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7

Kulma, David. "Emily: A Song Cycle For Soprano and Chamber Ensemble on Poems of Emily Dickinson." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291039230.

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8

Hu, Maria Theresa. "Daughters of the lesbian poet| Contemporary feminist interpretation of Sappho's poems through song." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1596463.

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This thesis examines the seven song and/or choral settings of Sappho’s poetry by contemporary women composers Carol Barnett, Sheila Silver, Elizabeth Vercoe, Liza Lim, Augusta Read Thomas, Mary Ellen Childs, and Patricia Van Ness. Each composer has set Sappho’s poems in her own creative and artistic interpretation through diverse modern musical styles, giving the Greek poetess a modern, gendered female voice. This paper presents connections between the poetry chosen, its themes and interpretations, as well as the expressive musical devices employed. The various methodological approaches include historical and textual criticism, sociomusicology, and gender and sexual studies. The setting of Sappho’s poetry and the commonalities of the poetic themes set to music help us understand how modern women view Sappho’s image, hear, and give voice to the poetess of the ancient world.

9

Ng, Kam-lung. "A study of the Yuan period criticism of the Song poems Yuan dai dui Song shi ping jia zhi yan jiu /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634085.

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10

Bell, Susan. "Verse into Song Composers and their settings of poems by Thomas Hardy: 1893 - 1928." Thesis, Loughborough University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492734.

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This thesis explores the work and lives of composers who set Hardy's verse to music during his lifetime and seeks to identify the place of Hardy song settings in English musical history and in the personal history of their composers. It also gives evidence that Hardy possessed an extraordinary musical memory, and that, to an extent that has not been appreciated, he consciously wrote various poems for musical settings.
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Книги з теми "Poems song":

1

Kelly, Brigit Pegeen. Song: Poems. Brockport, USA: BOA Editions, Ltd., 1995.

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2

Mohamed, Paloma. Song: Poems. Dover, MA: Majority Press, 2000.

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3

Rothberg, Joel. Earth-song: Poems. Los Angeles, Calif: Dragon's-Tail Press, 1992.

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4

McClaurin, Irma. Pearl's song: Poems. Detroit: Lotus Press, 1988.

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5

Holleran, Deming. Gypsy song: Poems. Simsbury, Connecticut: Antrim House, 2014.

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6

Maeder, Susan. White song: Poems. Comptche, Calif: Pot Shard Press, 1998.

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7

Viqar, Arif. Autumn's song: Poems. Lahore: Dianapak, 2009.

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8

Todd, Mark. Wire song: Poems. Crested Butte, Colo: Conundrum Press, 2001.

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9

Anyachonkeya, Ngozi. Udara song: Poems. Enugu, Nigeria: ABIC Books, 2006.

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10

Gillan, Maria M. Ancestors' song: Poems. New York, NY: Bordighera Press, 2013.

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Частини книг з теми "Poems song":

1

Cain, Tom, and Ruth Connolly. "A Song." In The Poems of Ben Jonson, 890. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315696195-297.

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2

Cain, Tom, and Ruth Connolly. "A Song." In The Poems of Ben Jonson, 798. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315696195-265.

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3

Cain, Tom, and Ruth Connolly. "Song. To Celia." In The Poems of Ben Jonson, 504–6. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315696195-187.

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4

Cain, Tom, and Ruth Connolly. "Song. To Celia." In The Poems of Ben Jonson, 519–22. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315696195-191.

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5

Behn, Aphra, and Malcolm Hicks. "Song." In Selected Poems, 33. Routledge, 2020. http://dx.doi.org/10.4324/9781003061823-15.

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6

Behn, Aphra, and Malcolm Hicks. "Song." In Selected Poems, 53. Routledge, 2020. http://dx.doi.org/10.4324/9781003061823-23.

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7

"Morning Song." In Poems, 37. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300251623-031.

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"Prison Song." In Poems, 7. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300251623-007.

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9

"Love Song:." In Poems, 12. Yale University Press, 2019. http://dx.doi.org/10.2307/j.ctvqc6gkm.13.

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10

"Morning Song." In Poems, 37. Yale University Press, 2019. http://dx.doi.org/10.2307/j.ctvqc6gkm.32.

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Тези доповідей конференцій з теми "Poems song":

1

DIAO, Ke. "A Study on the Music and Writing Characteristic of Robert Schumann's Diechterliebe." In 2021 International Conference on Culture, Literature, Arts & Humanities. Clausius Scientific Press, 2021. http://dx.doi.org/10.23977/icclah2021021.

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Schumann's Diechterliebe is deep in annotation explanatory note of the poem, accurate. Schumann is good at portraying the fine and smooth emotion of heart, he has expanded the vocal music and created the tactics with their fresh styles, make art song vocal music sing between part and piano accompany partly organic to combine, inseparable, undertaking to demonstrate the mission of the real intension of poems together.
2

Yin, Xuechen, and Hongzhi Yu. "Research of the breathing characteristics when reading short song-poems." In 2014 International Conference on Audio, Language and Image Processing (ICALIP). IEEE, 2014. http://dx.doi.org/10.1109/icalip.2014.7009830.

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3

Jiang, Yan. "Translation Strategies of Color Images in Poems of Tang and Song dynasties." In 2017 7th International Conference on Mechatronics, Computer and Education Informationization (MCEI 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/mcei-17.2017.181.

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4

Pudjiati, Danti, and Nu'umah A. Ashri. "The Approaches of English-Indonesian Translation in Huesca and Song IV Poems." In Proceedings of the 2nd Internasional Conference on Culture and Language in Southeast Asia (ICCLAS 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icclas-18.2019.48.

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5

Zhang, Yilei, and Feng Xin. "Spreading Correct View of Love in College Chinese Teaching----Exemplified by Song Ci Poems." In 2016 2nd International Conference on Education Technology, Management and Humanities Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/etmhs-16.2016.147.

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6

Loh, Cassandra, Marcos Mortensen Steagall, and Tatiana Tavares. "Codificación lógica y poesía emocional: Una exploración de la expresión poética en lo digital." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.164.g216.

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Esta investigación de diseño orientada a la práctica investiga las oportunidades que tiene una expresión poética significativa dentro del medio digital. Su objetivo es crear poemas nacidos en formato digital que vinculen estrechamente el contenido con su forma, priorizando la presentación y el contenido textual del poema. Plantea la hipótesis de que el medio digital ofrece más oportunidades para la expresión personal que la impresión tradicional. Los poemas digitales pueden ser dinámicos, con animación, interactividad y descubrimientos. Pueden permitir que un poeta atraiga a los lectores más profundamente a su mundo, donde las acciones reaccionan y se convierten en parte de la expresión. Sin embargo, estos vienen con complejidades adicionales. Este espacio puede resultar intimidante para los creativos, ya que los profesionales deben aprender lenguajes de codificación para crear experiencias interactivas. Este proyecto se enmarca dentro de la poesía digital, pero toma prestadas ideas de otros ámbitos del conocimiento y la práctica, como el expresivismo estético (Collingwood, 2017) y el hipertexto (Landow, 2006). La práctica se centra en probar, reflejar y articular la expresión poética presente en tres características distintas del entorno digital: efimeridad, contenido oculto y no linealidad. Estos se derivaron inicialmente de la obsolescencia de la poesía digital (Angello, 2015), la falta de orientación dentro de los medios hipertextuales (Pope, 2006) y las definiciones del hipertexto (Landow, 2006). Estas características se investigan más a fondo a través de prototipos, donde la investigación prueba técnicas que reflejan sus cualidades para crear experiencias poéticas. Dentro de este proyecto, el investigador asume dos roles con diferentes visiones del mundo: el poeta y el diseñador. El primero aporta lentes expresivos y subjetivos, mientras que el segundo introduce objetividad y atención a las habilidades técnicas. Ambos son integrales y su relación es el núcleo de esta investigación. La investigación explora aquellos casos en los que la escritura poética ocurre en relación con la elección de técnicas del medio. A veces, las voces artísticas y técnicas resultaron disonantes. Sin embargo, ha habido destellos de simbiosis durante el proceso. Podría decirse que encontrar formas de fomentar la simbiosis entre estas dos voces puede garantizar una mayor sinergia y conexiones significativas entre el poema y su forma. Para investigar esto más a fondo, la investigación ha experimentado con flujos de trabajo de escribir poemas primero y priorizarlos, escribir poemas en segundo lugar y priorizar las técnicas, y finalmente desarrollar los poemas y las técnicas simultáneamente. Las evaluaciones de prototipos utilizan estas lentes para determinar la idoneidad de las técnicas hacia la expresión y sus características digitales asociadas. Como resultado, la investigación mapea una variedad de flujos de trabajo utilizados para abordar la poesía digital a través de las características descritas del medio. Se cree que sin una comprensión clara de lo que puede ofrecer el espacio digital, un poema no podría tener ninguna diferencia en su experiencia de lectura de su forma impresa escrita, o los practicantes podrían crear una experiencia discordante y sin sentido. El resultado final del diseño de esta investigación es una pequeña colección de poemas digitales sobre el tema de las relaciones en línea. Cada poema sirve para articular cómo se pueden aplicar y utilizar estas características, destacando las posibilidades de sustentar la expresión a través de sus relaciones con el poema.
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Álvarez Gallego, Isabel, and Silvia Blanco Agüeira. "Estrellas sobre fondos cambiantes: convocando la luz." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.980.

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Resumen: Tras crear y desarrollar durante siete años diecinueve poemas manuscritos, que hoy en día son considerados síntesis de su pensamiento, Le Corbusier publicó en 1955 su Poème de l´Angle Droit. Al estudiar este poema reconocemos en él los principales temas presentes en su trayectoria, así como algunos elementos —la espada, la nube y la estrella— que aparecen en su obra pictórica y arquitectónica. La presente comunicación pretende desvelar las conexiones que se establecen entre uno de estos elementos en concreto, como es la imagen de la estrella, y su incorporación al proceso de proyecto lecorbusieriano. Se trata de analizar cómo este tema, que se repite de forma obsesiva, configura imágenes que permanecen en las estrategias arquitectónicas que llevó a cabo el maestro suizo. La estrella habla de faro, de guía, de motor dentro de un proceso de viaje. Es el elemento que representa la movilidad del cosmos, que rige ese carácter de repetición ligado al arte; una señal que guía al viajero y define el itinerario que deben seguir sus pasos, que nos hace pensar en una brillante luz y en la distancia entre lo real y lo imaginado. Y, sobre todo, es la referencia presente en edificios, que condensaban así reflexiones que daban coherencia y unidad a las distintas opciones del proyecto. Abstract: Following a seven year period dedicated to the creation and development of nineteen manuscript poems, which today are considered a synthesis of his thinking, in 1955 Le Corbusier published his Poème de l´Angle Droit. The study of this poem reveals the principal themes that dominated his trajectory, as well as a series of elements, namely the sword, the cloud and the star, which appear in his pictorial and architectural work. This paper aims to shed light on the connections established between one of these elements in particular —the star— and its incorporation into Lecorbuserian method of architectural design. It seeks to analyse how this item is repeated obsessively, forming images which remain rooted in the architectural strategies developed by the Swiss architect. The star speaks of a lighthouse, a guide, a driving force that spurs on the journey. It is the element that represents the mobility of the cosmos, which governs the nature of repetition linked to art; a signal that guides the traveler and traces the route their steps must take them, leading us to think of a bright light and the distance that separates the real and the imagined. And above all, it is the reference in those buildings that condensed the reflections that gave coherence and unity to the various project options. Palabras clave: estrella; cosmos; proyecto; mirada; símbolo; proceso creativo. Keywords: star; cosmos; project; gaze, symbol; creative process. DOI: http://dx.doi.org/10.4995/LC2015.2015.980
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В’юн, Ольга, and Світлана Гонсалєс-Муніс. "THE THEME OF DEATH IN JOHN BERRYMAN’S POEM «DREAM SONG 143»." In TENDANCES SCIENTIFIQUES DE LA RECHERCHE FONDAMENTALE ET APPLIQUÉE. European Scientific Platform, 2020. http://dx.doi.org/10.36074/30.10.2020.v3.19.

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Lamm, M. A. "Images of Russia and Ukraine in Vincenty Paul's poem «The Song of Our Land»." In Судьбы национальных культур в условиях глобализации: между традицией и новой реальностью. Челябинск: Челябинский государственный университет, 2022. http://dx.doi.org/10.47475/9785727118559-31.

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Kudiņš, Bernards. "Antroponīmu ar detoponīmiskajiem pievārdiem atveide “Nībelungu dziesmas” tulkojumā latviešu valodā." In LU Studentu zinātniskā konference "Mundus et". LU Akadēmiskais apgāds, 2021. http://dx.doi.org/10.22364/lu.szk.2.rk.10.

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The current study is dedicated to anthroponymy in the Middle High German epic poem “Song of the Nibelungs”, delving into the problem of rendering anthroponyms with detoponymic bynames. It was carried out with the aim to develop strategies for their depiction in the Latvian language in order to form a scientific basis for the translation of this epic poem. Methods such as quantitative and qualitative corpus analysis and empirical research were used to find out how anthroponyms with detoponymic bynames are realized in the “Song of the Nibelungs”, what is their role in text structure and message and how these properties can be reproduced in the target language. It has been found that detoponyms not only provide information about the origins of epic characters, but also perform formally stylistic functions, and their reproduction requires creative solutions to preserve their unique features. In conclusion, practical examples of the implementation of rendering strategies in translation are presented, which clearly show the close connections between anthroponyms with detoponymic bynames and the structure of the text and justify the choice of specific approaches

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