Anthology Of Poetry Research Articles

Visions of the Eastland: Reading the Azuma uta of Man’yōshū

Book XIV of the early Japanese poetry anthology Man’yōshū (c.780s) features poems attributed to the people of Azuma [‘the Eastland’], a region roughly equivalent what is now the Kantō area. The “songs of Azuma” (J. azuma uta) in Book XIV have generally been understood as “folk songs,” including being framed as such within the Man’yōshū itself. However, not only are the azuma uta themselves a diverse group of poems which preclude an overarching characterization as “folk songs,” they are anthologized in a form that suggests an editorial hand that likely belonged to a learned individual from the capital. Through comparing the poetry of travelers from the capital who ventured to the Eastland with the poetry of Book XIV, this article centers several preconceptions about Azuma and its people that characterize its depiction in poems by both “Western” and “Eastern” poets. While travelers are more apt to take an ethnographic approach in their compositions about the Eastland, the poems of Book XIV are curated in order to create a pastoral vision of the Eastland that both collapses and highlights the distance between courtiers and Azuma people by centering the capacity of the latter to express “strong feelings” in surprisingly sophisticated voices.

Poetry Places: Spaces of Intimacy and Loneliness in Examples of the Minor Poetry

Reflecting on the books of poetry collections and modern anthologies of ancient Arabs' poetry, one can notice a striking presence of marginalized texts that have become nowadays valuable texts. These texts are buzzing with poetry haunted by place and space, expressing love, sadness, and rebellion at the same time. This research project, hence, comes as an attempt to explore the spaces and origins of poetry in the Arabian peninsula, and shed light on those marginalized texts which had not undergone literary analysis, nor had they been quoted from before. The issue of space has not only been the concern of poetry, but it has also infiltrated the real life of humankind who see in space their roots, identity and future. Arabic poetry has, thus, become deeper and more specific than the formal poetic taste, and from the rigorous collective memory which is characterized by standardized rigid aesthetics. Scrutinizing and contemplating the places of familiarity and the places of hybridization, we realized that these places were oppressive, violent, hampering and nightmare-like, obstructing the poet’s journey into the space and making him helplessly lost. We learned that the place played a crucial role in the life of the ancient Arab poet and was an essential factor in the consolidation of his human existence. Place has become a hot issue pervading the life of Arabs at both the geographical and cultural levels. Place is the generator of Arabic poetry, its metaphor creator, its structure builder and the womb of its meaning as long as poetry reflects the Arabs’ condition over time and bears their values and glories.

“Every Single Word Is Now a Tempest of Gestures”: Luigi Ballerini's and Beppe Cavatorta's Anthology of Italian Poetry Those Who from Afar Look Like Flies

Abstract This essay is a long review of the anthology of Italian poetry Those Who from Afar Look Like Flies. Beginning with a brief discussion of the editor's extensive introduction and an evaluation and explanation of the overall anthology project, the review essay goes on to explore, in some depth, a selection of the numerous poets who appear in this 2,116-page volume. Among the many poets discussed are Pier Paolo Pasolini, Francesco Leonetti, Alfredo Giuliani, Elio Pagliarani, Antonio Porta, Edoardo Cacciatore, Corrado Costa, Antonio Delfini, Mario Diacono, Amelia Rosselli, Emilio Villa, Andrea Zanzotto, and numerous others. Specific poems are analyzed and contextualized within the larger context of contemporary Italian “Research” poetry.

Diction in Poetry Anthologies Mengapa Luka Tidak Memaafkan Pisau M Aan Mansyur's Work and Its Use as Poetry Teaching Material in High School

Diction in Poetry Anthologies Mengapa Luka Tidak Memaafkan Pisau M Aan Mansyur's Work and Its Use as Poetry Teaching Material in High School

La traducció de la poesia catalana a la Xina: dues antologies publicades

The translation of Catalan poetry into Chinese began during the1990s, after the event known as Reform and Opening Up. Until 2023, two anthologies of Catalan poetry had been published in China: Antologia de la poesia catalana contemporània (1991), translated by Wang Yangle, and Semàntica i nutrició (2018), a work by Gemma Gorga translated by Jesús Sayols. This article focuses on the two versions and analyzes a series of issues related to them: the origins and causes of their publication, their aims and their characteristics in the selection of poems. It has been discovered that the translation activities of Catalan poetry into Chinese have been influenced by multiple factors, related both to literary systems and to sociohistorical and sociocultural circumstances.

Abu al-‘Atahiyyah's Perspective on Religious Moderation in Arabic Poetry

A.Teeuw stated that human being have at least four paths to understanding reality and truth: religion, science, philosophy, and art. Literature is distinct from three other truths as art. Literature can go beyond dogma, science, and philosophy. Poets can continue to be creative and imaginative, offering unrestricted thinking as long as their language moves the reader's emotions in accordance with truth fiction. This article attempted moderation with the four indicators of religious moderation developed by the Ministry of Religious Affairs of the Republic of Indonesia which based on Abu al-'Atahiyyah perspective about religious moderation which were extracted from his poetry anthology with the note-taking technique. Afterwards, it was analyzed with a pragmatic approach in literary studies. The findings of this study indicated that Abu al-‘Atahiyyah also discussed the religious moderation in terms of tolerance, nonviolence, and accommodating local culture. As a result, this article demonstrated that the concepts of truth can also be found in literary works.

NUOVA POESIA ITALIANA DAL 1980 A OGGI. NEW ITALIAN POETRY FROM 1980 TO THE PRESENT DAY. МOSCOW, 2023. 295 P

In 2023, a unique non-commercial edition was published in Moscow by the Italian Institute of Culture: the most extensive bilingual anthology of Italian poetry of the recent period. The book includes selections by 17 poets, and their performances could be heard during the Italian Culture Week in May 2021, held at the Rudomino Library of Foreign Literature. The book includes selections of texts published in 1985-2022 in translations by E. Solonovich, V. Kazartseva and the staff of the Institute of Italian Culture. The foreword by D. Rizzi, Director of the IIC, gives a holistic view of the book and the process of its creation. The article by the influential Italian scholar A. Afribo Traits and Faces of New Italian Poetry (translated by A. Yampolskaya) helps the reader to navigate the variety of poetic voices presented.

Hortulus 37, 1959: Translation as Collaboration in an Anthology of New Poetry from Israel

Abstract This article presents one issue of the Swiss literary journal Hortulus as a case study on forms of exchange, translation, and traffic between German and Hebrew in the wake of Nazism and World War II. Drawing on discussions in the field of Periodical Studies, I examine the various networks in which Hortulus 37 – a special issue devoted to new poetry from Israel – is situated. I highlight the heterogeneity of the volume, which contains materials translated into German from multiple languages, as well as original German texts. Translation itself appears in the volume as a heterogenous practice, which encompasses self-translation and various modes of collaborative translation. Since many of the authors who are translated into German in the volume were native speakers of that language, the lines between collaboration and self-translation are blurred in ways that have important consequences for our theorization of translation and self-translation.

A Call to Arms for the Earth. Environmental Poetry in Aotearoa New Zealand and the Pacific Islands: The Case of the Anthology No Other Place to Stand

Poetry is a major artistic expression in New Zealand and Pacific culture, including a longstanding tradition of indigenous oral literature. Besides its many functions, it can also have a crucial militant role. In the present climate emergency, the potential of oral and written poetry for environmental activism has been rediscovered: “poet-performers” have risen as militant figures that write verses and act them out on websites, during public performances and in important political venues. The effects of global warming are dramatically real in the Pacific region, especially in consequence of the sea-level rise that has caused the flooding of many atolls and is threatening the survival of populations and cultures. Aotearoa has always been sensitive to environmental problems, also thanks to the prominent voice of the Māori minority in the country’s politics. It is thus not surprising the recent publication of No Other Place to Stand (2022), the first New Zealand poetry anthology to deal with climate issues from a specifically New Zealand and Pacific perspective. The book forms a dedicated platform for creative work in response to the climate crisis. Half of the contributors are indigenous and a good number under thirty, giving voice to the people of the land and to those with the most at stake for their futures. My article will provide a critical analysis of the volume against the Pacific cultural and political background.

Praktik Budaya Literasi Dalam Peningkatan Kompetensi Literasi Di Madrasah Tsanawiyah Al-Muhajirin Purwakarta

This research uses descriptive research methods with a qualitative approach. The data collection techniques used were observation, interviews and documentation. Primary data was obtained from interviews with residents of Al-Muhajirin Purwakarta Madrasa Tsanawiyah (MTs) school. Secondary data comes from archives, reports and documents related to research. Literacy activities held at MTs Al-Muhajirin include the Al-Muhajirin Literacy Movement, Language Performance or Confident Show, language competition, poetry writing competition where the books will later be recorded as an anthology of student poetry, and a short story writing competition. The literacy culture practices held at MTs Al-Muhajirin have been carried out systematically and intensively, so that they can produce children and teachers who excel in writing, and from these agendas MTs Al-Muhajirin has produced books by children, teachers and heads of madrasa.

The Many Bismils of Today: Ram Prasad ‘Bismil’, ‘Bismil’ Azimabadi and Recovering the Legacy of a Muslim Intellectual

This essay argues that the misattribution of Bismil Azimabadi’s ghazal, ‘Sarfaroshī kī Tamannā’, to Ram Prasad ‘Bismil’ in contemporary India is the work of two poetry anthologies—Krāntī Gītāñjalī [Revolutionary Poetry] (1930) and Krāntī Gītāñjallī Athvā Dūsrā Bhāg [Revolutionary Poetry or the Second Part] (1930), which palimpsested Azimabadi’s poem onto Prasad’s martyrdom to erase Azimabadi’s authorship. I argue, first, that Krāntī Gītāñjalī by Hulas Verma ‘Premi’ edits Azimabadi’s poem to align it with the Congress and the violent martyrdom of the Hindustan Republican Army. Second, looking at the poem’s original context, I argue that it is about the non-cooperation. Third, I argue that Krāntī Gītāñjalī Athvā Dūsrā Bhāg, edited by Lakshman Pathik, muddies the distinction between Prasad and Azimabadi to make it about Hindu nationalism, an idea reproduced in postcolonial India by Madanlal Verma. In conclusion, I suggest that recuperating the poem’s politics may help us rethink Hindu-Muslim relations today.

Language consciousness and poetic reconstruction: A re-examination of goddess as a modern Chinese poetry anthology

Goddess, as the inchoation of Chinese New Poetry, has significant meaning and always attracts the attention of researchers. However, there is a lack of a practical understanding of the ontological characteristics of the goddess in modern Chinese poetry (MCP). Guo Moruo consciously uses the rich grammatical functions and means of modern Chinese to construct the textual space of poetry. The subjective, dramatic, and rich modality system of modern Chinese has created the intense lyricism and dramatic, poetic aesthetic style of goddess, which makes goddess the anthology that genuinely practices the writing of MCP. Re-examining the goddess from the perspectives of language consciousness and poetic reconstruction is of excellent enlightenment significance for understanding the linguistic properties of early new poetry.

Evenus van Paris: een omvangrijk portret van een fragmentair figuur

This paper offers a study of the life and oeuvre of Evenus of Paros. The testimonies about his life are confusing, but this paper draws a comprehensive picture of Evenus. Evenus lived in Athens in the fifth century BC and worked as a poet and teacher. An analysis of his extant fragments sheds a new light on two problems: the genesis of the Theognidea and the relation between Socrates and Evenus. Evenus made an anthology of Greek elegiac poetry, that later became part of the Theognidea. Socrates and Evenus were rivals, regarding both poetry and philosophy. This paper also provides the first Dutch translation of Evenus’ verses.

Unquiet Minds: Youth Anthology of Art and Poetry, by Luke Kernan (ed).

Unquiet Minds: Youth Anthology of Art and Poetry, by Luke Kernan (ed).

Sylvia Plath’s Poetry in Multiple Versions: A Case Study of UK School Anthologies

The history of poetry anthologies created for use in compulsory nation-state education is largely untold. As material objects, school anthologies tend to be regarded as low status and ephemeral. Yet these objects have a lasting impact, as they facilitate encounters that are formative in shaping public understanding of poetry. This paper illustrates how two poems that are commonly featured in school poetry anthologies, Sylvia Plath’s “You’re” and “Morning Song,” encode a historical rationale for their material form in their bibliographic practices. It shows how “You’re” and “Morning Song” became “enregistered” (Agha 190) as acceptable tokens for the discussion of motherhood and domestic relationships by school-based adolescent readers with different social valuings of poetry and different levels of literacy. The case study of these two poems illuminates how poems in their multiple versions become established within a long-lasting and pervasive pedagogical canon of poetry. As such, the multiple pedagogical versions of poems have a value in constructing a complete story of the everyday “afterlife” of a poet’s work.

김삿갓 한시의 정본화와 동시(東詩)에 대하여

Kimsatgat was a poet who worked in the late Cho Seon dynasty. His original name is Kim Byoung Yeon(金炳淵1807-1863) and he was alternatively called Kim Lib(金笠) which was another nickname. He always wore a bamboo hat, which led him to be called with the alternative nickname. He was born as a descendant of An Dong(安東) Kim Si(金氏)who was a family in power those days. However, his family perished as his grandfather, Kim Yik Soon (金益淳, ? - 1812) surrendered to the rebel forces during Hong Gyoung Rae's revolt (in 1811). It is now time for a comprehensive review of Kimsatgat's research, including expanding sources, determining authenticity, and translating Hanxi into foreign languages. Based on these issues, this article focuses on the issue of expanding new sources for Kimsatgat. For this purpose, I believe that a new source is needed. In other words, it is necessary to more actively examine the manuscript poetry collections that remained at the time of Kimsatgat in the 19th century or near the time of his death to create a new ‘canonization of Kimsatgat's poetry’. With this in mind, this paper discusses some of the work that has been done and future tasks. I would like to refer to the works known as guache poetry in a more comprehensive sense as synchronized poetry. It is believed that this canon could be expanded in the future to include a significant number of new works by Kimsatgat. As an example of such a work, I will describe a new work by Kimsatgat about the Red Wall[赤壁]. There are currently eight poems about red walls by KimSatgat. Among them, we took a closer look at one of them, ｢將遊赤壁歎有客無酒｣. In order to create a complete anthology of Kimsatgat's poetry, I would like to point out that it is absolutely essential to expand the data of Dongsi[東詩l.

A Phenomenological and Stylistic Review of the Anthology of Penunggu Makam Poetry

The purpose of this study is to reveal the phenomenological and stylistic aspects of the Penunggu Makam (Grave Keeper) poetry anthology. The study in this study is based on the theory of phenomenology or stratum norms and stylistic theory. This study uses a qualitative approach. The method used is descriptive qualitative method, namely by describing and analyzing poetry from phenomenological aspects or normative and stylistic strata. The phenomenological aspect of the poems in the anthology of Penunggu Makam is thematically colored by the issue of death which is colored by sadness, sadness and loneliness. The problem of death is also a general concept of human life that all of them will surely die. In the stylistic aspect, there are several language explorations. Exploration of natural images appears in most of the poems. Figure of speech also appears in this poem with dominant personification figure of speech wrapped in natural images. At the level of diction, there is also an exploration of concrete dictions with their inherent characteristics. The words used in this poem are widely known by the public. Nevertheless, the diction used by the poet makes this poem have such a deep meaning and makes the reader immersed in the atmosphere and feelings felt by the poet in line after line of his poem or poem.

Banjar Culture in The Anthology of Poetry Hulu Sungai Tengah In Pantun and Poetry

This research is related to Banjar culture in the poetry anthology Hulu Sungai Tengah in Pantun and Poetry published by Scripta Cendikia. The purpose of this study is to reveal and describe the elements of Banjar culture contained in the poetry anthology Hulu Sungai Tengah in Pantun and Poetry published by Scripta Cendikia, which includes (1) Linguistic Aspects, (2) Community System, (3) Livelihood System. The approach used is an anthropological approach, carried out with descriptive methods of analysis and digging up data taken using textobservation techniques and documentation techniques. After the data is collected then analyzed with interpreatative descriptive techniques, where researchers explain the data as a whole first, after the data is collected and netted researchers interpret to analyze the data carried out through stages: (1) Organizing data, (2) interpretation, (3) evaluation. Based on the results of the study, the following conclusions were obtained: (1). Linguistic aspects which include: a) phonological dominant with vowel sounds a, e, i, and u b) lexical there are 321 words that predominantly contain vowel sounds a, e, i, and you, there are also many word repetitions, c) grammatical, arranged linearly and there are no structural deviations. (2). Social System, (a) relations between communities, found in this study are 7 poems that describe that between communities are interconnected. (b) Society with social environment found in this study there are 13 poems that describe that society and its social environment are interdependent. (3). The livelihood system found in this study is agriculture such as rice fields, grains (rice) and rice, as well as trade, namely markets.

Hong Kong Poets and the Making of a Sinophone Literary Genre

Hong Kong has always existed on the margins of history. Interestingly, Hong Kong’s liminal status also made it a cosmopolitan space for transcultural exchanges between Chinese and Western worlds throughout the nineteenth and twentieth centuries. Despite its unique position vis-à-vis China and the West, however, Hong Kong has long been dismissed as lacking cultural gravitas. As such, Hong Kong culture finds itself self-consciously confronting a perennial crisis: as the People’s Republic of China gains increasing recognition in the canons of world literature, Hong Kong’s cosmopolitan culture is indirectly side-lined in the process. Meanwhile, Hong Kong literature is routinely underrepresented in the canons of modern Chinese literature. Anthologies of modern Chinese poetry and poetry research, for instance, scarcely include Hong Kong poets, if at all. Given this context, this essay seeks to rearticulate the place of Hong Kong in modern Chinese literary history. More specifically, it traces the emergence of Hong Kong poetry as a cosmopolitan literary genre in the latter half of the twentieth century. The goals are threefold: to historicise the confluence of Chinese and Western literary traditions in the city of Hong Kong; to locate specific intersections of identity, language, and politics in the production of Hong Kong poetry; and to introduce biographical and bibliographical data on notable Hong Kong poets.

Gerardo Diego, el poeta enamorado de Italia

Abstract In his book Homenaje italiano a Gerardo Diego, Gabriele Morelli recalls the diffusion of Spanish poetry in Italy in the first decades of the 20th century and in particular the favorable reception Gerardo Diego had. The poet, who made recurring trips to Italy, was also known for his work Poesía española. Antología 1915-1931 (1932), which served as a model not only for the anthologies of Spanish poetry by Bo, Macrì and Bodini, but also for those of contemporary Italian poetry. Diego's interest in Italian cities and their art is manifested in many of his compositions, but the article privileges the comparison of the Spaniard's sonnet "Insomnio" with Leopardi's idyll "La sera del dì di festa" on the basis of the common lunar theme, examining their mutual poetic mastery, but emphasizing the diversity of their existential condition.