Contemporary Poets Research Articles

Romanticism of Kurdish Poets in the Autumn References of the Autumn poems’ tools as an example

As Poets become more sensitive and inspired to write Poems in the fall, this season is called Poets’ season. The climate change in this season affects the psychology of the poets and makes them feel (loneliness, departure, old age and death…etc.) even more and as a result their poems lean more towards these characteristics and would move them towards writing poems that embody characteristics of the fall and carrying some terms and tools that emanate from natural phenomena of the fall like (falling dead leaves, wind, foreignness, sadness, departure and death…etc.). Such entities become the tools of the fall-poems and would be utilized for different meanings and purposes. The existence of fall-poems can be detected in ancient Kurdish poems and become clearer with Besarany and extends through Mawlawy up till modern-classic, modern and contemporary poets. The basics of the romantics can be observed in fall-poems, which is a wide field giving free reign for this type of poem to extend its wings and show its aspects including ancient and modern poems. This Paper is divided into two sections; in the first section, example of fall-poems from poets like: (Besarany, Naly, Salim, Kurdy, Mahwy) are presented with the clarification of fall-related tools used in them. As for the second section, the history of the emergence of Kurdish Romantic Poems and Kurdish Romantic Characteristics has been presented, as well as elucidation of three poems by (Besarany, Hemin, and Hasib Qaradaghy) and identifying the romantic foundations found in them. And lastly, the conclusion is presented.

SYMBOLS IN POEMS (NAWZAD RAFAT AND GHOBADI JALI ZADEH)

Symbolic poetry is one of the artistic devices that gives depth to the text, and helps to avoid speech simplicity, because symbols are a major cause of deviation and transition from literal, quick and monosyllabic understanding. Thus, on the one hand, the symbol is an aesthetic element of poetry and itself., and on the other hand, because not every reader is able to understand the meanings of such texts and decipher the hidden meanings, find the symbols and hidden codes, so these texts take longer to understand and there linger longer in society. Therefore, our contemporary poets in general, and (Nawzad Rafat and Ghobadi Jali Zadeh) in particular, have a broad general background and comprehensive enlightenment in all fields. Conseaquently, they have been able to incorporate most types of symbols and put them at the service of poetry.

Bai Juyi’s Poetry in György Kósa’s Works

The development of the art of song can be linked to German regions. The most intimate of musical genres, it was originally intended to be performed in front of a small audience. The songs were mainly written to poems by contemporary poets, which were read before the music was performed to make it easier to understand. Music on oriental themes appeared in European music from the early 20th century. The first major stage work was a love story set in Japan, which was in fact a 19th-century Italian opera (Giacomo Puccini: Madame Butterfly). Among many other artists, the Hungarian composer György Kósa (1897–1984) was inspired by the culture of the Far East. The poems of Bai Juyi, who lived in the Middle Tang period, reflect, besides social criticism, the all-encompassing happiness of eternal love and the tormenting loneliness arising from love’s painful absence.

The Modernist and the Contemporary: A Graphological – Comparative Analysis of the Selected Poems of Emily Dickinson and Lang Leav

The purpose of this study is to conduct a stylistic analysis of the selected poems of Emily Dickinson, a 19th-century poet, and Lang Leav, a contemporary poet, focused on the graphological level of the poems. The researcher selected four poems by Dickinson and Leav as the literary texts to be analyzed. Using comparative stylistic analysis, the study aims to look for the graphological features woven in the poems of Dickinson and Leav. The graphological features in the selected poems were also compared to find any significant similarities and differences between the styles of the two poets considering that they belong to different periods. Lastly, the graphological features were analyzed to know their possible effect on the meaning of the poems. As a result, archaism, eye dialect, unconventional use of em dash and capitalization, inconsistent number of lines in each stanza, and inconsistent number of words in each line were found in the selected poems of Dickinson while Leav's selected poems contain eye dialect, diacritics, minimal use of punctuation, absence of capitalization, italics, and the inconsistent number of words in each line of the poems. It was also revealed that their graphological features have more differences than similarities and the effect of these graphological features in the selected poems is mainly for emphasis and to add to the visual elements of the literary texts.

Land and identity in poetry from Northeast India: an ecocritical reading

ABSTRACT This article explores how contemporary poets from Northeast India articulate the profound connections between Indigenous communities and their natural environments through literary expressions. By analysing works by selected poets, the study highlights how they address ecological and cultural transformations driven by modernity and globalisation. Nature-centric imagery and symbolism form the core of their resistance against forces like capitalist development and resource extraction, lamenting the erosion of traditional ways of life while defending Indigenous epistemologies. The study utilises thematic analysis to explore how these poets convey the intricate relationship between land and identity, and reflects on the politics of representation, stressing the inclusion of marginalised voices. It argues that these poetic works not only represent cultural loss but also bear witness to the resilience of Indigenous identities, firmly tied to the land. These literary depictions expose the ruptures between capitalist progress and place-based identities, evoking emotional attachments to threatened lifeworlds.

Il nodo della storia. Appunti sul tradurre poesia

After a few reflections on translating, I make a distinction between translating prose and poetry and consider the problem of rhyme. I then present some examples of my work as a translator of German lyric poetry with translations from Nietzsche, Benn and two contemporary poets a generation apart, Enzensberger and Grünbein. Finally, I go back two centuries to consider a play by Kleist, which sounds very dated and raises the problem of how to translate verse drama for today’s audience.

The author’s individuality is back in the limelight

Pereverzin, a contemporary poet, a winner of the ‘Moskovskiy schyot’ literary award (2009), and the editor-in-chief of the poetry journal Piroskaf, discusses new names and trends in modern poetry with the critic E. Pogorelaya. Starting with an overview of the changes that have marked contemporary poetry following the dissolution of the publisher Voymega almost three years ago, the conversation next considers the journals Prosodia and Piroskaf and discusses: their objectives, priorities, and target audiences; the similarity of the situation faced by contemporary poets and artists alike; new methods in poetry and artificial intelligence. The discussion mentions the names of modern poets and artists featured in Piroskaf, a journal that promotes an innovative mixture of verbal and visual arts. Pereverzin suggests that today’s poetry seeks new forms of interaction with its audience, but pandering to readers’ tastes will lead the poet to a dead end. Poetry is supposed to perceive and recreate the world as a reality, rather than a reflection, including the reflections in the reader’s eyes.

The black sun that lights the underworld. On I. Ermakova’s The Copper Mirror [Mednoe zerkalo

The article offers a detailed review of The Copper Mirror [Mednoe zerkalo], a collection of selected works from several decades by the contemporary poet I. Ermakova. Following the book’s structure that draws on the titles of Ermakova’s earlier collections (The Provinces [Provintsiya], The Vineyard [Vinogradnik], and A Lullaby for Odysseus [Kolybelnaya dlya Odisseya]), the critic traces a plot that guides the reader on a journey from the post-Soviet Russian provinces of the 1990s into the present day. Although the most up-to-date poems in the book date from 2020 (including the opening verse ‘I started a bonfire, fed the flame…’ [‘Ya razvyol kostyor, nakormil plamya…’], which seems to hold the key to the book’s meaning and objective), the meticulous selection of poems and their arrangement reveal a book that is undeniably modern in its response to the latest topics and challenges. In addition to the commentary on the book’s inner theme and Ermakova’s ‘manifesto’ poems, the review considers the critical reception of her works and cites the best articles about the poet, including the preface to The Copper Mirror by the critics and philologists A. Skvortsov and A. Salomatin.

RHYME IN CONTEMPORARY POETIC DISCOURSE: COMMUNICATIVE-PRAGMATIC CHARACTERISTICS

The article is dedicated to exploring the role of rhyme in the English poetic discourse of the XXI century. Rhyme, being the central element of most poetic genres, has unique pragmatic effect both when it is present (in classical verse) and absent (in verse libre). The role of rhyme ranges from ensuring memorization to broader communicative and cognitive influences, as justified by the studies reviewed in the article. The aim of the article is to contrast practices of using and omitting rhyme in contemporary English poetry and to reveal the pragmatic potential of rhyme. For this purpose, works of contemporary poets are scrutinized via methods of comparison and contrast, pragmatic analysis and stylistic analysis. Our findings show that rhyme, whenever present, serves not only for text memorization or embellishment, but also has deeper relations with the core of the poem. In case of verse libre or blank verse, the absence of rhyme (especially when paired with the graphic element of ignoring capital letters) turns a poem into a dynamic work, an unfinished process. An increasing tendency of ignoring rhyme in contemporary English poetry might be linked to the graphic character of poetry itself. Whenever rhyme is absent, there is an “extra” element which fills its place, and usually those elements are either graphical additions or peculiarities of punctuation. The scientific novelty of the article lies in revealing the pragmatic role of rhyme and justifying that this role is fulfilled even when rhyme is absent. The theoretical and practical significance of the article lies in exploring the role of rhyme considering pragmatics, stylistics, and cognitive poetics.

Seeing through Tina Barr’s Invisible Telescope: A Contemporary Poetics

Seeing through Tina Barr’s Invisible Telescope: A Contemporary Poetics

Towards the Condition of Birdsong

Abstract: Walter Pater's much-studied, suggestive statement, "All art constantly aspires towards the condition of music," is rooted in "Anders-streben" or "other-striving." In passing, contemporary poet John Bevis ventures a mischievous mishearing of Pater's dictum: What could it mean to aspire towards the condition of birdsong—other-striving of another order? In a heterodox history of ideas from Charles Darwin through Charles Hartshorne, birdsong reintegrates music and language. Listening to birdsong, Anglophone poets have heard echoes of an analogous human capacity, all but lost. In birdsong poems by John Clare, Robert Frost, Edward Thomas, and Elizabeth Bishop, a poetics of radical other-striving emerges.

Music Reviews

Abstract: Reviewed in this column are Songs in Flight: a Song Cycle for Soprano, Countertenor, Baritone, and Piano , the collaborative effort of composer Shawn Okpebholo and contemporary poet Tsitsi Ella Jaji; Tom Cipullo’s Black Dog Song Cycle in Seven Movements, for Baritone Voice and Piano , on the topic of depression, and Libby Larsen’s North Shore Songs: Four Poems of Louis Jenkins . Finally, Dante in Musica: 10 Compositions for Voice and Pianoforte on texts by Dante Alighieri is a fascinating compilation of songs and arias by Italian composers from the early Romantic through the early twentieth century.

THE TRIUMPH OF EROS OVER THANATOS: A CRITICAL STUDY OF DEATH THEMATICS IN INDIAN ENGLISH WOMEN POETRY

Death is an inevitable reality and phenomenon of human life which continues to be a universal concern in literatures across Time and Space. The theme of death has evoked variegated responses from litterateurs ranging from ‘ rage rage against the dying of light’ ( Dylan Thomas) to a ‘lover’s pinch which hurts and is desired’ (Shakespeare). It continues to be one of the significant themes in Indian English poetry also , finding expression in pre- and post -independence Indian writings. From Toru Dutt and Sarojini Naidu to the poets writing today, the poetry of Indian English women poets contains various and variegated literary representations of death .This paper takes up an in-depth study of the theme of death in the contemporary poets. It brings out their philosophy and vision of life vis-a-vis death , and also places them in a comparative international frame.

Creating Successful Science Poems: Craft Elements of Poems With Clear Science Content

For centuries, poetry was the primary form of science communication. Poets practiced the literary craft of creating impactful and memorable poetry that also communicated scientific knowledge. While contemporary poets incorporate scientific information into their work, there exists scant scholarship on the poetics and craft elements of science poems. The poet must enact a balance between disparate syntax, diction, ideas, and form. Through poetic examples, I demonstrate how a science poem can contain clear scientific information and still function as art.

Binarities in Contemporary Poetics, The Case of Language Poetry

Binarities in Contemporary Poetics, The Case of Language Poetry

“Quieta la voz”. Transcription, Reproduction and Edition of Two Unpublished Poems of Valverde, 20, by Antonio Gala

This article presents Antonio Gala’s most unknown facet: his poetry. To do this, firstly, a I present a current state of the art about how Gala has been presented in various stories of Spanish contemporary literature and on the dimensions of his lyric. Secondly I focus on the research carried out within the “Phonodia” group of Ca’ Foscari University of Venice. Thereby, not only the importance of Antonio Gala as a contemporary poet will be proven, but also the relevance of his poems in the framework of the relationships between voice and poetry through sound files, which allow to make known, even, as an unexpected discovery, two unpublished texts of Valverde, 20, whose reproduction, transcription and edition are offered, exclusively, in this article.

The mystical simplicity of Anna Dolgareva’s poetry

The article conducts an in-depth analysis of Anna Dolgareva’s poetic output: a contemporary poet, she has become somewhat of a chronicler of the special military operation. The scholar argues that Dolgareva’s poetics satisfies the needs of the current era: now that the postmodernist and avant-garde potential has been exhausted, the tragic character of history calls not only for a clear stance and unwearied word but also a radical change of tradition. To achieve such an effect with her poetics, Dolgareva opts for straightforwardness of expression and puts the main emphasis on the mission statement of the tragic hero, who is not romanticized but shows awareness of their responsibility. The critic particularly examines Dolgareva’s latest book Red Berry. Black Soil [Krasnaya yagoda. Chyornaya zemlya] (2023). It appears to be a manifesto of the poet’s idea of the protagonist’s direction in life and depicts the lyrical heroine through her various self-identifications – from the long-awaited offspring of a previously childless couple to a jester, the Fool from a tarot deck. In her reconstruction of the heroine’s personality, the critic examines the main motifs of Dolgareva’s lyrical poetry in the philosophical context of Russian poetry in the 2010s–2020s.

Szenen einer Gattung

Abstract The paper discusses metapoetic reflections in German drama around 1800. It argues that Goethe, Schiller and Kleist challenge the tragic form by blurring the differences to lyric and epic poetry. The starting point is the thesis that the paradigm of heroism, which has defined the tragic genre from the very beginning, falls into crisis. Both contemporary poetics and literary texts demonstrate this development: Heroism neither functions as an ideal way to constructing a character nor of organizing political plots which successfully rely on and account for personal greatness. To illustrate this, the essay focuses on significant metapoetic scenes from Goethe’s, Schiller’s and Kleist’s dramas and reads them as ‘scenes from a genre’ for which the female characters play a decisive role. Thus, it discusses how the selected dramas reflect on the principles of genre and on the ever-permeable boundaries of genre which lead to questions of political heroism and charismatic authority at the dawn of modernity. The political drama would therefore be incomplete without taking into account the gendering of political agency. Political heroism as well as the form of heroic tragedy are challenged by critical perspectives brought into play by female voices.

Eye to I: Panoptic Muslim Surveillance and Warsan Shire’s Poetics of Liberation

In 1786, French architect Jeremy Bentham envisioned the panopticon, a structure in which prison cells surround an opaque tower where guards surveil the prisoners. In the panopticon, prisoners could be observed by guards without knowing when they were being watched, making them trained for constant vigilance. My research places this centuries-old theoretical model against contemporary Muslim surveillance, arguing that the panopticon is a way to more deeply and thoroughly understand the omnipresent surveillance weaponized against Muslim communities after 9/11. More broadly, I refuse to dilute the impact of internalized and externalized policing on marginalized communities. I investigate how post-9/11 surveillance in Nairobi places Muslim communities into a prison-like structure in which they are repeatedly watched, affecting their internal psyche— the art form of poetry written by these marginalized groups allows for a deeper viewing and dissection of this surveillance. Invoking French philosopher Michel Foucault, who drew from the panopticon in his literary theories on discipline, with first-hand ethnographic research on Muslim surveillance from contemporary scholars living in Nairobi, Kenya, I pose a literary-ethnographic stance regarding how we can view the lasting impacts of Muslim surveillance. In analyzing the detrimental conditions of surveillance in postcolonial Kenya, I also investigate how a key contemporary poet, Warsan Shire, breaks free from these boundaries through her artistic work, which focuses on the generational and haunting implications of surveillance in her own Muslim community. Shire herself was born in Kenya and migrated to the United Kingdom with her family when she was a young child. Her poetry, both spoken and written, has now reached global audiences in North America, Germany, and South Africa and has influenced the contemporary literary canon. Catechizing Muslim surveillance through meshing literary and anthropological research, I hope to dismantle the post 9-/11 prison-panopticon of inspection, emphasizing the role of artistry in liberation and resistance.

Indicators of Islamic Awakening in Khalilullah Khalili’s Poetry

Islamic awakening is a movement of vigilance and awareness among Islamic community, during which, after a prolonged period of Intellectual regression, declination, and imitation of West, Muslims renewed the thought and resisted to gain enormity and control over affairs of Islamic lands. Studying role of Khalilullah Khalili a contemporary poet from Afghanistan in Islamic awakening and investigation of such awakening indicators in his poems, show that Khalili had a dominant role in revival of religious thoughts, creation of unity, self-esteem, and spirit of Muslims’ return to their olden enormity. The aim of present paper is introducing Khalilullah Khalili, s describing role of his poetry in awakening of Persian-speaking Islamic society and investigation of the most important indicators of Islamic awakening in his poetry. The present research will answer such questions as what are the indicators of Islamic awakening and how are these indicators reflected in Khalilullah Khalili’s poetry? This research, conducted with an analytical-descriptive approach, utilizes reputable literary and literary criticism sources to explain parameters of Islamic awakening and example of Khalilullah Khalili’s poetry have been described as witness of the discussion. In Khalili's poetry, numerous indicators and signs of Islamic awakening and his attention to the revival of lost Islamic values and the glorious past of the Islamic community can be found. Among the most notable indicators are the promotion of the idea of global Islamic unity, the call for Muslim unity, condemnation of various forms of division, anti-colonialism, advocating the establishment of the duty of jihad, strengthening self-confidence and self-belief among Muslims, instilling hope for a bright future, calling for a return to the Quran and Its liberating message, renewing Islamic thought, and combating superstitions resulting from the period of decline