Examples Of Poetry Research Articles

دور هعهذ األكاديوي ضياء تٌيادوف للذراسات الشرقية تأكاديوية أررتيداى الىطٌية للعلىم في دراسة األدب العرتي خارج الىطي العرتي

Language‟s definition varies in the literature. One of the most accurate definitions of language is that the language is the voice through which people express their purpose, it is a tool for communication, understanding and interaction between people, and this is a phenomenon that reflects human knowledge and culture. At the same time, it is a powerful factor that animates people and helps them to develop and thrive. The beauty of the language is reflected in examples of poetry and prose of folk literature. It is one of the most famous and widely spoken languages in the world. Arabic is the language of science and culture and helps to transmit religious, scientific and literary knowledge throughout history. There is no doubt that Arabic literature emphasizes the beauty of the Arabic language from preIslamic times to the present day. Arabic literature attracts the attention of the whole world, both ancient and modern. One of the countries where the Arabic language and its literature is taught is Azerbaijan. There are universities and institutes that contain faculties of Arabic literature and its departments. One of the scientific institutions that study the Arabic literature is the Institute of Oriental Studies named after Ziya Bunyadov of the National Academy of Sciences of Azerbaijan. It should be noted that the most important results of scientific research and books of the Institute are used in educational institutions within the country and abroad.

Take a Chance on Me: Aleatory Poetry, Generative AI, and the External Demarcation Problem

Abstract What is it in virtue of which any poetic output will be included or excluded from the category of art? I will first identify the external demarcation problem, which is concerned with whether or how the cut-off is made between art and non-art. I will then adopt a nonclassical approach to conceptual analysis by relying on a set of examples of poetry generated by aleatory processes to evaluate an intention-based response to the external demarcation problem. I will argue in favor of an intention-based response that is grounded in hypothetical intentionalism. According to this response, a contextually informed audience will form a hypothesis about poetic intentions on the basis of the evidence that a work makes publicly available. Semantic, categorial, and ostensive intention and intention traces may help this audience to determine whether a work counts as art and is worth effortful interpretation. My proposed version of an intention-based response to the external demarcation problem will be based on the p-valued hypothesis-testing approach in science and will be highly relevant to a context of production in which we find human poets, poetry-generating AI systems, and human-AI interfaces.

Comparison of Concepts in Poetry

The article presents a comparative cognitive analysis of Uzbek and Kazakh poetry. The poems of the poet T. Abdikakimov and the prominent representative of Uzbek poetry M. Yusuf on the theme of their native land and homeland are also considered. General aesthetic features and literary, cultural ties, characteristic of post-colonial countries, are determined on the basis of Kazakh, Uzbek poetry. The article made a comparative conceptual analysis of poetry. On its basis, through poetry, through literary creative space, the features and values ​​of the Kazakh, Uzbek nations are deeply analyzed. In the second part of the article, on the example of Kazakh and Uzbek poetry, a conceptual analysis is carried out and in the course of the analysis the role of cultural, mental, spiritual and literary ties between these peoples is determined. Research work through a conceptual analysis on the example of poetry opens the way to a deeper knowledge of the world of values ​​of fraternal peoples and, being fateful, reveals through poetry the manifestation of differences associated with the way of life. In the course of the analysis of national concepts, the concept of “tugan zher” based on the poem by T. Abdikakimov in Kazakh poetry and the concept of “otan” in the work of M. Yusuf, a prominent representative of Uzbek poetry, were studied. In the article we define the role and power, the influence of poetry as a "driving force", linking it with the mental consciousness of peoples, with the world of values. Conceptual analysis opens a wide path for this.

Poésies des francophonies: état des lieux (1960–2020). Sous la direction de Florian Alix, Évelyne Lloze et Romuald Fonkoua

This ambitious and successful volume brings together twenty chapters with a clear Introduction by the editors. The first of five sections offers theoretical and historical discussions of Francophonie. Giovanni Dotoli, for instance, proposes a definition of poetry based on a ‘langue en partage’ (p. 17), while Maxime Del Fiol explains that most francophone poets speak or write more than one language, leading to ‘hétérolinguisme’ and a ‘plurivocité tensionnelle’ in France as well as in other francophone countries (pp. 71, 73). Swiss poetry, Antonio Rodriguez argues, offers a way of understanding globalization, in a process moving from poetry that reproduces the national model of France (1960–80), to a culture of exchange and diversity (1980–2010), and finally, since 2010, sees progression to new global, digital distribution networks. Chapters in the second and third parts present individual writers through the lens of the poetic subject, as it relates to different places and to others respectively. Part Four examines varieties of the genre of poetry while the final part discusses examples of poetry’s interaction with other genres. Collectively, the chapters span a wide, though necessarily non-exhaustive, range of geographical areas. Poets from Quebec are most heavily represented, but the volume also includes discussion of writers from Martinique, Haiti, Senegal, Republic of the Congo, Tunisia, Algeria, Lebanon, Madagascar, Belgium, and Switzerland, as well as poets who adopted the French language (including Lorand Gaspar, presented by Emma Curty), or those living in France such as rappers who reclaim ‘Afropéanité’ (discussed by Magali Nachtergael, p. 171). Poets’ reflections on place and language are shown frequently to be accompanied by a splitting of the self, and a sense of exile. But texts do not always display a conflicted relationship to France or the French language. Indeed, one of the strengths of the volume is that the poets’ concerns are considered on their own terms and not via their relationship to a ‘norm’ of France or the variety of French spoken there (Del Fiol, p. 65). The chapters consider well-known figures such as Gaston Miron (Delphine Rumeau), Édouard Glissant (Samia Kassab-Charfi), or Vénus Khoury-Ghata (Béatrice Bonhomme), alongside others who have less recognition. For instance, although Youcef Sebti’s work was included in an anthology of Algerian poets edited by Jean Sénac in 1971 (Anthologie de la nouvelle poésie algérienne (Paris: Librairie Saint-Germain-des-Prés)), those poets were not included in French lists after 1962, nor were they published in post-war Algeria (Laure Michel). Similarly, in her discussion of the Congolese Phratrie, a group in which older male poets supported younger writers, Céline Gahungu explains that the former were rarely able to help the latter publish their work, and certainly not internationally. Essays including Bernard De Meyer’s contribution on slam remind us of the breadth of contemporary poetic forms, and many of the chapters display a welcome attention to the detail of poetic texts; one example among those valuable essays is Emna Kharmachi’s analysis of work by Amina Saïd. Although more male poets are studied here, there is nevertheless serious consideration of some work by women: as well as Khoury-Ghata and Saïd, essays examine Marie Uguay (Pierre-Yves Soucy) and Anne Hébert, Louise Dupré, and Hélène Dorion (Michael Brophy). Overall, the volume makes a valuable contribution to expanding readers’ knowledge and understanding of the rich variety of poetic writing in French across the world.

ВАСИЛЬ ГОЛОБОРОДЬКО – МАЙСТЕР НЕКЛАСИЧНИХ ВІРШОВИХ ФОРМ: ВІРШОЗНАВЧИЙ АСПЕКТ

The article explores the creative work of Vasyl Holoborodko, particularly his book of poems "An Apple of Good News". This topic has not been extensively researched in Ukrainian literary studies, although Holoborodko's work has been studied in other aspects, such as folklore, in Yulia Shutenko's dissertation. This article specifically focuses on the analysis of non-classical verse forms in the author's poetry. According to one accepted classification, non-classical verse is divided into dactylic, taktovyk's, and accentual verse, depending on the change in the number of intrastressed syllable intervals. These forms have different productivity in Ukrainian poetry in general and in the work of Vasyl Holoborodko in particular. The polymetric superform of the non-classical verse is the vers libre, and Vasyl Holoborodko is the most productive author of this form among his contemporaries. This is related to the feature of his work as folklore trend. Among the examples of poetry presented in the article, there are samples that refer to the folklore sources of his poetry, spoken folk verse, which is the source for non-classical verse forms, and particularly vers libre. Additionally, there are interesting examples of dactylic, taktovyk's, and accentual verse, which are analyzed in detail in the article, including the poems "Spring", "Mother was cleaning potatoes", "Linen Birds", and "Hungry tongues tied in a knot...". The analysis of these pieces of poetry allows us to trace the tendencies of his creative work, such as a tendency toward irregularity, a slight predominance of taktovyk verses in non-vers libre verses, folklore as a leading principle both in vers libre and in the rest of the poems, and the alternation of expressive and meditative motifs in poetic creation, the reproduction of conversational speech and folk verse rhythms in the poetry, the transmission of unique features of the Ukrainian language and authentic imagery. The article is a part of an author's larger study of non-classical verse in Ukrainian poetry of the second half of the 20th century.

Exploring the Turkish Translations of Sylvia Plath’s “Lady Lazarus” from the Perspective of Deconstruction and Hermeneutics

In translation studies, poetry has mostly been discussed from the perspective of untranslatability due to a variety of reasons. One of these reasons is the subjective and personal nature of poetry: poems are considered to be specific to their creators, who incorporate much from their lives into their creations. Untranslatability of poetry brings to the fore the obsolete notion that the source text is superior to the target text. It is, therefore, necessary to disentangle the concept of untranslatability from the translation studies on poetry. To do so, this study concentrates on a highly personal example of poetry, i.e., the Confessional poet Sylvia Plath’s poem “Lady Lazarus” (1965) and its Turkish translations by Yusuf Eradam (2014/2020) and Nurten Uyar (2015), and seeks to explore the two translators’ subjective interpretations of the death/suicide theme specific to Plath’s poetry. In doing so, figures of speech related to the overall theme of death/suicide, and specific words and phrases are studied comparatively from the perspective of deconstruction and hermeneutics. The aim is to focus on how each translator interpreted the aforementioned elements rather than whether or not they transported these elements accurately and well. In this way, the superiority of the original over translation, as well as untranslatability of poetry, are deconstructed in harmony with the theoretical framework of this study. In conclusion, it is argued that both translators indeed translated the personal content of the poem in question through a process of subjective interpretation, which resulted in target texts that have their own peculiarities but at the same time, are similar to the source text.

Kültürel Süreklilik Bağlamında Elektronik Kültür Ortamında Halaçça Yazınsal Üretim

Living largely isolated for centuries in central Iran, the Khalaj Turks have, in the last century, seen great changes in the person-to-nature and person-to-person relations which form the basis of their social order. Because of a deterioration of the social conditions of their villages, and attracted by city life, many Khalaj have left the lands of their ancestors and migrated to the big cities. This has made it difficult for the Khalaj to pass on their cultural traits to new generations, as their culture is largely oral. Negative attitudes towards the Khalaj language and culture have led to changes in Khalaj culture and particularly language. In the face of this, some Khalaj intellectuals have taken action. These people, who have a good knowledge of the language and culture, have created Telegram and Instagram pages sharing items on Khalaj language and culture. On these pages, about-to-be-forgotten traditions, rituals and games are described, and examples of folk literature like lullabies, sayings or poems are shared. Among the most important contributions in terms of digitalized culture are examples of new folk poetry which are appearing on Telegram and Instagram pages. Towards the end of the 20th century, the Khalaj had no literary texts apart from a few poems, but by the efforts of Ali Asghar Jamrasi and Abdullah Vasheqani in particular, they got to know folk poetry. Especially group admins such as Amir Mohammadbaygi, Hasan Talkhabi and Mahdi Hadigol, who have made good use of the new features provided by social networks such as Telegram and Instagram, have written poems in the Khalaj language which include many elements of Khalaj folk culture. As well as reflecting the internal world of an individual, the aim of the new poetry of Hadigol and Hossein Talkhabi is to present the Khalaj identity and to introduce Khalaj culture to new generations. For this, topics such as language, identity, traditions and patriotism are often dealt with in the poems. This study is concerned with the positive effects of digitalization in introducing Khalaj folk culture and traditions and transmitting them to new generations and different areas, and focuses on Khalaj folk poetry in the context of the sustainability of identity, cultural memory and cultural items. The Khalaj language is on the UNESCO list of endangered languages and is of great importance for Altaistic studies. This study contains examples of poetry written in the Khalaj language and mostly previously unpublished, and provides data to different areas such as literature, folklore and linguistics. It is supported with observations and interviews.

Language Function As A Support To Teachers’ Professionalism

ABSTRACT: This study seeks to determine the functions of language for the professionalism of teachers who must communicate and convey information or material to students. This study employed a qualitative methodology. This research was conducted in schools located in Denpasar, Bali, with teachers as its subjects. The language functions utilized by the teacher can be mapped as follows: 44 phatic functions (23%), 34 metalingual functions (18%), 34 referential functions (18%), 34 conative functions (18%), 25 emotive functions (13%), and 19 poetic functions (10%). From the results of the study, it can be concluded that language functions in their professionalism as teachers, namely a phatic function that facilitates socialization and interaction between teachers and students; a metalingual function that teaches students the vocabulary they have not yet mastered; a referential function plays a role in conveying topics, information, or material to students; a conative function allows teachers to instruct something to students; an emotive function serves to motivate or develop relationships between teachers and students; and a poetic function plays a role for teachers who need poetic or aesthetic language when providing examples of poetry or other literary works.
 Keywords: Language Function, Professionalism, Teachers

Chinese Poets Since 1949 ed. by Christopher Lupke and Thomas Moran

Reviewed by: Chinese Poets Since 1949 ed. by Christopher Lupke and Thomas Moran Frederik Green Christopher Lupke and Thomas Moran, eds. Chinese Poets Since 1949. Dictionary of Literary Biography, vol. 387. Detroit: Gale Cengage / Columbia, SC: Bruccoli Clark Layman, 2021. 461 p. Few reference works have accompanied me as reliably throughout my career—first as a student, then as a scholar and teacher—as Gale's Dictionary of Literary Biographies (DLB) series. With the publication in 2007 of Chinese Fiction Writers from 1900-1949 and in 2013 of Chinese Fiction Writers from 1950-2000, the DLB series finally paid tribute to the rich legacy of twentieth-century Chinese literature. These are still the most comprehensive and authoritative bibliographical reference works on modern Chinese-language novelists, and Editor Thomas E. Moran must have known that he had set the bar high for any subsequent volume dedicated to modern Chinese literature. With the publication of DLB # 387 Chinese Poets Since 1949, Co-editors Christopher Lupke and Thomas E. Moran have clearly risen to the challenge. Encompassing some forty-five poets who have all contributed in significant ways to the flowering of Chinese-language poetry in the second half of the twentieth- and the first two decades of the twenty-first centuries, [End Page 147] the tome under review impresses with its sheer breadth as well as its academic rigor. Clocking in at 461 pages, Chinese Poets Since 1949 is a behemoth that, at first sight, displays all the usual characteristics of the DLB series. Besides the elegantly written and thoroughly researched bibliographical essays by forty international scholars, it features a general introduction by the two co-editors, a comprehensive checklist of Further Readings, and a cumulative index to the entire DLB series. In addition to the conventional qualities of such a reference work, Chinese Poets Since 1949, upon closer inspection, reveals a host of unexpected treasures. Accompanied by a photograph of the poet discussed, each entry further includes reproductions of a wide variety of documents, ranging from select book covers and dust jackets to handwritten manuscripts, such as pages from poems by Aku Wuwu (11) or Ling Yu (92). The entry for poet-painter Yan Li reproduces a painting by the artist (229), while the one for Lü De'an includes a photo of the mountain dwelling that the poet painstakingly built himself and which, according to Paul Manfredi, is "a kind of sweeping analogy for Lü's writing process writ large" (99). The general introduction further replicates covers from key literary journals such as Lanxing Shikan (Blue Star Poetry Journal) and Jintian (Today). These documents, painstakingly assembled from various archives across the world or made available courtesy of the authors or contributors, thus provide valuable additional clues to understanding the production, dissemination, consumption, and reception of Chinese-language poetry since the mid-twentieth century. Most users will probably treat Chinese Poets Since 1949 as a reference work to be consulted when researching one or more modern Chinese-language poets, and it excels beautifully at this function. Each essay begins with a complete list of the featured author's Chinese-language poetry books, editions and translations in English, and other relevant publications and concludes with a reference section. Sometimes in collections that incorporate a large number of contributors, the quality of entries varies greatly, but not in this case. All forty-five essays are solidly researched, well written, and complete in their presentation of bibliographical information. This consistently high academic quality throughout is the result of the two co-editors' feat of assembling a veritable who's who in the field of English-language [End Page 148] scholarship on modern Chinese language poetry. Based at universities in the US, Europe, Taiwan, Hong Kong, and Australia, all are established scholars (and in most cases translators) of modern Chinese poetry, and many have been instrumental in introducing one or more of the authors discussed to readers in the West. While each entry exhibits great academic rigor and attention to detail, the approach contributors have taken in presenting their respective poets' biographies varies somewhat. All include at least some examples of poetry in translation to complement the theoretical and socio-historical contextualization of the given...

Zaangażowanie i autonomia poezji awangardowej

The article reviews in the context of contemporary avant-garde theories the book by Alina Świeściak Współczynnik sztuki. Polska poezja awangardowa i postawangardowa między autonomią i zaangażowaniem [The Art Factor. Polish Avant-garde and Post-avant-garde Poetry Between Autonomy and Commitment]. The reviewed monograph is a discussion of examples of poetry of the historical avant–garde, neo-avant-garde and post-avant-garde and demonstrates the intertwining tendencies that liberate literature and engage it socially. According to the author of the review, Świeściak remains sensitive to both historical and ahistorical definitions of the avant-garde. In the researcher’s proposed interpretations, the interplay of autonomy and engagement was shown in different perspectives, depending on the unique character of the poetics in question.

ФОРМУЛЫ ВЕЖЛИВОСТИ В РЕЧАХ АРАБСКИХ ПОЛИТИЧЕСКИХ ДЕЯТЕЛЕЙ И В АРАБСКОЙ СРЕДНЕВЕКОВОЙ ПОЭЗИИ

Politeness formulas in Arabic are quite common. They can be found in literature, speeches by various figures, statements, and publications. Most often these were used and continue to be used in Arabic medieval poetry and in the speeches of Arab political figures. Arabic medieval poetry was not chosen by chance as an object of study, since it is in it that these formulas are most noticeable. They are used as a special form or even formula of speech that calls on the listener or reader to pay attention to something, or in this way express special respect for the object or, most often, the subject, in relation to which this formula of courtesy is used. In the speeches of politicians, such formulas can often be found at the beginning of a speech, when the speaker greets the public, listeners, the organizer of the meeting, when the greeting itself, containing politeness formulas, is quite long. The same can be seen in the Arabic medieval poetry. Sometimes the component of the appeal turns into some formula of politeness and praise of the subject or object. Characteristically, in the speeches of modern Arab politiciansthere is much more religious component than in medieval Arabic poetry. This is since examples of poetry in which these formulas of politeness are most visible were created before the active spread of Islam in the Arabian Peninsula. This article will consider the use of such formulas in the speeches of Arab politicians and in Arabic medieval poetry, and a conclusion is made about the use of these constructions and their variability in poetry and speeches.

XIV. Yüzyılda Yusuf Meddah "Maktal"ında Halk Edebiyatının İzleri ("Maktalı-Huseyin" Mesnevisi Örneği)

Literary genre “maqtal” came to literature from the arabs. Then it passed to the persians, and then to Turkish literature. During the time of the prophet and after him, wars and their tragedies were called as "maqtal." The arabic word maqtal means "the place where a person is killed and when he is killed." The XIV century specimens are richer than this one and gives some materials for research. An acquaintance with Yusuf Maddah's masnavi of “Maqtali Hussein”, which disappeared in the darkness of history, shows that the work is special importance in terms of studying the literary language and historical grammar of the XIV century of Azerbaijan, as well as the richness of themes, forms and genres of the history of epic poetry. The work also provides rich material for studying the arrival and development of the genre of poetry in our literary history. Poetik works of classical literature has always been the object of research with the capacity for meaning, the diversity of genres, and the poetic landscapes. The analysis of the classical Azerbaijani-turkic poetic language in particular their dictionary structure and character of use of loans in a context of dictionary language gives an interesting material for reflections. Specificity of use by the poet of loans, originality of its approach to this problem is found out. Native language examples of the XIV century the masnavi of “Maqtali-Hussein” is written in a language that everyone can understand, that is written in the vernacular. Azerbaijani words are developed together with arabic and persian words in this example of poetry, and helps to make the idea more understandable. It should also be noted that there are more Azerbaijani-Turkish words in the Masnavi than derivations.

“Majmuayi muxammasoti ash-shuaroyi Feruzshohiy” to‘plamida Mutrib she’rlari

The collection “Mazhmui muhammasoti ash-shuaroi Feruzshakhiy” is the largest source of lyric works by the authors of the Khorezm literary environment. According to the king’s decree, the complex was formed in the second half of the XIX sentury by Tabibi. It includes examples of poetry by contemporaries of the author. This resource, which provides valuable information about the literary environment of its time, is now stored in the main fund of the Abu Rayhan Beruni Institute of Oriental Studies at the Academy of Sciences of the Republic of Uzbekistan under number 1134. The collection differs from other collections in the composition of the genre, that is, muhammas. One of the collection’s most popular poets is Mutrib Hanaharab ibn Muhammad Hasan Devan Haji Tabib.The article analyzes the muhammas of Mutrib Hanaharabi, who are associated with the gazalles of master poets Agahi and Feruz. The artistic features of the Mutrib muhammasses are studied, which are not in handwritten copies. The weight, significance and novelty of the poetic gazal, as well as the evolutionary nature of the content, are proven by the original sources. Muhammasses and musaddasses of the poet, which are introduced in the collection, are compared with verses in manuscripts and studied in the fields of textology and source study.

Символическая сущность искусства в романтической эстетике Фридриха Шлегеля

According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.

P. CHEYNE, A. HAMILTON, M. PADDISON (EDS.) PHILOSOPHY OF RHYTHM: AESTHETICS, MUSIC, POETICS. New York: Oxford University Press, 2019 ISBN 978-0-19-934778-0

The review provides an outline of the collective monograph The Philosophy of Rhythm: Aesthetics, Music, Poetics, edited by Peter Cheyne, Andy Hamilton and Max Paddison, published by Oxford University Press, 2019. Concept of rhythm is analysed from different perspectives—philosophical, musicological and psychological. It considers a multidisciplinary approach and also includes both analytic and continental philosophical traditions. Rhythm is viewed as a pulse that is going through various metric structures including particular pieces of music, paintings, examples of poetry and philosophy. Twenty eight authors from the entire world discuss rhythm and specify definitions of rhythm. They try to give answers on crucial questions uniting experienced rhythm in philosophy and arts, thus giving an important contribution to rhythm studies. The book is organised thematically and based on different aspects of rhythm manifestations. The main questions of the research are as follows: How is rhythm experienced? Does rhythm necessarily involve movement? Why rhythm is so deeply rooted in human? How can static configurations be rhythmic? How does a rhythmic structure change from a stable pattern to a flexible texture? All these questions concern two interwoven issues common for the volume in general: immanence of rhythm to arts and human experience of it.

The Room Where MacNeice Wrote "Snow" and the Invention of Northern Irish Poetry

The Room Where MacNeice Wrote "Snow" and the Invention of Northern Irish Poetry Anna Teekell (bio) When its parliament opted out of the Free State on 7 December 1922, Northern Ireland was born through exemption rather than addition: a community unimagined before, a troubled amalgamation of British Ulster and Irish Ireland. This year the shaky coalition government at Stormont faced the daunting challenge of marking the centenary of the Government of Ireland Act that created Northern Ireland without igniting the specter of violence that haunts the post-Brexit border. In the face of the celebratory sectarian logos and campaigns created by the Orange Order and the Democratic Unionist Party, the coalition government and its official agencies leaned on the strength of the arts communities when they developed the "Our Story in the Making: NI Beyond 100" campaign.1 Since its 1995 creation the Arts Council of Northern Ireland has sought to create a shared culture for the region's two communities, claiming that "art has the ability to reach across boundaries, inspiring, teaching, and bringing people together."2 In addition to distributing government funding to individuals and organizations, the Arts Council advocates for arts in various arenas both on the ground and online, including the curation of the Troubles Archive—a digital resource showcasing art, literature, and music made during [End Page 241] and about the Troubles.3 Speaking about the early years of the organization, Edna Longley recalled the motivating conviction "that culture can bandage violence, which it can't do, but nonetheless, it can contribute to a movement of cultural self-consciousness, of mutual consciousness between people from different traditions."4 Such a "mutual consciousness" has, in the decades since the 1998 Good Friday Agreement, evolved from a two-nations approach to the literature of Northern Ireland to the easy application of "Northern Irish" to writing that previously would have been labeled either Irish or British. As a component of the peace process, this rebranding represents a major cultural victory, and since Anna Burns's 2018 Man Booker Prize win for Milkman, Northern Irish literature has been having a vogue moment. The ease with which we now speak about this regional literature as a cultural phenomenon suggests that the Arts Council of Northern Ireland's branding emerges from dual traditions: the United Kingdom's use of the British Council to mobilize arts and culture as a political tool, as well as the Republic of Ireland's framing of literary culture as both revolutionary impetus and tourism product. Northern Irish literature, crowned already with the laurel of Seamus Heaney's 1995 Nobel Prize ("for works of lyrical beauty and ethical depth"), has become an easy sell.5 While politics during Northern Ireland's centenary can be more difficult to predict than the weather, one might venture a literary forecast: we will continue to see a lot of "Snow." Louis MacNeice and the "National Lyric" "Snow," the twelve-line poem published by Louis MacNeice in 1935, "has acquired the status of national lyric for a younger generation of writers" in Northern Ireland, according to Glenn Patterson.6 The [End Page 242] novelist and director of the Seamus Heaney Centre at Queen's University Belfast titled a 1995 television episode of the BBC series 29 Bedford Street "More of It Than We Think" after a line from the same poem.7 The editors of The Tangerine, a Belfast-based literary magazine founded in 2016 to "provide a space for a plurality of voices,"8 cite the central stanza of MacNeice's poem to explain their publication's title: World is crazier and more of it than we think,Incorrigibly plural. I peel and portionA tangerine and spit the pips and feelThe drunkenness of things being various.9 This turn to "Snow" reflects a commonplace citation of the lyric—and MacNeice's writing more generally—as an example of poetry that can hold in productive tension the conflicting pluralities that characterize Northern Ireland. As a native of Belfast and son of a Connemara-born nationalist Protestant bishop who refused the sign the Ulster Covenant,10 Mac-Neice's personal background fits him well...

Онтологічна суть перенесення значень: інтерпретаційний ресурс метафори

Taking in to account the analytical experience of Metaphorology, the article understudies deals with the ontological essence of a literary metaphor. It mostly occurs as a receptive issue and is regarded on a specific example of poetry by W. Shakespeare’s – the central figure of “the western canon”. Particular emphasis has been laid on Sonnet 64 and its Ukrainian and Russian translations, where the paradigm of time arises as a basic metaphor. According to O. Potebnia’s concept, time, as an image, always preserves its “inner form”: it is anthropomorphic and in all respects corresponds to the archaic mythologeme, which is further on is implemented as a detailed generative metaphor. A multi-componential metaphor of a “deadly thought” (“This thought is as a death”) about the destruction and fatal end of all things, which perfectly corresponds to the overall theme of the sonnet, consistently appears, unfolds and gets materialized in Shakespeare’s text. It transforms the abstraction of thought into a format of metaphorical imagery, the latter being distinctly conveyed in practically all translations. This metaphor is formed along an “ontological spiral” by zeugma (a four-time repetition of ‘when’, eventually attached to the generalization “Ruin hath taught me thus to ruminate...”). This classical figure also models a compositional frame of metaphors in the sonnet. Relying on the issue of primacy in the ontological pair “essence” and “substance”, we might conclude that metaphor, being treated as a subjective reality-text, creates simultaneously “non-being” and is considered as a specific, fragmentary copy of the world, its quasi-original. The paradox of the phenomenon lies in the fact that “plunging” into the metaphorical field, we thus deeply penetrate into non-being, however heading to reality.

Folk Songs: Spaces and Reasons. Ruga, Love, Marriage, Departures

This essay sheds light on habits, behaviours, and social practices by focusing on Southern Italian youth and their songs; more specifically, it deals with Calabria in the years between 1850 and the 1900s. Such samples – relics to us – allow us to infer how men and women of that generation communicated within the archaic and highly hierarchical society in which they lived. Sometimes through singing the youth of Southern Italy found a way to bypass prohibitions and to say what could not be normally said in everyday life. Since it is clearly impossible to hear the performers’ original voices, this essay relies on examples of poetry and songs as they were perceived, interpreted and published by philologists, folklorists and anthropologists during the second half of the 1800s. Literature draws on folk song collectors such as Achille Canale, Raffaele De Leonardis, and Francesco De Simone Brouwer. The songs and poems considered deal with the topics of love and disdain (sdegno), while a smaller group deals with the themes of lontananza and spartenza. A combined analysis of folk songs and local literature (Vincenzo Padula, Luigi Accattatis, Cesare Lombroso, Caterina Pigorini Beri et al.) allows us to better understand a context that was based on phenomena such as wooing strategies, kidnappings, ostentation of violence and other social events featured in folk songs, poetry and sayings.

Manajemen Bahan Ajar Menulis Puisi Pada Tadris Bahasa Indonesia IAIN Curup

This study aims to explain and analyze about how the management of teaching material poetry’s writing in Tadris Bahasa Indonesia at IAIN Curup. As well as knowing curriculum management in improving the teaching material of writing poetry in Tadris Bahasa Indonesia at IAIN Curup. The results of this research are expected to be able to contribute thoughts in an effort to improve quality education and increase knowledge about the management of teaching material poetry’s writing in Tadris Bahasa Indonesia at IAIN Curup. This study uses a development approach. Data collections was carried out using questionnaires, interviews and tests. To obtain information on the feasibility of teaching materials, a validation test was carried out on the material eligibility about language (poetry). The subjects of this study were 22 students. Based on the analysis, poetry writing teaching materials can be categorized as good and appropriate to be used. Students have diverse needs in writing poetry. The need for aspects of the content and physical aspects of teaching materials. Entertaining teaching materials as well as clear and varied poetry, exercises and evaluations in accordance with the theme desired by student. Teaching materials such as modeling the making of poetry and presenting images are needed to motivate students in carrying out exercises and evaluating poetry writing varied examples of poetry. Teaching material for writing poetry entitled fun writing poetry used in learning. Teaching material development in the form of textbooks can improve student’s abilities. So the management of writing poetry can improve students, understanding of writing poetry.

LOCAL WISDOM IN CLASSICAL PERSIAN TEXT

The literary work of every nation is our window to witness the spirit of the nation. There are many ways in which various nations of the world share their taste, feelings, desires and wishes, one of them is especially through literary works. These are conveyed in theater, tragedy, comedy, and also through the medium of stories and fairy tales, as well as poetry. The Persians chose poetry as the best medium to explore the taste of their inner nature. Local wisdom, also called hereditary cultural heritage, is formed by nature and habitus in the arena of oral and written culture. Word "wisdom" implies a kind of firmness and conviction, and applies to anything solid and impenetrable, whether material or spiritual. Wisdom also is the science in which the facts of things are discussed, as they are in the soul of al-Amr as much as human power and ability. The subject of wisdom is matter of things outside and in the mind, its usefulness is the attainment of perfection in life, salvation and goodness. Knowing the local wisdom of other nations can make us feel the cultural values of the nation. This paper there are several examples of poetry and prose from Persian classical writers those contain the meaning of local wisdom. The purpose of this research is to assess and reveal the local wisdom in classical Persia literary works with qualitative approach and method obtaining data based on library methodology.