Form Of Poetry Research Articles

An alternative look at John 14:6

This article takes an alternative look at John 14:6 in its pericope John 14:1–14 as part of Jesus’ Farewell Discourse to his disciples (Jn 13–17). This verse forms part of the seven ‘I am’ sayings in the Gospel of John. Traditionally the two καί terms in John 14:6 are translated with ‘and’ I am the way and the truth and the life. However, this article opts for the epexegetical or explicative (also called explanatory) way to translate καί. The reason is that the focus of this pericope and specifically this verse is on ὁδός, and not like the traditional translations treat all three terms, ὁδός, ἀλήθεια and ζωή on an equal basis.Intradisciplinary and/or interdisciplinary implications: This is a New Testament piece of research that interacts and intersects with Dogmatic and Practical Theology, and the traditional interpretation of the text of John 14:6. It is therefore more intradisciplinary than interdisciplinary by nature.

Stylistic codification of traditional forms of poetic text (based on the material of the ancient Chinese theoretical study of poetry “Shi-Ping” (诗品, “Categories of Poems”)

Abstract The study of the main works that codified the classical forms of the Chinese text is important for analysing the ways of development of poetic works and determining the formation of their stylistic norms, mechanisms, and thematic concepts. The research aims to analyse the peculiarities of the stylistic codification of ancient Chinese traditional verse forms based on the theoretical material of Zhong Rong’s “Shi-Ping” (诗品). The following methods were used: deductive, content analysis, and comparative. The research results determined that ancient Chinese poetry is known for its unique depth, sophistication, and richness of images. Zhong Rong’s treatise “Shi-Ping” influenced the formation of stylistic features of classical Chinese five-line poetry. The analysis of its textual data has shown that this anthology emphasises the importance of the poetic form, especially rhythm and melody, and provides specific recommendations for the use of iambic pentameter, which contributed to its popularisation and development. The practical significance lies in the use of the information by scholars in the fields of philology, linguistics, cultural studies, linguistics, as well as specialists who study the traditional forms of Chinese poetic text.

To decompose the gender possibilities of the contemporary sestina: queer formalism reimagined through a poetic fixed form

ABSTRACT We are used to thinking of formal principles as either good or bad for gender expression. But might they be both, in some cases? This essay examines the recent work of queer formalism in narrative through the lens of a poetic verse form: the thirty-nine-line scheme of the sestina. Through this scheme, I show that formal principles contained in a single literary form can be conducive to the a priori antithetical notions of antinarrativity and queer relationality of form. On the one hand, the sestina exhibits a narrative-like metonymic extension through the repetition of end-words, a gesture that has been made queer through contemporary poems. On the other hand, the sestina inverts the linear temporality of narrative in its unique possibilities of anti-teleology through cyclic and non-linear stanzaic traversal, stemming from mathematical properties within abstract algebra. The duality produced in this single poetic form adds additional dimensions to queer formalist debates by splitting the problem of antinarrativity from the problem of formal constraint. I also show how Sara Ahmed’s Queer Phenomenology: Orientations, Objects, Others (2006) offers a reading of the orientations invoked by the sestina’s changing configurations of end-words.

Hybrid identity and the image of the native land in Kazakhstan Russian language poetry

The article is devoted to the problem of the world image in the poetry of modern Kazakhstan Russian-speaking poets. This problem is closely related to the authors’ self-identity. The Russian language is chosen by authors of various ethnicities: Russians, Kazakhs and Poles. Kazakhstan has historically developed as a multi-ethnic region; in post-Soviet times, Russian is largely preserved as a language of interethnic communication. The article identifies and analyses the following components that make up the hybrid identity of Russian-speaking authors: their memory of ethnic roots, sociocultural identity, regional identity and civic identity. It is shown that such features as transborderness and transculturation, characteristic of the “nomadic” subject of modern poetry, fully correspond to the type of nomadic culture that has long been established on the territory of the Great Steppe. Hybrid identity in the poetry of Kazakhstan Russian-speaking authors determines its polysubjectivity, interaction of voices and dialogue among speech zones of different subjects, giving rise to the effect of the lyrical poetry “romanization”, which affects the prosaization of the verse form. Of the genre varieties, the most characteristic one is the form of poetic conversation. A striking feature of this poetry is the lyrical hero’s self-irony and the active use of intertextuality. Different components found in the authors’ inner self does not as much create a conflict situation as it allows them to avoid thinking in rigid binary oppositions, without removing a critical view of both today’s Kazakhstan and Russia.

T. S. Eliot, Poetry, and the Ethics of "Feeling"

Abstract: This essay offers an account of "feeling"—alongside a set of other, related experiential terms—in T. S. Eliot's ethics and aesthetics, suggesting a new way forward for philosophical poetics more broadly. Drawing on archival resources and neglected aspects of his academic background, it positions Eliot in a distinctive philosophical (and counter-philosophical) tradition which emphasized the "felt" experience of verse form. For Eliot, it argues, the moral and spiritual value of poetry was therefore dependent upon its capacity to make us "feel" in intensely personal, idiosyncratic, and slippery ways.

Analisis Semantik Pada Puisi "Sajak Matahari" Karya W.S Rendra

Poetry is a literary work that is produced from someone's experiences. A poem is composed using beautiful language and meaningful words written in the form of verses. To understand the meaning conveyed in a poem, semantic analysis needs to be conducted. Semantics is a branch of linguistics that discusses meaning and significance. Therefore, this study aims to analyze the meanings contained in W.S. Rendra's poem titled "Sajak Matahari" (The Sun Poem). Semantic analysis in this study is focused on analyzing lexical meaning, referential meaning, grammatical meaning, and figurative meaning. The method used in this study is qualitative descriptive method. The qualitative descriptive approach will allow researchers to analyze the details of meaning in the poem to explain the meaning more deeply. In collecting research data, researchers use reading and note-taking techniques. The reading technique is carried out by reading the contents of the poem, then the results of reading the poem to examine the meaning. Note-taking technique is used to record lexical, referential, grammatical, and figurative meanings. The result of the meaning analysis in the poem "Sajak Matahari" is a poem that discusses perseverance/call for creating change in society, thus creating a fair and peaceful situation.

Hebban olla vogala: An Eleventh-Century Link Between Dutch and English Literary History

The short eleventh-century lyric Hebban olla vogala is considered the earliest literary text in Dutch. Yet it only survives as a badly faded pen trial, written in England by a monk from the Low Countries. As a result, the exact reading of the text and even the language it was written in remain uncertain. Now, multispectral imaging of the manuscript has made it possible to provide an improved reconstruction of the text. An analysis of this new reading suggests that the scribe deliberately used the similarity between dialects of late Old English and Old Dutch to produce a rhyming verse text that was intelligible in both languages. As a multilingual and translingual poem, Hebban olla vogala must therefore be situated in English as well as Dutch literary history. The scribe’s other pen trials in the same manuscript demonstrate an interest in different Latin verse forms, indicating that Hebban olla vogala may also be a literary experiment. In exploiting the mutual intelligibility of Old Dutch and Old English, the poem points to an easily overlooked current of influence on late Old English and early Middle English literature. While this is hard to trace due to the similarities between the two languages, Dutch emerges as another potential influence, alongside Anglo-Norman French, on the development of rhyming verse in English after the Norman Conquest. In this way, Hebban olla vogala can be seen not only as a monument of Dutch literary history, but also as a testament to its interaction with English literature.

The use of poetry in form of haikus as a tool for critical reflection

ABSTRACT Critical reflection is an integral part of social work education and practice, yet it is widely understood to be hard to learn, teach, and assess. We introduced the use of poetry in the form of haikus to three different qualifying social work student groups to trial a creative way of getting students to engage in critical reflection. Ninety-six students took part in the reflection activity and 23 of the students agreed to take part in the research element, which used a mixed-methods approach to explore the value of haikus in critical reflection. Following the thematic network analysis process, we identified one global theme: that haikus were a useful tool for developing critical reflection. There were three organizing themes identified: the need to create a safe learning environment to support engagement; that taking part provoked reactions; and the activity held important elements that aided the development of critical reflection.

Формы свободного стиха в творчестве Зарины Кануковой (на материале сборника «Хэку/Родина»)

The article examines the problem of evolution of free verse forms in Adyghe (Kabardian) poetry using the example of creativity of the Kabardian poetess, writer, playwright Zarina Saadulovna Kanukova (1969), in particular, her latest collection of poems "Хэку/Homeland" (2022). Poetic compositions of varying degrees of freedom from rhyme-metric constructions, as well as conventional poems created in strict accordance with the rules of classical syllabo-tonic versification are considered. The research aim is to identify the trends in the development of free verse forms in national poetry in general and in Z. Kanukova's work in particular. The scientific novelty of the work lies in identifying and studying innovative poetic forms for the Adyghe (Kabardian) literature - varieties of free verse; the little-studied problem of transformation of the national verse system is touched upon; the research material presented in the collection "Хэку/Homeland" is introduced into scientific circulation for the first time. The obtained results prove the progressive nature of free verse forms in the stated book and give reason to assume the movement of the entire Adyghe (Kabardian) poetry towards gradual formal emancipation/liberation.

From the Qing Imperial Printing Office to the Hands of Medical Practitioners: Manuscripts Containing Parts of the Golden Mirror of the Orthodox Lineage of Medicine

Abstract The Imperially Commissioned Golden Mirror of the Orthodox Lineage of Medicine (Yuzuan yizong jinjian 御纂醫宗金鑑), first printed in 1742, was one of the most important and widely circulating works on medicine in late imperial China. This paper analyzes a group of twenty-three medical manuscripts from the nineteenth and early twentieth century that include parts of the Golden Mirror. The findings suggest that most of the manuscripts should not be considered mere copies, but as deliberate selections. They served didactic as well as epistemic functions that differ from, or go beyond, those that could be fulfilled by the printed Golden Mirror (or a faithful manuscript copy alone). This is indicated not only by different content type selections (verse form for memorization or recitation; prose form for study or consultation) and the combination with medical knowledge from other sources, but also by the ways in which these contents were formatted, usually to facilitate reading and navigation. Adjustment, updating or supplementation of Golden Mirror contents likewise functioned epistemically, integrating previous medical knowledge into the medical discourse of the time. Hence, the findings of the present study help to clarify the lasting importance of manuscripts in the age of print, for which possibilities of adapting knowledge to personal interests and requirements seem to have been decisive factors.

ANALISIS MODEL KOMUNIKASI TRANSENDENTAL DALAM SURAT AL-FATIHAH MENURUT M QURAISH SHIHAB

Communication as the process of conveying messages from the communicator to the communicant through media that produces effects, gives rise to questions related to communication between humans and God which cannot be seen with the naked eye. This article discusses transcendental communication, namely communication that occurs between humans and God. In this article it is argued that all elements of communication exist in communication between humans and God. The source of communication or communicator consists of God and humans. The message is in the form of Allah's verses through the Koran and prayers, remembrance that humans convey to Allah. The channel is the Al-Qur'an, one of which is in Surah Al-Fatihah, which functions as a channel for God's messages and an intra-personal channel. The recipient or communicant is basically the same as the source or communicator. The expected effect and feedback in this transcendental communication is that humans must carry out what is ordered and stay away from what is prohibited. The effect can also be in the form of the servant's prayer being answered, inner peace, or being able to occupy heaven in the afterlife. Meanwhile, communication models that can be in line with the transcendental communication process are the Stimulus Response (S-R) Model, the Aristotelian Model, and the Lasswell Model

DINAMIKA KONSEP “UMMATAN WASATHAN”: PENDEKATAN HERMEUNETIKA MA’NA CUM MAGHZA TERHADAP QS. AL-BAQARAH [2]:143

The concept of religious moderation is a trendy issue that is hotly debated, the idea of religious moderation is taken from the Lafadz "Ummatan Wasathan" in QS. Al-Baqarah [2]:143. This paper aims to explore the purpose and meaning of religious moderation from the word Ummatan Wasathan in QS. Al-Baqarah [2]:143 with research using the Ma'na Cum Maghza hermeunetic approach. This research is a literature study in which the primary source is in the form of Al-Quran verses surat Al-Baqarah [2]:143 secondary data sourced from several books of interpretation. The result of this research is that QS Al Baqarah [2]:143 is a response to the Companions' concerns about Allah's decree to move the position of the Qibla from Baitul Maqdis to Masjidil Haram. The phrase "Washatiyah" in "Ummatan Wasthan" is interpreted as the middle and righteous people or ta'adul. In contemporary interpretations, wasath is interpreted as moderate, where Islam is in a position of tawazun, i'tidal and 'is (balance and justice).

FATHER’S ROLE AND CHARACTER EDUCATION: A REFLECTIVE ANALYSIS OF THE QUR’ANIC STORIES

The Qur'an as a source of guidance accommodates various factors that can guide humans towards achieving worldly and hereafter benefits. Not all the guidance of the Qur'an are explicitly expressed in the form of understandable and practical commands and prohibitions. Some of the instructions from the Qur'an are obtained by interpreting certain symbols, including through the stories of the previous populaces. This study aims to explore the role of fathers in educating children's character through the five stories of father and son in the Qur'an, namely the story of Prophet Abraham, Prophet Jacob, Prophet Noah, Sheikh Madyan and Luqmān. This study adopts a qualitative methodology by adhering to the thematic interpretation (mauḍūʿī)) pattern with a tarbawī (an Islamic education approach) pattern method of analysis. The data of this paper were obtained in the form of verses of the Qur'an and their interpretations as well as other written materials and presented qualitatively after going through a number of analyses and interpretations. The results of the study conclude that the Qur'an clearly describes the role of father figures in educating children's character. These figures educate children's character by instilling monotheism; determination to maintain faith, worship and morals; be a good listener; understand the character of the child; be democratic and respect children's opinions; and are patient even if the child disobeys.

Khenpo Kalsang Dhondup’s “Incomparable Guide,” Translated by Khenpo Kalsang Dhondup and Patrick Dowd

In his poem "Incomparable Guide" (ston pa mtshungs med), Khenpo Kalsang Dhondup brings a modern, almost scientific, perspective to the traditional Indo-Tibetan genre of "hymns of praise" (Skt. stotra, Tib. bstod pa), a thematically-oriented verse form that may date as far back as the sixth century BCE. The poem offers us an intriguing glimpse at the poetry of a learned Khenpo who writes beautifully, but whose humility has previously prevented him from sharing his work more widely with others.

CRITICAL ANALYSIS OF UPAMA WITH REFERENCE TO CHARAKA SAMHITA SUTRASTHANA: A REVIEW

Ayurveda is one of the oldest systems of medicine, with a huge history of contributors and contributions. Our Ayurveda preceptors described the concepts in the form of verse and commentary throughout the treatises. It is essential to analyze these concepts to understand the basic principles of Ayurveda, including diagnosis methods and treatment of diseases. Some of the difficult concepts are not understood by all three types of students (brilliant, moderate, and less intelligent) due to lack of applicability of Ayurvedic knowledge. Our Acharyas have been introduced learning methods like Tantrayukti, Nyaya, Vadamarga, Upama and other methods to understand the complex subject matter. Numerous lists of Upamas (Analogies) are cited in Brihat-Trayee (Greater Trios) and its utility in Ayurvedic medical education.Upama is similar or resembling words and examples to make it easy to grasp Ayurveda concepts. In this review article, the author has tried to collect and critically comprehend all references of Upama cited in Sutrasthana.

The multi-genre structure of J. Metham's poem “Amoryus and Cleopes” (1449) and bestiary motifs in the “encyclopedic” episode of its plot

The subject of research in this article is a multi-genre composition, and the research material is the medieval English poem “Amoryus and Cleopes”, underestimated by modern literary criticism: essays by English researchers about it are extremely few, and works by foreign researchers, apparently, are completely absent; in the 108 years since its first publication, it was published once again in Middle English, but was never translated not only into other languages, but also into modern English. There are also no scholars specializing in the work of its author, the mid-15th century writer John Metham. Meanwhile, this is definitely an interesting work, since it varies the plot from the Fourth Book of Ovid’s Metamorphoses, the story of Pyramus and Thisbe, and its creator copies Ovid’s material not mechanically, but quite creatively, including it in a genre- and stylistically variegated composition of plot episodes. In the process of research, we identified the boundaries of these episodes and focused attention on one of them, within the framework of which the poet Metem put into the heroine’s speech a lot of information of the “encyclopedic” type, obviously gleaned from various bestiaries and works of medieval zoologists. Our goal was to identify motifs transferred into the poem from the most famous of these works. Along the way, Metham's verse forms were described, and his free handling of the Chaucerian heptath used in the poem was revealed. Our article shows that the traditional attitude to the 15th century as a “barren age” is not entirely justified and that between the death of Chaucer and Lydgate and the appearance of the Scottish “Chaucerians” at the end of the century, there were English authors with an original style and works with individual poetic features.

The Song of Earendil from The Lord of the Rings by J.R.R. Tolkien: Translation Issues

This article is concerned with translation issues of The Song of Earendil by J. R. R. Tolkien, the poem included in The Lord of the Rings and incorporated into the narrative with Bilbo as the internal author and Frodo as the listener. The first part of the research provides detailed analysis of the poem contextual role as well as its perception by the characters and the reader. Imbued with various details and proper names, The Song highlights Еarendil’s voyage, one of the most essential narratives in Tolkien’s mythology (the Legendarium), however left beyond the bounds of The Lord of the Rings and not completely understood by the reader or Frodo, for the latter is listening to the Song being in a most peculiar, dreamlike state of mind evoked by elven singing he previously attends to. Frodo’s mood correlates not only and not so much with the poem’s narrative, but with its style and poetic features, especially the verse form and the rhyme scheme. The latter uses triple assonances as additional rhyme, connecting the clauses of the odd lines with the first halves of the subsequent even lines and bringing forth a notably melodical, ‘elvish’ impression.In this respect, the verse form of The Song of Earendil takes on particular importance in relation to poetic translation; and retaining the main metrical and phonoaesthetic features of the poem seems necessary for achieving translation equivalence as well as maintaining the effect derived from the context of the novel. These features are considered using the example of four Russian translations of the Song (by A. A. Kistyakovsky, I. B. Grinshpun, S. A. Stepanov, and V. G. Tikhomirov). Comparative analysis of these translations shows a tendency for the translators to change the verse form significantly either by using more fluent rhyme schemes and stanzaic structures (as Kistyakovsky or Tikhomirov do), or by simplification (e.g. Grinshpun) and neutralisation of some other poetic features (like the use of proper names). The most consistent, although partial, representation of the original poetic form, can be found in Stepanov’s translation only. As for some other translation solutions regarding verse form and vocabulary, they appear to be non-equivalent. At the end of the article, the author presents his own translation of The Song of Еarendil, aimed at retaining the above listed features of its poetic form.

Choral concert “The soul calls for an owner...” by Yurii Alzhniev: genre­stylistic and compositional features

The relevance of the research. The musical work of the well-known Ukrainian composer, a bright representative of the Kharkiv school of composers — Yurii Alzhniev — is widely known and respected in the modern musical culture of Ukraine. The artist is the author of a large number of large-scale and small-scale works for symphony and chamber orchestras, orchestra and ensemble of folk instruments, a significant number of choral, vocal, vocal-symphonic works, theatre music, separate compositions for various instruments and instrumental ensembles, etc. Today, the most significant samples of Yurii Alzhniev’s works are deservedly within the scope of scientific and research attention of domestic musicologists. After all, these works are now increasingly being performed by leading Ukrainian groups and soloists, on concert stages in various regions of Ukraine and abroad. At the same time, many bright musical compositions of the artist, which were created by him in recent years and represent a high artistic value, remain out of research attention. One of such opuses in Yurii Alzhniev’s creative portfolio is the choral concert “The sound of the Master’s soul...” for a mixed unaccompanied choir, in which national features of Ukrainian traditional choral singing and original author’s decisions regarding the organization of the compositional structure and stylistic filling of the work are skilfully and highly artistically interwoven.
 The purpose of this article is to identify the compositional and genre-stylistic features of Yuri Alzhnev’s choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through a musico-logical analysis of this work.
 At the heart of the methodology of the work are the methods and techniques of musicological analysis used in theoretical musicology. In particular, this is a method of complex analysis, which is used in the implementation of a holistic analysis of a selected piece of music, as well as separate theoretical methods: genre and style analysis, analysis of musical form, intonation analysis, analysis of elements of musical language. In addition, systematic and system-forming methods, the method of comparative analysis, methods of systematization, synthesis, and generalization are involved in the work methodology.
 The results obtained in the course of achieving the goals in this article are focused on revealing the compositional and genre-stylistic features of the choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through the musicological analysis of this work.
 The novelty of the work lies in the fact that the choral work of the famous Ukrainian composer Yuriy Alzhnev in recent years has found its musicological interpretation for the first time in the form of his choral concert “The soul calls for an owner...” The genre-stylistic and compositional specifics of this work are defined, the authorial approaches to the realization of this composition in the outlined aspects are summarized.
 The practical significance of the performed musicological analysis of the selected work lies in the possibility of using it in the study of the musical work of modern Ukrainian composers, disciplines related to musical composition and choral art, as well as a musicological supplement to the use of this music in concert performance practice.
 Conclusions. Turning to the creation of his choral concert “The soul calls for an owner...” Yurii Alzhniev chose this genre typical for choral music, relying mostly on a complex of traditional means and canons. At the same time, he created a rather interesting and individualized musical drama in this work, in which he skilfully used and expanded the possibilities of a simple verse form, integrating features of the three-part and rondo forms into it. In terms of style, the composer, once again, significantly enriches the relatively traditional musical presentation of the concert, “decorating” it with intonation freshness, interesting textural and compositional solutions, “spiciness” of harmonic language, etc. At the same time, the intonation basis of the work radiates its deep national character and belonging to the Ukrainian choral tradition. This is the essence of the authorial musical and linguistic specificity and the originality of Yurii Alzhniev’s choral style, which was deeply and vividly manifested in the choral concert “The soul calls for an owner...”.

Modul konsep Pembelajaran Berbasis Alam Perspektif Al-Qurân

The purpose of this study is to reveal epistemologically the concept of nature-based learning in the perspective of the Qur'an and prove the concept of nature-based learning perspective of the Qur'an as one of the effective efforts in improving the quality of Education. This study uses primary sources in the form of verses of the Qur'an and several books of tafsir as well as scientific works related to research. The Data obtained were then analyzed using qualitative methods and maudhi'i Tafseer methods that serve to find an explanation of the verses related to nature-based learning in a comprehensive manner. The results of this study concluded that the concept of nature-based learning is an effort by educators to learners in developing knowledge competence (al-Baqarah/2:30-33), attitude (al-Hujurât/49:13), and skills (al-Alaq/96:1-5) by utilizing the natural environment as a tool, material, media, and a place of learning that aims to serve Allah SWT (al-Dzâriyat/51:56) and perform 30, shâd/38:26) that preserve and prosper the Earth. The implication of the results of this study is the improvement of spiritual and social attitudes of learners because all learning activities are associated with aspects of the divine.

Поиски новых ритмико-звуковых форм русского стихосложения в эпоху модернизма: от предсимволизма к конструктивизму

The paper analyses the theoretical declarations and artistic innovations made by Russian modernist poets who carried out the versification reform at the turn of the XIX-XX centuries. Metric-rhythmic and phonetic experiments turned out to be a priority for poets, thus, the aim of the study is to comprehend their versification diversity and artistic orientation. The creative search for new verse forms was of an acutely polemic nature, therefore, the scientific novelty of the study lies in a comprehensive consideration of the aesthetic intentions of pre-symbolists, symbolists, acmeists, futurists, imaginists, expressionists, formlibrists, neoclassicists, constructivists. As a result, it becomes obvious that the spread of innovative phonostylistic modifications and the establishment of non-classical metric-rhythmic varieties in the poetry of the Silver Age were aimed not only at creating a new art, but also at forming a new worldview and a new aesthetic consciousness of contemporaries. Actualising the problem of expressive possibilities of literature in the 1880s-1920s led to the revival of the acoustic existence of poetic works – in the struggle for the life-building future of the poetic word, the need for a synthesis of arts that would correlate with the deep processes of synaesthetic perception and creative thinking became more pronounced than ever before.