Name Of Poet Research Articles

Nilai Kebebasan sebagai Wujud Protes dalam Puisi Karya Wiji Thukul dan Chairil Anwar: Kajian Analisis Break

Gender inequality often occurs in women. This is because the construction of a patriarchal society places This research aims to describe the spirit and essence of Wiji Thukul's poem entitled Warning and Chairil Anwar's poem entitled Aku. This poem is the most popular compared to other poems. Apart from that, these poems have made the poet's name still known today. The discussion of this paper uses the BREAK theory. BREAK is an abbreviation for Discourse Basis, Discourse Relations, Discourse Equilibrium, Discourse Actualization, and Discourse Sustainability. This theory was designed by Sawirman as a response to the limitations of Kantian, Hegelian, and Marxian dialectics in describing the typology of movements and structures of change in reality and discourse in a way that can accommodate. The focus of this theory is to explain linguistic phenomena while considering changes in essence and spirit in discourse. Furthermore, the method used in this research adopts a qualitative method. A qualitative research method is an approach that produces descriptive data in the form of written or oral data. Then, the data analysis carried out in this research uses the help of semiotic theory introduced by Saussure and stylistic concepts related to the use of figures of speech. This research provides an analysis that Wiji Thukul's poetry (as primary discourse) and Chairil Anwar's (as secondary discourse) have different discourse essences. The results of this research found that in the primary discourse, there is a spirit of collective freedom, while in the secondary discourse there is a spirit of individual freedom. Meanwhile, the spirit of the primary discourse is a warning to the authorities and an effort to raise the spirit of the people and the spirit of the secondary discourse is that freedom must be obtained by humans at the individual level.

AN ANALYSIS OF TAZKARA HAZAR DASTAAN KNOWN AS KHUMKNANAE JAVEED BY LALA SRI RAM

Tazkara is a type of biography in Urdu literature. In Tazkara the researcher compiles the data and events of the lives of poets and other literary personalities. Tazkara Hazar Dastaan known as Khumkhanae Javeed was gathered by Lala Sri Ram. This biography consists of Six volumes. There are 689 pages in Volume 1 and a list of 634 poets according to the Urdu alphabet ا تا بby poetic names included in it. Volume 2 consists of 751 pages with a list of 485 poets by poetic names according to پ تا ح. Volume 3 consists of 737 pages with a list of 534 poets by poetic names according to خ تا ز. Volume 4 consists of 628 pages with a list of 421 poets by poetic names according to س تا ش. Volume 5 consists of 616 pages with a list of 647 poets by poetic names according to ش تا ع. Volume 6 consists of 556 pages with a list of 458 poets by poetic names according to ع تا ے. There are 3977 pages and 3179 poets in all volumes. It is a remarkable work. In this article, this biography is critically analyzed.

IN SEARCH OF THE <italic>PROMONTORIUM SOMNII</italic>

In 1863-1866, the French writer Victor Hugo wrote a long text in which he related a visit he made in 1834 at Paris Observatory, where François Arago showed him the Sun rising on the Moon. Amongst the lunar features progressively illuminated by the Sun, he noticed <italic>Promontorium Somnii</italic> and, impressed by this poetic name, he used it as the title of his text. We show that <italic>Promontorium Somnii</italic>, which has since disappeared from lunar terminology, was introduced in 1686 by Jean-Dominique Cassini as one of the benchmarks used for determination of longitudes by the observation of lunar eclipses. There have been questions about the location of <italic>Promontorium Somnii</italic> on the surface of the Moon, and we show that it is a corner of a better known feature mapped in 1651 by Riccioli, <italic>Palus Somni</italic>. We give a translation of the 'astronomical' part of Hugo's text and some comments about the determination of longitudes using lunar eclipses.

Transfiguration as a World-Making Practice: From Norman O. Brown to Bob Dylan

Abstract By a transfigurative recoding of selfhood and quasi-biblical analogizing of historical events across space and time, Bob Dylan enacted in his poetic name change from Zimmerman to Dylan (as he would writing across the larger body of his song-poetry) what Norman O. Brown had embraced, in Love's Body and Apocalypse and/or Metamorphosis if not throughout his works early and late, as tactics of “figural interpretation, [that] discovered world-historical significance in any [everyday trivial] event—an event which remains trivial for those who do not have eyes to see.” Transfiguration for Brown was not merely a figural, intertextual, or rhetorical shift of tropes, as will be elaborated; it also implies more strongly a biomorphic metamorphosis of self and world, soul and matter, bios and logos, via the morphological and linguistic transformation of terms and forms. Such metaphoric twists and troping turns of metamorphosis aim to remake the world into fluid, multiple forms of becoming befitting what a flourishing Romantic imagination longs for (via transubstantiation) and what Brown defines (and Dylan performs as) feats of transfigurative metamorphosis: “Metamorphosis, or transubstantiation.” “Transubstantiate my form, says Daphne [as muse to Apollo, archetypal Greco-Roman poet].” In this essay, Brown will play Daphne provoking and inspiring in figures like Apollo what he terms as the “be leafing” (believing) patterns in a world-transforming visionary poet like Bob Dylan.

Pushkin's context of Boris Sadovsky's play "Lisa"

The object of research in this article is the mystery play "Lisa", as well as the ideologically related "Blokovskaya" hoax "Soldier's Tale" and the story "Arakcheevskaya joke". The purpose of the work is to identify the Pushkin context in the play "Lisa", to clarify the nature of B.A. Sadovsky's perception of the Pushkin tradition. The author examines in detail such aspects of the topic as the evolution of B. Sadovsky's perception of Pushkin's personality and his work, designates Pushkin's contexts in the mystery play "Lisa". The appeal to this work is motivated by Sadovsky's use of the image of the Pushkin era without mentioning the poet's name. The article uses comparative typological, biographical methods, as well as the method of intertextual analysis. A special contribution of the author is a study of the unexplored work of B. Sadovsky, which makes it possible to significantly clarify the nature of his creative evolution, to highlight the features of the writer's worldview in the post-revolutionary period. In the course of the analysis, the author comes to the conclusion that genetically the play "Lisa" is connected with such works as "The Arakcheev joke" and "The Soldier's Tale", written from anti-Bolshevik positions. It is proved that the concept of Arakcheev's personality in them is determined by Pushkin's judgments about Arakcheev, expressed on the pages of the Diary of 1833-1835 and in a letter to his wife (April 20-22, 1834). The study was carried out as part of the preparation of the scientific edition of the complete works of B.A. Sadovsky.

The personality of the poets in the Purananuru

Sangam literature is a time mirror that reflects life events in languages ​​in which the heroism and generosity of four hundred kings have been described. From time immemorial, the Guru has been revered as a deity after his mother and father as the Guru's deity. The idea that only the Guru can heal the family, the student, and the country has been around. In Sanskrit literature, poets had the right to rebuke the king and to give him loving advice to make the country prosperous for the good of a king. In the late nineteenth century, poets primarily portrayed the heroism and generosity of kings through their songs. Not only male poets but also female poets excelled in this. Songs sung by individual poets All the songs in this book are sung about public justice without being sung about anyone There are hundreds of poets who mention the names of poets but also mention the names of kings.

Poetry and the Camp: Epiphanic Witness and Ecstatic Cry in the Spanish-Cuban-American War of 1895–98

Poetry and the Camp: Epiphanic Witness and Ecstatic Cry in the Spanish-Cuban-American War of 1895–98

CẢM THỨC CỦA NGUYỄN DU VỀ TRUNG QUỐC THANH TRIỀU TRONG BẮC HÀNH TẠP LỤC

Nguyen Du (1765-1820), with courtesy name To Nhu, poetic name Thanh Hien, and other pseudonym Hong Son Liep Ho, was born into the noble Nguyen clan of Tien Dien village in central Vietnam. Many of his family members served in high positions in the imperial mandarin system of the Le-Trinh dynasty. Inheriting honors from his father, Nguyen Du was bestowed the titles: Hoang Tin Great Man, Guard Commandant of Origin, and Thu Nhac Count. Therefore, deep within his conscience, Nguyen Du always felt indebted to the Le dynasty. However, the rapid replacement of the Le-Trinh by the Tay Son and then by the Nguyen dynasty during the chaotic years of the eighteen century seriously challenged his beliefs and emotions, pushing him into a reclusive lifestyle during his reluctant service to the Nguyen dynasty. In the 12th year of Gia Long (1813), Nguyen Du was appointed the mission leader on a yearly tribute trip to China, during which he wrote a collection of poetry titled “Bac hanh tap luc” (Trivial Notes on the Northward Trip). His “trivial notes” revealed his complicated thinking and feelings about the Chinese landscape, people and culture under the rule of the Jiaqing emperor. This article analyzes Nguyen Du’s rational and emotional perceptions of China, especially Chinese culture as implied in “Bac hanh tap luc”, to better understand a case of direct interaction of a Vietnamese Confucian scholar with imperial China.

Onomastics in Pushkin Studies: The Names Larin, Larina, Lariny in Eugene Onegin

The paper discusses the literary proper names Larin, Larina, Lariny (the Larins) from Pushkin’s novel Eugene Onegin, aiming to identify the most important factors behind the choice of this surname. To this end, the researcher establishes a reference for each of the poetonyms, considers their distribution in the text, examines the contexts of the primary and repeated character naming, and explores the semantic potential of these names for characterization and revealing the author’s attitude to his characters. The study has identified six factors that determined the relevance of poetonyms in the given work and, respectively, explain their choice by the writer. The first factor is the commonality of usage which adds to the realism and credibility of the literary image. Another significant factor is the word-formation pattern the name follows. The surname Larin comes from the folk anthroponymic forms Larya, Lara, which, in turn, are derived from the personal name Larion that goes back to the anthroponym Ilarion (from ancient Greek ἱλαρός, ‘cheerful, joyful’). The third factor is related to using the etymological meaning of the personal name Ilarion for characterization purposes. The fourth factor is its associative flow, that is, the ability to trigger associations that describe the surname bearers in the general context of the work. This associative background of the poetonyms evolves in two possible directions: Larin (-a, -y) — lar’ and lary. Both of these perform characterization functions, affecting the reader’s understanding of the poetonym. The fifth factor is the syllabic structure of the surname. The male form Larin is a choreic foot, the female and collective forms of Larina / Lariny form a dactylic foot. Both easily fit into the iambic tetrameter used in Pushkin’s novel. The sixth factor is the phonetic aspect of the surname. The phonosemantic analysis of the poetonyms provides convincing evidence that their exponents have positive ratings across a number of scales. The positive axiological coloring of these poetic names contrasts with the negative coloring of the names of other landowners, which is consistent with the author’s assessment of the characters.

Vuong Huu Quang and his poems inspired on the ambassador trip to China

Vuong Huu Quang 王有光, with courtesy name Dung Hoi用晦 and poetic name Te Trai 濟齋, was a high-ranked mandarin of the Nguyen Dynasty. He was born in Tan Duc Village, Tan Long District, Phien An Town, Gia Dinh Province, Southern Vietnam, into a family of the Ming-Dynasty immigrants who originated from CangZhou County, Fujian Province. Vuong Huu Quang held many important positions in the imperial court across various localities and traveled to China for diplomatic mission twice in the fifth year of Thieu Tri Emperor (1845) and from the seventh year of Thieu Tri (1847) to the first year of Tu Duc Emperor (1848). His name, however, is unfamiliar to Vietnamese modern readers due to his limited written legacy, most of which was lost in history. Researchers have known of only two steles poems he left in China, one engraved on a stele in Wuxi and the other in the Yue Fei Temple. Upon reading the old collection Viet Nam Han van Yen hanh van hien tap thanh 越南漢文燕行文獻集成, I discovered that Vuong Huu Quang and his co-worker Pham Chi Huong enjoyed writing and responding in poetic form during their diplomatic trips to China. This article introduces several more poems of Vuong Huu Quang to expand our understanding of another Southern Vietnamese poet who have been mostly covered by time, and provides a brief analysis on the poetic style that Vuong Huu Quang and Pham Chi Huong applied in portraying historical figures.

San’atga aylangan taxallus

This article is devoted to the problem of the relation between Navoi and his pseudonym “Navo”. For the great poet, pseudonym (taxallus) was not only a poetic name, but also was a special opportunity for the manifestation of his talent. As Babur said, Navoi was a poet who wrote “more and better than others.” “Hamsa”, especially “Hazoyin ul Maoniy”, includes hundreds of perfect couplets. Due to these couplets are a new type of the art that can be called navo (melody) and Navoi art. On the basis of this lies Navoi’s original point of view about high poetic symmetry. Navoi confirmed that every poetic work or a separate couplet must be created according to the rules of high symmetry; all poetic elements of the work must be related between poetic content both forms and meaning. The article considers the literary and Sufic meanings of Navoi, navo (melody), benavo, Navoe, through an analysis of a number of couplets from poet’s work.

The Blue Mosque in Tabriz. Architecture and Decoration: History and Reconstruction

This article is devoted to the history and peculiar features of the so called Blue Mosque in Tabriz. This outstanding monument of Iranian and Azerbaijanyan architecture of the second half of the 15th century deserves attention as for its ground plan, as for its unusual characteristics of the religious building luxuriously decorated inside and outside with the different ornamental and calligraphic compositions. The poetic name – Blue Mosque – was given to this building, due to predominance of blue, ultramarine and turquoise in its decoration. At first it was called Masjid-e Muzaffariyya (the Mosque of Muzaffar) after name of its founder. The inscription on the portal indicates the name of the ruler Abul-Muzaffar Jahanshah b. Kara-Yusuf Kara-Koyunlu (1438–67) and the date of the beginning of its construction (4 Rabi I 870 AH / October 25, 1465). The inscription on the eastern wall of the portal includes the name of the calligrapher Ni’matallah b. Muhammad Bawwab and the date which, apparently, fixes the time of completion of the ornamental and epigraphic decor on the main entrance (4 Rabi I 873 / 22 September 1468). Formerly, it was a large religious and charity complex, destroyed by earthquakes during centuries. Eventually only the Mosque’s majestic ruins had remained.

Lord Byron's Trademark

Michel Foucault wrote that "an author's name" enables us not only "to group together a certain number of texts" but also to "differentiate them from and contrast them to others." Scholars have explored the relation between copyright law and concepts of authorship, but the legal principle which is most relevant to the differentiation Foucault described is trademark, and this principle was first applied to authorial identity in the case of Byron v. Johnston (1816). After James Johnston published Lord Byron's Pilgrimage to the Holy Land, Byron's publisher John Murray, acting in the poet's name, was granted an injunction ordering Johnston to stop representing Pilgrimage to the Holy Land to the public as Byron's composition. The lord chancellor, Lord Eldon, granted the injunction on unusual grounds: the Court of Chancery would restrain someone from diverting to himself the benefits of another person's reputation for desirable products. Authorial identity here was less a kind of literary property than a kind of commercial good will.

Тематическая композиция эмигрантского автобиографического романа: от «Жизни Арсеньева» И. Бунина к «Дару» В. Набокова. Часть 1

Bunin’s novel “The Life of Arsenyev” is a completely new model, different from the classics of the 19 th century. In the novel “The life of Arsenyev” several themes are developed in a new way, in particular, the theme of aristocratic genealogy, it is deliberately deployed in all the richness of its cultural and historical semantics. The compositional rhythm of Bunin’s novel is subject, as often in the stories of this author, to elegiac laws with alternating and contrasting semantics of death, breakage, failure and rebirth, connection, love, life and creativity. Nabokov reproduces in the novel “The gift” many features of the model developed by Bunin: poetic name and literary genealogy of the character. Expansion of literary and cultural subtexts through the development of genealogical and travel motifs; the elegiac alternation of the theme of death, rebirth and its connection with the eventual Nabokov plot.

Life Writing in Relational Modes: The Year in Estonia

Life Writing in Relational ModesThe Year in Estonia Leena Kurvet-Käosaar (bio) and Maarja Hollo (bio) A glance at some of the canonical works of life writing in Estonia, such as August Kitzberg's Ühe vana "tuuletallaja" noorpõlve mälestused (1924) or Jaan Kross's two-volume Kallid kaasteelised (2000, 2008), reveals the prominence of "a relational model of identity, developed collaboratively with others" (Eakin, How Our Lives 57).1 What makes relationality a worthwhile focus for our review of Estonian life writing of the last two years are its varied manifestations in texts that engage with different generic conventions and cut across different strata of (literary) culture, from award-winning authors to amateur biographers, and from leading publishing houses to scholarly presses and grassroots publishing initiatives. One of the most noteworthy trends in Estonian life writing of the twenty-first century is the emergence of biogeographical spaces that form the basis of the author's self-perception and memories. One of the prime examples of this trend is the autobiographical novel Paradiis (2009) by Tõnu Õnnepalu—currently one of the most well-known contemporary Estonian authors—that unfolds on Hiiumaa, one of Estonia's small islands, and interweaves detailed descriptions of concrete places, buildings, and landscapes with the author's emotions and memories. Õnnepalu himself has described Paradiis as a work that combines documentary features and fairy tale elements (Laurisaar). In his latest work, an autobiographical trilogy published in 2019, Õnnepalu again interweaves fictional and factual, returning to the question of how a specific place, its people, and its landscapes shape the author's subjectivity as a (look from) "ühest maailma kohast maailma ja iseendasse" [self-reflection from a particular place in the world] (Pariis, back cover) entails. The first volume of the trilogy, the diary novel Pariis, describes the author/narrator's life in Paris in the summer of 2018 with reminiscences of the summer of 1993 when he was finishing his debut novel Piiririik (1993). Although the narrator's motivation is the desire to remember and relive the beginning of his journey as a writer, his [End Page 55] self-observations, reflections, and memories are overshadowed by contemporary Parisian landscapes and descriptions of Parisians. The second, quite controversial volume of the trilogy, Aaker, does not focus on the author's interior life, his memories, and imagination, but on his experience of participating in an annual gathering of diaspora Estonians in the Muskoka region in the woods of northern Ontario. In his work, the author reflects on the meaning of North America (and North American identity), including the experience of being Canadian. He makes no effort to hide his criticism of the Canadian Estonian community, asserting that his bitterness stems from their sense of moral superiority over Estonians in Estonia (Aaker 273). The roots of the narrator's attitude lie in the Soviet era, when Estonians then living in the occupied homeland were regarded by refugees abroad as collaborators with the Soviet regime. Yet the work also stands out for its picturesque depictions of the local natural surroundings—the landscape, animals, and plants where the author utilizes his extensive knowledge of nature, as well as his reflections on the meaning of Europe, viewed from the opposite shore of the "Big Pond." The last volume of the trilogy, Lõpmatus, is dedicated to one of Estonia's small islands, Vilsandi, which has been given the poetic name Lõpmatus (endlessness), a pun by the author as a response to a question by a friend "Kuhu maailma lõppu sa siis nüüd jälle pugenud oled?" [Where in the end of the world have you been hiding yet again?] (12). Distinct from Pariis and Aaker, this text presents perception of place and the narrator's vision of himself as interconnected; self-examination takes place by feeling one's way into a place and situating oneself within it. The novel consists of a collage of essayistic portraits that sketch firmer outlines of certain residents on the island, plants, birds, or locations that the narrator finds particularly meaningful. In addition to autobiographical cartography, important elements of the novel elucidate the narrator's confessional thoughts about time, particularly...

About the Danger of Vibration Combustion in Gas Explosions in the Room

In recent years, in experimental gas explosions in open volumes, such a phenomenon as vibration combustion has been recorded or, as they sometimes say, flame-acoustic combustion, or simply combustion, but accompanied by acoustic gas oscillations. Generally speaking, this type of combustion was known for a long time in the 19th century, from the time of Higgins and Rijke, and acquired the poetic name “singing flame”. However, at the onset of gas turbine and rocket engines, this phenomenon manifested itself in their combustion chambers and was designated as a whip, as it resulted in structural damage. But the vibration combustion is known not only for the destructive force, but also for the intensification of fuel combustion process in high-duty furnaces.

Sonet, cykl sonetowy i wieniec sonetów w poezji polskiej i europejskiej

This paper is devoted to the history of a sonnet and bigger collections built of sonnets, a sonnet cycle and a wreath of sonnets, i.e. a specific cyclic work of a particular internal structure based on repeating verses within the whole. Also, a formal diversity of the sonnet form has been presented. The basic variants of the genre include: Italian and French sonnets, as well as an English sonnet in its several forms. Moreover, the rhyme schemes, which are the indicators of those variations, have been analysed, as well as metric patterns most often used in the sonnet. Another issue discussed in the paper is the sound structure in sonnets, i.e. orchestration, especially vocal harmony. Names of poets, who mostly contributed to the codification of the sonnet as a genre and popularizing this form in international literature, have been mentioned. All the ideas are illustrated with examples from the works written by the most distinguished Polish and European poets.

NVMEROSVS HORATIVS?

One of the most famous inscriptions to have survived from ancient Rome is the acta of the Ludi Saeculares of 17 b.c. (CIL 6.32323 = ILS 5050), and one of the most evocative of all epigraphic sentences occupies a line to itself (149): Carmen composuit Q. Horatius Flaccus. This reference to the author of the Carmen Saeculare, says Fraenkel, ‘was the result of a carefully considered decision of the highest authorities’. The degree of careful consideration is initially evident from the prominent positioning of the poet's name directly above those of Augustus and Agrippa in the following line. It will also be noticed that the sentence concludes with a clausula (cretic + spondee) which is one of Cicero's favourites. A further refinement emerges, however, if the poet's name is spelled out in full, something precluded by the naming conventions of the inscription:Cārmēn cōmpŏsŭīt ´ Quīntŭs Hŏrātĭūs | Flaccus.The inscribed sentence incorporates an Asclepiad line, the ‘signature’ metre of Odes 1–3, which are framed by Horace's only two poems in stichic Asclepiads. In identifying the author of the Carmen Saeculare, the sentence also acknowledges the collection of poems which won him the commission.

Marathi Poem Classification using Machine Learning

Poem a piece of writing in which the expression of feelings and ideas is given intensity by particular attention to diction (sometimes involving rhyme), rhythm, and imagery. It is used for showing different views. Every poet writes a poem with a different intention and different views. In the proposed system we have classified the poem according to its sentiments by using words of different categories. Machine learning algorithm SVM classifier is used for differencing the class of the poem. This system also enables the user to search the poem based on the poet name and poet type. For 341 poems of five categories 'Friend', 'Prem', 'Bhakti', 'Prerna' and 'Desh' accuracy achieved is 93.54%.

Ovidijeva poezija ob soočenjih z Avgustovim režimom

Ovidij je nedvomno med vsemi avgustejskimi pesniki eden najbolj izrazitih oporečnikov v odnosu do avtokratskega režima cesarja Oktavijana Avgusta. Medtem ko je na primer Vergilij na Avgustov ukaz spremenil zaključni del druge knjige Georgik, tako da je izbrisal iz nje laudes Galli, ki ga je zadela damnatio memoriae, pa se Ovidij niti v svoji mladostni zbirki Amores niti v žalostinkah iz izgnanstva (Tristia) ni bal proslavljati tragično preminulega pesnika, ki velja za začetnika rimske elegije. Zato se ne smemo čuditi, da je tudi Ovidija zadela nekaka damnatio memoriae, saj so morale biti vse njegove pesniške zbirke, ne le spotakljiva Ars amatoria, odstranjene iz rimskih javnih knjižnic (Tristia, 3.1.63–80). Tudi v največjo umetnino, Metamorfoze, je Ovidij zasejal nekaj domiselnih in iskrivih protiavgustovskih bodic. Tako je na primer že v eni prvih epizod, v zgodbi o preobrazbi Likaona, še izraziteje pa v zadnji epizodi, kjer katasterizmu, tj. preobrazbi Julija Cezarja v zvezdo in podobni preobrazbi, ki po smrti čaka Avgusta, dodal za sklep še zaostreno poanto, da bo njegovo ime po smrti povzdignjeno še višje, visoko nad (super!) zvezde (torej še višje kot Cezarjeva in Avgustova zvezda): super alta perennis / astra ferar (Metamorfoze, 15.875–6).