Nature Of Poetry Research Articles

Imdad Imam Asar And Classical Criticism Of Ghazal

Imdad Imam Asar wrote his book "Kashif Ul Haqaiq", in his book "Kashif Ul Haqaiq" Imdad Imam Asar has made Urdu poetry a subject like Hali, but his discussions are different from Hali. According to Imam Asar, the importance of natural poetry is unquestionable. Imdad Imam Asar says that natural language should be used in poetry. There should be moderation and proportion. Similes and metaphors should also be natural, exaggeration should be avoided. The description of various historical events and customs should be authentic. Scales of practical criticism have been formulated, mentioning all genres He has written a critical preface with explanations on Musnawi, Mursiyyah, Qaseedah, Vasukht, Qatah, Rabai, Masdus, and Ghazal.

Die (Spiel-)Welt muss romantisiert werden! – Die Rezeption europäischer Romantik in Walking Simulator-Games

This essay specifies how a sub-genre of the digital adventure game – the so-called walking simulator – reproduces and reflects ideas, motifs, and (narrative) structures of European Romanticism. The goal here is to draw attention to the genre’s potential for the academic discussion, analysis, and teaching of Romantic theories and patterns. To achieve this, I provide an introductory overview on the history of the walking simulator with emphasis on the early experimental games Explorer, The Forest, and LSD: Dream Emulator. An analysis of Dear Ether’s landscape design and narrative structure serves as access point into the discussion of how the Romantic ideas of 1. the sublime, 2. the silent poetry of nature, and 3. The Freudian Uncanny as well as the storytelling techniques of 1. synesthesia, 2. (reflective and meditative) walking, 3. fragmented narratives, and 4. (romantic) self-referentiality have been used in different walking simulators (such as Proteus, What Remains of Edith Finch, Gone Home, and The Beginners Guide) to tell (spatial) stories about emotions, identity, individuality. Walking simulators subvert traditional expectations towards digital games and, through their use of Romantic storytelling techniques, have changed the discourse about digital games as not only entertainment but a form of art.

Furnishing Nature: Textile Materiality and the Victorian Home in Alfred Hayes’s The Vale of Arden and Other Poems (1895)

This article examines the conjunction of environmental aesthetics, textile materiality, and notions of the home in the work of the British poet and translator Alfred Hayes (1857–1936). Hayes, who authored six collections of poems, has been largely neglected in studies of Victorian poetry, yet his pastoral and religious verse was popular among Victorian and Edwardian readers. Hayes was also closely affiliated with the fin-de-siècle literary scene. He contributed to The Yellow Book, collaborated with Richard Le Gallienne and Norman Gale, and was reviewed by Oscar Wilde. The essay investigates the forms and functions of Hayes’s textile references and allusions to Victorian interiors in the collection The Vale of Arden and Other Poems, which was first published by John Lane at The Bodley Head in 1895. Its lyrics weave together depictions of rural England as a home with imagery inspired by the textures of luxurious fabrics and furnishing objects, thus testing the boundaries of exteriority and interiority. The article first surveys the contents, potential influences, and material design of Hayes’s little-researched book. It links Hayes’s use of poetic form and imagery to late Victorian understandings of organicism in Arts and Crafts design and home decoration. At the centre of the article will be a close reading of Hayes’s poem ‘My Study’. The poem portrays an idyllic landscape as the speaker’s study. It alludes to conceptions of the ‘house beautiful’ and the ‘book beautiful’ as it combines ecopoetic and religious notions of nature as a domestic space and as a site of learning. The article argues that textile ecologies are central to Hayes’s negotiation of relationships between nature and artifice, enabling a distinctive fusion of traditional English pastoral and fin-de-siècle aestheticism. The eco-aesthetic meditations of Hayes’s poetry highlight conceptual links between nature and notions of the dwelling space (‘oikos’), and, at the same time, suggest that material culture, specifically the fin-de-siècle craze for beautiful objects and textures, furnished Victorian nature poetry.

... Penetrating into the Heart and Poetry of Nature

... Penetrating into the Heart and Poetry of Nature

Enslaved Ecopoetics:

Scholars, such as Kimberly Ruffin and Katherine Lynes, reconsider American environmental poetry that excludes African American ecopoetic traditions of the antebellum period. According to Ruffin, in order to reconstruct and enhance our sense of ecopoetry, we must reevaluate the black tradition of nature poetry, exemplifying the contemporary approaches to slavery in the USA and elsewhere. Likewise, Lyne’s “reclamation ecopoetics” attends to the history of dangers, despite centuries of methodical and organized exploitation, that human groups bring to the black human subjects as well as to non-human nature. Building on this scholarship, I focus on the nature poems of George Moses Horton (1797- 1883), the life-long enslaved poet, that highlight the inseparable unity of nature and humans. Horton’s poetry deployed nature to prove both the humanity and the intellectuality of the enslaved. My study traces a history of American enslaved ecopoetics that requires us to think of the enslaved human subjects as individuals whose nature poetry hinges on the dangers of subjection and exploitation of chattel slavery. My essay resituates Horton, the black bard of North Carolina, in the nineteenth-century American paradigm, analyzing his poetry and his racial subjugation from an ecocritical perspective.

Gothic leiþu, “strong drink; fruit wine?” and its Cognates in the Germanic Languages

Gothic <i>leiþu</i>, “strong drink; fruit wine?” and its Cognates in the Germanic Languages

Between Reason and Faith: Robert Frost’s Heaven

Frost did not merely sing about the superficial beauty of landscape in his so-called nature poetry. The depiction of nature was, after all, a framework providing a clue for exploring the fundamental problems of humanity. Although he used conflicting ironies as a means of keeping himself in a neutral stand, that does not mean that he is an agnostic or a cynic. Contrary to what modern Gothic readings might assert, Frost’s poetry never shows any absence of faith. Rather, faith occupies a central position in the text of his poetry as a product of a complex and often ambivalent aesthetics rooted in dualism. His was a faith that acknowledged human limitations, not an institutionalized one that blindly clings to the doctrines and rejoices in the assurance of mundane successes. It was an ever-maturing faith, that of the agonizing sufferer who endures, learns, and moves forward. As he gradually accepted the “roughly zones” beyond human understanding, Frost showed a development from reason to faith, insisted on the courage to surrender to the absurd, and sought mercy instead of justice as a way to salvation. However, he did not want to completely ignore existential reality, even while he assumed the existence of heaven. Frost, having amalgamated these opposing elements, must be recognized as not just a nature poet, but as a courageous spiritual poet with an honest critical intelligence. His various seemingly ambiguous statements, inevitably derived from the conflict and tension between reason and faith, were not his poetic flaws, but were actually his greatest aesthetic achievements.

A Gadamerian-Hermeneutic Reflection on T. S. Eliot and W. B. Yeats’s Poetics

ABSTRACTThis article investigates the hermeneutical dimension of T. S. Eliot and W. B. Yeats’s poetics vis-à-vis H.-G. Gadamer’s philosophical hermeneutics. The study stems from a remarkable observation that Eliot and Yeats not only anticipate what Gadamer has systematically explained in his philosophical project, but they also present a new kind of poetry that can easily yield itself to a Gadamerian reading—one that is primarily based on the principle of hermeneutical situation and dialogue. The article strives for a critical study that focuses on the relevance of Gadamer’s hermeneutics to reading and interpreting the poetry of Eliot and Yeats, as well as uncovering the underlying kinship between their hermeneutic reflection on the nature of poetry, truth, history, and understanding. The analysis undertaken has yielded interesting results, bestowing Eliot and Yeats as poets-philosophers who are genuinely aware of what Gadamer has advanced in his philosophy. This hermeneutic consciousness ingrained in Eliot and Yeats’s thoughts is the main motive that drives them to experiment with tradition, myth, symbolism, and musicality, in order to provide the reader with dialogic poetry, which Gadamer himself highly admires for its ability to facilitate the disclosure of truth.

ELIZABETH BISHOP’S ONE ART: PHONOLOGICAL ANALYSIS

Elizabeth Bishop Poem's One Art is utilizing textual analysis employing phonological analysis. The poem reveals rhyming sounds that are evident in poem like alliteration and assonance. It is argued that Bishop's poetry achieves real power just by being honest. In order to connect with her audience and write a poem about a subject that many people, especially women, care about, the poet, a woman draws on her own life experiences. She touches on a sensitive subject for many women when she mentions losing a gold watch or forgetting names: the dread of losing something dear to them, like their mother's watch, or of becoming older and forgetting things or experiencing memory issues. It's important to keep in mind that the poet's own experiences and viewpoints influence the poetry and aid in making the audience believe it. The reader will see a comparison of losses between several items in this poetry. The poet employed rich structural and sardonic structure to create a very straightforward but deep poem. She rejects the statement "Loss is not difficult to maser," so you can tell. The final line's shift to "Loss is not so difficult to learn" may be a sign that the poet is finding it harder and harder to cope with the loss of his loved one. Bishop demonstrates how embracing loss and losing the little things enhances the ironic nature of poetry. She is, after all, a tiny "one art." She thinks she can start a new life and progress if she can get out of pain and let go of her emotions, but she finds that to be too challenging. Bishop turns losing into an art form and investigates how, if we can master it, we may become detached from the hurt of loss. Elizabeth Bishop's father passed away when she was just eight months old, her mother later died of a mental condition, and she eventually lost her lover to suicide. We could therefore consider this poem to be partially autobiographical. In it, the poet lists a number of things we might lose in life in order of increasing importance, with the loss of a loved one serving as the list's ultimate resolution.

Existential and Religious Concepts of Fyodor Tyutchev's Poetry as Proof of the Existence of God

The philosophical nature of Tyutchev's poetry was noted by researchers of his work during the poet's lifetime. The study of Tyutchev's work makes it possible to trace the origin of a unique direction of philosophical thought in Russian poetry of the XIX century – religious existentialism. The research carried out within the framework of this article allowed us to trace the genesis of the original direction of religious existentialism in the poetry of F. Tyutchev, who interpreted Nature in his work in philosophical categories. In his poetic works, Tyutchev does not just depict the splendor of Nature, but shows his own idea of the essence of the universe and tries to solve the riddle of human existence through the knowledge of the secrets of Nature, which is presented as proof of the existence of God. Thus, Tyutchev's poetry of Nature is regarded as existential poetry, since it gives a person an answer to the question of the meaning of his existence. In Tyutchev's poetry, the tragedy of human existence correlates with a similar theme developed in the philosophical treatises of the founder of existentialism, S. Kierkegaard, and subsequently continued in the works of the German existential philosopher K. Jaspers. Kierkegaard imagined a gloomy reality where a person is doomed to exist, plunged into the abyss of despair. At the same time, the founder of existentialism offered man a way out of tragic existence through the process of self-improvement, that is, the formation of his own personality, and striving for God. However, the process of becoming a personality is also a path to the tragedy of being, as it leads to a violation of harmony between man and Nature. It is this existential problem, which is related to the borderline situation of Jaspers, that lies in the focus of Tyutchev's attention, who described in poetic form the relationship between man and Nature and showed the only possible way out of this situation through making an existential choice in favor of accepting faith in the true God.

Relics of a Childhood

Relics of a Childhood Tak Erzinger (bio) Chichen Itza—1982 We arrive at the pyramidover land and seain search of something, hija y madrewith dry mouthsand heavy steps I interpret languagea child should never hearread her thoughts, too a few pesosfor some drinksdoes not quench this thirst our dark facesscan the mysteryKukulkan's symbols, winged serpentdrawn to the sunlike me to her, I think [End Page 81] but what I overlookshe's brought me herea sacrifice offering up her guiltpenance for a lifeshe'd like to leave and like a snakeneeds to shed it nowpieces fall away on my lipsskin cracked—assaultedby what, I cannot say a silent cryfrom a childshe's letting slip away. [End Page 82] Blood Gold My mother had a coffer of goldand two languagesevery holiday she gaveme a piece of jewelry, theweight heavier and heavieras she unloaded the responsibilitynow I wear it like a leaden anchordug into the land of Colombia—a noose of memoriesattached to the walls ofa colonial house, dangling from guava treescoming in waves like that of the Atlanticfull of phantoms: Afro, Indigenous, and Spanish. I fiddle with the contours of the chainssearching for how she could let it all go?Pieces hanging on to melinks to something done unseenand think if she can give it up, so can I.I think emancipation. I ask the pawn shop,"How much is it worth?"I'm told a ton and I lookin the mirror, the heirloomsclinging around my skinI see the beauty my mother [End Page 83] refuses to see, I feel the painof it too. It's hard to bear the weightof who you are and where youcome from, how easy it isto get lost in translation.I choose to uphold her legacyno matter the cost. [End Page 84] Tak Erzinger TAK Erzinger is an American/Swiss poet and artist with a Colombian background. Her poetry has been featured in Bien Acompañada from Cornell University, River and South Review, Welter from the University of Baltimore, and more. Erzinger's most recent poetry collection, At the Foot of the Mountain (Floricanto Press), won the 2021 University of Indianapolis Etchings Press Whirling Prize for best nature poetry book. Copyright © 2022 Trustees of Indiana University

Science and poetry: poems as an educational tool for biology teaching

In this article we present the results of a biology teaching module offered at university bachelor level for law students and social sciences students in Lima, Peru. The objective was to trigger philosophical reflection on the notion of nature (cognitive dimension) and to assess if and to what extent the use of poetry contributes to the students’ understanding of nature by adding emotional and conative (desire for action) dimensions. We accounted three dialectical moments of natural sciences and nature poetry in history and discussed their meaning in the context of biology teaching nowadays. We also highlighted the importance of poems as semiotic resources for science learning and explored bibliographic accounts of similar studies. Our results indicate that nature poetry fosters a holistic view of nature, allowing students to combine knowledge with value concerns, and cognitive with conative and emotional dimensions. Also, poetry allows them to connect or confront scientific information with traditional indigenous knowledge. Finally, we found that poetry afforded students a sense of freedom to present and discuss their personal experiences with nature. We concluded that this module can be used as a supplementary educational tool in biology courses and those meant to inspire action and reflection in the face of global environmental challenges.

Exploring Nature in the Selected Poems of Derek Walcott and Kaiser Haq: An Ecocritical Approach

The main goal of this article is to look into the relationship between nature and man as it is portrayed in the poetry of Derek Walcott and Kaiser Haq, two renowned poets from two distinct realms, namely St. Lucia and Bangladesh, respectively. Taking into consideration the rising level of environmental awareness, both poets have attempted to produce poetry that integrates man with nature. The poetry, particularly nature poetry, of these poets is explored in order to undertake study from an individual viewpoint, but there has yet to be a major examination into a comparative technique by adopting an ecocritical approach. In this study, the researchers attempt to uncover the nature of poetry disguised inside the chosen poems of the legendary poets by examining the creative and aesthetic characteristics of their works. This study examines the interaction between man and the environment via the lens of an ecocritical approach in a comparative manner. In this research, one poem by Kaiser Haq, "Poor Man Eating," and one poem by Derek Walcott, "Map of the New World," are examined from the perspective of environmental awareness. By concentrating on these poems and using an ecocritical perspective, this study attempts to demonstrate how the poet is sensitive to nature and how people are concerned about the environment.

Culture in the Seminar Room of Poetry: Poetic Insights for Cultural Psychology

Some relations between poetry and Cultural Psychology have been investigated in the past. Yet, the very nature of poetry and its fundamental links to Cultural Psychology remain uninvestigated. By outlining the essence of poetry – its rhythmic-melodic, linguistically pictorial character – I show how poetry is in deep accordance with Cultural Psychology of Semiotic Dynamics. Poetry is all about experiences and emotions; these emotive experiences explain the basic relatedness of a person towards an object and shed light onto the complex processes of sign construction. It is only while taking into account the genetic Gestalt, previous and subsequent elements within a specific rhythmic and pictorial form that we are able to unravel this specific relatedness. Different poetic texts might then treat the same object but the relatedness towards it might diverge drastically. Based on these poetic elements, I define culture as a poetic field. Referring to a fictitious example, I explain that researchers and practitioners need to take into account a person’s complex rhythmic actions, that are divided genetically into different forms to understand his/her complex experiences of the environment. Then this illuminative power of relatedness sheds light onto the dynamically complex structuring and re-structuring of culture.

The formation of a unique paradigm of religious Existentialism in the poetry of Fyodor Tyutchev

The philosophical nature of Tyutchev's poetry was noted by researchers of his work during the poet's lifetime. The study of Tyutchev's work makes it possible to trace the origin of a unique direction of philosophical thought in Russian poetry of the XIX century – religious existentialism. The research carried out within the framework of this article allowed us to trace the genesis of the original direction of religious existentialism in the poetry of F. Tyutchev, who interpreted Nature in his work in philosophical categories. In his poetic works, Tyutchev does not just depict the splendor of Nature, but shows his own idea of the essence of the universe and tries to solve the riddle of human existence through the knowledge of the secrets of Nature, which is presented as proof of the existence of God. Thus, Tyutchev's poetry of Nature is regarded as existential poetry, since it gives a person an answer to the question of the meaning of his existence. In Tyutchev's poetry, the tragedy of human existence correlates with a similar theme developed in the philosophical treatises of the founder of existentialism, S. Kierkegaard, and subsequently continued in the works of the German existential philosopher K. Jaspers. Kierkegaard imagined a gloomy reality where a person is doomed to exist, plunged into the abyss of despair. At the same time, the founder of existentialism offered man a way out of tragic existence through the process of self-improvement, that is, the formation of his own personality, and striving for God. However, the process of becoming a personality is also a path to the tragedy of being, as it leads to a violation of harmony between man and Nature. It is this existential problem, which is related to the borderline situation of Jaspers, that lies in the focus of Tyutchev's attention, who described in poetic form the relationship between man and Nature and showed the only possible way out of this situation through making an existential choice in favor of accepting faith in the true God.

Trees and Tradition in Early Ireland

Old and Middle Irish nature poetry has long been appreciated for the vividness of its description of the natural world. In this paper, we will show that the inventory of trees and bushes upon which poets drew was based less upon direct observation of nature than upon a traditional taxonomy found in a completely different genre, the law tracts dating back to the seventh century, notably the tree list edited by Fergus Kelly in 1976 from Bretha Comaithchesa ‘Judgments Concerning Neighborhood Law’. Thus, the economic and aesthetic value of trees and bushes as discussed in law tracts and nature poetry were part of a single continuous tradition of taxonomy and silviculture stretching over at least 500 years. We will end by discussing the relationship between this tradition and the Ogam letter names (McManus 1997).

Comparison of the theme of national romanticism in the poems of Magzhan Zhumabayev with the works of Turkish poets

Studies of M.Zhumabayev’s creativity are carried out in various fields of science. It is known that in recent years “Magzhan tanu” as a separate branch of science has achieved a lot and began to take shape. The complexity of M.Zhumabayev’s life and the versatility of his heritage attracted the attention of foreign scientists. That is, the work of the poet is not limited to poetry. The need for a systematic and comprehensive study of philosophical and historical sources and pedagogical views in his works can be considered the imperative of the times. M.Zhumabayev, one of the prominent representatives of Kazakh literature, is one of the poets who sang the theme of Turkism in his poetry at the beginning of the 20th century, and is a unique figure for the Turkic peoples. In his poems, expressing his views and attitude towards society, it is stated that “the name of the nation is Turkic, the name of the homeland is Turan.” Obviously, the word “Türik” does not refer to one people in the works of this poet. He called the entire Turkic world to unity and solidarity, and for the rest of his life longed for the independence of the Kazakh people. In addition to depicting inner experiences, his poems widely discuss social issues written in the spirit of critical realism. It is known that the struggle for national liberation and ideological unity of the Turkic peoples of the early twentieth century was reflected in the poetry of M.Zhumabayev. Thanks to this feature, the name of M.Zhumabayev is one of the first to be mentioned when talking about Kazakh literature in Turkey, which is the leading country of the Turkic world. Although M.Zhumabayev did not travel to Turkey, his literary personality and views are widely known in Anatolia. In this context, the analysis of his poetic works by the method of analyzing the texts of Turkish literary critics and comparing the Turkic ideology of the poet with the works of poets who support the Turkic movement in Turkey shows the relevance of our topic. If we look at the principles of M.Zhumabayev and the poets of the national period of Anatolian literature, we will see that their subject matter is close, and their goals are the same. In this regard, the purpose of our study is to compare the poems of M.Zhumabayev with the works of poets who sang the Turkish direction in terms of national romanticism. In addition, the results of the study were differentiated on the basis of the methods of complex, systematic, comparative, objective-analytical, historical-systematic analysis, generalization, and generalization inherent in the science of literary criticism. The collected data were compared by topic. The main methodological and theoretical basis of our research is the enrichment of the conclusions of domestic and Turkish literary criticism, the nature of poetry, epic genres, epics, genre-stylistic, artistic and aesthetic features of poems.

Love the Live Oak

William Bond, “Love the Live Oak: Sidney Lanier’s Ecopoetics and the Critique of Mediation” (pp. 427–454) Sidney Lanier’s poetry has long been read as an exercise in the poetics of pure sound (and as either an escape from or an affront to a poetics of subjective lyric expression). As this essay shows, in an early phase of Lanier’s poetic career, his poetics of pure sound is tied to a late-Romantic form of nature poetry, which anticipates the new materialist ecotheory of the twenty-first century: specifically, in the 1872 essay “Nature-Metaphors,” Lanier lays out a model of nature poetry founded on the belief that poetic form can embody an ontological continuity between human and nonhuman being. This essay argues that Lanier’s ontological model of ecopoetics negates the need for mediation in the experience of nature. This is, at bottom, a fantasy of immediacy that demands the erasure of human-nonhuman difference. In the final section of the essay, Lanier’s last poem “Sunrise” is examined; there, we can see Lanier outlining an alternative ecopoetics that, rather than trying to circumvent poetic mediation, relocates it within experiences of rhythm.

The Conception of Nature in William Wordsworth’s poetry

This thesis aims at studying the conception of nature in William Wordsworth’s poetry. As one of the remarkable representatives of the romantic period, William Wordsworth played an incomparable significant role in the development of English romantic poetry, and also laid a foundation for its further development. Influenced by social background and personal experience, Wordsworth’s natural poetry broke through the shackles of neoclassical literature and gradually formed his own unique conception of nature. Wordsworth’s conception of nature was based on the relationship between man and nature, and it emphasized the role of nature in social life and spiritual redemption. By analyzing the relationship between man and nature and constantly seeking the essence of life in nature, the poet attempted to find a way to solve human’s problems. Although there have been a lot of researches on Wordsworth and his poetry, there are few studies that systematically analyze the conception of nature in William Wordsworth’s poems by integrating his natural poetry into a whole. Based on William Wordsworth's personal experience and social background, this thesis attempts to analyze the causes of the formation of Wordsworth’s conception of nature. Through the careful interpretation of Wordsworth’s natural poetry, this thesis summarizes his conception of nature and its characteristics. It was found that in William Wordsworth's natural poems, nature was the unity of human nature, rational nature and divine nature, and the combination of the three was the highest attribute sought by human beings. Mastering these characteristics is of great reference values for the study of romantic natural poetry and Wordsworth's conception of nature.

Aesthetic Ideology — An Interpretation of Carl Sandburg's Nature Poems

Carl Sandburg was an outstanding modern American poet, many of his poems voice the development of the American society and express and deliver his concern towards the civilians and those poems received a warm welcome from the populace as well as the academic world. However, his nature poems which convey considerable aesthetic thought and which portray grand beauty do not gain much attention from the public. Through the analysis of fourteen of Carl Sandburg's most artistically designed nature poems, aims at revealing his aesthetic ideas in nature poetry and meanwhile, to a certain degree, exposing to the readers the charm of it.