Collection Of Poetry Research Articles

KAJIAN STILISTIKA BERORIENTASI DIKSI YANG BERINDIKASI NILAI PENDIDIKAN KARAKTER PROFIL PELAJAR PANCASILA PADA KUMPULAN PUISI BULAN TERTUSUK LALANG KARYA D. ZAWAWI IMRON SEBAGAI ALTERNATIF BAHAN AJAR DI SMK

This research aims to describe how D. Zawawi Imron manipulates or utilizes diction that indicates the character education value of the Pancasila Student Profile as well as the effects caused by the use of this diction in the collection of poems Bulan Tertusuk Lalang and used as an alternative for Indonesian teaching material in vocational schools. This research applies a qualitative descriptive method using a stylistic approach. This research uses data from the poetry collection Bulan Tertusuk Lalang by D. Zawawi Imron and Indonesian language teaching materials at vocational schools. Data collection was carried out using library study techniques. The results of this research are, D. Zawawi Imron manipulates or utilizes language in ways, namely: (1) using words that contain denotational and connotative meanings through expressions (2) using word data with the Pancasila Student Profile as an indirect way of expressing reality. The effect of D. Zawawi Imron's use of diction in the collection of poems Bulan Tertusuk Lalang is that readers can find out the meaning and message of the collection of the poems as well as provide characteristics of the language used by D. Zawawi Imron. As an alternative Indonesian language teaching material in vocational schools because it meets the requirements and criteria for good teaching material or materials. Interestingly, apart from the meaning of connotation and denotation, in these poems we also find archaic diction (ancient words that are no longer commonly used).One of the functions of this archaic diction is as a means of generating visual images for readers and the value of character education with the Pancasila Student Profile. Apart from that, you can also find understanding related to the holy book Al-Quran, stories of the prophet, history of the Majapahit kingdom, and philosophical theories. The results of data analysis also show that this stylistic study can be used as teaching material for Indonesian language and literature in module form.

Charting Gender Difference in Contemporary Romanian Feminist Poetry

The aim of this paper is to investigate the assertion of gender difference and gender identity in contemporary Romanian feminist poetry, taking the works of Medeea Iancu, Iuliana Lungu, Mădălina Oprea, and Nóra Ugron as its starting point. This study will underline recurring thematic patterns, highlighting the priority awarded, within these poetry collections, to matters pertaining to textuality, as well as to the peripheral position of women writers within the literary field. As a result of the uneven development of Eastern Europe’s women’s movement(s) during the post-communist transition, Romanian feminism can be described as a synthesis between Second- and Third Wave feminist themes (Miroiu), namely as having haphazardly imported both issues pertaining to “difference-” and to intersectional feminism. The emphasis local feminist poets place on positing difference, as well as on embracing a fluid identity, has motivated the usage of a theoretical framework based on the concepts of “sexual/gender difference”, and justified the attempt of linking these literary projects to the tradition of so-called “French post-structuralist feminism”. Lastly, this study proposes an overview of the possible political relevance that “neomaterialist” (Braidotti) strands of feminism may hold today, as well as an outline of some of the limitations that they pose.

Tipologi Kepribadian Bob A. Sitorus dalam Kumpulan Puisi Haru Hara: Kajian Psikoanalisis Carl Gustav Jung

This research aims to determine the personality of Bob A. Sitorus and the factors influencing his personality in the poetry collection "Haru Hara." The study employs a qualitative descriptive method to clearly and thoroughly describe and explain the data. The primary source of data is the book "Haru Hara," published by Obelia Publisher in 2023. Data collection involved listening and note-taking techniques, and the analysis was conducted using Carl Gustav Jung's Psychoanalytic theory. The results indicate that Bob A. Sitorus's personality can be understood through both conscious and subconscious realms, consisting of mental function and mental attitude. His personality type is identified as feeling-introverted. The unconscious structure is divided into the personal unconscious, including rational thinker aspects, and the collective unconscious, represented by the anima-archetype. Factors influencing his personality are personal unconscious elements such as maturity, love motives, and frustration, as well as collective unconscious elements like biological and religious factors.

Voices of Resistance: Caste and Gender in Meena Kandasamy's Poetry

Dalit women's poetry is a powerful form of political expression that challenges the caste system and patriarchal structures in India. It gives voice to the experiences of marginalized women, exposing social injustices and demanding social change. Their poetry raises awareness about social issues, fosters community building among Dalit women, and inspires political activism. It disrupts the status quo and demands social change. Touch, the debut poetry collection of Meena Kandasamy, marks a significant entry into contemporary Indian poetry. Published in 2006, this collection offers a poignant exploration of caste, gender, and identity. Kandasamy uses her sharp poetic voice to address the socio-political issues that plague Indian society, particularly focusing on the experiences of Dalits and women. This paper delves into the themes, stylistic elements, and critical reception ofTouch, highlighting its impact on modern poetry and social discourse.

VOCABULARY TO DENOTE SEASONS IN THE SEMANTIC-FUNCTIONAL ASPECT

The relevance of the article lays in the need to study the functioning of lexemes denoting seasons in literary speech and in the need to establish the specifics of their existence in the works of Ukrainian artists. The purpose of the study is to find out the peculiarities of the functioning of seasons’ names as representatives of the temporal space of poetic texts. To achieve this goal, it is necessary to solve the following main tasks: to analyze the vocabulary to denote seasons in poetic works in semantic, functional and stylistic aspects; to identify common and distinctive features in the use of this vocabulary in the selected collections. The object of the study is the vocabulary denoting seasons, and the subject is their functioning in the Ukrainian poetry of the Sixtiers and contemporary authors. Five poetry collections served as the source material for our study. The main research methods used in the work are: component analysis to study the semantics of words denoting seasons; contextual interpretation method to determine the peculiarities of the functioning of the vocabulary denoting seasons in expressing a theme and an idea; comparative method to compare the functional and stylistic parameters of the analyzed vocabulary in artists’ works. The functioning of vocabulary to denote seasons in the collections of Mykola Vinhranovskyi, Lina Kostenko, Vasyl Symonenko, Bohdan Melnychuk, and Svitlana Shabat-Savka has both common and distinctive features. It implements direct and figurative meanings and is the basis for the creation of various tropes. It has been established that M. Vinhranovskyi, L. Kostenko, and S. Shabat-Savka actively use seasons’ names and their derivatives. V. Symonenko and B. Melnychuk rarely use such temporal vocabulary to realize a theme and an idea. The prospect for further research is in the following observation of stylistic means relevant in Ukrainian poetry.

The motif of returning to the past in Oksana Zabuzhko’s poetry collection Hitchhiking

The motif of returning to the past in Oksana Zabuzhko’s poetry collection Hitchhiking

Representation of Femininity in the Poetry Books of the Era of Revolution and Civil War

The article examines several poetry collections of 1917–1922, which are of interest from the point of view of the representation of femininity both in the choice of titles and in the motif-figurative and thematic content. This period in the history of Russia is characterized by a crisis of previous social and cultural norms and behaviors, including traditional femininity, characterized by the emergence of new gender roles, for example, a revolutionary or a warrior woman. However, the analysis of women’s poetry books demonstrates that the former archetypes of femininity or recognizable types, for example, the image of a mother or a bohemian fatal beauty, not only do not disappear, but are also actualized, and women poets of the new wave boldly express their author’s subjectivity than their predecessors in the first decades of the twentieth century.

Queer Encounters as Poetic Disruptions of the Nation in Ozan Zakariya Keskinkılıç’s Prinzenbad (2022)

ABSTRACT Drawing on research highlighting the disruptive potential of migratory (e.g. Ahmed, S., 2000. Strange Encounters. Embodied Others in Post-Coloniality. London: Routledge, Heimböckel, D., and Weinberg, M., 2014. Interkulturalität als Projekt. Zeitschrift für interkulturelle Germanistik, 5 (2), 119–144) and urban encounters (e.g. Closs Stephens, A., 2013. The Persistence of Nationalism. From Imagined Communities to Urban Encounters. London: Taylor & Francis), this paper examines the everyday encounters in Ozan Zakariya Keskinkılıç’s debut poetry collection Prinzenbad (2022). More specifically, the analysis focuses on the question of how the depicted encounters unsettle a nationalist imaginary characterised by homogeneity, linearity and unity. The speaker of Keskinkılıç’s largely autobiographical poems navigates a distinctly transnational, intersectional identity – he is gay, Muslim, a third-generation immigrant from an Arab Turkish family and a German national. The poems detail casual discriminations at airport security checks and intimate encounters with men in urban cruising spots, like Berlin’s outdoor pool Prinzenbad. While the poems highlight the ubiquity of the nationalist imaginary, e.g. in personal relationships and language, they ultimately disrupt it by exploring alternative models of community and belonging in the speaker’s queer encounters.

Poetry Collection of 'A Song for Crossing the River Twice', by “Mohammed Abdelbari”: A Semiotic Study of Formation and Significance

This Research seeks to clarify signs and indicative connotations contained in the latest poetic experiences of the poet Mohammed Abdelbari in his Collection (Diwan) titled: “Song for Crossing the River Twice”. The latter was characterized by indicative and semiotic features on multiple levels. Therefore, the first section focused in studying the semiotics of textual parallelism across three themes: semiotics of the title, semiotics of quotation, and the semiotics of visual formation. In addition, the second section studies the semiotics of the structure of the poetic text through three themes: the linguistic sign, numerical sign, and the color sign, using the data of the semiotic approach based on monitoring and tracking the main signs in the poetic experience, and identifying their indication.

(NOT) LOOKING BACK: THE MYTHIC FIGURES OF ORPHEUS, AENEAS, AND PERSEPHONE IN KATERYNA KALYTKO’S POETRY

The paper deals with the integral myth in the last two collections of poetry by Kateryna Kalytko — “The Silent Women’s Order” (2021) and “People with Verbs” (2022). The all-embracing plot of the descent into the realm of the dead is revealed through the stories of three figures taken from the antique mythology — Orpheus, Persephone, and Aeneas. In Kalytko’s poetry, these figures can hardly be interpreted as actualization of the antique mythology through some occasional intertextual relations. They are positioned in the core of the intentionally constructed myth. Therefore, Orpheus’ descent into the underworld is correlated with the verification of language’s capacity to adequately reproduce the dramatic experience embedded in the collective memory. Furthermore, the re-reading of the myth is prompted by gender inversion, since Orpheus in Kalytko’s poetry is a woman. Orpheus-woman accumulates memories in her body, and ancestral stories become the fixation of the past in her actual corporeal experience, rather than merely an extension of her memories. The implicit ambiguity of language is a path for Orpheus, not Aeneas; in contrast to Orpheus, Aeneas does not look back. A verb, ‘diieslovo’, as a key concept of Kalytko’s latest poetry collection disintegrates into separate parts — an action and a word: Orpheus and Aeneas take different paths. Yet even this difference works for the integrity of a community — through Aeneas, whose path is directed to the future, and Orpheus, who gives a voice to the past. The dotted line of Euridice-Persephone plot confirms the importance of the topos of returning for Kalytko’s poetry since the reason for Persephone’s returning to Hades is her intention and not the underworld magic. (Not) looking back in this sense is a figure of symmetry, a looped mythic narrative of the descent to the realm of the dead — Persephone, who returns; Aeneas, who does not look back; and Orpheus, who looks back all the time.

TYPES OF ALLUSIONS IN BOHDAN TOMENCHUK’S POETRY ABOUT THE WAR

The paper examines allusions in Bohdan Tomenchuk’s poetry collection “Embroider, Mother, a bulletproof vest.” The various types of allusions are grouped based on their functions (activation of historical memory, adherence to literary tradition, text-structuring), themes (historical, mythological), and typology (ranging from nominal and quotation-type to associative). An attempt was made to differentiate the concept of allusion from quotation and reminiscence, while also juxtaposing it with intertext and intertextuality for comparison. In the poet’s texts about the modern Russian-Ukrainian war, the references to literary works are accompanied by numerous allusions to historical reality. These are references of the nominal type (topographical or proper names connected with certain historical events in the reader's mind). The author's distinctive approach involves overlapping different types of allusions, namely those of historical and literary nature, as well as historical and mythological. Behind a direct allusion, an associative one may emerge, linking to a text from a different time period through shared words, phrases, or thematic aura. The involvement of allusion in Tomenchuk’s poetry often occurs on the basis of the allegation (the new text ‘absorbs’ the previous one, without entering into a controversy with the original text). In this case, we deal with intertext (a text within a text). When an allusion entering a new text gets engaged in a dialogue with the original text, we deal with intertextuality as a process of textual interaction. By involving an allusion, the author makes it an element of the structure that serves as an impetus for the reader to navigate within a receptive context, searching among known texts relevant for interpreting the allusion while disregarding distant ones. Intertextuality engages cognition here. Sometimes allusion is not just an element of a structure but a structural principle, and it is proper to name it a structuring allusion. Various allusions in B. Tomenchuk’s poetry make it possible to fit the widest range of emotions and thoughts in a small textual space, to integrate the new experience of war into a broad historical and literary canvas with a biblical and mythological background.

The Structure of Description in the Poetry of Saadi Youssef

The study focuses on the poetry of the Iraqi poet Saadi Youssef, highlighting him as a creative and distinguished poet in various aspects. His published poetic works represent the early maturity of a poet capable of encompassing both the objective and artistic dimensions of modern poetry. Saadi Youssef can be described as having a conscious creative ability, with this research examining his descriptive poetry. Notably, the poet is a product of his environment, expressing its conditions and realities. The term "environment" refers to all conditions surrounding and affecting a person. This includes the place, natural phenomena in their colours, forms, living organisms, and inanimate objects, as well as events occurring within human society that change the course of their lives, reflecting the environment and its impact on humans. The motivation for choosing Saadi Youssef's descriptive poetry as the research subject lies in the absence of specialized studies addressing this aspect of his work. Additionally, Saadi Youssef's poetry contains a rich body of descriptive material, alongside the researcher's desire to explore the poetic lexicon of description in his poetry. The aim is to study the pictorial formation of description in Saadi Youssef's work, requiring attention to various historical, psychological, and intellectual aspects of his descriptive poetry, as well as examining the artistic and literary features it contains. Thus, the study adopts an integrative analytical method to analyze the poetic text. The research material comprises the descriptions found in Saadi Youssef's poetry collections, relying on many poems with descriptive nature.

Reception of Work of Afanasy Fet in China

The article examines the issue of the appeal of Chinese translators and researchers to the works of Afanasy Fet. The theme of the reception of the works of Russian classics does not lose its relevance in the context of intercultural communication. The material for the study consisted of Fet’s poems translated into Chinese, which were included in collections of Russian poetry or published in China as separate books, as well as studies by literary scholars and translators. The history of the reception of Fet’s works in China is presented. Two periods have been identified during which the study of the Russian poet’s work was carried out differently. It is noted that in the first half of the 20th century, Fet’s lyrics were translated and studied to a lesser extent because, from the perspective of the Chinese reader and specialist, they were considered to lack social significance, which was particularly important during that period of China’s development. However, from the late 1970s, the reception of Fet’s works began to develop. It is shown that during this period, the focus of translators and literary scholars shifted towards studying the artistic features of Fet’s poetry. Chinese researchers highlight the musicality, impressionism, and aesthetic qualities of the poetry of this Russian classic.

Khi ăn, nhai kỹ (When eating, chew carefully): Poetry Collection

Khi ăn, nhai kỹ (When eating, chew carefully): Poetry Collection

“The Creative Journey is all about Conquering New Frontiers”: In Conversation with Kaiser Haq

In this interview, Bangladeshi Anglophone poet, translator, and critic Kaiser Haq discusses diverse aspects of his writings and concerns. First of all, he talks about his recently published poetry collection, The New Frontier & Other Odds and Ends in Verse and Prose. Then, he dwells upon the charms and challenges of conquering new frontiers during his long poetic journey, his distinguished career as an academician, his role as an essayist and his work as a translator. He gives his opinion about the tradition of Bangladeshi Anglophone poetry and sheds light on his stance as a poet-witness and as a social critic. His representation of aberrant figures, debt to Bengal’s rich folk heritage, transformation of mundane observations to socio-political musings, and exploration of issues like identity and the environment come to the fore in course of the conversation. He spells out his poetic standpoint on issues like tradition and modernity, love and sex, religion and ethnicity, and diversity and unity. He takes pains to explain how his poetry testifies to Bangladesh’s evolution over the years through all the ups and downs. He points out how exposure to other climes and cultures and love for his own country and country people complement each other to create his poetic credo. Later, he elaborates on his attitude to memory and the media. He reveals his perspectives on poetic craftmanship and stylistic innovation. The interview wraps up with an enduring message from Kaiser Haq the poet for his readers.

En lyrisk dannelsesreise. Herner Sæverot bokbades av Kristin Knudsen

The article is a conversation between Kristin Knudsen and Herner Sæverot regarding Sæverot's latest collection of poetry, Dødspolstret liv (Death-stuffed Life).

UNMASKING MISANDRY: A NEW HISTORICIST READING OF CAROL ANN DUFFY’S “MRS AESOP” AND “EURYDICE”

The new historicism theory propounds that history is inherently textual, is composed of texts, and thus no such thing as absolute truth is possible while recounting the past. As a form of text, poetry stands out as a tool to reflect the society of which it is a product. As the first female poet laureate, Carol Ann Duffy encapsulates both fictional and nonfictional women from history and successfully manipulates what has already been narrated by men into something novel to give voice to women’s concerns in her poetry. This study, employing a new historicist approach, examines “Mrs Aesop” and “Eurydice” from Duffy’s poetry collection The World’s Wife to explore the prevailing sense of misandry among women in the late-twentieth-century Britain with the potential motivations behind the social dynamics that might have resulted in hostility towards men.

Wallace Stevens, Music Technology, and the Resonance of Poetry

Abstract Wallace Stevens titled his first poetry collection, Harmonium (1923), after a nineteenth-century musical instrument: the American reed organ. The title frames the book as a period piece, an emblem of a bygone age, but also as a musical instrument, a tool for producing new performances in the present. This tension, bound up in the history of the reed organ and the book that bears its name, can help us interpret a similar tension in contemporary poetry studies, where scholars of historical poetics seek to read poetic form against the media conditions of narrow historical moments, and proponents of New Formalism stress the importance of experiencing poetic sound and rhythm in real time. This essay, building on Stevens’s example, argues that the concept of acoustic resonance can help reconcile synchronic and diachronic methodologies and thereby generate sophisticated new ways to analyze poetic sound.

THE CODE OF THE INCANTATION IN KATERYNA KALYTKO’S COLLECTION PEOPLE WITH VERBS

Over the last decade, a significant vector of Ukrainian literature was the reception of the traumatic stress caused by the Russian-Ukrainian war. The works of Kateryna Kalytko, representing intensive metamodern explorations in contemporary poetry, occupy a significant place in this trend. The article interprets the poet’s idiostyle based on the collection People with Verbs (2022). This study focuses on the analysis of folklore archetypes in the author’s poetry, motifs, and verbal structures, whose origins are rooted in ancient Ukrainian incantational traditions. It also covers the interpretation of the poet’s meditative experience with the magic of language, its role in strengthening the spiritual axiology of a person suffering from terrorist aggression, and the establishment of a stoical worldview despite the fragility of life. This article aims to establish the concept of ‘incantation’ as a unifying system within the metaphorical world of the poetry collection People with Verbs. The term ‘incantation’ is interpreted as the functioning of verbal constructions aimed at healing from trauma, and the composition of incantatory metaphorical texts, inspired by the belief in the magical power of words. The paper applies such methods as comparative, structural, semiotic, anthropological, and hermeneutical analysis, as well as elements of the psychological school of literary studies. The study proves the actualization of the sacred worldview pre-system in the artistic thinking of contemporary Ukrainian poets, as illustrated by Kateryna Kalytko’s collection People with Verbs. It focuses on the author’s reflections and meditations during the war, appeals to suggestive speech preserved by genetic memory, and the use of its structures as a form of defence and resistance. The binary time-spatial model of the poet is marked by the cult of night, which corresponds to the ritual and spiritual practice in the field of the mystical. Kateryna Kalytko intensively operates with pagan archetypes and signs, and resorts to the use of proper names, emphasizing that even their pronunciation has a protective energy. The figurative system of corporeality, which is in line with the tradition of incantations, is indicative of the poetics of the collection. It concerns the specific markings (eyes, head, lips, muscles, lungs, heart, spine, knees, joints, throat, intestines, entrails, veins, etc.) that are part of the metaphorical structures of the incantatory nature. There are parallels with the healing modus of folk spells, firstly, the poetess tries to stop the bloodshed and protect the defenders with her words. In the spirit of the ethnocultural tradition, Kateryna Kalytko endows certain lexical signs with the function of verbal amulets (earth, roots, river, boat, stones, wood, forest, house, fire, wind, bird, feather, beast, iron, ash, crystal, etc.) At the same time, the poet’s metaphor is an objectification of the extrasensory perception of the act of speaking. The focus of Kateryna Kalytko’s artistic studio is the articulatory apparatus, the miracle of the birth of sound and voice, as evidenced by a number of tropes, whose centre is the word “throat”. The poet also tries to comprehend the changes in phonetics, vocabulary, morphology, and stylistics caused by the war. Kateryna Kalytko’s poetic search is correlated with the philosophical interpretation of the phenomenon of language by M. Heidegger, H.-G. Gadamer, and K. Jasperas. For the author, in accordance with the realities of war, the well-known statement “language is home” is transformed into the metaphor “language is a shelter”. Thus, in Kateryna Kalytko’s idiostyle, one can guess the pathos of whisperers, fortune tellers, healers, and molfars who resist evil with words. At the same time, the image of the author-medium is complemented by the hypostases of a witness of the Russian-Ukrainian war and a philologist.

Poetic Images in (The House of Female Reciters) By the Poet Sadiq Al-Tarihi

It has become clear to us that the simile image is the dominant image in the poet’s collection of poetry (The House of Female Reciters) and that the metonymic image is ranked second in terms of the intensity of its presence after the simile image. The Qur’anic textual reference represents the main tributary to the formation of the image in the House of Female Reciters, while the literary textual image comes in first place. Second after the Qur’an in terms of its presence. Traditional and contemporary poetic attempts represented a clear presence in (The House of Female Reciters), as the textual reference enriched its texts.