Poetry Criticism Research Articles

MARCAS E PROCEDIMENTOS DA POESIA POPULAR NA OBRA DE JOÃO CABRAL DE MELO NETO

João Cabral de Melo Neto built a poetry project that does not separate the exercise of the poem from the forms of expression of social reality and the ways of life of his community. The poet avoided talking about himself and his individuality to give way to popular stories of local characters and the needs of the community with which he identified. The objective of this work is to understand the identification that Cabral presents with popular poetry through the analysis of traits, forms and procedures of this poetry present in his work. Descriptions, comments and analyzes of some aspects of João Cabral's poems were made, in which the resumption of popular poetry procedures is perceived, such as strophic, metric and rhymic structure; presence of synalepha; narrative and dramatic nature of the verses. To support this study, works by critics of Cabral's poetry were consulted, such as João Alexandre Barbosa, Benedito Nunes, Luiz Costa Lima, Ángel Crespo, Antonio Carlos Secchin and studies on popular poetry by Segismundo Spina and João Miguel Manzolillo Sautchuk.

The Images and Metaphors in Death Fugue

Paul Celan's Death Fugue is one of the most important poems of the 20th century. The obscure and profound metaphors and images in the Death Fugue have always attracted people's attention. In addition, his poetry is seen as the product of a world in transition. After the Holocaust, the myth of modernity was destroyed so that the past experience was considered questionable on a poetical level. The Death Fugue was written in a way that had never been written before. This paper analyzes the text from the perspective of metaphor and intention and explores the potential meaning of words. This paper selects three main images and interprets them in combination with history and philosophy. The author analyzes how metaphors and imagery in the poem reproduce the Holocaust scene and responds to literary criticism of poetry after the Holocaust. Through these rare metaphors and images, Paul Celan created a new paradigm of poetry and made readers read it in a new way.

The Riddle of the Thread: On Arabic ghazal

Ghazal is the Arabic word for “amatory verse”, and in other languages of the Islamic world it designates a sonnet-like poetic form. The notion that the word stems from Arabic ghazl “spinning thread” is widely held, despite the absence of support for this in classical lexicography and poetry criticism. Comparison to Semitic cognates points to an alternative derivation of ghazal from a verb of speaking – specifically, speech that is ambiguous and suggestive – by way of attraction to the gazelle (Arabic ghazāl), an ancient Near Eastern idiom for the beloved. While ghazal poetry emerged in Western Arabia during the first century of Islam, the genesis of ghazal as a term of art predates the literary record, as may be appreciated in a poem by ʿAmr ibn Qamīʾa (6th century CE) that has been called the earliest complete qaṣīda in Arabic manuscript tradition.

An Example of Classical Turkish Poetry Criticism Terms: “Sûz-Nâk”

Klasik Türk şiirinin eleştiri terimlerinin oluşmasına katkı sağlamak amacıyla yapılan bu çalışmada, şair tezkirelerinde ve divanlarda şiirle ilgili yapılan değerlendirmelerde sıklıkla kullanılan “sûz-nâk” terkibinin kullanım şekilleri irdelenmiş ve terkibin karşıladığı anlam alanları tespit edilmeye çalışılmıştır. Farsça birleşik sıfat olan ve sözlüklerde “yakıcı, yakan, dokunaklı, etkili” karşılıklarıyla yer alan sûz-nâk, şiirin bir sıfatı olduğunda genellikle sözlük anlamlarına uygun olarak kullanıldığı görülmüştür. Bununla birlikte tezkire yazarlarının ve şairlerin bazı değerlendirmelerinde bu kavram ile ne anlatmak istedikleri, hangi şiirleri sûz-nâk olarak niteledikleri görülebilmektedir. Bu değerlendirmelerde “Gönüldeki aşkı, aşk ateşini, gönülleri aşkla yanmış âşıkların dertlerini, sıkıntılarını, gönüllerindeki sızıyı anlatan; âşıkane üslupla söylenen; sevgiliyi ve onun ateş gibi yakıcı özellikteki güzellik unsurlarını anlatan; arzuyla söylenen; ayrılık ve hasreti anlatan; manevî bir feyizle söylenen; dinleyen ve okuyanların ciğerlerini ve gönüllerini yakan, onları hâlden hâle sokan” şiirlerin sûz-nâk şiirler olacağı belirtilmiştir. Bu kullanım alanlarına ve değerlendirmelere bakılarak sûz-nâk terkibinin sözlüklerdeki anlamlarına “şahsî duyguları içli bir şekilde anlatan; gönle tesir eden; duyguları harekete geçiren; duygusal, içli; içe işleyen, tesir eden, dokunaklı; coşkun, heyecanlı; zevk veren; hüzünlü; âşıkane” vb. anlamları da eklemek mümkündür.

The Ural school of poetry: An outsider’s view

The article considers the phenomenon of the Ural school of poetry, an umbrella term for verses written by Ural-based poets active in the 1990s–2000s. The author examines legitimacy of the term itself. Contemporary critics’ opinion is still divided about the existence of such a school, as the term ‘Ural school of poetry’ (or USP) may refer to both poets included in Ural regional anthologies as well as Ural-specific poetics. The study proceeds to enumerate key figures defining USP and to explore the school’s characteristic features and historical development. Citing reviews by modern critics of poetry, who at one point or another analyzed the phenomenon of USP, Batalov focuses on clearing up contentious issues. For example, whether B. Ryzhy is a USP poet (it is argued that he is not, as he saw the outside world and the city — the ‘fairytale Sverdlovsk’ — as the embodiment of a cruel paradise on earth, whereas other Ural poets portrayed the city as the realm of death); whether the school’s method has a future and whether USP has any influence on modern poetry in general.

Gheorghe Grigurcu’s Exegesis. Some Opinions

Gheorghe Grigurcu is known as a literary critic of poetry, while the position of poet was the writer’s first vocation. We identify the marginalization of the poet both geographically, being isolated in “Amarul Târg” (Târgu Jiu), and literary, by imposing some malicious restrictions: all this placing him under the badge of suspicion. Regarding the exegesis of Gheorghe Grigurcu, it is appropriate to selectively inventory some opinions belonging to contemporary literary critics or writers who have asserted themselves and capitalized on the status of a literary critic, but also a poet, as the writer Grigurcu himself wanted to be received. The dual nature of the writer, critic and poet, makes it impossible to analyze the two vocations separately, a fact that requires their twin research. Nonconformist, awkward, atypical, formidable polemicist, judicial spirit, corrosive is just some of the defining attributes that highlight the personality legitimized by the book universe. For the literary critic, poet, polemicist and author of aphorisms of the same name, to give up writing is to deny oneself.

A Contrarian Muʿtazilite Theologian/Poet’s Guide to Fine Poetry: Al-Nāshiʾ al-Akbar (d. 293/906) and How to Write Inimitable Poems

Abstract Boasting of one’s poetic talents was hardly an uncommon feature in Arabic poetry. Poets sang praises for their craft and exalted themselves over their rivals. They sometimes moved beyond braggadocio, however, explaining the particular attributes that made their poetry of unmatched quality. Al-Nāshiʾ al-Akbar (d. 293/906) was one such poet who declared his poetry to be an inimitable product defined by standards that he outlined in his didactic poems. He also penned at least one book on the criticism of poetry which only survives now as excerpts in a number of fourth/eleventh century works of adab. Fine poetry, according to al-Nāshiʾ, is the harmonious articulation of sounds and meanings presented in an accessible way to its audience but is impossible to reproduce. In this respect, I propose that, in expounding the standards of excellent poetry, al-Nāshiʾ alluded to theories of inimitability (iʿjāz) based on composition (naẓm) and divine prevention (ṣarfah). He was a Muʿtazilite theologian who was both celebrated and vilified by his contemporaries, and later scholars. His theological writings have been examined; however, his literary persona is still little-known. In contrast to most considerations of him, this study examines al-Nāshiʾ as a poet and critic foremost.

Debord et Jouffroy, alliés en instance de poésie

Alain Jouffroy and Guy Debord belong to the same generation, "attracted" by suicide and revolution, being in touch with surrealism and the Marxist movement(s) of May 68. Jouffroy never became a member of the Situationist group, but in the frame of "Poetry of real-life" he wrote the poems that the Situationists refused to produce. His poetry had a grasp of the everyday situations/meetings, by criticizing the capitalist society, and overcoming the very notion of poetry without abandoning the poetic means, proving, thus, that criticism of capitalism and criticism of poetry are both compatible with poetry itself. Jouffroy applies sabotage and guerilla war methods—as well as Situationist methods such as the textual-détournement—on his own texts to provoke a poetic-language revolution. Situationnists used to criticize Jouffroy's views. All the same, by publishing Revolutionary Individualism, Jouffroy enters into virtual dialogue with Debord, mainly, on The Society of the Spectacle. Jouffroy discusses Situationist topics including textual-détournement and the overcoming/abolition of art. In his Trans-paradis-express poetry collection, he stages his imaginary meeting with Debord and Ducasse. Finally, he inverts the course of history, officializes his alliance with Debord by establishing him as ``the poet of Paris'', an image that emerges from Debord's own films, life and autobiographical works. He inscribes Debord's project in his own poetical and revolutionary project: Revolutionary Individualism and the "Poetry of real-life". In this way, he justifies Debord's work as well as his own.

"To Measure is All We Know": William Carlos Williams and the Science of Measurement

Abstract: Critics have routinely voiced their frustrations with William Carlos Williams's term 'measure'. But from the late 1930s onwards, he compared his idea of 'measure' to the science of measurement. This article suggests, firstly, that to fully appreciate Williams's measure, one must understand how the science of measurement frequently appeared in the vocabulary of a variety of contemporaneous critics of poetry. Secondly, by close reading Williams's long poem Paterson (1963), it suggests that by rejecting the term rhythm and reprising measure, Williams was attempting to define the knowledge practices proper to poetry in an era where to measure was to know.

خوانشی بر ابهام در شعر معاصر )با تکیه بر قصیده‌ی «رسائل الی الامام الشافعی» اثر عبدالوهاب البیاتی)

Poetry, as one of the branches of art, follows the general rules of art aesthetics, and ambiguity is one of its essential elements, which is considered an attractive factor and an aesthetic criterion in poetry criticism. In this sense, ambiguity is understood as a phenomenon that evokes certain types of reading and understanding in the text. Uncertainty, polysemyand openness of meaning are the characteristics of ambiguous literary text. In this research, after studying the history, concept and function of ambiguity in contemporary Arabic poetry, we have analyzed this phenomenon in the ode "Rasail al-Imam al-Shafi'i" by Abdul Wahab al-Bayati. From the findings of the research, which was carried out in a descriptive analytical way, it was found that artistic ambiguity is a prominent feature of original poetic works, but trying to organize or regularize it is difficult or impossible because multiple readings of an ambiguous text do not necessarily lead to a complete and accurate understanding, but rather Our taste is affected by the fields of our awareness and mental perceptions. We also found that Bayati's poetry has a level of artistic ambiguity that has emerged in the context of new interpretation techniques such as symbolism, mask, myth and intertextuality, and by deepening the poetic experience, it has made his poetic style lasting and effective.

كلمة العدد (الإنجليزي)

كلمة العدد (الإنجليزي)

ФИГУРА ПЕСНИКА У ЦИКЛУСУ „КРИТИКА ПОЕЗИЈЕ” БРАНКА МИЉКОВИЋА

The aim of this research was to analyse the figure of the poet within the cycle „The Criticism of Poetry” from Miljković’s book of poetry Origin of Hope (1960). By interpreting several poems from the presented cycle, this paper questions the position of the lyrical subject, while seeking out the possibilities of the lyrical self being identified with poets and thus interpreted as a poetic subject – a poet within the poem or a poet who possibly leads metapoetic dialogues with other poets. The figure of the poet is also considered through Nietzsche’s and Hegel’s philosophical approach to the ambivalent knowledge that is inherent to contemplatives and creators, but which conditions their destruction as well. Through the end of the cycle, this research also problematizes the social position of the poet and the possibility of interpreting the cycle through the title inversion – as poetry of criticism – criticism of future poetics, the disappearance of poetic language, poems and poets in general.

The Criticism Concept of Arabic Poetry in Ibn Qutaibah and Ibn Sallam Al-Jumahi Perspectives

This study aims to compare with the analysis of the thoughts of Ibn Qutaiba and Ibn Sallam Al-Jumahi in Literary Criticism. The research methodology involves a qualitative analysis of the writings of Ibn Qutaibah and Ibn Sallam Al-Jumahi. The historical and cultural context in which these two scholars were writing is also considered in order to better understand their views on poetry criticism and how they reflect broader trends in Arabic literature. The data obtained are from books by the two critics, Al-Shi'r wa Al-Shu'ara and Tabaqat Fuhul As-Shu'ara. By comparing the two thoughts, the results of this study reveal that both Ibn Qutaibah and Ibn Sallam Al-Jumahi had similar criteria for evaluating poetry but differed in their emphasis on certain aspects of poetic form and content. Ibn Qutaibah concludes his assessment of the identity of poetry because his criticisms by looking at the suitability of its 'Arudh and Qafiyah. Meanwhile, Al-Jumahi criticizes the legitimacy of poems by revealing the identity of the poem its poet to see the originality or from which tribe (region) the poem originates.

Dorothy Parker Among the Poets

My goal in this essay is twofold: first, to track how Dorothy Parker situated herself within the poetic canon, relative to both her nineteenth-century precedents and modernist contemporaries; second, to identify what value she found in light verse (i.e., poetry on seemingly trivial subjects that emphasizes verbal wit and technical agility) as opposed to the wider domain of serious verse that it is routinely set against. Parker complicates the distinctions between light and serious poetry that have kept her work from receiving the attention that it deserves, while elevating qualities that a writer can nurture regardless of their adherence to traditional meter or modernist experimentation. Despite the enduring popularity of her poetry since her début collection Enough Rope (1926) appeared nearly a century ago, there remains little scholarship on Parker’s verse today. Far more has been written about her prose, especially in the fields of feminist studies and humor studies, as seen in articles by Joseph L. Coulombe, J. Lasley Dameron, Galya Diment, Julia Boissoneau Hans, Ellen Lansky, Amelia Simpson, and Nancy A. Walker.1 Poetry critics, by contrast, have given Parker a wide berth. This lack of interest might be traced back to the condescension that still attends light verse and its practitioners. What Ken Johnson wrote about Parker’s entire work could be said more specifically about her poetry:

Landon's Clichés

Letitia Landon faced two seemingly contradictory complaints from contemporary critics: that her writing was mechanical and repetitive, and that it was overly personal, suggesting vanity and egotism. Each is a familiar criticism of lyric poetry, yet Landon's willingness to court them both in her work suggests a paradoxical dependency of intimacy on cliché. This essay explores the implications of Landon's intimate clichés for broader understandings of lyric, sociability, and the highly gendered publishing environment of the period. Drawing on Niklas Luhmann's systems theory, it reframes a typically representational debate about lyric in communicative terms. Finally, it suggests that Landon's repetition can be understood as an ethical project to defend common experience from the advocates of rural solitude.

Kritik Sosial Melalui Wacana Kritis pada Puisi Esai Mata Luka Sengkon Karta

Norman Faircloughs critical discourse analysis aims to reveal the message of social criticism in the essay poetry of Mata Luka Sengkon Karta by Peri Sandi Huizche through text structure, discourse practice, and sociocultural practice. The research method is descriptive qualitative. The results of the research and discussion illustrate that the message of criticism is through individual, group and group to group social interaction. Discourse practices in the form of murder and robbery. Situational socio-cultural practices which include motives, and institutional which include mass media organizations, and socio-cultural which include togetherness, nationalist, moral and religious values. The prominent social criticisms are poverty, crime, law enforcement, and discrimination.

The Buddhist philosophic origins of the literary xingling theory

The literary theory of xingling (“soul”) is an early category in the history of Chinese literature, which was first proposed by the famed Buddhist literati Fan Tai, Xie Lingyun, Yan Yanzhi, He Shangzhi and other figures during the Southern Dynasties, Liu and Song periods, and broadly applied by figures such as Liu Xie, Zhong Rong and Yu Xin to esthetic theory and poetry criticism. There are chiefly two aspects to the origins of the literary theory of xingling in Buddhist philosophy: The first is the idea of foxing (“Buddhatā, Buddha-nature”) within teachings on nirvana in Mahāyāna Buddhism, and the second is the idea of shishen (“vijñāna, consciousness”) in Hīnayāna Buddhism. After being introduced into China, the theories of “Buddha-nature” and “consciousness” were ingeniously combined with the concepts of guishen (“supernatural beings”) and linghun (“spirit”) in the native Chinese tradition. “Buddha-nature,” “consciousness,” and shenling (“divinity”) were organically integrated, forming the basic content of the Buddhist theory of xingling, which referred not only to a constant and immutable, supremely powerful, and mystical force intrinsically possessed by all living creatures (sentient beings), but also to a foundational energy that filled the cosmos and obliterated differences. This provided a profound and substantial philosophical basis for the literary theory of xingling by Liu Xie, Zhong Rong, Yu Xin and other figures, imbuing xingling with the status and power of a universal center with supreme sublimity and matchless energy.

Passion and Measures of its Criticism in Poetry, the Potency of Charity in describing Corona as an Example

Passion and Measures of its Criticism in Poetry, the Potency of Charity in describing Corona as an Example

The Muallaqat of Imru' al-Qays: The Lost Kingdom and the Alternative Victory

The Muallaqat are the most famous of the pre-Islamic poetry that reached us, the most versed, the most complete in structure, and the farthest in impact. These muallaqat that we inherited from the pre-Islamic era were not without precedent. Rather, they are a mature end to the initial attempts that preceded and led to them. Poetry in its purest form. It exceeded the scope of admiration and imitation until it became a present text - even if it was absent - in the Code of Arab Poetry. And her poets won this prestige among their peers among the poets of the pre-Islamic era, and Imru’ al-Qais’ commentary is the mediator of the contract, as its owner was the first of the first class among all scholars and critics of Arabic poetry.
 Imru' al-Qays's mu'allaqa has accomplished itself outside the limits of time and space, and within the circle of eternity, as it is the genius that keeps its secret.
 The apparent structure of Imru’ al-Qais tells that it does not address a specific topic, but rather its verses are distributed in different scenes: the scene of ruins, the scene of storytelling, the scene of the night of tragedy, the scene of the horse, and the scene of rain and torrential rain. However, critical reflection on its inner worlds reveals that these scenes, despite their plurality, lead to their deep structure, which is concentrated in the poet's defense of his grieving self, due to the loss of his possession and that of his father. Therefore, his flirtatious pride and extraordinary chivalry were his alternative victory, so that the end of the battle remains suspended between the vanquished reality and the victorious imagination.
 
 
 

Aristotelian simulation in the structure of thinking old cash “Poetry Criticism” is an example

وﻟﻌﻠﻨﺎ ﻻ ﻨﺠد ﻤؤﻟﻔﺎً ﻤن ﻤؤﻟﻔﺎت ﺘ ارﺜﻨـﺎ اﻟﻨﻘـدي واﻟﺒﻼﻏـﻲ ٬ ﻴﻀـﺎﻫﻲ ((ﻨﻘـد اﻟﺸـﻌر)) ﻟﻘداﻤـﺔ ﺒـن ﺠﻌﻔر 337 )) ﻫـ) ٬( ﻓﻲ ﻤﻘدار ﺘﺄﺜرﻩ ﺒﺄدﺒﻴﺎت أرﺴطو ٬ وذﻟك ﻓﻲ ﻤﺴﺘوى ﻤﺎدﺘـﻪ اﻟﻔﻛرﻴـﺔ واﻟﻔﻨﻴـﺔ ٬ أو ﻓـﻲ ذﻫﺎﺒــﻪ ﺒﻌﻴــداً ﻤــﻊ ﻤﺒــﺎدئ اﻟﻤﻨطــق واﻻﺴــﺘدﻻﻝ ﻓــﻲ رﺴــم ﺨطــوط ﻤﻨﻬﺠــﻪ ٬ وﻗــد اﻨﻔــرد ﺒﺎﺴــﺘﻌﻤﺎﻝ اﺼطﻼﺤﺎت ﻓﻠﺴﻔﻴﺔ ٬ ﻛﻤﺎ ﺘﻤّﻴز ﺒﺎﻟﺘوارد ﻋﻠﻰ ﺠﻤﻠﺔ ﻤن ﻤﻔﺎﻫﻴم اﻟﺼورّﻴﺔ ﻋﻨد أرﺴطو ٬ وﻛﻠﻪ ﻻﺌﺢ ﻓـﻲ ﻤﻔﺎﺼــﻝ ﻤﺼــّﻨﻔﺔ ٬ وﻗــد ﺘﻨّﺒــﻪ اﻟدارﺴــون اﻟﻤﻌﺎﺼــرون إﻟــﻰ ﻫــذِﻩ اﻟﺴــﻤﺔ ٬ اﻟﺘــﻲ أﺼــﺒﺤت ﻤﺴــﻠّﻤﺔ ﻤــن اﻟﻤﺴـﻠﻤﺎت أو إﻗـ ار اًر أﺠﻤـﻊ ﻋﻠﻴـﻪ ﻫـؤﻻء ٬ ﻓﻤﻨـﻪ ﻗـوﻟﻬم إّﻨـﻪ ﻗـد ﺘـﺄﺜّر ﺒﻌـض اﻟﺘـﺄﺜّر ﺒﺎﻟﻔﻠﺴـﻔﺔ اﻟﻴوﻨﺎﻨﻴـﺔ ٬ ( 1 ) وﻷن ﻫﻨﺎﻟك ﻤﺎدة ((ﺨﺎرﺠﻴﺔ)) ﺘﺘﺤرك و ارء ﺴـﻴﺎﻗﺎت ﺨطﺎﺒـﻪ اﻟﻨﻘـدي – اﻵﺨـذ ﺒﻘـواﻨﻴن ﻋﻠـم اﻟﺸـﻌر ﻋﻨـد اﻟﻌرب – ﻋن اﻟﺸﻌر واﻷﺨﻼق واﻟطﺒﻴﻌﻴﺎت واﻟﻨﻔس ٬ وﺘﻨﻐرس ﺠذورﻫﺎ ﻓﻴﻤﺎ ﻋرﻓﻪ اﻟﻤﺜﻘﻔون ﻓﻲ ﻋﺼرﻩ – اﻟﻘـرن اﻟﺜﺎﻟـث واﻟ ارﺒـﻊ اﻟﻬﺠـرﻴّﻴن – ﻓـﻲ ﻋﻠـوم اﻹﻏرﻴـق ﺒﺸـﻛﻝ ﻋـﺎم ٬ ﻓـﺈن ﻛﺘﺎﺒـﻪ ُﻴﺒـّﻴن إﻨـﻪ ﻛـﺎن ﻤﺘـﺄﺜّ اًر ﺒـﺂ ارء ﻓﻼﺴـﻔﺔ اﻟﻴوﻨـﺎن ٬ وﺒدﻻﻟـﺔ ﻤـﺎ ﻗﺎﻟـﻪ اﻟﻨﺎﻗـد ﻨﻔﺴـﻪ ٬ وﺒﺸـواﻫد ﻤـن ﻤﺼـﻨﻔﻪ ٬ ﻤـن ﻤﺜـﻝ ﻗوﻟـﻪ (اﺤﺴـن اﻟﺸﻌر اﻛذﺒﻪ) وذﻛرﻩ ﻛﺘﺎب اﻹﺨﻼق ﻟﺠﺎﻟﻴﻨوس ٬ ٕواﺜﺒﺎﺘـﻪ ﻟﻠﻔﻀـﺎﺌﻝ اﻟﻨﻔﺴـﻴﺔ ٬ ﻛـذﻟك ﺘﻌرﻴـف اﻟﺸـﻌر وﻫـو ﻤن آﺜﺎر اﻟﻤدرﺴﺔ اﻟرواﻗﻴﺔ ( 2 ) .