Style Of Poetry Research Articles

A Comparison of the Description of Nature between Ibn Zaydun and Ahmad Shawqi

This study examines the description of nature in the poems of Ibn Zaydun (سلوتم وبقينا) and Ahmad Shawqi (تلك الطبيعة). Ahmad Shawqi was influenced by the style and content of Ibn Zaydun's poetry, and he composed his poems in response to Ibn Zaydun’s works. The researcher compares the two poems in order to identify their points of convergence and divergence. The study then analyzes the artistic imagery through which the two poets depicted nature and its elements, as well as the key techniques they employed to render these images, such as simile and metaphor. The researcher concludes by highlighting the similarities and differences in the poetic characteristics of both poets, revealing how Ahmad Shawqi innovated new forms of art and created new styles in his depiction of nature.

The Influence of Hashadev Madawan's Sijokavyas on Sanskrit Literature

Since ancient times, Sanskrit poetry has been world-famous for its structure, theme, rasa, characters, etc. It can be seen that the structure of modern Sanskrit poetry is completely different from this traditional form. Because of the greatness of ancient Sanskrit poetry, it was transferred to other languages and literature. But today, Sanskrit poetry tends to adopt the literary styles of other languages and its literature. Various literary styles and writing styles from all over the world have found their way into the Sanskrit language today. As such, Sijo poems are a type of poetry that has gained acceptance in the field of modern Sanskrit poetry. It is a style of poetry that exists in South Korea. It is a poetic style that completely records the things to be said in three lines, different from the four-line sloka system of Sanskrit poetry. This article depicts some Sijo poems mentioned in a book, named Shirisha Pushpeshu Vrishtibindavaha, a collection of poems by Dr. Harshadev Madhavan, who is one of the leading modern Sanskrit poets. It is clear from this study that Sijo, Haiko, Tan, and other forms were introduced in Sanskrit poetry and these types of literary forms are suitable for Sanskrit language and literature.

Paper and Technology Interaction in Production of Arabic Poetry: "Techno-Paper Poetry" Hypothesis as an Example

Since the emergence of the first signs of digital poetry in the early 1990s, a gap has been formed between two contrasting worlds: the physical (real) world and the virtual (digital) world. As time advanced with the advent of digital literature, the gap widened, leading to a profound intersection between individuals from both worlds, especially among the writers. Two contrasting tones, which are never converging, emerged: the tone of the traditional paper-based writer, who criticizes digital literature as a product of machines, claiming that those who believe in it lack the characteristics of true creativity and have escaped to the virtual world to hide their literary lack. On the other hand, the tone of the digital writer, who calls paper-based literature as remnants of the past, considering it inaccessible and it is impossible to interact with a defunct literature. These two tones had a significant impact on hindering communication with the digital literary system, resulting in its slow progress in the public cultural sphere and academic space. Thus, bridging the gap between the two worlds became essential by creating an intermediate transitional zone that represents a reassurance document for poets from the two opposing worlds, and serving that both forms of literature complete one another. The concept of "Techno-Paper Poetry" was introduced in 2019. It is based on two aspects: one being paper-based and the other digital. It involves a portion of the literature, which is written on paper, while the other is digitized and distributed online. Access to the digital section is achieved through the paper-based section by scanning the barcode or QR code using a dedicated application called "Aquarium Reader" installed on smart tablets. Based on the aforementioned, it becomes crucial to establish a literary roadmap to bridge the gap between these two worlds and legitimize this style of poetry as an active step towards pure digitization.

Automatic Generation and Evaluation of French-Style Chinese Modern Poetry

Literature has a strong cultural imprint and regional color, including poetry. Natural language itself is part of the poetry style. It is interesting to attempt to use one language to present poetry in another language style. Therefore, in this study, we propose a method to fine-tune a pre-trained model in a targeted manner to automatically generate French-style modern Chinese poetry and conduct a multi-faceted evaluation of the generated results. In a five-point scale based on human evaluation, judges assigned scores between 3.29 and 3.93 in seven dimensions, which reached 80.8–93.6% of the scores of the Chinese versions of real French poetry in these dimensions. In terms of the high-frequency poetic imagery, the consistency of the top 30–50 high-frequency poetic images between the poetry generated by the fine-tuned model and the French poetry reached 50–60%. In terms of the syntactic features, compared with the poems generated by the baseline model, the distribution frequencies of three special types of words that appear relatively frequently in French poetry increased by 12.95%, 15.81%, and 284.44% per 1000 Chinese characters in the poetry generated by the fine-tuned model. The human evaluation, poetic image distribution, and syntactic feature statistics show that the targeted fine-tuned model is helpful for the spread of language style. This fine-tuned model can successfully generate modern Chinese poetry in a French style.

晏殊의 祝壽詞 고찰

Yanshu(晏殊) was a prominent figure in the Northern Song Dynasty known for leading one of the two styles of Ci Poetry: Su Ci(俗詞) and Ya Ci(雅詞). Yanshu’s Birthday-Congratulation Ci(祝壽詞) has not been given much attention because it only highlighted his noble expression without any true content. However, as examined in the text, well contains the Scholar bureaucrat consciousness(士大夫意識) of the Northern Song Dynasty, making them actually quite significant in terms of the contemporary literary trends and factional classifications. Furthermore, Yanshu’s portrayal of the ‘flux of time’ not only demonstrates his profound grasp of life but also unveils the distinctive allure of Birthday-Congratulation Ci. Additionally, Yanshu’s Birthday-Congratulation Ci showcases a profound Daoist philosophy that underscores a harmonious coexistence with nature, adding yet another noteworthy dimension to his work.

Analisis Struktur Batin Pada Puisi Selamat Ulang Tahun Buku Karya Joko Pinurbo

Poetry is one of the most interesting forms of literary work but is full of meaning. Poetry is a medium for conveying feelings and ideas with beautiful words. Poetry as a meaningful aesthetic work is also a recording and interpretation of human experience composed in the most memorable form. Poetry can make us laugh, cry, smile, think, reflect, be moved and even get emotional and angry. Until now, poetry can be an illustration of the cultural progress of society. How the writer of the poem views his world is a real picture of the culture that surrounds him. Because the progress of society from time to time always increases, bringing changes in the style, nature and form of poetry. Poetry changes following developments in taste, ever-changing aesthetic concepts, and intellectual progress. The aim of the research is stated in a sentence that explores or deepens the inner structure of poetry. The inner structure intended is: theme, tone, feeling and message. The method used in this research is descriptive analytical method. This method also attempts to describe facts logically. Through this method, the researcher tries to analyze the inner structure of Joko Pinurbo's poem entitled "Happy Birthday, Book", while the analysis of this poem is described in his own words and language.

Land, Town, Temple: the Aesthetics of the “Lyrical Preludes” in Tamil Talapurāṇams

Abstract Talapurāṇam is one of the most prolific genres of early modern Tamil literature. Unlike its Sanskrit counterpart (sthala\kṣetra-māhātmya) the works of this genre are composed in the form and style of high poetry. One distinctive feature of the genre is the inclusion of descriptive chapters that focus on the land and town eulogized in the texts. These chapters, which I term “lyrical preludes,” were never formalized by traditional poeticians. In this article, I present a preliminary analysis of Tamil talapurāṇams’ lyrical preludes: their sources of inspiration, structural patterns, recurrent themes, and aesthetic principles.

The problem of the correlation of individual and regional styles in the Tatar poetry of Bashkortostan

The proposed article is devoted to identifying the main qualities of the regional style of Tatar poetry of Bashkortostan, through studying the features of the individual style of modern Tatar poets of the republic. The work provides a historical and literary analysis of the development of Tatar poetry in Bashkortostan in the twentieth century; the reasons for the emergence of such a literary phenomenon as “bilingual Tatar literature” are revealed, due, first of all, to changes in the socio-political and cultural life of the republic, the displacement of the Tatar language from the literary press and book publishing in the 1930s-1980s; the influence of these events on the individual style of poets is studied. Based on a© Фазлутдинов И. К., 2024qualitative scientific and theoretical basis, the author reveals the meaning and content of such literary terms as “style”, “individual style”, “regional style”; reveals the peculiarities of aesthetic perception and personification of the world in the works of the Tatar poets of Bashkortostan; emphasizes the importance of the artistic picture of the world as the main component of their individual style. Focusing on the diversity of opinions on the problem of the correlation of individual and regional styles in literary criticism, the author reviews scientific and literary discussions on the problems of form, content, creative method and the main motives of regional Tatar poetry. He comes to the conclusion that the Tatar poetry of Bashkortostan is inextricably linked with the traditions of the thousand-year-old Tatar literature and is currently its successor. Thus, the author enters into a polemic with scholars who consider the Tatar poetry of Bashkortostan as an independent literary phenomenon.

Al-Dirāsah al-Muqāranah baina Kitābay al-Jurūmiyah al-Jawān wa Matn Alajrūmiyah fī al-Bāb Marfū’at al-Asmā’

Arabic without the knowledge of Ilm Nahwu cannot be understood. The Matn Alajrūmiyah and al-Jurumiyah al-Jawan are reference books for learning qawāid (Arabic grammar), commonly used in Islamic boarding school environments. All students must study Arabic grammar as a basis for their ability to read the manuscript (turāś). This research aims to explain the differences in the preparation of qawāid learning materials, especially in the Marfūat al-Asmā' chapter in the al-Jurumiyah al-Jawan book and the Matn Alajrūmiyah book so that students can detect the ease of learning Arabic using these two books. The type of research used is qualitative library research with comparative study methods. The results of the research show that both books have complete material regarding Marfūat al-Asmā' along with relevant examples. The difference lies in the additional content, where the author of the al-Jurumiyah al-Jawan book not only presents material on Arabic language rules but also inserts ancestral advice. As for the book Matn Alajrūmiyah, the author only focuses on the rules of Marfūat al-Asmā'. al-Jurumiyah al-Jawan uses the Arabic pegon script with Javanese as the language of instruction, except in examples. The Matn Alajrūmiyah uses Arabic script and Arabic as a whole. As for the style of presentation, the al-Jurumiyah al-Jawan book uses a poetry style that is relatively easy to memorize, in contrast to the Matn Alajrūmiyah, which uses a prose style.

A Comparative Study on the Spirit of the Times of Kim Taek-young"s Chinese Poetry and Liang Qichao"s Old Style Poetry

A Comparative Study on the Spirit of the Times of Kim Taek-young"s Chinese Poetry and Liang Qichao"s Old Style Poetry

THE LETTER, THE ARTICLE, THE SUBJECT: METAHISTORY OF CONTEMPORARY POETRY IN THE TEXTS OF NIKITA SUNGATOV

Nikita Sungatov’s poetry is often categorized as postconceptualism-2 or the engaged-conceptualist pole of the [Translit] magazine community. However, it is worth considering that his poetic language is formed at the intersection of various influences, including the analytical poetics of Arkady Dragomoshchenko, the Prize named after whom Sungatov curated and before that was shortlisted for in 2015. Sungatov can consistently reproduce any style of contemporary poetry in his texts, coupled with their problematic analysis thanks to the intertwining of conceptualist metaposition and Dragomoshchenko’s linguistic analysis. We can see this in the most famous texts of The Young Poet’s Debut Book as well as in the current texts, Imitation of Vl. Khodasevich and [a modern poem]. The author of this article focuses on this latter poem. The role of the letter and its transformation can already be seen in the first part, which is stylized as zaum and alienated language. Here the intertwining of letters, phonetic signs, and pseudo-grammatical categories appeals to the historical avantgarde and its sound poetry. Another role for the letter in the poem is the indefinite article ‘a’, whose semantics make Sungatov’s poem a statement about ‘contemporary poetry in general’, which, together with the stylization of various poetic languages from the historical avantgarde above to contemporary techniques of direct, neoclassical and opaque statement, turns the poem into a metahistory of contemporary poetry. And if Hayden White’s Metahistory was a discursive analysis of historical narratives, then [a modern poem] becomes a discursive analysis of both recent poetry and its languages, and its collision with discourses of violence and big history. To all this corresponds an indeterminate subject, following the letter and the article, ‘it’, which nomadizes between languages, narratives, and the elusive modernity.

ON STYLISTIC DIFFERENTIATION IN UKRAINIAN POETIC SPEECH BASED ON THE SYNTACTIC STRUCTURE OF SENTENCES

Background. The article is devoted to the stylistic differentiation of syntactic structures of Ukrainian-language poetic texts of the Ukrainian language corpus. The goal is to study the idiostyle on models of syntactic structures, graphically presented in the form of dependency trees, with the establishment of parameters for characterizing the author's style. The properties of the linear structure of 7,752 Ukrainian-language sentences in the verse style were studied. An "averaged" dependency graph was built for each author as a generalization of the syntactic parameters of dependency trees. Methods. Applied methods of structural linguistics included quantitative methods and modeling methods, distributive analysis, direct component method, method of constructing dependency trees (DT) and direct components in linguistic analysis modules: automatic morphological (distributive) and automatic syntactic (direct component and dependency tree method). Results. As a result of the study, it was established that the architecture of the phrase is important, that is, a scheme in the form of a graph that reflects the real sequence of syntactic elements of the statement. If the author has developed his individual writing style, this will inevitably affect the originality of the graphic drawings for the structures of his typical phrases. It is in syntactic stylistics that dependence graphs as a research method will find an unlimited field of application. Eight graph parameters are proposed, the choice of which is determined by the fact that they have stylistic distinguishing power. Conclusions. To justify the applied method of statistical analysis, it can be said that in stylistics each analysis gives only what it can give; the overall research picture consists of a comprehensive review of the results of all analyses. Qualitative methods can describe what is perceived from the text through its symbolic character, but only quantitative methods can explain why the text is constructed in the way it is. Qualitative characteristics consist of precisely those quantitative characteristics that cannot be seen by the average reader, and their detection is the task of science.

The Study of Poetical Style Attribution and Classification of Poetic Subgenres in the Tang and Song Poetry

The literary styles of Tang and Song poetry exhibit noticeable differences, at times directly denoting two distinct categories of poetic styles. However, sometimes the poetic style of Tang Dynasty poets may be more akin to Song poetry, and the poetic style of Song Dynasty poets may lean closer to that of the Tang Dynasty. This study employs quantitative analysis and establishes mathematical models to investigate these differences. Methods: Firstly, this paper employs a logistic regression model based on the simulated annealing algorithm to classify the style of poets and determine their style affiliation. Secondly, using the k-means clustering model, Tang and Song poetic styles are further refined into subcategories. Finally, scores are computed using the TOPSIS model modified by the entropy weight method to select the most representative poems and poets within each style. Conclusions: 1) The model identifies the style affiliation of Pei Che and Liu Yizhi as Song poetry style and Tang poetry style, respectively, with an accuracy rate of 83.3%. 2) The Tang poetic style is divided into three categories, and the Song poetic style is divided into five categories, with the first subcategory of Tang poetry including poems like "Passing Jin Yang Palace" and "Spring Platform Views." 3) The most representative poems include "Sending Xue Shaoqing to Qingyang" and "Introducing the Ballad for the Feast."

Orthodox Poets of the Soviet Era: Aleksandr Solodovnikov, Vasily Nikitin, Sergey Averintsev, Elena Pudovkina

The article explores the work of Orthodox poets during the Soviet era, particularly focusing on Aleksandr Solodovnikov, Vasily Nikitin, Sergey Averintsev, and Elena Pudovkina. It formulates a general principle of the poetic style of these authors as the principle of soul, word, and world transformation, realized through prayerful and confessional expressions. The distinctive feature of the resurging Orthodox poetry in the 20th century primarily lay in its pursuit of maximum immediacy, simplicity, and originality, deliberately transcending “literariness,” which was particularly burdensome for individuals of the 20th century. In turn, the analysis reveals that due to this aspiration for the primacy of the word, it unexpectedly proves to be far more complex than it appears at first glance. It carries not only profound meanings of Orthodox faith but also the deep tradition of Christian “literariness” in the best sense of the term—an active continuity with the texts of predecessors, reaching back to ancient Russian and Byzantine heritage. Moreover, it strives to reproduce the spirit of the Gospel’s word, as far as it is humanly possible. Literary creation for an Orthodox person is justified and beneficial only when it constitutes a part of their spiritual self-improvement and transmits the experience of this work to others. It represents the work of soul transformation by the grace of God, captured in the word. Spiritual poetry is traditional not only in content but also in form, oriented toward classical poetry of the 19th century as its model. In cases when it diverges from this model, it does not tend toward the modernism of the 20th century but, conversely, delves into the deep archaism of the early centuries of Christianity, sometimes directly aligning with the structure of the Gospel’s word and canonical church hymns. This is logical since the breakdown of classical poetic structure in the 20th century was a consequence of secularization—the despiritualization of the world and language. Accordingly, the reverse process inevitably led to the revival of the style of classical poetry and even its earlier form—the church poetry.

A Domain Knowledge Transformer Model for Occupation Profiling

Occupation profiling is a subtask of authorship profiling that is broadly defined as an analysis of individuals’ writing styles. Although the problem has been widely explored, no previous studies have attempted to identify Chinese classical poetry. Inspired by Trudgill’s seminal work on stylistic variation as a function of occupation, we present a novel Domain-Knowledge Transformer model to predict a poet’s occupation through their poems’ writing styles. Different from other Indo-European languages, Chinese has rarely used characters and two types of writing forms: traditional Chinese and simplified Chinese. To tackle these problems, we use the language-related component to standardize our input. We also use alphabetization to satisfy the restrictions on rhyming rules and tonal styles. As a special literal form, traditional domain knowledge, for example, named entities, themes, ages and the official career path, is valuable for poet occupation profiling. However, due to the lack of appropriate annotation datasets, it is difficult to recognize these features. Therefore, we proposed the domain knowledge component employing the latent Dirichletal location model to capture the extra theme information and establish named entity dictionaries to recognize the named entity of the datasets in this study. Finally, in the deep learning component, we combine Transformer with a convolutional neural network (CNN) model to perform occupation profiling. The experimental results suggest that our model is effective in this task. Moreover, the results demonstrate an account of other social attribution features of poetry style that are predictive of occupation in this domain.

도광․함풍 연간에 조선 사신들이 만났던 청나라 문인들 -『한객시존』의 자료를 중심으로-

Dao Guang(道光, 1821～1850) and Xian Feng(咸豐, 1851～1861) Period of the Qing Dynasty was a time when they faced internal and external conditions. During this period, evidential learning still held a leading position in the Qing Dynasty, but some writers began with a sense of crisis and promoted a useful learning for running a country, which drew support from the court and a favorable response from literature. On the other hand, Song School of Poetry had the greatest influence in literature at the time, and Song School of Poetry’s influence grew even greater with the addition of Tongchengpai writers with similar poetic tendencies.
 In this paper, the connections, exchanges, and tendencies of Qing writers who directly interacted with Joseon envoys during this period were examined based on changes in the Qing Dynasty’s academic style and literature. It is noteworthy that many of the writers who exchanged with Joseon envoys during this period were from Jinsa, so they had a high level of literature. In addition, it is presumed that many writers had a Suffering consciousness of friendship as they directly or indirectly participated in the Opium War or Taiping Heavenly Kingdom War.
 In terms of literary trends, it can be divided into Song School of Poetry and Tongchengpai , and in this paper, Zhang mu (1805-1849), who was a historian and had a very close relationship with the key figures of Song Si-pa, examined his academic trends, characteristics of poetry, and exchanges with Koreans. As for the Tongchengpai faction, the characteristics of poetry creation and friendship with Joseon writers were examined, focusing on the Zhu qi (朱琦, 1801～1861). Their academic trends and poetry style are thought to have had a certain influence on Joseon’s writers.

Analysis of Translatability in Classical Chinese Poetry from the Perspective of Translation Strategies Taking Xu Yuanchong's Translations of the Lyrics "Everlasting Longing" as Examples

Classical Chinese poetry is an important literary genre in Chinese literature, of which the Tang poems and Song lyrics are two of the highest artistic achievements in ancient Chinese poetry. The study of classical poetry translation has become a hot topic in Chinese literary translation. This paper aims to study the translatability of Chinese classical poetry from the perspective of the translation strategies of Xu Yuanchong by selecting lyrics titled everlasting longing in the Chinese-English Translation of 300 Chinese Tang and Song Lyrics authored by Xu Yuanchong, an outstanding translator. In the translation of Xu Yuanchongs poems, he emphasized the beauty of meaning, form and sound. Through a theoretical overview of important translation strategies and case study of the translation strategies adopted by Xu Yuanchong, the following conclusions are drawn: Xu Yuanchongs translation strategy of creative translation has greatly improved the translatability of classical Chinese poetry. Due to the particularity of the poetry style and literary form, the semantic meaning loss can be caused to a certain extent, so the translation strategy oriented by functional equivalence and aesthetic pursuit can provide the reference for the translation of Chinese classical poems and lyrics.

The Influence of Classical Chinese Poetry on the Innovation of Ezra Pound

Recognised as one of the 20th century’s most challenging poets, Ezra Pound made a major contribution to modernist poetry. Inspired by ancient Chinese poetry, Pound was drawn to its vivid imagery and concise diction. He was determined to supersede the Victorian style of complicated verse and breathe fresh energy into poetry. This essay provides a detailed analysis of Pound’s most well-known composition, In a Station of the Metro, which is characterised by its modern and exotic elements. Contrasted with his translation work, Taking Leave of a Friend, selected from Cathay, this paper aims to analyse Pound’s renewal of imagery, language and metres. After the World War I, Pound became increasingly engaged with Chinese Confucian literature and resolved to write a chapter in his modern epic poem, Cantos, to address the indispensable role of Confucian culture in the restoration of post-war civilisation. Therefore, this article additionally evaluates his innovation within the context of his China Cantos and further investigates how Pound’s imagism paved the way for modernist poetry. It is also hoped that this essay will serve as a valuable resource for future studies on related topics.

The Style of Poetry in the Poems of Ahmed Hardy at the Word Level

This research entitled ((The Style of Poetry in the Poems of Ahmed Hardy at the Word Level)) consists of the introduction, two chapters, the conclusion, the results, the list of sources, references, and the summary in both Arabic and English. The first chapter consists of two sections: The first section deals with the concept and term of the poetic style, its emergence and growth, and the second section deals with the reasons for influencing the style and the types of style. The second chapter also consists of two sections: the first section deals with word displacement, the phenomenon of introduction and delay, word repetition, and the phenomenon of word addition. As for the second and final section, it dealt with the poetic image, especially the sensory image, myth and symbol. In the conclusion, the most important findings of the research were presented.

A Comparative Study on the "Modern Characteristics" of Liang Qichao"s Old Style Poetry and Kim Taekyoung"s Chinese poems

A Comparative Study on the "Modern Characteristics" of Liang Qichao"s Old Style Poetry and Kim Taekyoung"s Chinese poems