Song Poetry Research Articles

Analysis of Mushroom Edible Problems in Song Dynasty

Mushroom is one of the common ingredients in the life of the Song people. There are many kinds of mushrooms in the Song Dynasty, and there are many places of origin. The people of the Song Dynasty had initially mastered the cultivation methods of mushrooms, but due to the limitations of the times, the acquisition of mushrooms was still based on collection. The people of the Song Dynasty had a variety of ways to eat mushrooms, and the consumption scene was quite extensive. Mushrooms are closely related to scholar-bureaucrat -officials. Scholar-bureaucrat -officials regard edible mushrooms as an important way to show that they are not associated with the secular world and are close to nature. At the same time, poetry related to mushrooms also occupies a place in Song poetry.

Eulogists of Great Changes: Images of the Future in Russian Soviet Song Poetry from the Revolution to the Collapse of the USSR

Russian Soviet song from the moment of its emergence bore no ethnic character, but that of an imperial one, it was a means of relaying certain ideas and images throughout the Soviet Union. Simultaneously it bore the imprint of the events that were taking place in the country and formed the image of them among the general public. Originating initially as a revolutionary song, it called people to fi ght fi rst against exploiters and then against counter-revolutionary elements. In the 1930-ies the song formed a positive image of the present, with little reference to either the past or the future. From the second half of the 1950-ies the image of the future becomes more distinct, it is connected with the exploration of space and hard-to-reach places on Earth, the efforts made in the present will bear fruit in the lifetime of the next generations. But from the mid-1970-ies, Soviet pop began to lose the battle for the hearts of people to Russian rock, representatives of which called for escape from reality rather than building a new world. By the mid-1980-ies, the call for changes becomes the key motive, but there is no image of the future that should follow those changes

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."

The ballad genre and its transformation in A. Galich’s song “Queen of the Mainland”

The research aims to trace the functioning of the ballad as a polycode genre in the song poetry of A. Galich. Comparative historical and hermeneutic methods were used, as well as approaches developed to study polycode text. The results show that narrative strategies are typical of resonant poetry precisely in combination with deeply personal experience of the main character of the song lyrics. This determines the productivity of the ballad form. It is shown that in the lyrics of “The Queen of the Mainland” A. Galich relies precisely on the romantic poetic tradition. However, he also introduces realistic elements, which generally correspond to the trends in the development and transformation of the genre that emerged in the 19th century. The double motivation of the fantastic, which is not typical of the traditional ballad, refers to a similar technique in magical prose. Other laws of the genre are also violated: the mystical is deprived of concretization, the text has obvious didactic features, the vocabulary varies from sublime to sharply reduced, and the everyday level of narration contrasts with the metaphysical layer of reasoning. It is concluded that the realistic component forms the epic content of the ballad, while the romantic component, associated with the irrational, brings A. Galich thoughts to the ontological level and gives the work an underlined lyricism.

Философские константы в творческом самоопределении песенных поэтов

The article compares the views of foreign philosophers on the nature of creativity, their reception in the Russian literary criticism and the creative implementation of some points in the Russian songwriting. The works of W. Benjamin (1892–1940) The Task of the Translator (1923), M. Blanchot (1907–2003) The Space of Literature (1955), P. Valery (1871–1945) Poetry and Abstract Thought (19390, S. Mallarme (1842–1898) The Crisis of Verse (1896), M. Heidegger (1889–1976) Hölderlin and the Essence of Poetry (1936), K. G. Jung (1875–1961) Archetype and Symbol (1934–1961) are used as a theoretical basis. Song texts of the representatives of the author’s song tradition A. Galich, A. Bashlachev, whose work is usually attributed to bard rock, and E. Letov, one of the main representatives of Russian punk rock, are used as research material. The choice of the authors is determined by the concept of the work, which seeks to show the universality of the constants identified in the process of research for various song and poetic traditions and philosophical systems. As such constants, the utopian concepts of “a single discourse”, a single “conversation” of poetry, and “pure art”, which is a “goal-in-itself”, stand out. Other constants relate to the inner state of the poet, techniques aimed at achieving inspiration – we are talking about the concepts of “removal”, or, according to Shklovsky, “estrangement”, as well as “silence”. The central constant is the concept of the “inexpressible”, “elusive”, which is the essential goal of every poet, clearly seen, but always unattainable. In thinking about each of the constants of philosophical thoughts about creativity, we find confirmation or discrepancies in the creative practice of song poets. It leads us to the conclusion that song poetry, following traditional poetry, accepts and transmits the experience of the Russian and Western philosophical and poetic thoughts about the essence of creativity. Typological overlaps are of a supranational, cosmopolitan nature, which indicates the universality of the constants we have identified. The work contributes to the study of song poetry, which confirms its status as the next stage in the existence of poetic discourse, which proves the legitimacy and necessity of studying song texts from a philological standpoint.

“This Land Is Your Land”: A Note on America as a Nation of “Varied Carols”

Modern American literature starts with the sound of voices singing: “I hear America singing, the varied carols I hear”. It is Walt Whitman who begins one of his most popular poems with this line, referring to the voices of people from all generations, classes and ethnic backgrounds who are about to form a new type of nation, a nation beyond ethnicity based on the principles of democracy and diversity alone. Against this background of listening to the countless different voices, his equally famous poem ‘America’ reads like a personal and individual answer: “Centre of equal daughters, equal sons, / All, all alike endear’d, grown, ungrown, young or old, / Strong, ample, fair, enduring, capable, rich”. Whitman’s poetry lays out the foundation for a specifically American tradition of song poetry that focuses on political equality and social justice as collective human rights and the free development of every person’s individuality at the same time. The present article follow the line from Whitman’s poetry of songs to 20th century American song poetry, by the way of the example of Woody Guthrie’s anthem ‘This Land Is Your Land’ and its transformative receptions in Bob Dylan’s and Bruce Springsteen’s adaptations (in contrast to the way in which European national anthems conceive the nation-as-territory).

A Study on the Ideological Connotation and Significance of Agricultural Poetry in the Northern Song Dynasty

The agrarian-related poems of the Northern Song Dynasty are far from the realistic creation tradition of the Book of Songs, the Yuefu folk songs of the Han Dynasty, “those who are hungry sing about their food, those who are working about their work”, and the realistic spirit of Du Fu’s “Three officials” and “three different” and Bai Juyi’s New Yuefu Movement, “Only songs live the people’s disease”. Through multiple contrast techniques, they fully show the miserable fate of the peasants under the heavy pressure of land, taxation, labor and other systems in the Northern Song Dynasty. It exposes the social situation of extreme disparity between the rich and the poor and sharp contradictions between classes, and expresses the complex feelings of compassion, hatred and guilt of scholars and literati. Influenced by the social culture of the Song Dynasty, the agriculture-related poems of the Northern Song Dynasty also showed the creative tendency of argumentation and prose culture, which was different from the previous poetry, and demonstrated the unique artistic style of the Song poetry.

A Study on the Perception and Acceptance of ‘A Simple Bowl of Food, A Ladle of Drink’ in Song Poetry

A Study on the Perception and Acceptance of ‘A Simple Bowl of Food, A Ladle of Drink’ in Song Poetry

A Study on the Operation of Sensitive Image in Song Poetry Related to the Temple

A Study on the Operation of Sensitive Image in Song Poetry Related to the Temple

Stories behind the cover

To celebrate the 1st Anniversary of Portal Hypertension & Cirrhosis (PH&C), we would like to tell the story behind the cover images and extend our sincere thanks to all the authors, reviewers, editorial board members, as well as to the cover illustrator for their tremendous contribution to our journal over the past year. For the inaugural cover image, the vasculature of the portal venous system was designed to resemble the “Silk Road” that linked the East and the West.1 Hepatologists, gastroenterologists, interventional radiologists, surgeons, pathologists, researchers, and other specialists involved, regardless of the country or region, are connected to collaborate on the best science and practice of portal hypertension and cirrhosis. The cover image is a true reflection of the core value of PH&C: to create a community that commits to pursuing innovative research, integrating multidisciplinary practice, and delivering patient-centered care. The cover image for the second issue depicts the transformation of a spleen into a functioning liver realized by tissue engineering.2 Liver transplantation is the most effective treatment for end-stage liver disease; however, organ shortage has been one of the major concerns across the globe. In addition to reviewing the current development and challenges of tissue engineering and its feasibility and superiority in organ transformation,2 the authors' enduring work solved immune rejection and cell donors and exploited the direct reprogramming technique to turn a spleen into a functional liver.3, 4 The cover image for the third issue described the benefit of antibiotic prophylaxis for patients with early cirrhosis and upper gastrointestinal bleeding.5 This updated meta-analysis on 18 studies and 3180 cirrhotic patients found that antibiotic prophylaxis reduced mortality at 6 weeks, risk of infection, and infection-related mortality.5 The idea of this study reminded the illustrators of Butterflies in Love with Flowers, a legendary song poetry in Chinese culture. The painting metaphorically represented the stomach and bleeding as a vase and red flowers while prophylactic antibiotic treatment as a butterfly. Traditional Chinese medicine has a long and rich tradition of treating liver diseases with its distinctive philosophy and clinical methods, dating back to more than 2000 years ago.6 As illustrated in the cover story of the fourth issue, the mechanisms of several traditional Chinese medicine active ingredients and compounds in the treatment of liver fibrosis via hepatic stellate cells (HSCs), including inhibiting HSCs activation, regulating the inactivation of HSCs, and promoting the death of activated HSCs were reviewed.7 Many oriental elements were displayed on the cover, such as Chinese herbs and the Yin-Yang and Five-Element theory in the philosophy of traditional Chinese medicine. As moving forward into our second year, we look forward to continuing working together to provide healthcare professionals with cutting-edge academic advances and the latest insights in the field of portal hypertension and cirrhosis. We believe that with your constant support, PH&C will keep growing into a highly successful international journal step-by-step (Figure 1). None. The author declares no conflict of interest. None.

«Ода о длинной флейте» Ма Жуна: музыка как голос философии

The aim of the research is to determine the features of the poetics and musical-aesthetic concept of Ma Rong’s ode “Rhapsody on the Long Flute”. The paper examines the biographical information about Ma Rong that is most significant for exploring the specified topic, provides a detailed rubricated translation of the ode with introductory explanations and a textual commentary, gives a detailed analysis of the composition and the main poetological and musical-aesthetic ideas of Ma Rong in comparison with his predecessor Wang Bao, sheds light on Ma Rong’s role as a forerunner of new, early medieval trends in the development of culture, hermeneutics, musical aesthetics and literature of ancient China. Scientific novelty of the research lies in conducting a comprehensive and historical-typological study of the “Rhapsody on the Long Flute” involving modern achievements of various humanities. This work is also translated into Russian for the first time. As a result, the researcher has identified the thematic-rhythmic structure of the ode and the main provisions of its poetological and musical-aesthetic concept: about song poetry and instrumental music as intellectual knowledge, creating a musical classification of philosophical schools, highlighting philosophy as the main subject of interpretation in flute playing, emphasising the aesthetic aspect.

Melodeklamacja, czyli pogranicza piosenki

Melodeclamation that is Borderlands of Song-Writing The notions of melodeclamation and melorecitation are almost synonymous with the genre definition of a song understood as multi-code unity of textual and musical components, for which the appropriate existence form is an audio realisation. Meanwhile, a broader academic research on the phenomenon of melorecitation is lacking, aside from short dictionary descriptions as well as relatively recent connection with the performance style characteristic for rap music. It seems that only there the expression of recitation is treated as something inspiring in connection with the musical element, as in other styles and genres the recitation with music in the background has become synonymous with being kitschy, vocally unskilled and characteristic for school as well as amateur performances of poetry. However, the historical tradition of melodeclamation and the modern examples of introducing recitation and melorecitation to songs with high art aspirations encourage us to looks at such practices more closely. Melorecitation can become a more widely used artistic choice amongst the professional performers (actor song, poetry song) but also a unobvious experiment by the artists using other’s voices – of the poet reciting his own poems – in their own projects.

The Phenomenon of Karel Kryl, The Poet with the Guitar, in the Czech Culture

The article describes the work of Karel Kryl (1944–1994), a Czech singer-songwriter and poet. Author’s musical poetry as a cultural phenomenon is considered. From the mid-1960s (“The Happy Age of Literature”) he performed songs of his own composition, based on the traditions of Czech artists of the interwar period J. Werich, J. Voskovec, J. Ježek, and the poetry of P. Bezruč. Kryl, belonging to the first generation of the Czech folk, was heavily influenced by Bob Dylan and the American tradition of song poetry. He expanded the popular song genre and became a legendary voice of protest and the voice of his people. He earned fame after August 1968, when he wrote the song “Bratříčku zavírej vrátka” (“Keep the Gate Closed, Little Brother”) in one night. The Poet with a Guitar spent twenty years in Germany. His life path was not easy both in the emigration as well as upon his returning back home, since he could not accept the new reality after the Velvet Revolution. He had a hard time enduring the division of Czechoslovakia into two states and therefore faced misunderstanding. An eternal dissident and a rebel, Kryl went down in history as an original poet who used a variety of means of artistic expression and complex metaphors. He became a symbol of the Czech music and poetic culture in the second half of the 20th century. His significance for the Czech Republic is comparable to that of V. Vysotsky and A. Galich for Russia. There are many studies about Kryl in Czechia but the scale and facets of his talent, his prophetic visions, and the individual style of his creative manner deserve attention and are waiting to be discovered in Russia.

ЛИРИЧЕСКИЙ ГЕРОЙ В РОК-ПОЭЗИИ

An issue of the subject in contemporary lyrics is widely discussed at the present time, being one of the most relevant in the research of contemporary poetry. One of the issues is the relevance of the term lyrical hero in relation to contemporary poetry, which, following the analyticism path, departs from the actual lyrical utterance. The article expresses an opinion that the idea of a lyrical hero remains relevant in the study of song poetry, in particular rock poetry of the 1980s – 1990s. Based on the classic article by Yu.N. Tynyanov «Block», in which an attempt is made for the first time to qualify the definition under discussion, the article analyzes the work of Russian rock poets, proves the presence of the lyrical hero in the lyrics of K. Kinchev and Yu. Shevchuk. Also, the conclusion is made about the lyrical hero specifics in classical Russian rock poetry. It is connected not only with intratext factors, such as the presence of the self-subject, the possibility for a rock poet of constructing a single plot of the hypertext, which includes biographical motives, but also extratext factors of the existence of a synthetic rock text, including the presence of the image of a lyrical hero in the socio-cultural sphere, the creation of a media image, the formation of a stage image.

A Theoretical Approach to the Poetry Songs of Kurinji Mullai and Palai's

There has been a tradition of poetic composition in Tamil literature. In Tholkaapiyam, archeology is a theoretical formulation of poetry. A deep foundation for such theoretical formulation was developed long before the Sangam literature. Palanthamil literature pre to Sangam literature, is written by Tamil authors. The tradition of poetry found till today is the only proof for Palanthamil literature. Such an extensive Palanthamil literature was theorized by later generations. The theory has been followed by the upcoming writers by making slight changes. Sangam literature is the proof for this. This theory which explains the Tamil literature is known as the Thinai Theory.

Scenicheskaya i muzykal'naya kul'tura pekinskoj i zapadnoj opery: kross-kul'turnoe sravnenie

The article is devoted to the study of the stage and musical features of Peking and Western opera in a comparative context. It is said that the formation and development of both types of opera art has the following artistic characteristics: Peking opera music is a process of evolution of folk dance, song poetry; Western opera mainly consists of composers who transform the folk musical heritage, religious music into an integral operatic genre. Although Peking and Western operas are diff erent in performance system and artistic creativity, they have something in common in the form of dramatic music and can absorb and develop together.

On The Representation of Song Poetry (Song Ci) to Song Dynasty Dance

Song Poetry is inseparable from Song Dynasty Dance. It usually reproduces Song Dynasty Dance by virtue of the concept, Song Dynasty Dance language and style. It is an important literature to study Song Dynasty dance. Among them, the reproduction of dance concept mainly involves the scene, type, and performance subject of the dance; The reproduction of dance language is often the expression of body language to describe the dance in the Song Dynasty; The reappearance of the style of Song Dynasty Dance involves two aspects: form and creative concept. Under the joint action of men and literati, Song Dynasty dance shows a new posture of introverted, exquisite, and elegant in the stylized framework. Obviously, the live dance of Song dynasty recorded in Song Poetry not only reproduces some of the real face of Song Dynasty dance, but also prepares for the re excavation and interpretation of Song poetry and Song prose, which has become the key to restore the whole history of Song Dynasty dance

Dream, Memory, and Reflection: Transfigurations of Su Shi’s Qiuchi Rock in Song Poetry

Abstract The present study traces the changing meanings of Su Shi’s Qiuchi rock in Song poetry. As an aesthetic artifact, the rock may be gifted and exchanged through literati social interactions. At a more personal level, the rock reminds Su of a mysterious dream and symbolizes a place of retreat, described as his homeland in Shu, a Daoist grotto heaven, and a utopia that is superior to Peach Blossom Spring. The rock also serves as Su’s most faithful companion in the dark days of his exile to the far south. In the poems of Southern Song poets, who experienced the trauma of the fall of northern China to the Jurchens, the rock turns into a nostalgic object but also prompts acute reflections on petrophilia as a morally and philosophically problematic passion.

Indonesian Poetry Song Composition in Musicology Perspective

This research is an attempt by the author to answer various debates that exist to this day. This debate is often a stumbling block for musicians and also in the field of formal and non-formal education. They are in a confusing position because of the various terms that exist and the identification of the concept of Indonesian vocal music composition which is less comprehensive. Therefore, there is a personal selfishness that tends to reduce the true meaning of the work itself. The author uses a musicological perspective as an entry point to provide a new discourse regarding the composition of Indonesian vocal music. This musicological approach is a process of study, investigation and reflection while still paying attention to the relationship between context and compositional work. The author is also aware of the limitations of the space and time of the research, so that this research is not possible to fully cover all vocal music works composed by Indonesian composers. However, the author believes that the research approach carried out can be used to discuss other vocal music works.

Народная песенная поэзия чувашей Красноярского края

To create an adequate picture of the existence of the oral folk art of the Chuvash settlers, it is necessary to characterize individual microlocal traditions. Such traditions include song samples recorded from the Chuvash of the Krasnoyarsk Territory in the Bolshemurtinsky (1981 year of recording) and Kazachinsky (2009 year of recording) regions. Genre-style composition of songs is heterogeneous. The calendar layer of folklore is represented by Maslenitsa and round dance songs. Life cycle patterns include wedding and recruiting songs. Untimed lyrics includes guest and traditional lyric songs, late lyric samples of the late 19th and 20th centuries, songs with plots and melodies borrowed from Russian folklore, and author’s songs. During youth meetings, ditties were performed in the Chuvash and Russian languages. The texts of ritual and traditional lyrical songs preserved a number of patterns that are characteristic of the Chuvash folk song poetry. These include the aphoristic type of versification, brevity of plot, two-link figurative parallelism. The texts of the songs accompanying the rite describe the ritual actions in detail. Ritual songs most often have a narrow local timing. There is also a supradialect layer of texts of much wider distribution (Siberia, the Volga region). This layer includes samples of untimed lyrics: some guest songs, many lyrical songs (especially of late origin), songs with borrowed plots and tunes, some ditties. Chuvash settlers who came from different places developed a common repertoire, one that includes songs known to most performers.