Style Of Poetry Research Articles

Nâbî’nin Hayriyye’sinde İslam’ın Şartları

Yusuf Nabi from Urfa is one of the important poets of 17th century Classical Turkish Literature. He is the pioneer of the hikemi style which is a leading literary school of 17th century and examples of which is seen from an earlier period in the field of Iranian literature. Within tent to leave a legacy to his son Abu'l-Hayr, the Poet wrote one of his important work "Hayri-name" or "Hayriyye" with his common name. The work of his was written in the style of pend-name, a style belonging to Ottoman field Classical Turkish Literature. However, his work was far from being understood in terms of content, style and language by Abu'l-Hayr who was only eight years old at the time. Due to being of a certain age, the Poet feared that he would be unable to guide his son in related matters, so he wanted to leave written advice for him as inheritance. Written to provide guidance and teach manners, the work contains some topics related to political, social, economic and cultural areas. The work, which Nabi formed according to mesnevi verse style, contained right at the beginning of it a detailed explanation in the issue of the Conditions of Islam. The Conditions of Islam are essential for each member in a Muslim society to learn and counted as the basis of Islamic religion. In this article, we aim to reveal the views of Nabi, who mentions in his work about the training of young Muslim men about the conditions of Islam.

Cevâhir-i Mültekata’dan Seçme Hikâyeler

Among the works in the style of verse and prose in the tradition of Classical Turkish Literature, ‘divan, mesnevi and tezkires’ are important literary sources. Prose stories, such as masnevis, and prose texts such as dates, menakıpnames, are remarkable texts in terms of the breadth of the audience they address. One of the works that have an important value in this tradition is the work of Ruznamçeci-zâde Mehmed Lebîb Efendi, which is called Cevâhir-i Mültekata. In the first part of this article, information about Divan / Written Literature from Classical Turkish Literature and about the life and literary personality of Mehmed Lebîb Efendi, one of the 19th century Ottoman statesmen, was presented. In the second part, information about the method, universe and sample of the research is given, and in the part of data collection and analysis, a literature research on the subject is presented. In the third part, Cevâhir-i Mültekata, which presents the stories of the prophets with words full of decency, virtue, superior morality, wisdom, the lives of people with righteousness, the morality of wise people and the behavior of generous people, the lives of people who stand out with their historical and wise personalities, as a guide. Some examples of story types in the work are presented. Finally, in the results and recommendations section, it is aimed to draw attention to the importance of the work named Cevâhir-i Mültekata through the spiritual, literary and scientific values of some determined stories.

Early Shakespeare, 1588–1594. Edited by Rory Loughnane and Andrew J. Power. Cambridge: Cambridge University Press, 2020. Pp. v+324.

<i>Early Shakespeare, 1588–1594</i>. Edited by Rory Loughnane and Andrew J. Power. Cambridge: Cambridge University Press, 2020. Pp. v+324.

Naqd-i Khayāl: Barrasī-i Dīdgāhʹhā-yi Naqd-i Adabī Dar Sabk-i Hindī

Naqd-i Khayāl: Barrasī-i Dīdgāhʹhā-yi Naqd-i Adabī Dar Sabk-i Hindī

Volume 50 (2020)

Volume 50 (2020)

Ahmed Arif’in Şiir Anlayışı ve Gelenekle İlişkisi

Modern Türk şiirinin önemli toplumcu-gerçekçi şairlerinden birisi olan Ahmed Arif (1927-1991), şiire 1950’li yıllarda başlamış ve 1960’lardan sonraki birçok toplumcu-gerçekçi şair üzerinde önemli etkiler bırakmıştır. Bütün şiirlerini Hasretinden Prangalar Eskittim (1968) adlı eserinde toplayan şair, çok az sayıda şiir kaleme almasına rağmen, Türk şiirinde örneğine az rastlanır bir etki bırakan şairlerin başında gelmektedir. Şiir iklimini, söyleyiş tarzını ve imgelem yapısını, Anadolu’nun geleneksel birikiminden alan şair, toplumcu bir kimliğe sahip olmasına rağmen sloganik ve vaazcı bir söylemden uzak; içten, doğal, özgün bir şiir dili oluşturmayı başarmıştır. Ahmed Arif’in şiir anlayışını farklı kılan unsurların başında gelenekle kurduğu ilişki gelmektedir. Onun Anadolu’ya özellikle de Doğu Anadolu’ya has geleneksel söylemi modern şiire taşıması, yaşadığı topraklara bağlı, gelenek ve göreneklerine aşina bir şair olduğunun en büyük göstergesidir. Şairin şiirlerinde; genel manada Doğu kültürünü, özelde ise Diyarbakır’ı sosyo-ekonomik yansıması, formları, halk musikisi, konuşma tarzı vb. birçok unsuruyla yaşatmaya çalıştığını görürüz. Bu sebeple onun şiirinde yer yer Dadaloğlu’nun, Pir Sultan Abdal’ın veya Diyarbakırlı sanatçı Celal Güzelses’in sesiyle karşılaşırız. Bu folklorik ve ritmik unsurlar toplumcu şiirin imgeleri ile zenginleşerek özgün bir söyleyiş ve anlam bulur.

Lyrik vom ‚Dritten Ort‘. Zu, Rainer Maria Rilkes Florenz-Gedichten (1898)

Rainer Maria Rilkes Lyrik aus dem Jahr 1898 ist überschaubar und vergleichsweise wenig geachtet. Im Mittelpunkt des Interesses steht in der Forschung das ‚Florenzer Tagebuch‘, das erst posthum 1942 veröffentlicht worden ist. Als Journal einer Bildungsreise im Frühjahr 1898 nach Florenz und Viareggio hält es Kunstwerke der Renaissance-Stadt, Besuche der großen Sammlungen und berühmten Kirchen fest, enthält aber keine eigene Lyrik. Gedichte entstehen dennoch mit von diesen Veduten ganz abweichenden Motiven und ohne klassische Formen. Sie haben weder die großen Vorbilder der Kunst noch die Welt des alltäglichen Touristen zum Gegenstand, sondern bewegen sich topografisch an einem ‚Dritten Ort‘, der als Peripherie und umgebende Landschaft erkennbar ist, aber auch im Personal der kleinen Leute, der unbedeutenden jungen Mädchen, der abgelegenen Rituale einer volkstümlichen Religion. Aus diesen ‚neuen‘ Kontexten schafft Rilke eine Lyrik und Poetik, die sich von epigonalen Stilen der Italien-Dichtung in Mittel- und Nordeuropa absetzt.

A Stylistic Study of Rupert Brooke’s poem “Blue Evening”

Stylistics is a linguistic description and analysis of the language of literary texts and discourses, and this paper aims to explore Rupert Brooke’s (1887- 1915) poem “Blue Evening” from the perspective of stylistic analysis which is performed by inspecting graph logical, phonological, morphological, and literary analysis. This study provides a new insight to the readers to visualize Rupert Brooke’s Poetry in a new stylistic scrutinizing. This analysis is helpful in interpreting the underlying meanings of the poem. It is also helpful to analyze the structure and style of Rupert Brooke's poetry and his themes. It obviously brings to surface what the poet really wants to convey. The paper utilizes an MLA style of documentation, and it ends up with the conclusions and works cited.

Imagism and Imagery in the Selected Poems of Major Imagist Poets

This paper explores imagism and studies the intrinsic literary features of some poems to show how the authors combine all the elements such as style, sentence structure, figures of speech and poetic diction to paint concrete and abstract images in the mind of the readers. Imagism was an early 20th century literary movement and a reaction against the Romantic and Victorian mainstreams. Imagism is known as an Anglo-American literary movement since it borrows from the English and American verse style of modern poetry. The leaders of the movement set some rules for writing imagist poems. The authors of the group believed that poets are like painters; what the painters can do with brush and dye, poets can do it with language i.e. painting pictures with words. The poems are descriptive; the poets capture the images they experience with one or more of the five senses. They believed that readers could see the realities from their eyes because the texts are like a painting. In this paper, six poems by six prominent leaders of the movement will be scrutinized according to the main principles of the formalistic approach which is the interpretation and analysis of the literary devices pertained to the concrete and abstract images drawn by the poets. The poems are: In a Station of the Metro by Ezra Pound, Autumn by T. E. Hulme, November by Amy Lowell, Oread by Hilda Doolittle (H.D.), and Bombardment by Richard Aldington

The nominal style in the modern French poetry

يعد ادخال الاسلوب الاسمي في الكتابة الشعرية علامة فارقة في تاريخ الشعر الفرنسي الذي شهد تغييرات كبيرة منذ منتصف القرن التاسع عشر سواء على مستوى اللغة والشكل أو على مستوى الموضوعات . أن هذا الاسلوب القائم على حذف الفعل متخذا من الاسم النواة الاساسية في التعبير عن موضوع الجملة شكل جدلا كبيرا لدى اللغويين من الناحية النظرية لكونه يثير مسائل الاختلاف بين الاسم والفعل .&#x0D; حاولنا, في هذه الدراسة,تحليل الاسلوب الاسمي و وسائله اللغوية الاكثر استخداما مثل الجملة الاسمية التعجبية,وسائل التقديم والمفردات المنعزلة من خلال تناول قصائد الشعراء المعروفين بولعهم بالحداثة مثل بودلير, رامبو, أبولينيير وغيرهم....&#x0D; يسلط هذا التحليل الضوء على خصائص الاسلوب الاسمي المتناولة في بداية البحث ويكشف لنا لماذا أختار الشعراء هذا الاسلوب باعتباره شكل من أشكال الحداثة التي ساهمت في تخليد قصائدهم التي لازلنا نقرأها الى يومنا هذا .

CITRA PEREMPUAN DAN GAYA BAHASA DALAM KUMPULAN PUISI IBU MENDULANG ANAK BERLARI SEBAGAI MATERI PEMBELAJARAN SASTRA

&lt;em&gt;This research has purpose to describe and explain; (1) The position of woman figure in collection of poetry Ibu Mendulang Anak Berlari by Cyntha Hariadi. (2) The language style of Poetry in Ibu Mendulang Anak Berlari. (3) The collection of poetry Ibu Mendulang Anak Berlari that can be used in a poetry learning material in senior high school&lt;strong&gt;. &lt;/strong&gt;This research used the method of qualitative. Data analysis of this research used interaktif analysis within 3 components: data reducing, Data validity test is done by triangulating theory and triangulation of the data source. Based on the results of the study can be concluded: (1) on the poetry collection of ibu mendulang anak berlari has (a) Physical figure, (b) Physcological Figure, and (c) Social Figure; (2) Repetition is the most dominant style that used in the Ibu Mendulang Anak berlari poetry collection; (3) Ibu Mendulang Anak Berlari poetry collection can be used as a poetry learning material in senior high school, especially on KD 3.16 (Identifying the atmosphere, theme, and the meaning of poetry that has been read) and KD 3.17 (Analyze the elements of poetry).&lt;/em&gt;

Faith in Poetry: Verse Style as a Mode of Religious Belief. By Michael D.Hurley. Pp. viii, 201, London, Bloomsbury Academic, 2018, £69.99.

Faith in Poetry: Verse Style as a Mode of Religious Belief. By Michael D.Hurley. Pp. viii, 201, London, Bloomsbury Academic, 2018, £69.99.

The Position of Politics in the Metamorphosis of Persian Poetry and Literature

The position of politics in the metamorphosis of Persian poetry and literature is the main subject of this research. In this study, politics is considered as a general term. Biographies and the history of literature each from their own view express the reasons for the growth and decline of Persian language and literature. This study aims to prove what is said so far about the causes of change and metamorphosis of Persian poetry and literature is a mere cause but can be considered as one of the reasons for the metamorphosis of poetry style. The authors of this article believe that the political, social, religious, cultural, economic, historical, regional and environmental factors and other reasons have affected the metamorphosis of Persian poetry and literature. The authors consider the results of the past review of Persian literature as a necessity to draw a future map and to encourage the scholars and thinkers for innovative, attractive, creative and compatible planning with the new conditions of the today world. Considering the cyberspace and social networks is another point in this study which emphasized the importance of applying these kinds of inclusive technologies in Persian language and literature promotion

The Position of Politics in the Metamorphosis of Persian Poetry and Literature

The position of politics in the metamorphosis of Persian poetry and literature is the main subject of this research. In this study, politics is considered as a general term. Biographies and the history of literature each from their own view express the reasons for the growth and decline of Persian language and literature. This study aims to prove what is said so far about the causes of change and metamorphosis of Persian poetry and literature is a mere cause but can be considered as one of the reasons for the metamorphosis of poetry style. The authors of this article believe that the political, social, religious, cultural, economic, historical, regional and environmental factors and other reasons have affected the metamorphosis of Persian poetry and literature. The authors consider the results of the past review of Persian literature as a necessity to draw a future map and to encourage the scholars and thinkers for innovative, attractive, creative and compatible planning with the new conditions of the today world. Considering the cyberspace and social networks is another point in this study which emphasized the importance of applying these kinds of inclusive technologies in Persian language and literature promotion

Surat Al-Infitar in Terms of Qur’anic Style

The Qur’an, which is revealed as a verbal-linguistic address, has revealed a new way of thinking parallel with the language system used by the interlocutor audience and the possibilities of this language. In order to actualize this address-addressee dialectic, it took into account the perceptions and concepts of the society it was revealed to and formed a common world view formed by the values of the society such as language,&nbsp;faith, culture, and history. In addition, it actualized the most beautiful transformation and change of the mindset by using the Qur’anic Style, namely, the Uslubu’l-Qur’an, which is the language’s own style of expression, verse, and language form. This study aims to identify the main subject of Surat Al-Infitar by taking into account the methods special to Uslubu’l-Qur’and offered as a linguistic method of understanding the Qur’an, and the relationship between the interlocutors and the environment they are in and explain the way this subject is expressed. In this sense, our study strives to see the constructional structure that plays a role in manifesting and turning the warning expressions for doomsday ‒like the sky will break apart, the stars will fall‒ into action mostly “here‒now” as a part of the Qur’anic style and deal with the surah in this framework. In this context, the surah talks about the cosmic changes that took place during the events of the doomsday which transforms into kalami action through Allah’s taqwini laws and turns this action into morality. In this sense, the verses ultimately emphasize “the coming of the revelation, its possibility, and its nature” through the reality of the change in the cosmic structure.

Poetry, Irrevocable Time and Myanmar’s Political Transition

ABSTRACT∞ This article is concerned with the response of Myanmar’s early contemporary poets to the experience of dictatorship and oppression, and the response of more recent poets to the uncertainty that followed political transition in 2010. The article argues that aesthetic differences in the styles of poetry that emerged during different periods reflect different understandings about temporality and the corresponding possibilities for claims of justice. The article suggests that the earlier poems, written during the period of military rule, represent what the philosopher Vladimir Jankélévitch calls ‘irreversible time.’ Later poems, written after the period of dictatorship, reflect an aesthetic of ‘irrevocable time.’ The article explains that we are yet to see, in Myanmar, the emergence of poetics representing time’s third domain: imprescriptible time (the time of jurisdiction, redress for crimes against humanity and the claims of justice).

Ultraísmo, poesía naíf y humor en los primeros poemas de Dámaso Alonso: Poemas puros, poemillas de la ciudad

En este trabajo se estudia la primera poesía de Dámaso Alonso, recopilada en Poemas puros, poemillas de la ciudad en 1921, a través del filtro estético de su época. Trataremos de averiguar la influencia formal de la primera vanguardia española, el ultraísmo, en el joven poeta y cómo se apropia de las técnicas novedosas (principalmente el juego de disposición textual) y las implementa en una poesía de corte personal. Junto con ello, la primera poesía alonsina no solo tiene como referente la estética novedosa, sino que, gracias a la poesía tradicional y al tono poético pesimista aporta elementos lúdicos y naíf. Además el humor juega un papel importante en estos poemas de tono más machadiano que ultraísta.

Determining Robert Greene's Dramatic Canon

. Robert Greene holds a significant place in our understanding of Elizabethan literature, not least because of the attack on Shakespeare in Greene's Groatsworth of Wit, which represents the earliest allusion to Shakespeare as an actor-dramatist in London. Greene is recognized as a prolific pamphleteer, but he was also an important dramatist. His canon of plays nevertheless remains uncertain, with scholarly consensus assigning him four plays as sole author and one as coauthor. This article offers the most rigorous attempt yet undertaken to determine the scope of the playwright's canon through analyses of Greene's verse style and the dramatist's phraseology in his attested plays and in comparison to three plays that have long been on the margins of Greene's corpus: Locrine, Selimus, and George a Greene. The article also compares results for other authorship candidates and, by extending and developing the findings of previous scholars, as well as drawing from a new resource in early modern authorship studies, concludes that Greene is the most likely author of Locrine, that he coauthored Selimus, and that George a Greene remains dubious.

東亞漢詩的艷情傳統———以琉球詩人蔡大鼎爲例

LANGUAGE NOTE | Document text in Chinese; abstract also in English.&#x0D; 晚清琉球詩人蔡大鼎曾以使臣身分遍遊中國諸省，其中不乏冶遊之作。對前代士妓雅情之追慕與模仿促成其“意淫觀”在艷詩中的體現。另一方面，在選擇性書寫的意識下，蔡氏的大部分艷詩並不帶有過多個人情感色彩，而是直觀地描繪晚清時期的青樓實況。此外，蔡大鼎的“島女情結”揭示了其艷情外衣下征夫思婦主題的內核。藉助琉球蔡氏的艷詩創作，再反觀朝鮮、日本等國，其艷情傳統各有淵源，並呈現出本國文化的特徵，綜合比較可見艷詩一體在東亞各國的受容與傳播境遇。&#x0D; Erotic poetry is a unique style of Chinese poetry in East Asia. Cai Dading (Japanese spelling: Sai Taitei, b. 1823), a poet who hailed from Ryukyu but traveled to numerous provinces in China in his tenure as an envoy, wrote a number of poems on pleasure seeking in entertainment quarters. His admiration and emulation for the interactions between intellectuals and entertainers gave rise to his “poetics of psycholagny.” On the other hand, his selective approach towards writing resulted in poetic works that were not really colored by personal feelings but were simply realistic reconstructions of imagery from entertainment quarters in late Qing times. In addition, his “attachment to island ladies’ sentiments” are revealed in his dealing with the traditional theme of “the sojourner missing his forlorn wife.” Comparing Cai’s erotic poetry with its counterparts in Japan and Korea, we observe that they each had distinct origins marked by their respective national characteristics. This comparative study shall yield hints to the reconstruction of how erotic poetry was received and transmitted in East Asian countries.

Жіночі голоси протесту: поезія Соні Санчес і Ніккі Джованні

The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literary studies in Ukraine, are analyzed. Protest poetry is defined as politically and socially engaged verse which is oppositional, contestatory and resistant in its subject matter, as well as in the form of (re)presentation. Focusing on political and societal issues, such as slavery, racism, segregation, gender inequality, African American protest poetry is characterized by discourse of resistance and confrontation, disruption of standard English grammar, as well as conventional spelling and syntax. It is argued that militant poems of Sonia Sanchez are marked by the imitations of black speech rhythms and musical patterns of jazz and blues. Similarly, Nikki Giovanni relies on the oral tradition of African American people while creating poetry which was oriented towards performance. The linguistic content of Sanchez and Giovanni’s verses is lowercase lettering for notions associated with “white america”, obscenities targeted at societal racist practices, and erratic capitalization, nonstandard spacing, onomatopoeic syllables, use of vernacular as markers of Black culture. The works of African American women writers, which are under analysis in the essay, constitute creative poetic responses to traumatic history of African American people. Protest poetry of Sonia Sanchez and Nikki Giovanni explicitly express the rhetoric of Black nationalism and comply with the aesthetic principles of the Black Arts movement. They are perceived as consciousness-raising texts by their creators and the audiences they are addressed to. It is argued that although protest and resistance poetry is time- and context-bound, it can transcend the boundaries of historical contexts and act as timeless texts.