Theme In Poetry Research Articles

Wat de dichter witte moat. Filosofyske fasetten fan Obe Postma syn dichterskip

In this article several philosophical aspects of the poetry of the Frisian poet Obe Postma 1927 are considered. Earlier critics held out that Postma’s treatment of the sublime was essentially kantian. However, a closer look proves that Postma was a romantic rather than a kantian. Postma’s treatment of the sublime is not characterized by rationality and by transcendental distance, but by feeling and transcendent proximity. Postma’s recurring theme of poetry as the mediating and connecting force of the world may also have been inspired by the romantics. And around 1922 he probably found the validity of this theme confirmed and reinforced when he read Lebensanschauung by the vitalistic philosopher Georg Simmel. In one of his notebooks he made an extract of this book in which he records the idea that people have the power to transcend their lives in their awareness of the possibilities and boundaries of their own knowledge. In the brilliant poem ‘Wat de dichter witte moat’ (‘What the poet must know’) we see the outcome of his philosophical-poetical quest, when we notice how he compares his own knowledge of the world to that of the great German poet Rilke and full of confidence states that he may have grown up ‘in the surveyable/ Community of the village’, but has known miracles that Rilke never knew. This poet knows enough.

“Six Linglong Windows, Eyes Hearing and Ears Seeing”: The Influence of the True Mind of the Śūraṅgama Sūtra on the Imageries of Guanyin and Sages in Song Literature

The “Functional interchangeability of Six Roots” also known as the “Six Roots being unrestraint” is according to thoughts regarding Tathagatagarbha in the Śūraṅgama Sūtra, rather than mysterious personal experience of Buddhist meditation. The true mind and the delusive mind are distinguished in the Śūraṅgama Sūtra. The true mind recognizes the world through six roots so that the six roots can be functionally exchangeable. Scholars represented by SuShi, Huang Tingjian, and Hui Hong not only identify thoughts of the True mind of Buddhism but also apply them to literary creation, overthrowing previous aesthetics and literary performances and giving rise to changes. First, seeing with the ears and listening with the eyes originate from descriptions of Guanyin Bodhisattva’s enlightenment from hearing, whereby poets break through the limit of the eyes and ears. Second, burning incense, tasting tea, and admiring food become poetry themes. The emphases of those poems and essays are fantastic functions of the true mind. These changes are closely related to the new images of sages in their mind.

Вокальный квартеты Ц. Кюи в русле развития русского камерно-вокального искусства

The purpose of the paper is to study the genre of vocal quartet in the works of C. Cui. The author considers issues of the implementation of romantic, lyrical themes of poetry by A. Maikov, F. Tyutchev, realistic motifs of N. Nekrasov, A. Tolstoy, decadent moods of F. Sologub addressing C. Cui’s vocal music. In the cycles of vocal quartets op. 59 and op. 88 the study discovers traditions of choral writing, coming from the first Russian composers, vocal techniques characteristic of the composers M. Mussorgsky, features of romance lyrics in the spirit of M.I. Glinka, P.I. Tchaikovsky, recreation of the musical language inherent in the Russian East. At the same time, C. Cui organically combines Russian national characteristics with achievements of European music, which is very appropriate in the context of the creative goals of The Mighty Five. The author’s reading of the vocal quartet genre can be traced in C. Cui’s texture of a four-voice pattern, which can be performed both by an ensemble and by a choir, but in any case, the compositions retain the quality of chamber music. Study results allowed for establishing that Cui’s vocal quartets are in keeping with the general development of Russian chamber vocal art, complementing the overall picture of ensemble and choral music.

Stylistic Feature of Aref Chahabi’s Lyric Poetry

The current study aims to investigate the linguistic, rhetorical, and ideological aspects of Aref Chahabi's lyric poetry in order to determine its stylistic features. The goal is to pinpoint the most important tactics used to mould the style inside these levels. Aref has creatively used English sounds in the phonetic layer to create musical proportions that are relevant to poetry themes. Aref has also thoughtfully created a unified environment and area to effectively communicate the material through the repetition of vowels and consonants. The person has used a linguistic vocabulary in the lexicon layer, which is primarily made up of identical, frequently occurring terms that are objective in character. With the help of this lexicon's useful correlations with certain meanings and senses, a variety of events and places can be vividly portrayed. Aref's lyric poems hemistiches and verses exhibit a variety of syntactic forms. Generally speaking, the verb comes before other elements of the phrase. This feature of his lyric poetry can be recognized as an important grammatical feature. The poet uses a lot of verbs in the informative mode, which suggests that he is examining his ideas with determination and assertiveness. Sentences with a high percentage of active grammatical voice convey energy, vigour, and a proactive attitude towards being creative and productive in society.
 The writer has utilized rhetorical devices such as figures of speech and metaphors to create striking poetic imagery, bolster the persuasiveness of their arguments, and elicit dramatic situations within their discourse. The author's lyric poems display a wealth of creative and metaphorical phrases that work to communicate the author's higher concepts and ideas, the visual attractiveness of their perspective, and the sophisticated quality of their imagination as they explore the world of meanings and experiences.

Pengembangan Video Animasi Vtuber pada Pembelajaran Bahasa Indonesia Siswa SMP Kelas VIII Tahun Pelajaran 2022/2023

This study aims to describe the steps for developing Vtuber animated video learning media, test the feasibility of media for use, and students' responses to media. This research is a part of research and development (R&D) using the multimedia development method proposed by Luther based on 6 stages of development. The data collection techniques carried out are interviews, questionnaires, and documentation. The subjects in this study were students of classes VIII A and VIII B of SMP Negeri 9 Serang City. Data analysis was carried out using descriptive statistical techniques. Media experts and material experts carry out validation tests to determine the feasibility of the media. The results showed that the Vtuber interactive animated video learning media received a percentage score of 82.5% with the criteria "Very Feasible" by Media Experts and a percentage of 84% with the criteria of "Very Feasible" by Material Experts. Overall, the average result of the percentage gain for media eligibility by media experts and material experts was 83.25%, so as to get the "Very Feasible" criterion. And the results of the trial on 65 students as respondents obtained a percentage score of 84.26% with the criterion "Strongly Agree" from all four aspects of the student response questionnaire. From the results of validation and student response, the development of Vtuber animation media can be used for the learning process Indonesian with the theme of poetry.

АҚЫНДАР ПОЭЗИЯСЫНДАҒЫ МАХАМБЕТ БЕЙНЕСІ

Koblanov Zholaman Taubayevich Department of "Kazakh Philology", acting professor, candidate of philological sciences Caspian University of Technology and Engineering. Sh. Esenova, Aktau, Kazakhstan Karimsakova Baktigul Abdimukhanovna Department of «Kazakh Philology», acting associate professor, candidate of philological sciences, Caspian University of Technology and Engineering. Sh. Esenova, Aktau, Kazakhstan THE IMAGE OF MAKHAMBET IN THE LYRICS OF POETS Abstract. This article discusses the poetic works of many poets about the legendary Makhambet, whose life and work is of great value to our history, as a fiery fighter for the freedom of his native land and his people, and as a poet and famous akyn-improviser, who struck the listener with sharpness and passion , wisdom and humanity of the sounding word, which left a bright mark in the national culture. The art of Makhambet is a popular theme in poetry, and many poets dedicated poems to the hero, glorifying the heroism and spirit of the great poet. The courage and heroism of Makhambet is depicted in the works of poets. In their lyrical poems, they skillfully sang the image of the great poet and fighter through the rational use of the best artistic alternative images - images that show the height, intelligence, eloquence, sharpness, individuality, grandeur, depth of Makhambet's poetry. Lyrics in the art of the artistic word is a special genre that leads the poet to the innermost feelings, to the abyss of subtle thoughts. The works in this genre are not limited only to the manifestation of the individuality of the individual, the reflection of the characteristics of each poet in cognition, feeling of the world. At the same time, they allow us to determine the epochal nature of the path of genre changes, growth, prosperity, decline of lyrics in the process of literary development as a whole. The article is devoted to the problem of continuity of traditions in Kazakh poetry, including as a poetic tradition of the militant poet Makhambet Utemisuly, who has passed through the centuries and has reached our days. The manifestations of intertwining literary traditions in the national literature were considered. Key words: Makhambet, poet, hero, historical figure, Kazakh poetry, valor, heroism, kazakh literature, continuity of traditions, zhyrau school, innovation, poetry, poet, national spirit.

A Study of the Themes of Love in Ghased Persian Lyric Poems

Love is one of the main themes of poetry and its earthly and heavenly types are seen in the poems of poets and have created great themes and beautiful interpretations. Ghased is one of the poets who has a great skill in using words, depicting the image of love in various forms. The messenger has tried to express his pure love for his beloved in various images of his sonnets, although sometimes he has made love seem virtual or real. In his opinion, the place of love is undisputed, although in this painful way, you have endured the suffering of Versailles. The characteristics of love and its attributes in poetry are often similar to the themes of the poets before him and the status of love in his poetry is very high. Even its earthly type can be considered as the shadow of heavenly love. This research examines love and its place in the messenger's sonnets.

Poetry as Spiritual Exercise

Poetry as Spiritual Exercise

THE IMAGE OF THE MOTHERLAND IN THE POETRY OF FARIZA ONGARSYNOVA

The article examines the image of the Motherland in the poetry of the Kazakh famous poetess Fariza Ongarsynova. Here is revealed the connection of poetess’s poems with folklore works. It is argued that Mangystau, the poetess’s small homeland, is the source of her poetic inspiration. The idea is substantiated that the image of a small homeland occupies a special place in the work of the Kazakh poetess. It is also noted that the lyrical hero of the poetess's works feels like a part of his native land, its nature and destiny. Thanks to the study of the characteristic poetic feature of Fariza Ongarsynova, it is possible to recognize her poetic skill. Artistic individuality, ideological and thematic themes of poetry, contribution to the national artistic tradition, the corresponding place and figurative character occupied in modern Kazakh poetry will be studied.

Kad vecenīte ar meitiņu sarunājas: Ainas Pāvulītes un Lauras Andersones dzeja

The article focuses on regional research, assessing the current cultural and literary process in Southern Kurzeme and Liepāja during the last three years and highlighting the perspective of the poetry process. In addition to the aspect of regional research, the theoretical and methodological basis of the article is the theories on the range of manifestations of feminine subjectivity and topics related to gender studies by feminist theorists and gender researchers. The article deals with the creative work of two Kurzeme poets, Aina Pāvulīte and Laura Andersone, who belong to different generations. The focus is on Pāvulīte’s (1942) newest poetry collection “Granny” (Vecenīte, 2018) and Andersone’s debut collection “A Girl Looks Up” (Meitiņa skatās augšup, 2020). At the level of both collections’ titles, the embedded momentum of female identity signals an encouraging conversation between two talented women, revealing the possible encounter of their inner women with another woman, making the boundaries of their identity transparent for flowing interaction in their writing. Poetry by both authors has been analysed comparatively, highlighting the characteristic manifestations of feminine subjectivity. The main research focus is on assessing the poetry themes, the characteristic motifs, and the specifics of the poetics of the two authors. The distinctive poetry images creating the conception of the lyrical subject and common and differing elements in lyrical subjects’ value system in both poets’ works are emphasised. The article analyses the formative elements of the poetic chronotope and the path of female identity formation and consciousness, based on the conceptually different experiences surrounding the identity of “granny” and “girl”, highlighting the existential dialectic intersections of the indirect feminine dialogue.

The Concept of 'Love' in Transcendent Philosophy: A Comparison between Mullā Ṣadrā and Plato

ABSTRACT: With a mystico-philosophical approach, using the ontological principles of the transcendent philosophy of Mullā Ṣadrā, this paper attempts to examine a new perspective on the concept of 'love', the most mysterious feeling of the human being. The discussion will focus on ontological and psychological analysis of the concept of love as 'affection of male to female or female to male'. By affection, I mean that romantic feeling that appears in many human beings which is much deeper than parental love or the love between spouses; it reaches a degree at which the lover goes beyond his normal state, loses the ability to eat or sleep, and all his attention is directed to his beloved. The nature of this state comprises one of the main themes of poetry, literature and art in all cultures throughout the history of mankind. It is also examined in philosophy and modern psychology. This paper proposes a novel interpretation of love, contending that it extends beyond mere obsession or spiritual fervour. Rather than solely dominating the minds of lovers or being confined to moments of heightened spirituality, love is portrayed as an existential reality characterised by diverse levels and stages. Much like existence itself, love exhibits multiple dimensions of objectivity, challenging conventional perspectives and offering a more comprehensive understanding of its essence.

Recognition and Analysis of Emotional Words in Ancient Chinese Poetry under Different Themes

AbstractThe emotional connotation in ancient poetry is a valuable human spiritual culture, adopting the key semantic technique to parse the emotional word in poetry under different themes is beneficial to discover the relationship between poetry theme and emotion. In a “cold environment” (without learning corpus) of Tang poetry, this work presents, for the first time, the automatic recognition and analysis of large‐scale humanistic emotional words within ancient Chinese poetry from different themes. A “cold start” automatic citation method for character sequences is proposed to obtain the learning corpus. The best F1 and F1_distinct of trained BERT‐BiLSTM‐CRFs model respectively reach 96.27% and 86.04%. Deep learning expanded imagery words that convey emotion to realize knowledge discovery. The relationships between theme and emotion word show that Chinese poetry is good at using natural objects to express various sentiments to people, with each theme of poetry owns distinguished emotion feature.

Do Mconf ao Vale Do Mconf: topografias poéticas em um sistema de webconferência em meio à pandemia

In this essay, we present the collective writing path on a web conference system called Mconf, between April and July 2020, months in which Brazil was faced with the exponential growth of the pandemic related to Covid-19. Amidst the beginning of social distance, together with the suspension of classes and the subsequent adherence to Emergency Remote Education, a group formed by 25 masters and doctoral students from the Federal University of Rio Grande do Sul met around a seminar held extracurricularly and in a virtual way, focused on the theme of poetry and its ethical-political implications in the academic context. We now refer to Mconf as Mconf Valley in an attempt to translate the strangeness and enchantment to which we were subjected in our first experience in remote education. In order to sustain the power of collective writing in virtual mode, fragments of shared notes are presented, a resource in which the participants write in a collaborative and unidentified way. Although we have lived an important experience of virtual coexistence, we read that it does not replace the burning desire that the classes will again behave in the warmth of presence, where we can further activate our poetic opportunities. © 2021 Curriculo sem Fronteiras. All rights reserved.

Features and themes of poetry in KOPI (komunitas puisi Indonesia) facebook group

Going along with the development of technology, literary disciplines also have been developing. Cyber literature becomes popular in this digitalization era which explores the existence of the internet as the medium. One of the large cyber literary communities on Facebook is KOPI (Komunitas Puisi Indonesia) with 64 thousand members. Due to the insufficient research analyzing poetry in the Facebook group, this research analyzed the features of poetry and the themes of poetry in KOPI (Komunitas Puisi Indonesia). Descriptive and qualitative approaches were used in this research. Observation and documentation were used as the techniques in data collecting. The observation was done by reviewing the group’s situation and the documentation is done by reviewing the poetry collections that had been uploaded in this research from the beginning until the middle of February 2021. The data analysis techniques used Miles and Huberman techniques which include: (1) data reduction, (2) data serving, and (3) conclusion/verification withdrawal. The results of this research showed that the dominant poetry features were image illustration and the themes that were used by KOPI group members in writing poetry included the physical themes, moral themes, social themes, egoic themes, divine themes. Physical theme with the most widely used type of love. It can be concluded that the physical theme with the type of “love” is the choice of the theme that the author most favors.

Klasifikasi Puisi Arab Jahiliyah Menurut Ibn Qutaybah dalam Kitab al-Shi'r wa-al-Shu‘arā’

This research discusses the classification of Arabic poem (shi‘r) of the pre-Islamic period (Jahilīyah) in the book of al-Shi‘r wa-al-Shu‘arā’ by Abū Muḥammad ‘Abdullāh ibn Muslim ibn Qutaybah. In this research, we review in simple terms the classification of poems based on the quality of lafaẓ and meaning, the quality of lafaẓ, the quality of meaning, and the quality of limited lafaẓ and meaning a literary work, especially in the poem (shi‘r) as described in the book of al-Shi‘r wa-al-Shu‘arā’. Through the poem, the Arabic poet of Jahilī expresses his feelings through the poem he creates. The theme raised in the poem is the reality or quotes that are very familiar with the life of the Arab community at that time. One of the most influential Arabic poets of Jahilī is Imru’ al-Qays. In his poetry, Imru’ al-Qays describes his feelings, both regarding love, greed, sadness, spree, and so on relating to the conditions of the Arab environment. Likewise with other poets took the theme of poetry that was inseparable from the various Arab cultures.

Pilsēta Jāņa Hvoinska dzejā

The article is dedicated to the evaluation of creative work by poet and translator Jānis Hvoinskis, and it characterises the content and artistic qualities of Hvoinskis’s poetry process. The main focus is on the representation of the phenomenon of the city as an essential and characteristic poetic chronotope segment in Hvoinskis’s poetry. The study aims to identify and assess the characteristic kinds of city concept formation and their importance in building Hvoinskis’s artistic style. The article highlights and evaluates the techniques for designing the artistic structure of the indivisible chronotope in Hvoinskis’s poetry. This view is based on the fundamental principles of phenomenology, i.e., an individual phenomenon (phainómeno) is crucial in the reflection of consciousness, inner temporality, intentionality, intersubjectivity, and lifeworld. In turn, the highlight of poetry subject’s primary condition and existential motifs is logically linked to the main ideas of existentialism in their attitude towards the reason of an individual’s existence, relationships to life and death, freedom of will and choice, determinism. The study’s theoretical and methodological basis includes the ideas of phenomenology theoreticians (Edmund Husserl, Maurice Merleau-Ponty, and others) and the theories of existentialism philosophers (Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre). Hvoinskis’s poetry allows us to speak about a city as a concept, i.e., as a universal and capacious generalising notion (which includes images, notions, symbols) from which its associative components – poetry themes, motifs, images – derive. Thus, it is possible to speak about the depth dimension of the city phenomenon. The city phenomenon in Hvoinskis’s poetry is the landscape that has been adopted as the centre of the world of the lyric subject in both poetry collections that have come out to date: “Lietus pār kanālu e” (Rain over the Channel e, 2009) and “Mūza no pilsētas N” (Muse from City N, 2019). The depth dimension in Hvoinskis’s poetry appears in the natural synthesis of mythical and real chronotope, associatively impressive and plastic imagery, expressive style kindred to surrealism poetics. The city appears as a modernism project created by the logic of industrialisation, simultaneously revealing a metaphysical dimension where symbolic images as constituents of a myth preserve the memory of wholeness of the world. The emotional atmosphere of Hvoinskis’s poetry is defined by the highly existential atmosphere – despite the harsh indifference created by the city, the sadness of existential loneliness, social distance, and aversion towards life, the poet makes the tragic and ugly strangely appealing without losing the feeling of lightness and hope. The poet’s intense intuition and imagination exhibit the congeniality with the 20th-century French modernists. Hvoinskis’s poetry muse is death, which implies life.

Revisiting Sylvia Plath’s and Anne Sexton’s confessional poetry: Analyzing stylistic differences and evolution of poetic voice(s) through computational text analysis

AbstractThis paper proposes a new approach to reading the ‘Confessional Poetry’ of Sylvia Plath and Anne Sexton by combining quantitative text analysis methods with a qualitative literary interpretation. We investigate the meanings of stylistic differences between Plath’s and Sexton’s poems and highlight their differences in using pronouns and related sentiment words. Our data-focused research demonstrates that Plath employs rather fragmented and schizophrenic styles, as well as poetic voices with word choices that present dynamic and volatile emotions. On the other hand, Sexton’s poetic voice is causal, homogeneous, and relatively stable, focusing a lot on domestic issues and the symbolic function of father. To illustrate this, three computational methods are used: (1) linking pronoun uses in each poet’s work to sentiment words (Figs 1 and 2), (2) a topic-model analysis to compare Plath’s and Sexton’s works to see how the themes of poetry are manifested by the different patterns of word use, the so-called topics, and their co-occurrences in the poems (Figs 3 and 4), and (3) a diachronic analysis of each poet’s works (using the topic model) to identify the thematic changes (Figs 5 and 6). The methods commonly testify one of the widely accepted ideas regarding Plath’s and Sexton’s confessional poems. Plath often breaks with the boundary of the ego, I, through complex reciprocity between I and other pronoun groups, while Sexton evokes the presence of the poet through more stable and less kinetic voices of the authorial I. Plath’s and Sexton’s works have long been regarded as the passive products of biological reductionism due to the traditional way of understanding the confessional genre. The aim of this paper, however, is to redefine the meaning of confessional genre, proposing that the truthfulness of the poetic voice I cannot be seperated from the stylistic issues in poetic language.

НАВОИЙ ШЕЪРИЯТИДА ТАРК ТУШУНЧАСИ ВА ТАЛҚИНЛАРИ

The article concerns a scientific analysis of renunciation notion, playing an important role in the oriental classic literature, and its interpretations in the poetry of Alisher Navoi. There is an elucidation of renunciation state from the viewpoint of generality of Sufism and literary criticism, in the past and the present. Renunciation from the worldly life, renunciation from afterlife and self-renunciation are important statuses in the appeasement of passion,and in the heart soothing. The importance of love and enlightenment is incomparable in the achievement of these status. Along with this, following Ahmad Yassavi, the founder of Sufi literature,the soul is one of the major themes of poetry, existing up to the present.That is why, it is proved by means of literary extracts that in the relations of soul and body, soul and passion, soul and the world, soul and the divine,renunciationis the wing of the soul. The path of renunciation is the way of freedom, and there is a discussion on truthfulness of the soul liberation from the vanity of the worldly life and afterlife.

Perbandingan Unsur Batin Kumpulan Puisi Luka Kata Karya Candra Malik dengan Kumpulan Puisi Menyelamimu Karya Agung Setiawan S.

The purpose of this research is to describe the comparison of the inner elements of the poetry collection Luka Kata by Candra Malik and the collection of the poetry Diving by Agung Setiawan.S. The research method used is descriptive qualitative method with a literature approach. Comparing Candra Malik's Luka Kata poetry collection and Agung Setiawan S. It can be compared that in the study of these two collections of poetry that the theme of poetry leads to the world of love and all its consequences. In terms of taste, these two collections of poetry also express feelings of longing and disappointment that are implied and expressed through their lines. In terms of tone and atmosphere, these two collections of poetry are so different. In the collection of poetry Luka Kata by Candra Malik, the tone and atmosphere that are depicted is more of an advising tone with a touching atmosphere. Whereas in the collection of the poetry Diving by Agung Setiawan S, the tone depicted is more of a mocking tone with a sad atmosphere. However, in terms of the mandate, these two collections of poetry have something in common again and again. The mandate in this collection of poems provides advice on the world of romance (romance) and all things related to joy and sorrow for those who enter that world. Based on the research results, it can be concluded that the collection of poetry Luka Kata by Candra Malik and the collection of the poetry Diving by Agung Setiawan has many differences in terms of the language of conveying the inner elements.
 Keywords: Comparison, Poetry Collection, Mental Elements.

The politics of Gorkha martial valour: A critical introduction to modern Nepali war poetry

This paper presents a critical analysis of Nepali war poetry across a timeframe of about two centuries. A mapping has been made of the development of war as a theme in poetry in both East and West,...