Unique Poem Research Articles

Ho Xuan Huong’s Nom Poetry and Its Significance to the Current Issues of Gender Equality

Ho Xuan Huong was a famous Vietnamese poet who lived in the late 18th and early 19th centuries. She left behind many unique poems with a poetic style that is both thanh (right and pur vulgar) or tục (vulgar and dirty) and was dubbed “the Queen of Nom Poetry”. While nom poetry is a genre of poetry passed down from generation to generation without original text, Huong is considered one of the unique poets of Vietnamese literature. Many of her works have been lost; up to now, her poems still in circulation are mainly oral Nom poems. Her poetic system focuses primarily on promoting the role of women under the harsh regime of the feudal dynasty which is expressed to honor women while mocking and pointing out the negative aspects of the regime of “trọng nam khinh nữ" (male chauvinism, to value men above women). Using qualitative research methods and referencing several previous studies combined with a survey of some historical data, is the main method of this research. Researching feminism in Huong’s nom poetry allows future generations to have a more complete and comprehensive view of the condition of women under feudalism, ideas that are ahead of their time and humanely profound; from there, determine its value and significance to the current issue of gender equality.

Creatures Who Advocate: An Ecocritical Reading of Jubilate Agno

Abstract: "For I pray God for the ostriches of Salisbury Plain, the beavers of the Medway and silver fish of Thames" ( Jubilate Agno , B153): species extinction in Christopher Smart's unique poem is the focal point of this essay. That the poem's ecstatic scope offers a leveling care for the nonhuman has been acknowledged, but here I argue that it speaks out of abjection: the poet is the supplicant, asking all Earth's creatures to advocate for him before God. Additionally, focusing particularly on the figure of the beaver, I highlight the medieval animal fable as a valid mode of understanding better our animal kin today.

The Rhetorical Colors in the Unique Vocabulary Poems in Ibn Tayfour's Anthology

Poetry is the record of the Arabs in which they recorded their history, feats and exploits, it is the ceremony to record the finer details of their social, scientific, intellectual, political and even religious life. This research tries to answer several questions, including, did poets write vocabulary poems more than the use of rhetorical devices? Can Ibn Tayfour be an example to be followed in his selections of unique poems? As well as other questions. The research adopted the descriptive and analytical approach, he mentioned the Bada'i style and then followed by explanation and analysis during the general atmosphere of the poem, domesticated by the art owners and imams of rhetoric. The research deals with the colourful rhetoric in the unique poems of Ibn Tayfour's selection and it is divided into two sections: the first section is devoted to the sense devices and the second to the verbal devices.. The study concludes that the most common devices used are assonance, parallelism, while the least used are pun, contrast, quotation and euphemism because they are suitable for certain themes and this contradict the vocabulary poems written by some poets

The Discussion of Language and Poetry in A.R. Ammons's Garbage

A.R. Ammons's Garbage is a unique poem in all measures, starting from the title to the subject matter of the poem. Though it discusses the ecological repercussion of waste management, the long poem is written to shed light on the correlation between language\poetry and garbage. The paper argues that in his examination of language\poetry and garbage as both reflectors of human life and experience, Ammons claims that redemption is possible through both language and garbage by scrutinizing human experience whether low or high, mundane or sacred. This paper tries to examine Ammons's efforts to use the farfetched metaphor of garbage to discuss language and poetry-writing.

My unique poem is me: our poems are universal. A creative interactive poetry Therapy inquiry

ABSTRACT This article contributes to understanding the relationship between the concept of Poetry Therapy (PT) and its application in practice. The article examines the benefits of a Creative Interactive Poetry Therapy Model (CIPT) within a group-based intervention program for empowerment and well-being. The article reflects data of four studies in different school settings that practiced the natural expressive writing according to the CIPT model. The four studies used qualitative and quantitative measures to examine the effects of the complete CIPT process – writing, reading out loud, sharing feedback. Although the facilitators, the population and the research questions vary – the results show that such a process is effective for students and others who seek well-being. The studied written poems are one of a kind, express the human soul and touch the listener and the reader in a group setting. Being both unique and universal they empower participants in understanding themselves and the world.

The Rhetorical Colors in the Unique Vocabulary Poems in Ibn Tayfour's Anthology

Poetry is the record of the Arabs in which they recorded their history, feats and exploits, it is the ceremony to record the finer details of their social, scientific, intellectual, political and even religious life. This research tries to answer several questions, including, did poets write vocabulary poems more than the use of rhetorical devices? Can Ibn Tayfour be an example to be followed in his selections of unique poems? As well as other questions. The research adopted the descriptive and analytical approach, he mentioned the Bada'i style and then followed by explanation and analysis during the general atmosphere of the poem, domesticated by the art owners and imams of rhetoric. The research deals with the colourful rhetoric in the unique poems of Ibn Tayfour's selection and it is divided into two sections: the first section is devoted to the sense devices and the second to the verbal devices. . The study concludes that the most common devices used are assonance, parallelism, while the least used are pun, contrast, quotation and euphemism because they are suitable for certain themes and this contradict the vocabulary poems written by some poets

Wiersze z Google — problemy autorstwa i sprawczości w świetle teorii wiersza

Google poetics — issues of an authorship and agency within the view of a verse theory This article presents an attempt to explain the popular internet phenomenon called Wiersze z Google ang. Google Poetics, poems created by Google Searching engine — the most frequently used search engine on the World Wide Web. In author’s opinion these poems are not created by humans only, but just an „uncreative” effect of the poetic collaboration between the web browser, data bases, searching indexes and, last but not least, the users. Within the context of the theory of versification and some other intellectual backgrounds I try to show how these different agencies work together to create an unique poems based on peoples searchings, metadata and how words typed in the window of the browser become a poem-in-verses.

鮑照 擬樂府의 특색과 성취

This paper is study on unique features and achievement of “Baozhao(鮑照)’s Ni Yuefu (擬樂府). Baozho(鮑照) was first writer who copied and studied Nan dynasty folk song seriously. This writer analysis the unique features of Nan dynasty folk song and find that Baozhao’s Ni Yuefu has similar features of Nan dynasty folk song. Baozhao did not simply copy Nan dynasty folk song, but created a painting in the literary artists style Ni Yuefu with additional literary quotations on simplicity of Nan Dynasty folk songs(南朝民歌) and creation of totally different story based on Nan Dynasty folk song’s formality. Baozhao’s Ni Yuefu absorbed the style of Nan dynasty folk song which is bold and liberal and also reflected elegant beauty on his literary work following a style trend of poetry in those days which is valued on morbidezza poetic words. It is different from Nan Dynasty folksong style. Since, his literary workis different from the trend of those days, focused on simple copy and technics, his NiYuefu became the literary classic with unique features and style. Moreover, his poem based on four sentence of five(五言四句) influence to diversity of poem style in those days. Baozhao’s poem won great reputation with unprecedented and unique poem style in Tang dynasty and brought huge impact to romantic poet style in late Tang dynasty.

An Analysis of “Beauty of Death” in Edgar Allen Poe’s Poetry

Edgar Allen Poe was one of the greatest poets in America and the poems he created have a great impact on not only American literature but the whole world. In many of his poems, “death” is almost everywhere, and through these poems his aesthetic view was revealed. In Poe’s mind, the terror and ugliness of death is another form of beauty, and this sort of beauty is eternal and transcends time and space. The author analyzes different presentations of “beauty of death” in Poe’s poems and finds that, in Poe’s mind, death does not mean the end of life, but a kind of rebirth and a sublimation of soul, and it helps people to find the “supernal beauty” which only exists in another world. To explore this is of great value to study his extraordinary and unique poems and further explore his view of death and aesthetics.

Aspect of Manifestation of ‘Persona’ and ‘Self’ in Yu Chi-Hwan s Poetry

This paper analyzed the aspect of manifestation of ‘Persona’ and ‘Self’ expressed in Yu Chi-Hwan’s poetry with the view point of analytical psychology of Calr Custav Jung. The aspect of manifestation of ‘Persona’ and ‘Self’ is a framework to understand the inner world of Yu Chi-Hwan and a material to prove the unique characteristics of Yu Chi-Hwan’s poem world. The poetic resonance made by the aspect revealed by Persona, i.e. ‘obsession and psychological disorder/molting desire and healing’ and the aspect of self-manifestation using the union of opposites, i.e. ‘Shadow/Light’, and ‘Sound/Silence’ is a unique poetic domain that can be created by only those who are intensely immersed in their inner world. It could be known that Yu Chi-Hwan’s awareness of life is accord with the desire of self-realization. Also the contradictoriness of Yu Chi-Hwan’s poem is the main factor that arouse the poetic collision caused by the psychological opposite poles of ‘Persona/Self’. This has to be understood in the manner of the unique existing method of Yu Chi-Hwan’s poem which is directed by the structure of psychological opposite poles of ‘Persona/Self’. The aesthetics of paradox created by this process acts as a driving force forming the unique poem world of Yu Chi-Hwan. This paper found the source generating the aesthetics of paradox at the structure of opposite poles, namely the union of opposites contributing to self-embodiment. The union of opposites in Yu Chi-wan’s poetry is a poetic practice for penetrating into self and a poetic effort for self-realization. Therefore, the value of Yu Chi-Hwan’s poetry is on the point that he aesthetically embodied ontological questions and answers in his poetry in order to be wholly what he is without living imperfectly with being locked in Persona, This paper serves as a momentum to give a new proof for Yu Chi-Hwan’s poetry that have been analyzed with some unsophisticated flat structure so far. This work becomes a useful implication to understand the psychological structure of literary works and psychological conditions of authors.

The Verse Nobody Knows: Rare or Unique Poems in Early Modern English Manuscripts

This essay examines the phenomenon of rare or unique poems found in sixteenth- and seventeenth-century manuscript collections, positioning them within the familial, collegial, or coterie environments within and for which they were written. These include verses composed by compilers, politically dangerous or obscene texts, and texts related to scandals or topical events of local interest. These poems rarely feature in literary surveys, but they open a unique window onto early modern society and its mores, and indicate the social breadth, depth, and extent of literary composition.

Carl Linnaeus, Erasmus Darwin and Anna Seward: Botanical Poetry and Female Education

This article will explore the intersection between ‘literature’ and ‘science’ in one key area, the botanical poem with scientific notes. It reveals significant aspects of the way knowledge was gendered in the Enlightenment, which is relevant to the present-day education of girls in science. It aims to illustrate how members of the Lichfield Botanical Society (headed by Erasmus Darwin) became implicated in debates around the education of women in Linnaean botany. The Society’s translations from Linnaeus inspired a new genre of women’s educational writing, the botanical poem with scientific notes, which emerged at this time. It focuses in particular on a poem by Anna Seward and argues that significant problems regarding the representation of the Linnaean sexual system of botany are found in such works and that women in the culture of botany struggled to give voice to a subject which was judged improper for female education. The story of this unique poem and the surrounding controversies can teach us much about how gender impacted upon women’s scientific writing in eighteenth century Britain, and how it shaped the language and terminology of botany in works for female education. In particular, it demonstrates how the sexuality of plants uncovered by Linnaeus is a paradigmatic illustration of how societal forces can simultaneously both constrict and stimulate women’s involvement in science. Despite the vast changes to women’s access in scientific knowledge of the present day, this ‘fair sexing’ of botany illustrates the struggle that women have undergone to give voice to their botanical knowledge.

The Dual Perspectives in James Thomson's The City of Dreadful Night

This paper will deal primarily with Thomson's interesting dual perspectives employed in portraying the Victorian life's crises depicted in his masterpiece The City of Dreadful Night. Each of these perspectives will be analyzed according to its face value first, and then according to what might a gifted writer, like Thomson, had in mind and yearned symbolically to declare by adopting such a method in writing the poem. The City of Dreadful Night has earned justly the Victorian poet James Thomson (B. V.) a distinct place in English literature. It is a unique poem in its insightful earnestness, force of thought and its pointed verses; that turned it into a truly remarkable poem, deserving to be considered a predecessor to T. S. Eliot's The Wasteland. The City of Dreadful Night is an extremely intriguing poem; not just for the dark vision of humanity and its future the poem presents, but precisely for the multiplicity of levels with which its poet handles such an enigmatic topic.

A "METAMORFOSE DOS OLHOS DE FÍLIS EM ASTROS", DE GERMAIN HABERT: O NARCISISMO ESPECULAR E O PODER SEM PODER

The current essay introduces Germain Habert’s unique poem, Les Yeux de Phillis metamorphose en Astres. Considered for more than three centuries as a typical “precious” (precieux), this poem was poorly rated by most critics since classicist critics as Bouhours described the poem as a kind of stylistic superfluity which the new learned generations should refrain to imitate. Habert’s poem, however, conceals deep psychological intricacies, including the substantial narrative development of narcissist dialogical speculation. Here a very familiar problem in sixteenth century studies – amour propre – is still deeply entrenched in sensual and sexual behavior and in metaphysical aspirations towards death and wholeness. Here a problem that will evolve considerably during the seventeenth century as the Augustinian “amour proper” is still profoundly linked to sensual and sexual behavior and to metaphysical aspiration towards death and wholeness.

Love's Lost Words: Billy Collins's PARADELLE FOR SUSAN

Billy Collins's “Paradelle for Susan” is a unique poem written in a form created by its author. Upon first reading, the poem seems nonsensical, but, when taken in pieces, “Paradelle for Susan” has ...

History of Ichnology: Early Ichnology Poems and Their Poets

In the early nineteenth century, the discovery of trace fossils fired the imagination of the discoverers and inspired them to compose unique poems. John Joly of Ireland wrote a poem about the invertebrate trace fossil Oldhamia that had been discovered in rocks around Bray Head. In the United States, the Reverend Edward Hitchcock discovered what he felt were giant bird tracks that later turned out to be reptile tracks. The traces inspired Hitchcock, who published a poem “The Sandstone Bird” in The Knickerbocker magazine under the pseudonym Poetaster. The poem is about a sorceress bringing the great sandstone bird back to life and probably represents the first ichnological poem.

OuLiPotemkin: Down with the Tyranny of Constraints!

1870, in the month right before the beginning of the French--Prussian war, an almost unknown writer deposits a new book called Poesies II at the Depot Legal of the French Bibliotheque Nationale. Isidore Ducasse (better known to posterity under his nom de plume: Comte de Lautreamont) believes that he has again produced a masterpiece. This time he hopes his new volume will bring the success he deserves, unlike the preceding one, Les Chants de Maldoror that, much to his chagrin, was not noticed by the readership as expected. Alas, Poesies II will have no more success than Les Chants de Maldoror and it will not be until the late 1930s, when Andre Breton and the surrealists discover it, that Ducasse's works will finally be recognized for their originality and innovation. Fame and fortune for its commentators will come in the late 1970s when Poesies II is regarded as the text that, in its time, opened the coffin of the Romantic literary movement and was a precursor to the language poetry that becomes the mark of French poetry at the end of the 20th century. group Tel Quel and, in particular, Marcelin Pleynet will foreground Ducasse's work. study of Ducasse's work will be an important part of Julia Kristeva's reflection on negativity in poetry in her book La Revolution du langage poetique published in 1974. For example, she writes: In Poesies II one has to read Isidore Ducasse's declaration about poetry not as a negation of a negation--even if it seems that way, but as the affirmation of the trace of negativity, or as an affirmation of a necessity that poetry can only exist in a negative state of the discourse. (1) Given the importance of Ducasse's work for the Tel Quel group in the 70s, it is poetic justice that, today, Ducasse's ideas about poetry appear more in line with what could be described as the poetics of the Oulipo, a movement which, historically, has ties with the literary journal Change that was Tel Quel's preeminent intellectual challenger in the 70s and 80s. While Kristeva and the Tel Quel group will recognize Ducasse for the materialism and the social conviction of his ideas about poetic discourse, Change and the Oulipo group will claim Ducasse's legacy because of his scientific approach to poetics and his resolute conviction that the salvation of poetry lies in its firm conformity to a rationalistic and formalist line. Nothing further from Isidore Ducasse than ontological lyricism, nothing further from Ducasse's poetry than the unique poem for the special occasion. With eloquent fury he denounces the poetic moments when Lamartine celebrates the color of his mother's hair or when Hugo glorifies the sweat steaming off his father's horse after the battle of Austerlitz. Ducasse's best known sentence is: [In poetry] I am not interested in case studies; I am only into finding rules. (2) Further along he finds it necessary to add a few remarks about the necessary state of mind of a true writer: The writers who are familiar with the capacities of reason are much stronger than those who are totally unfamiliar with its power. (3) This remark certainly constitutes what the Oulipo movement calls anticipatory plagiarism [plagiat par anticipation]. Indeed, in 1932, Raymond Queneau, the historical founder of Oulipo, writes: seventeenth century classical playwright who writes his tragedy according to a certain number of constraints that he is familiar with is freer than the poet who writes anything that comes to his head and who, in fact, is the slave of rules that he does not know. (4) Finally, it is also Ducasse who wrote: When I write, I am fully in control of my thoughts. (5) Oulipo movement is officially founded on February 13th, 1961--no, it was not a Friday! On that date the Secretaire General particulier du Vice-Curateur Baron du College de Pataphysique performs the official naming of the group that is first a subaltern group within the College de Pataphysique. …

EL PRIMER TEXTO DE NEFTALÍ REYES Y EL ÚLTIMO POEMA DE PABLO NERUDA

One of the least studied aspects of the Nerudian canon is the earliest production of the young poet then named Neftali Reyes. The early writing of the poet is decisive for the formation of the idea of the American self and for the constitution of a system of mythical references as well as for the process of the nomination of the stepmother as the mother and the self as poetic subjects. In the course of his life, Neruda published more than six thousand pages of prose and verse. The earliest known text by the young Neftali Reyes is in marked contrast to the poet's last poem, written with certainty after Sept. 11.1973, Hastaciel is a unique poem, for the complexity of its imagecy, its hermetic language, and its dark vision. It is well acknowledged that the poet's last work has not been given much study. In this case, rather than making a comparative analysis of both texts, it would be of greater interest to examine the beginning and the end of a writing style, that is, the opening and the closure of the poetic word, without ignoring the immense lyrical output accumulated between both extremes.

Arquitectura y fragmento. Análisis de <i>El Fulgor</i> de José Ángel Valente

El Fulgor constitutes a unique poem built fragmentarily. Its unity comes from the allegorical structure: travel without ending in search of the loved object, daimonic character possessed by eros, cosmic structure of the matter in different orders, isolated moments of sudden revelation and backward, recurrent symbols that form a ritual process. The fragmentary writing, that corresponds well with its allegorical shape, shows a fracture at its beginning and at its end. Each fragment is constituted as a whole which owns a strongly woven phonetic, syntactic and symbolic structure. The poem is ellaborated in an extreme tension towards the absence, matching up then the overflowing and the profusion together with the ellipsis and the oblique nomination; in this way it aims to a trascendence that cannot be reached. The book is shown as the incarnation of the infinite «eros».

Quevedo's revisions of his sonnet to Daphne

Two rigorous editors of Quevedo's poetry, Jose Manuel Blecua and James O. Crosby, have observed that the poet skillfully reworked many of his texts. They offer substantial evidence to prove that Quevedo, far from his common reputation of writing quick, unrevised poems, was a meticulous artist who labored over his drafts, revealing, in the process, the complexities of his dazzling craft .' Of course, we can only speculate about Quevedo's reasons for revising his poetic texts, particularly when these revisions rid a poem of sexually "scandalous" images and obscene language, much of which belongs to what Mikhail Bakhtin calls "grotesque realism ." 2 Living in seventeenth-century theocratic Spain placed an enormous burden on its writers, and more so on one as profane and irreverent as Quevedo who, especially for his Suenos, was an easy target of the Inquisition . In some cases, Quevedo may have made changes in his works to please the ecclesiastical censors, those fearful guardians of the faith and morals, or to ease a troubled conscience. The sonnet to Daphne of which there is an early obscene version and a later "cleaned up" revision invites speculations on his motives for the changes: was it external censorship, self-imposed censorship or were aesthetic criteria the basis for his revisions? The obscene version appears in a manuscript owned by the Biblioteca Provincial at Evora, 3 and the revision is included in Gonzalez de Salas' El Parnaso espanol (1648), the first printed edition of Quevedo's poetry . Blecua argues, rightly I believe, that the extraordinary correction of the entire first tercet proves that the Evora sonnet is the early version (hereafter cited as A) of the sonnet in Gonzalez de Salas' text (referred to as B) . 4My purpose here is twofold . I will show that whileA is an early version of B, it is more than a mere step to reach a definitive redaction : A makes a statement of its own and emerges in theme and imagery as a strikingly unique poem . Secondly, I will examine the possible reasons why Quevedo revised his original sonnet (A) so extensively as to create a new poem (B) the one selected by Gonzalez de Salas for his anthology . Version A reads as follows :