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This paper presents a study on the extent to which creative literature been used as a vessel to carry forward the development of mathematical thought. The role of mathematics as a driving force for literature is highlighted, and while many examples exist that clearly show an attempt to disperse mathematical ideas, with Lewis Carroll, OuLiPo and ancient poetry considered, the argument that the sole purpose of the writings was for the sake of mathematical development is not clear-cut. [ABSTRACT FROM AUTHOR]

Zoltán Kodály has composed two choral works to the poems of Ferenc Kölcsey: Huszt and Bordal. Both were composed for male choir. Bordal was composed between 1913 and 1917, followed by Kodály’s Huszt in 1936. In this paper I will present an analysis of the Huszt choral work. [ABSTRACT FROM AUTHOR]

As one of the least common, yet predictable astronomical occurrences, the transits of Venus were to become among the most keenly anticipated events for early modern cosmologists. Basing himself on Johannes Kepler's Tabulae Rudolphinae (1627), former Cambridge student Jeremiah Horrocks (1616–1641) made the first recorded observation of a transit from Much Hoole, Lancashire in 1639. Alongside the description of his observations, Horrocks' Venus in sole visa contains four poems alongside the work's prose descriptions, figures, and tables. His verses call on the long tradition of Latin scientific poetry employed for the predictable purposes of eulogy and homage, but they also serve to justify and clarify the author's position on scientific issues of his time. Despite the long-recognized importance of Horrocks' observations, his hexameter compositions have been largely ignored in later scholarship. In the latest translation of the Venus in sole visa (2012), one poem—the longest and arguably the best—is omitted altogether. This paper offers a study of Horrocks' Latin poetry, his models and engagement with its subject matter. It reveals Horrocks' efforts to promote his predecessors' achievements, his position on questions central to the debates of his time, and the claims for authority he made for the work of others, as well as for his own. The present article also includes a new, modern translation of Horrocks' longest, and recently forgotten poem as an appendix. [ABSTRACT FROM AUTHOR]

POEMS syndrome is a rare paraneoplastic disorder characterized secondary to a rare plasma cell dyscrasia. Here, we aimed to analyze the clinical characteristics of large sample cases of POEMS in Chinese subjects through making a review of the Chinese literature. Four databases were electronically searched from inception until October 2016. Case reports and case series were identified. Six hundred studies with 1946 participants were identified. The first case was reported in 1986, and the number of reported cases peaked in 2009 and 2010. The top seven provinces on the number of reported cases were in the south-east area of China. The top three departments on the number of published papers and reported cases were ordinally department of Neurology, Hematology, and Endocrinology. The ratio of male to female was about 2.23. The range of age onset was from 10 to 81 years with the mean age of 46.39 (SD, 12.10 years). The initial symptoms of POEMS with peripheral neuropathy, edema and effusions, endocrinopathy, skin changes, and organomegaly accounted for 60.44, 15.72, 9.87, 8.05, and 2.13%, respectively, and subsequently acquired above symptoms as the prevalence was 99.49, 81.91, 75.56, 77.08, and 83.09%, respectively. The present study would help to understand the clinical presentations of POEMS syndrome in the Chinese population. [ABSTRACT FROM AUTHOR]

In the Netherlands, the poet Herman Gorter (1864–1927) is mostly known as the author of the neo-romantic poem May and the "sensitivistic" Poems, but internationally he became famous as a propagandist of radical Marxism: the author of influential brochures and of an "open letter" to comrade W.I. Lenin in 1920. During the 1890s, Gorter became increasingly dissatisfied with his poetry, considering it as ego-centric, disinterested and "bourgeois", unconnected with what was happening in the real (material-political) world. He wanted to put his poetry on a scientific footing, notably by endorsing a dialectical materialist worldview. In the communist society he envisioned, science would become poetry and poetry would become science. In his opus magnum Pan (11,000 lines of verse, published in 1916), two terms are rather prominent, namely heelal ("universe") and kristal ("crystal"). These signifiers not only reflect important themes, but also two friendships which began around 1900, namely with prominent astronomer and marxist Anton Pannekoek (who studied the universe) and with Ada Prins, the first woman in the Netherlands who acquired a PhD in chemistry, specialised in liquid crystal research. Whereas Ada Prins is mostly remembered as one of Gorter's secret lovers, she was first and foremost his educated guide into the complex and enigmatic world of twentieth-century chemistry research. Liquid crystal chemistry became an important source of inspiration for Gorter's work and the main objective of this paper is to demonstrate her influence on Gorter's Pan as a scientific poem After presenting the two heroes of this paper, and their work in poetry and chemistry respectively, I will analyse the role of liquid crystals in Herman Gorter's Pan, highlighting important connections with Ada Prins' research into liquid crystal chemistry. [ABSTRACT FROM AUTHOR]

Phenological records in historical documents have been proven to be of unique value for reconstructing past climate changes. As a literary genre, poetry reached its peak in the Tang and Song dynasties (618–1279 CE) in China. Sources from this period could provide abundant phenological records in the absence of phenological observations. However, the reliability of phenological records from poems, as well as their processing methods, remains to be comprehensively summarized and discussed. In this paper, after introducing the certainties and uncertainties of phenological information in poems, the key processing steps and methods for deriving phenological records from poems and using them in past climate change studies are discussed: (1) two principles, namely the principle of conservatism and the principle of personal experience, should be followed to reduce uncertainties; (2) the phenological records in poems need to be filtered according to the types of poems, background information, rhetorical devices, spatial representations, and human influence; (3) animals and plants are identified at the species level according to their modern distributions and the sequences of different phenophases; (4) phenophases in poems are identified on the basis of modern observation criteria; (5) the dates and sites for the phenophases in poems are confirmed from background information and related studies. As a case study, 86 phenological records from poems of the Tang Dynasty in the Guanzhong region in China were extracted to reconstruct annual temperature anomalies in specific years in the period between 600 and 900 CE. Following this, the reconstruction from poems was compared with relevant reconstructions in published studies to demonstrate the validity and reliability of phenological records from poems in studies of past climate changes. This paper reveals that the phenological records from poems could be useful evidence of past climate changes after being scientifically processed. This could provide an important reference for future studies in this domain, in both principle and methodology, pursuant of extracting and applying phenological records from poems for larger areas and different periods in Chinese history. [ABSTRACT FROM AUTHOR]

This paper is part of a larger study of how knowledge is used in strategies for the solution of public issues. I examine research papers on the issue of drinking and driving, treating the scientific document as a literary, artistic product. Principles of literary criticism, utilized in the analysis of narrative, drama and poetry are applied to the presentation of research to show how statements of fact are given scientific legitimacy and how the literary formulation transfers such statements into rhetorical prescriptions for action. Theorizing and conclusion-making are shown to involve presentational devices of literary selection and language which confer policy implications upon them. [ABSTRACT FROM AUTHOR]

This paper establishes a transnational dialogue between different island spaces impacted by mass tourism and highlights poetry's contribution to the political reconfigurations of the Balearic and Caribbean islands. Notwithstanding these island spaces' different historical circumstances, it acknowledges that the tourist industry illustrates crucial historical continuities in each archipelago. The poetics analysed question the pro-growth ideology of the industry, the subservient role of their islands' political classes that disregard human well-being and environmental sustainability, and put the islands' survival at risk. This study identifies resemblances in Caribbean and Balearic island spaces' poetic responses to tourism and recognises local emancipatory alliances that not only bring to the surface shared forms of oppression, but also propose alternatives beyond the (hotel) chains of global capitalism. [ABSTRACT FROM AUTHOR]

Among the wide variety of Persian manuscript categories, there is a distinctive genre that includes recipes on materials and technics of manuscript production. And within this genre, we come across distinctly interesting works that adopt charming romantic poetry to record subjects that are rather dull, dry, and unattractive to the general audience! One of such historical sources is a sixteenth century manuscript entitled Rose Garden of Purity (Golzār-e Ṣafā) by ʿAlī Ṣayrafī, preserved in Paris Central Library. The subject of this research is the manuscript's impressive Preface in which the poet expresses his sincere devotion to his Creator, and begs for forgiveness - all in melodious poetic language, using technical manuscript terms, colors and pigments as symbols and metaphors. The essay provides an opening remark entitled 'Manuscripts on Manuscript Production' followed by and introduction to the manuscript of 'Golzār-e Ṣafā (Rose Garden of Purity). The little knowledge extracted about ʿAlī Ṣayrafī from the manuscript is shared under 'The Author-cum-Poet.' 'Preface with 12 Couplets' is the focal point of the essay; there the 12 couplets (24 hemistiches) are presented in the original language (Farsi/Persian) along with an English translation that is published here for the first time. A detailed analysis of technical terms used in the Preface, and an elaboration of their symbolic significance, is presented under 'Expression of Devotion in Technical Manuscript Vocabulary.'. [ABSTRACT FROM AUTHOR]

STEM subjects (science, technology, engineering, and mathematics) are a valuable part of a student's education. However, not all students find STEM subjects engaging on their own. This paper investigates the relationship between science and poetry and how these seemingly disparate subjects can be used in tandem to better understand and explore each other. This sitespecific case study offers a glimpse into how a single alternative classroom located in the state of Georgia linked scientific and poetic inquiry to increase student understanding and enjoyment of science and writing. Results show that science and poetry work synergistically to foster an environment of active learning across multiple age groups. [ABSTRACT FROM AUTHOR]

This paper aims at studying Shelley's poems as exemplifying the philosophy of Enlightenment. Shelley's poems on 'Napoleon,' 'Ozymandias' and his 'Poetical Essay' show him as a Romantic writer who strongly believed in European Enlightenment philosophy. His poems are musical treats, highly spontaneous, metaphorical, allusive and romantic in style, but the core content of his poems is the Enlightenment philosophy of his contemporary Eurocentric thought. Shelley was a voracious reader, as exemplified by Mathew Arnold, and absorbed the ideologies of philosophers and thinkers hailing from the middle classes and universities, and his poems reveal the highly volatile period during which Europe shifted from monarchy to democracy through revolutions. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Chinese painting poetry is an extraordinary art form, which not only describes the painting contexts but also grasps the sentiment of the painters. In this paper, we propose an automatic poetry generation method Poetry4painting , which enhances the poetry diversity for large-size ancient paintings. The basic framework is based on multiple modern sentences, that are first captioned from the ancient painting and then used to generate a poem using CNN and LSTM. To solve the repeatability issue of this framework, four kinds of data augmentation are employed during online processing, including quantity, shape, surrounding, and object augmentation. In offline training, data augmentation is also used to create an image caption dataset with over 1500 painting images and 7500 captions. Through ablation studies, evaluations of poetry qualities and diversities, and comparisons with other methods, we demonstrate the validity of the proposed method. [Display omitted] • A poetry generation method for ancient paintings with high diversity and conformity. • An enlarged dataset for painting poetry generation that has about 8000 annotations. • A mass of experiments and evaluations demonstrate the validity of the proposed method. [ABSTRACT FROM AUTHOR]

Krystyna Miłobędzka (born 1932) is one of the most interesting and unique phenomena of the Polish poetry scene of the 20th and 21st centuries. Two characteristics of her poetry, the visual character of her many poems and her preoccupation with the concept of the garden-world, are worth a closer look. Miłobędzka's poetry refers to the topoï of the garden-world in single poems and cycles of poetic texts. Her hortus mirabilis, inserts itself into the sphere of the metaphysical reflection of nature, giving Miłobędzka's poetry a specific dynamic in which the "I"—the gardener—has a significant role as an observer, and as a creator of entities. The activity of looking, which happens, in fact, in all types of verbs and aspects, is in this specific sphere (look, watch, see), fundamental to defining oneself in the world and the world's relationship to oneself. In this perspective, the image of the garden from childhood, is confronted by a necessary new visualization. The temporal aspect of the garden is at the center of existence, in the cyclical return of nature's laws of rebirth and death, which are relevant to the personal, singular perspective of the end in many of Miłobędzka's volumes. In Anaglify (Anaglyphs), some poems particularly fit the issue of visuality in poetry, not only at the conceptual level, the place granted to observation, the poet-particular observer, but the poem itself. They are conceived as graphic and pictorial realizations. Poems from the volume dwanaście wierszy w kolorze (twelve poems in color) or wszystkowiersze (omnipoems) are special cases of these. The selected words are conceived in color, and their arrangement on the space of the page has meaning. The parallel between looking and writing, which Miłobędzka consistently uses in her writing method and poetically admits, is also very important. Although her poetic diction alludes to historical avant-garde and linguistic poetry achievements, her lyrical savoir-faire is characterized by a certain new minimalist construction and a separate, recognizable style. Miłobędzka's innovativeness lies in combining seemingly distant and sometimes poetically opposite categories: full, ambiguous image-in-poem and asceticism by means of expression, such as a minimal number of words. Her poetry is deeply rooted in perceiving, seeing, watching, and contemplating the world—faithful to its physicality but also open to the most essential questions of philosophy asking about existence and its limits. This new visibility of elements is reflected in authentic poetic delight and in the "visualizing" form, where the poem also becomes an image on the plane of a sheet of paper or becoming one side of the house wall as a mural poem. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Eco-poetry as a modern literary theory is a branch of ecocriticism which focuses on the relationship between man and the physical world. Using the Latin American Nobel Prize winner Pablo Neruda's selected poetry, this paper sets out to explore the themes of mystical and spiritual consciousness through eco-poetical evidence. This study utilizes the theoretical framework of eco-poetry to illuminate the dual ecological and mystical phenomenon, both in its theoretical and literary context. The thematic analysis of the study emphasizes the mystical and ecological spirituality or eco-mysticism of Neruda's poetry. The finding indicates that Neruda's poetries demonstrate man's interdependence and spiritual interconnectedness with his environment. The finding also signals Neruda's poetic quest of focusing on the significance of nature and poetry as a means for finding spirituality in the physical world. [ABSTRACT FROM AUTHOR]

Copyright of Odisea is the property of Revista Odisea and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present paper intends to re-read the popular neoclassical poem "The Choice", written by (the now forgotten) John Pomfret at the dawn of the eighteenth century, and to demonstrate how it both fulfils and subverts several requirements of its genre. The paper contends that eighteenth-century pastoral poetry often served the purpose of recommending, rather than condemning the "vulgar" concerns of public and city life. The poetry of "retirement", popular in an age of growing commerce, industry and Empire, was meant to assuage the guilt of enterprising spirits and give a gentlemanly varnish to an England hungry for consumption and expansion. While Pomfret's poem certainly plays its part in such a narrative and comforts the anxieties of a business-oriented society, it also undermines the illusion of its "gentility", an aspect which will be exposed in a deconstructive close-reading of the text, employing Derrida's concept of aporia. The paper will also look at the poem from a socio-cultural perspective, relying on the ideas of eighteenth-century scholars such as Ian Watt, John Sitter, Ros Ballaster, Paula R. Backscheider and others. [ABSTRACT FROM AUTHOR]

The primary goal of this paper is to elucidate the attachment to place (topophilia) throughout the poetry of Juraj Kuniak - the Slovak contemporary poet. Our aim is to focus on the most significant aspects of his poetic discourse pertaining to home, landscape, and identity. The origin of the phenomena is also explored as well as how it affected Juraj Kuniak and his writing process. From his poetry, we exemplify concepts such as rootedness, birthplace bond, and devotion to native land. The research-based evidence consists of decoding allusions and intertextual meanings which are incorporated in the selected collections of poems. Our analysis reveals the diversity of author's poetic discourse and his interest in global issues. The paper concludes that Juraj Kuniak's poetry could be used effectively in terms of cultivating our inner selves, love for landscape, homeland, national culture and language alongside the cultivation of key life values. [ABSTRACT FROM AUTHOR]

Browning's and Serembe's love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the 'By the Fire-Side', one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe's 'Song for Longing', considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning, to his love relationship with a famous poetess Elizabeth Barrett, their elopement and union in Italy, and Serembe to his love for a girl from his native village, who immigrated to Brazil and subsequently died. In these poems, both poets explore the intimate atmosphere they tried to establish for their beloved women, by describing the places that witnessed the birth and growth of their love. 'By the Fire-Side' and 'Song for Longing' comprise a common element; they are personal love poems that describe their ideal love, personal feelings, and passion of their love. While Robert Browning in his poem writes about a peaceful and satisfied married life, full of sweet memories and images of his wife, Zef Serembe's poem is a picture of his sentiment, primarily of solitude and disillusionment. The comparative and descriptive research methods have been helpful while conducting this research paper. [ABSTRACT FROM AUTHOR]

Purpose — The purpose of this paper is to offer a meditation on what is especial, and especially difficult, about poetry in its guise as inspiration for, or expression of, efforts and accomplishments in other human and social disciplines such as teaching or research or leadership. At the time of writing, the author — an educational researcher, policy adviser and poet — has been invited to act as poet-in-residence at a conference on interprofessional learning and practice in spring 2006; she is taking the opportunity of this paper to think out loud about the possible responsibilities and rewards of such a role; about what kinds of relationship between poetry and these other modes of being-in-the-world are feasible; and about what kinds of integrity, intrinsic to poetry, need to be made room for in such relationships. Responding to some persuasive ideas of Abbs (academic and poet) and Heaney (poet and literary critic) about the tasks of the poet and the value of poetry respectively, the author argues that poetry is characterised above all by its "gratuitousness" — a notion which is expounded in the paper — and that therefore the straightforward application of poetry to non-poetic contexts and purposes, as a sort of superior didactic instrument, is worth questioning. Design/methodology/approach — The paper makes some recommendations for relating the practice of poetry to the practice of professionalism in whatever sphere without detriment to the essential tasks of poetry. Findings — The paper concludes that the especial gift of poetry, as "something made in language", is to enlarge our imaginations; that a poet's paradoxical responsibility is therefore to do the ungovernable work of the imagination; and that it is the quality of silences (as well as of words) in poetry which give such work its force and meaning. Originality/value — Whilst acknowledging that poetry may often be used as an expression of efforts and accomplishments in other human and social disciplines, the paper takes poetry seriously as an aesthetic and ethical practice in its own right. [ABSTRACT FROM AUTHOR]

Tshivenḓa poetry thematises varied notions of selfhood and culture, among others. Within this thematisation, longings for the freedom to self-identify and (re)present the self or selves show up as recurrent themes. For analytical convenience, 10 Tshivenḓa poems were purposively selected and analysed in this article. The analysis is based on a predetermined set of themes, namely, the quest for identity and authenticity, notions of being and belonging, and intersections of identity, memory, home and renaissance. The paper deployed a qualitative research approach and was theoretically undergirded by Afrocentricity. The analysis reveals that Tshivenḓa poetry demystifies the metanarratives propounded by colonialists and apartheid exponents to negate African people's selfhood and culture. The analysis further reveals that the indigenes have always had ways to express their selfhood and ideological outlook, including agentively challenging false hegemonic discourses about them. This paper adds to the ongoing discourse on the politics of identity, belonging and discourses focused on how the formerly colonised asserted and still assert their presence and agency during and after decades of marginalisation and repression. It is recommended that aspects of African selfhood and culture captured in Tshivenḓa literature should form part of African indigenous knowledge systems that need to be studied in institutions of basic and higher education. [ABSTRACT FROM AUTHOR]

The genre of metapoetry thematizes the fictional elements -- the inspiration of a poet, his poetic process, meta-poetic metaphors, the role of the poet in society, and intertextual references -- partaking in the making of poetry explicitly or implicitly carried through a poem within a poem technique. This paper presents Eva Müller-Zettlemann's theoretical pronunciation of meta-poetic elements, i. e., poetic inspiration, poetic process, and meta-poetic metaphors, at play in the metalyrics of Taufiq Rafat from his anthologies Arrival of the Monsoon: Collected Poems 1947-78 (1985) and Half Moon: Poems 1979- 1983 (2008). Rafat's inspiration is the South-Asian terra firma and lived experience that makes him infuse the regional sensibility through a poetic process of perceiving and penning down immediately. His metapoetic metaphor involves the invention of an image of cultural genesis that informs the process of poetic creativity. Moreover, the study also considers the explicit expression of the role of the poet in society and the functions of poetry in Rafat's poems, otherwise a prose phenomenon. Thus, the paper analyzes the conscious expression of the construction of South-Asian singularity inspired by the cultural kernel in content and form in Rafat's metalyrics. [ABSTRACT FROM AUTHOR]

Copyright of Latin American Journal of Content & Language Integrated Learning is the property of Universidad de La Sabana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

John Keats is an English poet whose works profoundly influenced English Romantic poets of the nineteenth century. His poems have attracted many literary critics who have approached Keats's texts with an aim to analyzing them; however, few approaches have questioned his literary texts from a stylistic point of view. This paper offers a stylistic reading of Keats's "Ode to Psyche" (1819) that uses linguistic methods to analyze the poem so as to highlight certain features that enhance the text, making it more insightful, attainable, and explicit. This stylistic analysis focuses on repetition, parallelism, sound parallelism or phonetic schemas, style variation, and linguistic deviation, and it pursues the impact of foregrounded features and their contribution to understanding the text. It proves that stylistics plays an essential role in understanding literary texts as it unleashes hidden, fuzzy, and even contradictory meanings. This study shows that Keats employed stylistics devices in a way that differed from his peers of the 19th century, and, moreover, that his form and style lend themselves to concealed and ambiguous thoughts that come together to create a harmonious work of art. By drawing attention to the unique aspects of Romanticism through stylistic features in the poem, the analysis demonstrates that the aesthetic dimension and form of a literary work remain inseparable from a fuller. [ABSTRACT FROM AUTHOR]

The Middle Eastern manuscript collection of Baillieu Library, the University of Melbourne, is custodian to a very fine 19th century manuscript of Haft-Band (Seven Strophes) by the 14th century devotional poet Mullā Ḥassan Kāshī. This illuminated manuscript is most probably of Indian origin. It is penned in superb Nasta'liq script by Muḥammad Amir Raẓavi/Riẓvi in the age of 95. The volume begins with an attractive sarlowḥ, and concludes with a beautiful colophon and an additional interesting page at the end of the manuscript. Subjects discussed in this paper are arranged under nine headings. After a brief ‘Introduction,’ a short passage is allocated to the significance of number seven under ‘Symbolism of Seven and the Haft-Band Genre.’ A concise biography of the poet, his beautiful mausoleum, and the importance of his Haft-Band are discussed under ‘Ḥassan Kāshī’. ‘A Mystical Dream’ provides an insight into a chain of historical events that were inspired and initiated by the poet’s stunning dream, which eventually led to the wide acceptance of the Haft-Band. Before Kāshī, the genre of madḥ (praise) was almost exclusively dedicated to kings and rulers for a reward. Kāshī transformed the trend of praise poetry by shifting the focus of the praise. This matter is discussed under ‘From Praising Kings to Religious Devotion.’ A glimpse of Kāshī’s genius mind and poetic mastery is presented under ‘Seven Openings & Seven Closings’. The next heading, ‘About the Manuscript’ provides an analytical study of the manuscript, from codicological perspectives. ‘Scribe and Colophon’ and ‘A Stunning Ending’ are titles of passages dedicated to introducing the old scribe’s world and his personal poetic taste. [ABSTRACT FROM AUTHOR]

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In many of the oldest known sites of the Pāṇḍya country located not far from the Kāverī River in Tamil Nadu, a dual Hindu obedience, Vaiṣṇava and Śaiva, was developed concomitantly.1 Alongside these Bhakti deities, others are present in these places of communication with the sacred. As stone figures attached to the site and texts evoking the place are the two means used to give form to their deities, one would expect these two mediums to interact, but it is often difficult to correlate them in the Tamil country of the first millennium. This paper aims at exploring such possible relationships at Tiruveḷḷaṟai, the earliest remains of which date to the 8th c. The site has unique archaeological features, such as a svastika-shaped well and the earliest known depictions of some of Kṛṣṇa's feats; it inspired hymns of the Tamil Vaiṣṇava devotional corpus, the Divyaprabandham, and offers numerous inscriptions. The link between Śiva, Viṣṇu and local goddesses proves to be as remarkable here as that between texts and archaeology. [ABSTRACT FROM AUTHOR]

Copyright of Revista Canaria de Estudios Ingleses is the property of Universidad de La Laguna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Canaria de Estudios Ingleses is the property of Universidad de La Laguna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study of literary texts is one of the earliest disciplines practiced around the globe. Poetry is artistic writing in which words are carefully chosen and arranged for their meaning, sound, and rhythm. Poetry usually has a broad and profound sense that makes it difficult to be interpreted even by humans. The essence of poetry is Rasa, which signifies mood or emotion. In this paper, we propose a poetry classification‐based approach to automatically extract similar poems from a repository. Specifically, we perform a novel Rasa‐based classification of Hindi poetry. For the task, we primarily used lexical features in a bag‐of‐words model trained using the support vector machine classifier. In the model, we employed Hindi WordNet, Latent Semantic Indexing, and Word2Vec‐based neural word embedding. To extract the rich feature vectors, we prepared a repository containing 37 717 poems collected from various sources. We evaluated the performance of the system on a manually constructed dataset containing 945 Hindi poems. Experimental results demonstrated that the proposed model attained satisfactory performance. [ABSTRACT FROM AUTHOR]

The current paper explores the potential of the areas between mathematics and poetry. We will first recall some definitions and results that are needed to construct solutions of the Yang–Baxter equation. A new duality principle is presented and Boolean coalgebras are introduced. A section on poetry dedicated to the Yang–Baxter equation is presented, and a discussion on a poem related to a mathematical formula follows. The final section presents our conclusions and further information on these topics. [ABSTRACT FROM AUTHOR]

Poetry is the jewel in the crown of our country's classical culture and has been praised and studied by countless people for thousands of years. In recent years, with the rapid development of computer technology and the leap-forward improvement of hardware computing power, natural language processing (NLP) technology has achieved remarkable results in practice. We applied NLP to the text analysis of classical poetry, proposed a set of methods to automatically recognize the artistic conception in classical poetry, and established the classical poetry artistic conception dataset for experimentation through the crawler method. In the experiment, we studied the application of different machine learning algorithms in text classification, combined such algorithms with different document vectorization methods, compared their performance on the topic classification problem of poetry, and concluded that there are some better accuracy rates under the classical machine learning framework. Comparing the effects of word-based vectors and word-based vectors, we concluded that the ancient poetry word vectors constructed based on characters have a higher accuracy rate. We also further introduced deep learning methods into the research, analyzed the pros and cons of various neural networks, and studied the neural network architectures that have good results in the practice of NLP, such as TextCNN and BiLSTM models. We also introduced mature NLP pre-training models such as BERT to classify the artistic conception of classical poetry. In addition, we also constructed an emotional dictionary matching method based on word vectors for sentiment analysis. The experimental results have shown that the method proposed in this paper has a good effect of automatic recognition of classical poetry mood, which can be used to recommend similar poems and select poems with emotion as the theme through the poetry mood. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores how Kazi Nazrul Islam's poetry aligns with the leitmotifs of decolonisation. Nazrul Islam grapples with the race-gender-based regimens of his society. His activism and creative oeuvre harp on a subversive praxis, which interrogates the British colonial regime and racist norms ingrained in colonial India. As the paper examines, decolonisation not only foregrounds anti-colonial interventions and emancipation of the colonised, but envisages a continuing cultural revolution against colonialism. Analysing Nazrul Islam's emblematic political poems and his intellectual struggle, the paper ascertains how his poetry and authorial-political life mirror the philosophy of decolonisation, and thus radically contends colonialism. His poetry pits a cultural wholeness -- composed by nature, human, men, women, and global religions and myths -- against the western ideology of culture, race, anthropocentrism, and androcentrism that remains agentive in shaping, consolidating, and validating global colonialism. [ABSTRACT FROM AUTHOR]

The present paper represents an attempt to focus upon analyzing and describing the major features of Arab American poetry written by prominent Arab poets who had arrived in America on behalf of millions of immigrants during the 19th century. Some of who wrote in English and Arabic like Ameen Rihani (1876-1940); Khalil Gibran (1883-1931) and Mikhail Naimy (1889-1988). Others wrote in Arabic like Elia Abumadi (1890-1957). Most of their poems in Mahjar (place of emigration) reveal nostalgia, their love to their countries and their ancestors and issues relating to Arab countries. The paper analyzes some of their poems based on linguistic, grammatical, lexical and rhetorical levels. [ABSTRACT FROM AUTHOR]

The paper examines the contribution of Bhoja, an 11th-century theoretician of Sanskrit literature, to the theory of kāvyapāka--the maturity or ripeness of poetry. The concept relies on comparison between a poem and a fruit as they likewise must come to fruition to reach perfection--the state when they are most pleasing to their recipients. The theory is mentioned in numerous important Sanskrit works on poetics. However, different theoreticians perceive the state of perfection in poetry somewhat differently. Bhoja provides yet one more view on this matter. Although he relies on his predecessors, and in some points agrees with them, he also offers fresh perspectives on the subject. The paper focuses on the analyses of relevant passages from Bhoja's works, Sarasvatīkaṇṭhābharaṇa and Śṛṅgāraprakāśa, concerning the subject of kāvyapāka, and compares them with the views of other theoreticians as summarized in the first part of the study. [ABSTRACT FROM AUTHOR]

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper is an attempt to describe the process through which a translator needs to go when translating poetry. Poetry has been part of human civilization since the earliest times; it has derived from the oral tradition and has evolved through centuries into a distinct genre with particular characteristics in terms of structure, form, style, language and other specific features which differentiate it from prose. In the past, poetry has been translated mostly by poets; nevertheless, it seems possible that an individual who has been properly trained and with some practice and passion can produce good quality translation of poetic works. An exercise in translation of a seventeenth-century poem by Andrew Marvell in this paper is based on theory of equivalence to show several aspects of translating, namely the visual, semantic and aesthetic ones, which could pose challenges for translators but which could be addressed and overcome with adequate training. The translator needs to approach a poem and use equivalent means as much as possible to re-create the work by bridging the gaps pertaining to cultural, historical and linguistic codes. The purpose of this exercise is to draw attention to the need of incorporating translating of poetry into the formal translation studies at universities or other institutions dealing with training translators. It also strives to encourage other translators, as well as students and translating instructors to find more poetic works which have been overlooked in the past and which should be translated so that not only the English speakers can revel in their beauty and enchantment. [ABSTRACT FROM AUTHOR]

Copyright of Studia Mythologica Slavica is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The current paper deals with the poetry of Dr. Allama Iqbal, the greatest poet of Indian Sub-continent. He was not the poet of the period but he still lives in the hearts of Indian sub-continent people. Further, he is not the poet of one nation but his poetry is the depiction of different nations with their defined cultures. The current research has been intended to analyze Iqbal’s Poetics and politics in the light of Indian Nationalism and Muslim Ummah. The Paper reflects on the poetry under close reading of Iqbal’s poetry that how he approached two nations Hindus and Muslims, and how his poetry segregates two nations from each other. [ABSTRACT FROM AUTHOR]

The paper deals with selected "rewritings" of Edward Lear's nonsense poem The Akond of Swat, focusing specifically on the translators', illustrators', adapters' and editors' attitudes towards the allusive nature of the poem - the reference it makes to the historical figure of the Pashtun religious leader Abdul Ghaffūr, also known as the Akond (or Wali) of Swat or Saidū Bābā, which may be viewed as problematic from a postcolonial viewpoint. Recent translated and illustrated versions of the poem inscribe it with new aesthetic and ideological values. Two Polish translations considered in the paper, produced by Andrzej Nowicki and Stanisław Barańczak respectively, demonstrate changing approaches to the nonsense genre displayed in Polish literary circles (gradual transition from pure to parodistic nonsense). Graphic representations of the poem discussed in the paper testify to the artists' interpretive powers in redefining the genre of Lear's poem: rebranding it as an infantile fairy tale on the one hand and a disturbing reflection on tyranny and "the war on terrorism" on the other. [ABSTRACT FROM AUTHOR]