scholarly journals Delacroix contre Girodet: réflexions autour d’un poème méconnu

2020 ◽  
Vol 1 ◽  
pp. 207-221
Author(s):  
Chiara Savettieri
Keyword(s):  
Eugene Delacroix ◽  
Poetic Work

This article focuses on a somewhat neglected satirical poetic work by Eugène Delacroix, devoted to the painting Pygmalion and Galatea by Anne-Louis Girodet (first exhibited at the 1819 Salon). The text dates back to 1824, the year of both Géricault’s and Girodet’s deaths. After analysing the text and its context, the author explores a new interpretative hypothesis: the work could well be seen as a reaction Delacroix developed against anti-romantic neoclassical positions that, on the occasion of Girodet’s funeral, were fiercely expressed by Gros and Gérard.

COGNITIVE RESEARCH ON MUSICAL METAPHORS IN THE POEM “SONG OF MYSELF” BY W. WHITMAN

2020 ◽  
Vol 4 (97) ◽  
pp. 137-148
Author(s):  
OLGA S. KAMYSHEVA
Keyword(s):  
Cognitive Processes ◽  
Basic Concept ◽  
Cognitive Research ◽  
Analysis Technique ◽  
Poetic Work

The author considers the primary and secondary musical metaphors in the poem “Song of Myself” by W. Whitman. The article classifies distinguished metaphorical models according to the frame-slot analysis technique. As a result of the study, the author concludes that the main and secondary metaphors are closely connected, revealing the cognitive processes related to the basic concept of this poetic work.

Some Thoughts About Genre in Old Javanese Literature

2021 ◽  
Vol 12 (2) ◽  
Author(s):  
Peter John Worsley
Keyword(s):  
Fourteenth Century ◽  
Thirteenth Century ◽  
Poetic Form ◽  
Literary Works ◽  
Present Essay ◽  
Epic Poem ◽  
The World ◽  
History Of ◽  
Poetic Work

Robson in 1983 and 1988 in his reconsideration of the poetics of kakawin epics and Javanese philology drew readers’ attention to the importance of genre for the history of ancient Javanese literature. Aoyama in his study of the kakawin Sutasoma in 1992, making judicious use of Hans Jauss’s concept of “horizon of expectation”, offered the first systematic discussion of the genre of Old Javanese literary works. The present essay offers a commentary on the terms which mpu Monaguna and mpu Prapañca, authors of the thirteenth century epic kakawin Sumanasāntaka and the fourteenth century Deśawarṇana, themselves, employ to refer to the generic characteristics of their poems. Mpu Monaguna referred to his epic poem as a narrative work (kathā), written in a prakṛt, Old Javanese, and rendered in the poetic form of a kakawin and finally as a ritual act intended to enable the poet to achieve apotheosis with his tutelary deity and his poem to be the means of transforming the world, in particular to ensure the wellbeing of the readers, listeners, copyists and those who possessed copies of his poetic work. Mpu Prapañca described his Deśawarṇana differently. Also written in Old Javanese and in the poetic form of a kakawin—he refers to his work variously as a narrative work (kathā), a chronicle (śakakāla or śakābda), a praise poem (kastawan) and also as a ritual act designed to enable the author in an ecstatic state of rapture (alangö), and filled with the power and omniscience of his tutelary deity, to ensure the continued prosperity of the realm of Majapahit and to secure the rule of his king Rājasanagara. The essay considers each of these literary categories.

City of Dust

2017 ◽  
Author(s):  
Sally McKee
Keyword(s):  
Faculty Members ◽  
Eugene Delacroix ◽  
Work Done

This chapter argues that in neither of the profiles appearing in the Bordeaux does Dede claim to have matriculated at the Conservatory of Paris, but he does identify his teachers. The musicians he named lend weight to the possibility that his talent caught the attention of the faculty. To the author of an article, which appeared in L'Artiste de Bordeaux, Dede named three faculty members with whom he studied in Paris in the late 1850s. He began with the composer Adolphe Adam, who died the same year, but not before recommending Dede to the composer Jacques-Fromental Halévy. Meanwhile, in 1855, a year before Dede began studying with him, Eugene Delacroix wondered how the man got any work done.

scholarly journals Messages, Texts, and Rhetorical Detachment in Contemporary Mahri Poetry

2021 ◽  
pp. 1403-14
Author(s):  
Samuel Liebhaber
Keyword(s):  
Arabic Language ◽  
Written Language ◽  
Structural Motif ◽  
Language Poetry ◽  
Sudden Appearance ◽  
Literary Composition ◽  
Hallmark Feature ◽  
Poetic Work

Despite its geographical and linguistic proximity to the Arabic language, the Mahri (or Mehri) language (ISO 639-3: gdq) of Eastern Yemen and Western Oman has remained a non-written language into the present era. While older generations of Mahri speakers never considered the prospect of a written idiom for their language, recent years have witnessed efforts to compose and circulate texts in the Mahri language. These circumstances have yielded a poetic praxis that traverses the domains of orality and literacy; they also enable us to identify lexical and syntactic characteristics that betoken where in the shifting terrain of oral and literary composition a poetic work occurs. I will examine the appearance of one such lexical and structural motif – the dispatched messenger – in a recently composed collection of Mahri language poetry, The Dīwān of Ḥājj Dākōn (2011). Embarking from the notion of textual autonomy developed by Chafe, Olson, and Tannen, I argue that the sudden appearance of the messenger motif in Ḥājj Dākōn’s poetic collection is a by-product of his adoption of a written practice. In this way, we can establish that a stance of rhetorical detachment is a hallmark feature of an emergent written practice, even at its earliest stages.

scholarly journals City Literature in Abdu al-Aziz al-Makkali’s Poetry

2021 ◽  
Vol 9 (3) ◽  
pp. 22
Author(s):  
Mujahid Ahmed Mohammed Alwaqaa
Keyword(s):  
Personal Experience ◽  
World Literature ◽  
Theoretical Framework ◽  
Beautiful Woman ◽  
The World ◽  
The City ◽  
Poetic Work ◽  
Shed Light ◽  
Historical Theory ◽  
City Literature

World literature teems with the portrayal of famous cities throughout the world. This kind of literature is unanimously known as city literature. It does not merely describe and portray places, objects, and landscapes for their own sake, it, however, gives readers a revisionist perspective to look afresh and introspectively into self, history, and culture. This paper aims to shed light on a city that witnessed great changes throughout its history. It is called Sana’a, the capital of Yemen, and it is one of such world-famous and ancient cities about which interesting and rich literature has been written. Sana’a has been immortalized in the prose and poetry of local and international prolific and intelligent writers such as Abdu al-Aziz al-Makkali, a famous contemporary Yemeni poet. Sana’a is magnificently portrayed in different exotic images in al-Makkali’s collection of poetry entitled Book of Sana’a. The poet engages in a kind of dialogue with the city in a personal experience and unique particularity, but in the process, this particularity becomes cosmopolitan. Each poem is located in a particular space which gives the poet and reader alike a sense of the place, history, and culture, and an intense feeling of wider identification and empathy. Sana’a is anthropomorphically portrayed as a beautiful woman, sad woman, beloved lady, spirit, and city of heaven. It is fantastically depicted as a unique piece of artifact molded and designed by the hands of God. So, this piece of research attempts to analyze social and political imports and the different images of the city employed by al-Makkali in his poetic work: Book of Sana’a. As a theoretical framework, the paper adopts both historical theory of criticism as well as the formalist theory, so the analysis is focused on both context and text of the selected poems.

scholarly journals Radishchev’s “Bova” and Its Place in the History of Russian Folkloric Stylization

2020 ◽  
Vol 7 (2) ◽  
pp. 61-89
Author(s):  
Michael Wachtel
Keyword(s):  
Present Essay ◽  
History Of ◽  
Poetic Work

Aleksandr Radishchev (1749–1802) has long been recognized for the boldness and originality of his writings. The present essay examines a substantial but largely forgotten poetic work (“Bova”), focusing on its experimental metrics. The author considers Radishchev’s possible motivations in creating this unprecedented form and suggests a new means of categorizing it.

scholarly journals La evidencia científica, el saber acreditado y la narrativa académica de la pandemia

2020 ◽  
Vol 9 (3) ◽  
pp. 166-168
Author(s):  
Oswaldo Rodríguez
Keyword(s):  
Eugene Delacroix

La segunda edición del Congreso Nacional de Ciencia y Tecnología (CONACIETI) organizado por la Universidad Tecnológica Centroamericana (UNITEC), fue celebrado desde la virtualidad el pasado 22 y 23 de octubre. Se contó con la presencia del reconocido científico hondureño-británico Doctor Sir Salvador Moncada como conferencista internacional en la inauguración de este importante evento académico-científico. Dicho evento sirvió de vitrina para la presentación y foro de discusión en torno los trabajos de investigación en las distintas áreas temáticas provenientes de la comunidad científica hondureña. La disertación del Dr. Moncada sirve de base para el desarrollo de estas líneas, colocando el foco de atención en la narrativa académico-científica relacionada con la pandemia por COVID-19. Este artículo no aspira a un estado del arte sobre la temática, pero si trazar a mano alzada, líneas reflexivas en torno a un aspecto importante y que se desprende de los planteamientos que ha hecho el Dr. Moncada en su intervención, los cuales bien pudieran resumirse en una de sus más interesantes frases: “la evidencia científica es absolutamente necesaria, especialmente cuando hay vidas humanas en juego”. Esta aseveración bien puede ser análoga en su sentido y significado a la imagen plasmada por Eugène Delacroix en 1830 La liberté guidant le peuple (La libertad guiando al pueblo). La orientación que ofrece el dato proveniente del saber y el hacer acreditado se iza como bandera en momentos de extrema crisis mundial, donde la articulación de las políticas públicas entre los estados-naciones y los pueblos ha sucumbido como castillo de naipes, salvo muy honrosas excepciones.

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