排序方式： 共有125条查询结果，搜索用时 15 毫秒
81.
Matthew David Wiseman 《SJOT: Scandinavian Journal of the Old Testament》2016,30(2):280-293
Psalm 23 is one of the most widely beloved and commonly quoted poems in the corpus of biblical literature. Recently, this psalm has come under scrutiny, particularly from James Kugel, for its apparent lack of adherence to theoretical rules of Hebrew poetics. This study presents a thor-ough examination of Psalm 23 in order to establish its versification and poetic principles. This paper first addresses stichometry, establishing a working hy-pothesis of the psalm’s lines and cola, and the poet’s guiding principles of sti-chometry. The study then discusses versification, exploring thematic and sty-listic units which demonstrate the division of Psalm 23 into strophes. Finally, based on the established stichometry and versification, this paper will look at the poem’s macrostructure, its internal logic, and how these are used to create a central theme and coherent narrative. 相似文献
82.
Dean Anthony Brink 《Postcolonial Studies》2018,21(3):302-316
Between the Russo-Japanese War (1904–1905) and the Mukden Incident (1931), Japan’s mounting colonial presence manifested itself in the activities of the South Manchuria Railway Company as well as in the Japanese forces’ skirmishes for control of the region. The poet Kitagawa Fuyuhiko (1900–1990) would draw on his memories of Manchuria, where he lived until attending college in Kyoto, to situate hyperobjects and colonial minutiae in counter-hegemonic anticolonial and antiwar prose poems. His subtractive poetic configurations – not Surrealist but certainly building on Dada precedents – isolate incongruous elements (evental traces) in Alain Badiou’s sense of being faithful to a critique of the ethics of a colonial apparatus. Having grown up within the colonial enterprise himself, and subject to high-minded Japanese media representations and instilled imperial affects, Kitagawa positions himself against the machinic drive for colonial profits and the abuse of labour and prostitutes. This article thus situates aesthetic strategies for displacing imperial affect as projected onto spaces of Japanese expansion so as to document radically anticolonial subject possibilities among Japanese nationals themselves. As postcolonial artefacts, these prose poems suggest the contradictions of European modernity writ in the Japanese rhetoric of cosmopolitan East Asian development and liberation as cultural production that aestheticises colonial extraction of labour and raw materials. 相似文献
83.
84.
Erica X.Y. Yap 《Social & Cultural Geography》2013,14(7):793-807
While the role of readers in literary geographies has been theoretically acknowledged, the methodological practice of engaging with multiple readers is little and far between. This gap between theory and practice has perpetuated understandings of texts as static representations and of readers as passive and homogeneous. Such problematic notions urgently need to be contested and this paper is one such attempt. Using a case study of Singapore poetry and its resistance to state-driven landscape change, I engage with twenty-one Singaporean readers through an online, asynchronous forum to demonstrate the challenging but rich process of studying reader reception. In doing so, I show how the dynamic co-enactment of responses by multiple readers-in-conversations leads to both complementarities and clashes. This not only reveals a more nuanced understanding of the author–text–reader(s) interactions, but also points to an inevitable politics of reading present in the study of all textual representations. 相似文献
85.
Fiona Somerset 《European Review of History》2015,22(4):686-690
The author responds to the articles in this issue by demonstrating how a twentieth-century poem might provide us with a fresh perspective on the situated historical understandings of bodies gendered as male provided here. Amichai uses the literary figure of metonymy to show how ‘a man’ has no time for history: he allows a part to speak for the whole, and a specific cultural moment to stand for any time. Historians and literary scholars alike would benefit from attending to our own metonyms, and the historical continuities we assume or assert as we seek to investigate cultural difference. 相似文献
86.
梁光华先生的新著《诗词格律理论与创作实践》,论述诗词格律理论深入浅出,疏密得当,且以其大量的诗词作品为例证予以论析;其诗词作品情真意挚、立意高远,既具有古典诗词之韵味,又富有强烈的时代气息。该书是一部将诗词格律理论与自己的创作实践紧密结合的佳作。 相似文献
87.
88.
诗歌具有时间上的历时性完整,空间上的广达性全面,气候事件的内容广泛性、来源独立性的特点,决定了其在历史气候研究中的可能性。在运用文献资料进行历史气候研究时最重要的一步就是对气候资料的提取、运用,诗歌也不例外。任何一条气候资料必须同时具备三个基本要素,即时间、空间和气候事件。如何从诗歌中正确提取和运用这三个要素就成为历史气候研究的关键。此外,诗歌写作的整体背景、诗歌中的文学成分以及诗歌本身存在的谬误等都会影响到诗歌在历史气候变化研究中的运用;而诗歌在不同气候研究内容中的作用也不尽相同,诗歌对于历史时期特殊气候事件的恢复具有非常重要的意义,但在进行历史气候的平均状态研究时更多时候只能作为一种佐证。 相似文献
89.
Per Pippin Aspaas 《Symbolae Osloenses / auspiciis Societatis Graeco-Latinae》2016,90(1):205-234
The subject of this article is three pieces of elegiac Latin poetry, written in Trondheim by the mayor of the town, Niels Krog Bredal. The occasion for the poems were the transits of Venus occurring in the years 1761 and 1769, a rare phenomenon attracting considerable attention from natural philosophers of the Enlightenment and spurring numerous scientific expeditions across the globe. Bredal wrote the poems to commemorate expeditions undertaken by Thomas Bugge and Urban Bruun Aaskow (Trondheim, 1761), Christian Gottlieb Kratzenstein (Trondheim, 1769), and Maximilianus Hell (Vardø, 1769). Bredal is primarily remembered as an important, albeit controversial, figure within Dano-Norwegian theatre history. His Latin poems reveal another side of his character, a person with a keen interest in the natural sciences, and more than willing to express his insights through poetry. The article includes an edition with critical apparatus, translation, and commentary. 相似文献
90.
Shane Alcobia-Murphy 《Irish Studies Review》2012,20(2):115-133
In a review of Medbh McGuckian's poetry, Christopher Benfey maintained that ‘[t]o scan her poems for allusions to sectarian violence would be as fruitless and naïve as to sift Emily Dickinson's poems for references to the Civil War’. McGuckian's work is not often read for its commentary on or critique of violence in Northern Ireland. Indeed, in an interview with John Brown, the poet revealed that ‘I never thought of myself as a “Troubles” poet; it was not part of my oeuvre and I couldn't do it simply as an exercise, so I didn't take it on’. This article tests the validity of her self-assessment by examining poems which borrow from sources focused on conflict, particularly the two world wars. The intertexts allow the poet to explore moments of crisis (due to violence, imprisonment and enforced deprivation) without having to deal explicitly with the more immediate conflict in Northern Ireland. 相似文献