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What Is Genius of the Kazakh Poet Abay Kunanbayuly by Rashida
Shahanova Rozalinda Ashirbayevna Professor Head Department of the Philological Specialties Institute of Doctoral Studies Akademic of the International Academy of the Pedagogical Educational Sciences Almaty, Kazakhstan Shokanova Rashida Visiting Professor, Kazakh Language Jamia Millia Islamia New Delhi [email protected] What is genius of the Kazakh poet Abay Kunanbayuly? This article is about the great poet, philosopher, thinker, composer, educator of Kazakh people in the nineteenth century AbayKunanbay. Depite nor the era of colonial oppression, nor feudal-bourgeois system with all its shortcomings, when spread rot and humiliated people, as well as hid in prison, he was able - in spite of all the abominations being and destiny - to raise an unprecedented height resistance of the national spirit, singing and introducing into the consciousness of their fellow tenacity and boldness instead cowardice, focus, instead of a loss, the pursuit of knowledge, rather than ignorance and miserable careerism The acts instead Abay Kunanbay was born (July 29) August 10, 1845 in Chingiz Mountains Semipalatinsk region, in the family of a feudal lord Kunanbai Uskenbaev. His family was aristocratic, that is why Abay received a broad education. He attended a madrassa - Islamic school, is a both a high school and seminary. In addition, Abay was a disciple of the ordinary Russian school.The true figure, genuinely caring about his people, seeking and finding the way to new vertices. Today the name of Abay for many people on all continents should flush with the names of Shakespeare, Goethe, Pushkin and Moliere. Abay is the founder of Kazakh written literature. In the history of Kazakh literature Abay took pride of place, enriching the Kazakh versification new dimensions and rhymes. -
National Symbols of Pakistan | Pakistan General Knowledge
National Symbols of Pakistan | Pakistan General Knowledge Nation’s Motto of Pakistan The scroll supporting the shield contains Muhammad Ali Jinnah’s motto in Urdu, which reads as “Iman, Ittehad, Nazm” translated as “Faith, Unity, Discipline” and are intended as the guiding principles for Pakistan. Official Map of Pakistan Official Map of Pakistan is that which was prepared by Mahmood Alam Suhrawardy National Symbol of Pakistan Star and crescent is a National symbol. The star and crescent symbol was the emblem of the Ottoman Empire in the 19th century, and gradually became associated with Islam in late 19th-century Orientalism. National Epic of Pakistan The Hamza Nama or Dastan-e-Amir Hamza narrates the legendary exploits of Amir Hamza, an uncle of the Prophet Muhammad, though most of the stories are extremely fanciful, “a continuous series of romantic interludes, threatening events, narrow escapes, and violent acts National Calendar of Pakistan Fasli which means (harvest) is derived from the Arabic term for division, which in India was applied to the groupings of the seasons. Fasli Calendar is a chronological system introduced by the Mughal emperor Akbar basically for land revenue and records purposes in northern India. Fasli year means period of 12 months from July to Downloaded from www.csstimes.pk | 1 National Symbols of Pakistan | Pakistan General Knowledge June. National Reptile of Pakistan The mugger crocodile also called the Indian, Indus, Persian, Sindhu, marsh crocodile or simply mugger, is found throughout the Indian subcontinent and the surrounding countries, like Pakistan where the Indus crocodile is the national reptile of Pakistan National Mammal of Pakistan The Indus river dolphin is a subspecies of freshwater river dolphin found in the Indus river (and its Beas and Sutlej tributaries) of India and Pakistan. -
A Poet Builds a Nation.Pdf
DOI: 10.9744/kata.16.2.109-118 ISSN 1411-2639 (Print), ISSN 2302-6294 (Online) OPEN ACCESS http://kata.petra.ac.id A Poet Builds a Nation: Hafez as a Catalyst in Emerson’s Process of Developing American Literature Behnam Mirzababazadeh Fomeshi*, Adineh Khojastehpour Independent scholars * Corresponding author emails: [email protected] , [email protected] ABSTRACT Numerous studies have tried to elucidate the relationship between Emerson and Hafez. While most of these studies laid emphasis on influence of Hafez on Emerson and others on similarity and/or infatuation, they left untouched some vital historical aspects of this relationship. Taking into consideration the political and literary discourses of Emerson‘s America may illuminate the issue. America‘s attempt to gain independence from Britain, Emerson‘s resolution to establish an American literary tradition, his break with the European fathers to establish that identity, his open-mindedness in receiving non-European cultures and the correspondence between Emerson‘s transcendentalism and Hafez‘s mysticism led to Hafez‘s reception by Emerson. Keywords: Hafez; Emerson; comparative literature; reception; national identity INTRODUCTION The relationship between Hafez and Emerson has been extensively studied. Most of the researchers In addition to being considered the father of trans- have highlighted influence and some have empha- cendentalism, the American poet and philosopher, sized similarity or infatuation. For instance, Fotouhi Ralph Waldo Emerson (1803-1882) was a remar- and Taebi (2012) believed that Emerson‘s poetic taste kable figure concerning Persian literature. The poet‘s made him study Persian poets and ―correspondence most fruitful years coincided with his careful study of between their mystical insight and his transcendental Persian poets. -
A Note on the Origins of 1914-18 'War Poetry'
A note on the origins of 1914-18 ‘war poetry’ Dominic Hibberd Biography Dominic Hibberd, was a biographer, editor and critic who taught at universities in Britain, the USA, and China. He wrote biographies of two poets, Harold Monro and Wilfred Owen, as well as the critical study Owen the Poet (1986). He edited Poetry of the First World War in the Casebook series (1981), and with John Onions, compiled and edited The Winter of the World: Poems of the First World War (2007). Abstract The sort of work that has often been thought of as typical British First World War poetry – realistic, often angry poems about the actualities of the front line, written from the point of view of the ordinary soldier and aimed at the civilian conscience – was in fact not typical at all. And it was not begun by soldiers in the aftermath of front-line horrors, as is often supposed, but by two civilian poets very early in the war. Harold Monro and Wilfrid Gibson deserve to be recognised as the first of what modern readers would call the ‘war poets’. Résumé Les œuvres qui sont souvent considérées comme tout à fait caractéristiques de la poésie britannique de la première guerre mondiale, — réalistes, souvent des poèmes d’un style cru, traduisant la réalité du front, telle qu’elle est vécue par le soldat de base, pour en faire prendre conscience aux civils, ne sont en réalité en rien conformes à ce modèle. Les premières œuvres relevant de ce genre n’ont pas été le fait de militaires revenant de l’horreur du front, comme on le croit souvent, mais de deux poètes civils qui les ont écrites au tout début de la guerre. -
ASTRA Salvensis, Supplement No. 1/2021 105 POETIC AND
ASTRA Salvensis, Supplement no. 1/2021 POETIC AND LINGUISTIC FEATURES OF POETRY OF ZHUBAN MOLDAGALIEV Zinulla Zh. MUTIYEV1, Murat B. SABYR2, Marat K. AZHGALIYEV2, Aigul A. RAMANOVA2, Ganmirkun G. TURGANALIEVA1 1Department of Kazakh Philology, M. Utemisov West Kazakhstan University, Uralsk, Republic of Kazakhstan 2Department of Pedagogy, University of Innovation and Technology of Western Kazakhstan, Uralsk, Republic of Kazakhstan Abstract: This article deals with local history issues. The study of the creative heritage of poets and writers of the Ural region of the West Kazakhstan region is one of the actual problems of modern literary criticism. This article studies the work of the Kazakh poet Z. Moldagaliev. The scientific, literary analysis of thematic-ideological, poetic-linguistic features of the poetry of the poet was carried out. The novelty of the poet was investigated in the method of describing lyrical heroes, creating an image. Attention is drawn to the fact that the works of the poet are harmonious with time, epoch, and are closely related to the life of society. Keywords: a major epic, spiritual poet, national character, lyrical thinking, war and peace, friendship of nations, the image of contemporaries. A talented representative of Kazakh literature, a major epic, militant poet, awardee of the USSR State Prize, awardee of the Abai Kazakh SSR State Prize, People’s Writer of Kazakhstan Zhuban Moldagaliev was born on September 5, 1920 in the area of Zhylandy, Ulenta-Saykuduk village, Taypaksky district, West Kazakhstan region. He studied at the seven-year school, then at the Ural Agricultural College, on military-political courses. In 1940-47 he served in the army, participated in the Great Patriotic War. -
The Enlightenment and Orientalist Discourse on the Aryan
Jews, Aryans Chap. 1 7/23/02 9:42 AM Page 8 CHAPTER 1 The Enlightenment and Orientalist Discourse on the Aryan THE ENLIGHTENMENT BACKGROUND rientalist and postcolonialist criticism has positioned the origin of much Othat it seeks to critique within the Enlightenment project. Edward Said identified the Enlightenment as a unified trajectory and master sign of both Orientalism and colonialism (Said 1978). Ashis Nandy traced the roots of colonialism’s mandate to absolutize the relative differences between cultures to the cultural arrogance of Enlightenment Europe. Partha Chatterjee prob- lematized Enlightenment historiography (Chatterjee 1986). Peter van der Veer has blamed Enlightenment discourse for the erroneous politicization of Hinduism (Van der Veer 1998). Curiously, none of their arguments dwells on specifics—a common methodological flaw of critical schools which mea- sure past texts against contemporary claims of emancipation or fantasies of dissent (Fluck 1996: 228). In these instances, critics assess the Enlightenment in light of the subsequent colonial experience. Their critical canon virtually ignores the fundamental texts of the period. Indeed, the Enlightenment has suffered much at the hands of poststructuralism’s vague and atextual treatment. There is clearly a need for a reappraisal of the Enlightenment with reference to its literature. In satirical works of the eighteenth century, there appeared a general theme, barely hidden under the fiction and in the satire itself: Asia can and should offer lessons. The pittoresque Oriental tale provided an ideal medium through which authors could expose the vices of their own corrupt civil and religious institutions. The satirist’s task had been made that much easier, since travel accounts minutely described the religious and secular institutions of Asia and marked analogies to European systems of rule. -
America Singing Loud: Shifting Representations of American National
AMERICA SINGING LOUD: SHIFTING REPRESENTATIONS OF AMERICAN NATIONAL IDENTITY IN ALLEN GINSBERG AND WALT WHITMAN Thesis Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree of Master of Arts in English Literature By Eliza K. Waggoner Dayton, Ohio May 2012 AMERICA SINGING LOUD: SHIFTING REPRESENTATIONS OF AMERICAN NATIONAL IDENTITY IN ALLEN GINSBERG AND WALT WHITMAN Name: Waggoner, Eliza K. APPROVED BY: ____________________________________________________ Albino Carrillo, MFA Committee Chair ____________________________________________________ Tereza Szeghi, Ph.D. Committee Member ____________________________________________________ James Boehnlein, Ph. D. Committee Member ii ABSTRACT AMERICA SINGING LOUD: SHIFTING REPRESENTATIONS OF AMERICAN NATIONAL IDENTITY IN ALLEN GINSBERG AND WALT WHITMAN Name: Waggoner, Eliza K. University of Dayton Advisor: Mr. Albino Carrillo Much work has been done to study the writings of Walt Whitman and Allen Ginsberg. Existing scholarship on these two poets aligns them in various ways (radicalism, form, prophecy, etc.), but most extensively through their homosexuality. While a vast majority of the scholarship produced on these writers falls under queer theory, none acknowledges their connection through the theme of my research—American identity. Ideas of Americanism, its representation, and what it means to be an American are issues that span both Whitman and Ginsberg's work. The way these issues are addressed and reconciled by Ginsberg is vastly different from how Whitman interacts with the subject: a significant departure due to the nature of their relationship. Ginsberg has cited Whitman as an influence on his work, and other scholars have commented on the appearance of this influence. The clear evidence of connection makes their different handling of similar subject matter a doorway into deeper analysis of the interworking of these two iconic American writers. -
Poetry for the People
06-0001 ETF_33_43 12/14/05 4:07 PM Page 33 U.S. Poet Laureates P OETRY 1937–1941 JOSEPH AUSLANDER FOR THE (1897–1965) 1943–1944 ALLEN TATE (1899–1979) P EOPLE 1944–1945 ROBERT PENN WARREN (1905–1989) 1945–1946 LOUISE BOGAN (1897–1970) 1946–1947 KARL SHAPIRO BY (1913–2000) K ITTY J OHNSON 1947–1948 ROBERT LOWELL (1917–1977) HE WRITING AND READING OF POETRY 1948–1949 “ LEONIE ADAMS is the sharing of wonderful discoveries,” according to Ted Kooser, U.S. (1899–1988) TPoet Laureate and winner of the 2005 Pulitzer Prize for Poetry. 1949–1950 Poetry can open our eyes to new ways of looking at experiences, emo- ELIZABETH BISHOP tions, people, everyday objects, and more. It takes us on voyages with poetic (1911–1979) devices such as imagery, metaphor, rhythm, and rhyme. The poet shares ideas 1950–1952 CONRAD AIKEN with readers and listeners; readers and listeners share ideas with each other. And (1889–1973) anyone can be part of this exchange. Although poetry is, perhaps wrongly, often 1952 seen as an exclusive domain of a cultured minority, many writers and readers of WILLIAM CARLOS WILLIAMS (1883–1963) poetry oppose this stereotype. There will likely always be debates about how 1956–1958 transparent, how easy to understand, poetry should be, and much poetry, by its RANDALL JARRELL very nature, will always be esoteric. But that’s no reason to keep it out of reach. (1914–1965) Today’s most honored poets embrace the idea that poetry should be accessible 1958–1959 ROBERT FROST to everyone. -
The Nation Between Utopia and Art: Canonizing Dionysios Solomos As The
15 The nation between utopia and art: canonizing Dionysios Solomos as the ‘national poet’ of Greece Vassiliki Dimoula Perhaps the most controversial element in the work of Dionysios Solomos, the ‘national poet’ of Greece, is his nationalism. My aim in what follows will be to discuss a contrastive relationship between the utopian element in Solomos’s national poetry and his canonization as the ‘national poet’ of Greece. The tension between Solomos’s work and its reception has recently been discussed by Giorgos Veloudis from the point of view of the appropriation of Solomos for the needs of Greek ‘national ideology’ (Veloudis 2004). By contrast, my own focus here will be on the ideologization of the aesthetic dimension of Solomos’s work in the course of his canonization as the leading figure of Greek national literature. Although I will not discuss the poet’s reception in any detail, my points of reference will be Iakovos Polylas and Kostis Palamas. The social‑imaginary institution of the nation is by definition ideological; it constitutes ‘a social reality whose very existence implies the non‑knowledge of its participants as to its essence’ (Žižek 1995, 2, cited in Gourgouris 1996, 26). In order to justify my discussion of it as a ‘utopia’ in the poetic work of Solomos, I will refer to the transcendental poetics of his time, Dimoula as well as to modern theorizations of utopia, with particular emphasis on the notion of ‘negative utopianism’ suggested by Theodor Adorno.1 Veloudis, in his recent book (2004), provides a detailed account of Solomos’s appropriation by Greek ‘national ideology’, which was based on a politically motivated distortion of his work.2 The ‘nationalization’ of Solomos in the course of his multifaceted reception obscured the initial, historically very specific grounds of his canonization as ‘the national poet’ of Greece by the Heptanesians. -
Walt Whitman Quarterly Review
Walt Whitman Quarterly Review http://ir.uiowa.edu/wwqr Louis Simpson and Walt Whitman: Destroying the Teacher Hank Lazer Volume 1, Number 3 ( 1983) pps. 1-21 Stable URL: http://ir.uiowa.edu/wwqr/vol1/iss3/2 ISSN 0737-0679 Copyright c 1983 by The University of Iowa. Louis Simpson and Walt Whitman: Destroying the Teacher Hank Lazer Abstract Discusses the “complex, intelligent, skeptical playing out of affinities with and differences from Whitman’s poetry” found in Louis Simpson’s work, especially in At the End of the Open Road, where ”Simpson follows Whitman’s lead in exploring the texture and variety of individual lives, but . parts company with the mystical or sublime side of Whitman.” LOUIS SIMPSON AND WALT WHITMAN: Destroying the Teacher HANKLAZER WITH REGARD to recent American poetry, it is easy and fruitful to trace the influence of Walt Whitman. Particularly with the revo'lution in style that began in the mid-fifties with Allen Ginsberg's Howl and Other Poems and that continued in the early sixties with Robert Bly's Silence in the Snowy Fields, Whitman has been seen as a congenial poetic mentor and model for a wide range of American poets. Ginsberg, for example, was drawn to Whit man for a number of reasons: Whitman's metrics and use of the long line; Whitman's commitment to a bardic, prophetic function for poetry; Whit man's example of a national poet who can speak to (and about) all of America; Whitman's frank sexuality and homoeroticism; and Whitman's fresh use of Biblica1language and form. -
The Poetry of Nazim Hikmet
THE BELOVED UNVEILED: CONTINUITY AND CHANGE IN MODERN TURKISH LOVE POETRY (1923-1980) LAURENT JEAN NICOLAS MIGNON SCHOOL OF ORIENTAL AND AFRICAN STUDIES UNIVERSITY OF LONDON THESIS SUBMITTED FOR THE DEGREE OF PHD ProQuest Number: 10731706 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731706 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 2 Abstract The thesis explores the ideological aspect of modern Turkish love poetry by focusing on the works of major poets and movements between 1923 and 1980. The approach to the theme of love was metaphorical and mystical in classical Ottoman poetry. During the period of modernisation (1839-1923), poets either rejected the theme of love altogether or abandoned Islamic aesthetics and adopted a Parnassian approach arguing that love was the expression of desire for physical beauty. A great variety of discourses on love developed during the republican period. Yahya Kemal sets the theme of love in Ottoman Istanbul and mourns the end of the relationship with the beloved who incarnates his conservative vision of national identity. -
Hayden, Robert
Hayden, Robert Hayden, Robert Christopher Buck and Derik Smith Subject: North American Literatures Online Publication Date: Sep 2017 DOI: 10.1093/acrefore/9780190201098.013.485 Keywords added; sections expanded; notes added. Updated on 26 April 2019. The previous version of this content can be found here. Summary and Keywords Robert Hayden was made poet laureate of Senegal in 1966 and ten years later became America’s first black poet laureate. He was acclaimed as “People’s Poet” early in his ca reer, but he was largely ignored by the American literary establishment until late in life. In his poetics of history and his nuanced representations of black life, Hayden’s art showed that the African American experience was quintessentially American, and that blackness was an essential aspect of relentlessly heterogeneous America. As he figured it in his late-in-life poem, “[American Journal],” national identity was best metaphorized in “bankers grey afro and dashiki long hair and jeans / hard hat yarmulka mini skirt.” Hayden’s archetypal efforts to demonstrate the kaleidoscopic quality of both black and American identity produced an art that transcended propagandistic categories of race and nation, and pathed the way for a large cadre of late 20th and early 21st century poets who, like Hayden, understand themselves to be simultaneously black and American, but ultimately human. Keywords: Robert Hayden, poetry, poet laureate, Black Arts Movement, national identity, African American, Bicen tennial, Baha’i Life and Work Legally, Robert Earl Hayden was never born. He had no birth certificate to show that Asa and Ruth Sheffey (born Gladys Finn), who separated before his birth, were his natural parents.