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Copyright of Arts for Linguistic & Literary Studies is the property of Thamar University 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 Djoussour El-maarefa is the property of Association of Arab Universities 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 article applies the queer stance of looking back , as proposed by Heather Love and Shane Butler, to examine twentieth-century poetry by Frank Bidart, Thom Gunn, and Joe Brainard in light of classical models and comparisons. It touches on similar but shifting perspectives in Catullus, Homer, Sappho, Theognis, and Plato and argues that the stance of classical study itself, in looking back and remembering the past, echoes the queer melancholic, yet self-constituting, stance of looking back to a lost loved one and to one's own past that we find in both ancient and modern poetry. [ABSTRACT FROM AUTHOR]

Reason: The article ‘The influence of Chinese ancient poetry and literature on college students’ mental anxiety’ by Jie Chen has been retracted by AOSIS, as publisher, following an investigation undertaken by the publisher. This investigation has uncovered evidence of systematic manipulation of the publication and peer-review process. We cannot, therefore, vouch for the reliability or integrity of this article. Please note that this notice is intended solely to alert readers that the peer-review process of this article has been compromised. AOSIS regret that the usual quality checks did not identify these issues before publication and has since put additional measures in place to safeguard research integrity. The corresponding author, as the representative of all authors, has been given the opportunity to register their agreement or disagreement with this retraction. We have kept a record of any response received.

The Three Gorges is an important natural geographical landmark and one of the regions with the most abundant cultural heritage preservation in the Yangtze River Basin. Therefore, establishing a demonstration area for the Yangtze River National Cultural Park has become an important site selection objective. Research on the cultural landscape characteristics of the Three Gorges highlights its characteristics as a representative symbol of China and promotes the identification, protection, and valuation of its iconic cultural resources. Despite the current situation, where only a few tangible remnants of the Three Gorges heritage exist, the cultural context remains largely intact. Ancient poetry, with its classical Chinese cultural characteristics and unique geographical expression methods, enriches the natural scenery and humanistic imagery of the Three Gorges. This provides a valuable tool for interpreting and understanding the cultural resources of the Three Gorges and enhancing its value interpretation system. The Tang and Song dynasties saw a surge in the number, representativeness, and influence of poetry related to the Three Gorges. This article analyzes 440 Tang and Song poems about the Three Gorges, focusing on its geographic information and cultural landscapes. Using text mining technology, we extracted the most representative cultural landscapes in the area and visualized the types and distribution these cultural landscapes ArcGIS spatial analysis. Additionally, cluster analysis and spatial semantic analysis were conducted on poetry texts using ROST-CM6 to categorize different landscape themes. The cultural connotations and aesthetic characteristics of each theme were then analyzed by combining semantic networks with high-frequency words and characters. Our findings indicate that the Three Gorges cultural landscape during the Tang and Song dynasties was mainly composed of historical sites, temples, ancestral halls, and former residences of renowned figures. The landscape formed a string of beads along the river and primarily centered on Fengjie and Wushan. We identified six landscape themes on the semantic network, including the Xiajiang Grand View, the ancient capital of the White Emperor, the scenic spots of Xiling, and the clouds and rain of Wushan. The Three Gorges segment of the Yangtze River National Cultural Park followed the "One Belt, One Zone, Two Cores" spatial layout concept, with poetry culture as the soul, the poet's location as the pulse, and renowned mountains and scenic spots as the body. Historical scenes were reconstructed through logical and emotional methods, injecting the aesthetics, culture, and emotion of poetry and its historical background into the basic landscape.

Cultural construction is an essential and increasingly important part of urban construction. Today’s urban document construction is heavily influenced by ancient poetry, which is one of the best parts of Chinese culture. Based on the realistic value of ancient poetry in urban culture construction, the study constructs an ancient poetry text mining model using the Word2Vec model, keyword word extraction algorithm, and text classification algorithm. Taking Hangzhou as an example, the study conducts text mining and data analysis on ancient poems related to Hangzhou, extracts the elements that are useful for urban culture construction to construct an evaluation index system for urban culture construction, and finally puts forward the corresponding development suggestions based on the results of urban culture construction evaluation. The majority of the landscape words in ancient poems related to Hangzhou are natural, with 7591 natural landscape words appearing and 4516 humanistic landscape words appearing. Excluding the indicator of ecological greening facilities, the indicator of Hangzhou’s urban culture construction with the highest score is natural landscape, with a score of 0.858184, and the lowest score is humanistic landscape, with a score of 0.643769. This shows that Hangzhou’s humanistic landscape construction in urban culture construction is still insufficient, and there is still room for improvement, it is necessary to focus on the enhancement of the humanistic landscape to improve the overall level of urban culture construction. There is still room for improvement.

The Three Gorges is an important natural geographical landmark and one of the regions with the most abundant cultural heritage preservation in the Yangtze River Basin. Therefore, establishing a demonstration area for the Yangtze River National Cultural Park has become an important site selection objective. Research on the cultural landscape characteristics of the Three Gorges highlights its characteristics as a representative symbol of China and promotes the identification, protection, and valuation of its iconic cultural resources. Despite the current situation, where only a few tangible remnants of the Three Gorges heritage exist, the cultural context remains largely intact. Ancient poetry, with its classical Chinese cultural characteristics and unique geographical expression methods, enriches the natural scenery and humanistic imagery of the Three Gorges. This provides a valuable tool for interpreting and understanding the cultural resources of the Three Gorges and enhancing its value interpretation system. The Tang and Song dynasties saw a surge in the number, representativeness, and influence of poetry related to the Three Gorges. This article analyzes 440 Tang and Song poems about the Three Gorges, focusing on its geographic information and cultural landscapes. Using text mining technology, we extracted the most representative cultural landscapes in the area and visualized the types and distribution these cultural landscapes ArcGIS spatial analysis. Additionally, cluster analysis and spatial semantic analysis were conducted on poetry texts using ROST-CM6 to categorize different landscape themes. The cultural connotations and aesthetic characteristics of each theme were then analyzed by combining semantic networks with highfrequency words and characters. Our findings indicate that the Three Gorges cultural landscape during the Tang and Song dynasties was mainly composed of historical sites, temples, ancestral halls, and former residences of renowned figures. The landscape formed a string of beads along the river and primarily centered on Fengjie and Wushan. We identified six landscape themes on the semantic network, including the Xiajiang Grand View, the ancient capital of the White Emperor, the scenic spots of Xiling, and the clouds and rain of Wushan. The Three Gorges segment of the Yangtze River National Cultural Park followed the "One Belt, One Zone, Two Cores" spatial layout concept, with poetry culture as the soul, the poet's location as the pulse, and renowned mountains and scenic spots as the body. Historical scenes were reconstructed through logical and emotional methods, injecting the aesthetics, culture, and emotion of poetry and its historical background into the basic landscape. [ABSTRACT FROM AUTHOR]

By borrowing the four gems in the “Treasure Hid in Chinese Poetry” and introducing their main components, functions and chemical principles in a personified way, the readers can understand the preciousness of the four gems and the chemical knowledge contained in the interesting reading. [ABSTRACT FROM AUTHOR]

Copyright of South Architecture / Nanfang Jianzhu is the property of South Architecture Editorial Office 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 study analyses the influence and infection of traditional Chinese culture, starting from the cultural influence of ancient Chinese poetry and literature, and explores the impact and healing effect of traditional Chinese poetry and literature on college students’ psychological anxiety. Combining with traditional Chinese culture, it proposes intervention and treatment strategies for college students’ psychological anxiety. Through volunteer recruitment, 100 college students were recruited for comparative experiments, and the subjects were divided into an experimental group and a control group. The experimental group participants regularly participate in Chinese ancient poetry and literature appreciation courses during the experimental period, and form an ancient poetry and literature learning group for discussion and learning. Research has found that psychological anxiety is a common psychological problem among contemporary college students, with most of them experiencing varying degrees of psychological anxiety. After the experiment, the number of patients with severe anxiety disorder decreased by 64.21%, while the number of patients with moderate anxiety disorder decreased by 57.36%. Under the artistic influence of traditional Chinese culture, the anxiety state of students with mental anxiety has been significantly improved, and the overall satisfaction score of students with treatment intervention plans is relatively high. Contribution: This study uses the profound historical heritage of Chinese ancient poetry and literature to help contemporary college students adjust their psychological state and reach the psychological adjustment under the infection of Chinese tradition culture. During the learning and appreciation of Chinese ancient poetry, literature and culture, students can comprehend the literature advancement in Chinese society, also influenced by the excellent traditional Chinese culture, for enhancing the humanistic quality and mental health level. The results of this study can be utilised by scholars in the field of the psychology of religion and public theology.

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]

Ancient poetry represents historical and cultural legacies accumulated by the Chinese nation for thousands of years and underpins the strong cultural confidence of the Chinese people. Tang poetry distinguishes itself from other literary works with its beautiful rhyme and symmetry. Previous studies of English translations of Tang poetry mostly focused on appreciation, analysis, and critics of different translation versions. Few researchers have delved into the specific translation methods for achieving the rhyming and symmetrical effects of Tang poetry in the target text. This paper examined Professor Xu Yuanchong's English translation of 300 Tang Poems as the research object, and elaborated on how to retain the rhyming and symmetrical effects of Tang poems. This paper also summarized some practical methods that can be applied to translating Tang poems. Rhyming can be realized by the addition of end rhyme words and changes in word or line order. Symmetry can be achieved by the omission of a modifier or predicate, the addition of function words, changes in word order, or parallelism with the original sentence structure. [ABSTRACT FROM AUTHOR]

Speech does not follow one phonemic pace, but its tones rise and fall and become equal, and the pitch of the voice can play an important role in directing the type of connotation, so the meanings and emotions of the poem become clear through the intonation of the phrase and its vocal performance, and our research studies the semantic function of supra-syllabic phonemes (intonation), and some of the effective causes in directing the music of speech, such as the interrogation, the conditional, the dynamics of narration, description, dialogue, and others, It also tries to prove that strong interrelationship that takes place at the level of audio images from audio variations among the effects that follow in directing the connotation, through selected poetic models. [ABSTRACT FROM AUTHOR]

The article examines the text of the poem "Sulpicia" on the expulsion of philosophers from Rome by emperor Domitian in 88/89 and 93/94. Topics discussed include doubts about the authenticity of the poem which led to minimal scholarly interest in the literary work, possibility that the poem can be dated in the reign of Theodosius I, and problems in the transmitted text where the poem is describing the growth of the Roman geo-political power.

In any literary style or period, there are always common factors and contexts between poets and writers that make up the color and public space of that period. One of these contexts are elements and themes that are used in poetic images; Elements such as nature, ordinary and peripheral elements, literary subtleties in image making, etc. are the themes that can lead us to obvious differences between the illustrations of each period in each period and can finally be a basis for evaluation. The artistic and imaginative values and features of each period become and lead us to the important point that the image is a representation of sensory effect in language. This sensory effect also includes: the poet's thoughts, feelings and sensory experiences. The importance of illustration and illustration is such that, in the opinion of many, any change in the illustration of the world also leads to a change in the mechanism of the world. What constitutes the basis of the present research is the study and study of the illustration processes of old and new Persian poetry in two ways, method and subject of the image. The results of the present study show that although the overall image structure of Persian poetry from ancient times to modern times has been based on one principle, but the subject of these images is different in two periods so that the image in ancient poetry is based on "nature and imagination". While the basis of the image in contemporary poetry is "man and society". [ABSTRACT FROM AUTHOR]

Copyright of Studia Maritima is the property of Wydawnictwo Naukowe Uniwersytetu Szczecinskiego / University of Szczecin Press 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 article explains rejection of the tradition of commentary on French Poetry from the poetics of Nicolas Boileau-Despréaux, the Reflections on the poetics of Aristotle, and on the works of ancient and modern poets to philosophy in a volume of comparisons. Topics include commentary on Aristotle's Poetics, but many reflections on poetics; and adaptation of Aristotelian poeticsis the subject of the editing work of Pascale Thouvenin, who ed to the discovery of literary pleasure.

The means by which the Shi jing was transmitted were, primarily, written texts as well as oral recitation and singing, and the textual features formed by these processes were often quite varied. During the pre-Qin period, written texts were frequently "open documents"; therefore, discrepancies among texts do not necessarily indicate distinctions of relative quality. Moreover, texts with different features do not necessarily belong to different textual systems. Therefore, one should adopt a holistic, open-minded attitude toward early textual forms of the Shi jing , and avoid hastily proceeding from discrepancies of format to rash judgments that they belong to different texts. 摘要: 《詩》的流傳的方式主要有書寫文本和口頭諷誦與歌唱，而所形成的文本面貌往往比較多樣。在先秦時期的文獻屬於「開放性文獻」，文本的差異並不一定表示他們有高下優劣的分別，而不同面貌的文本也不一定就分屬於不同的文本系統。因 此，對於《詩》早期文本的形態，應該採取宏觀和開放的態度，避免遽以形式的差異就斷定它們分屬不同的文本系統。 [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Gulf & Arabian Peninsula Studies is the property of Kuwait University, Academic Publication Council 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 Al-Alama / Al-ՙalāmaẗ is the property of University of Kasdi Merbah Ouargla 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 Studia Maritima is the property of Wydawnictwo Naukowe Uniwersytetu Szczecinskiego / University of Szczecin Press 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 article aims to investigate on Tristan Taza's famous statement: "Thought is made in mouth", through the analysis of some of his Romanian first poems. In order to justify Dada linguistic deconstruction, Tristan Tzara mystically invokes in his works a joy, which causes distruction and revolutionizes the fundamental laws of logic and language itself. By replacing the old style of writing poetry with a new language, which is able to deprive itself of communication problems, he gives to the word its freedom, opening a revolutionary path to dream and desire, and, at the same time, he meaningfully contributes to the emancipation of poetic expressions from ancient poetry prosody, logic and syntax. [ABSTRACT FROM AUTHOR]

Although Ovid dedicated his Metamorphoses to the subject of change, the vast majority of the corporeal alterations catalogued in this ancient Roman poem are singular, permanent transformations. In contrast, dramatists writing for the Elizabethan stage tended to represent fantastical, neo-Ovidian metamorphoses as temporary and reversible. With particular reference to the plays of John Lyly -- and especially Love's Metamorphosis -- this article exposes conceptual and generic deviations between the static post-metamorphic norm found in Ovid's Latin poetry and Elizabethan England's theatrical depictions of bodily retro-metamorphoses. [ABSTRACT FROM AUTHOR]

The article discusses how nineteenth century literary work have been the first work on birds to include nonce-transcriptions of their calls as an aid to identification. It discusses how this adaptation of an ancient poetic technique for the purposes of natural history and pedagogy remains familiar in birders' field guides and in stories and verse for children.

Today History is based on written documents. So, the Truth resides on the way a source is discovered and worked upon. In other words, history, in searching for the truthfulness of a past event, needs written documents. In the ancient times, where mythology was an important part in the sphere of history, most of the historians were poets. By their special ritual, these glorious storytellers were searching for the truthfulness of a passed fact. Going in the Underworld of gods, where no mortal can, ancient poets were the only guild who, in the middle of a crowd, always spoke the reality. Moreover, these storytellers were reality itself, because the Muses, daughters of Zeus, spoke through them. So when a word was given in from of an immense audience, everyone was part of a sacred ritual; a ritual of the Truth. As the events progress, so History. The power of the ancient and powerful poets, were but an obscure past. Words were transformed into sentences, and the writing system became the basic truthfulness of a past event. And so, forgotten, the old storytellers became mere poets, where fantasy and supernatural were the basic construct of a poetry. [ABSTRACT FROM AUTHOR]

This paper focuses on the interaction of Roman moral discourse and autonomous female voices in the Argonautica and Ovid's Heroides. It argues that Valerius' heroines use the moral language of the Heroides to reflect on the function of traditional language. By assigning culturally encoded roles to themselves and one another, these heroines present the audience with alternative versions of their stories that undermine the very terms they employ: they thus enact the problems inherent in using the language of the past to interpret the present. The cultural vocabulary that authorizes their voices to an internal audience presents a serious threat to the community, when coming from the mouths of marginalized characters. In illustrating the slippage between the roles of wife, witch, heroine and whore, Valerius invites his audience to consider the function of tradition, both social and literary, as a lens through which to understand the present. [ABSTRACT FROM AUTHOR]

What makes Carlo Michelstaedter's life and work (1887 - 1910) worthy of a reflection on Italian aesthetics is his erratic attitude when taking a stance in the ancient discord between Philosophy and Poetry. This, since Plato's times (Republic 607b-608b), as an original item, expects and transcends each historical chapter of the literary critique and each kind of philosophy of history. Michelstaedter justapoxes names such as Parmenides, Sophocles, Socrates, Christ and the Ecclesiastes in an anti-genealogical manner, that is against fathers and masters as well as sons and disciples. Everything that, in his short life, he could read and study in Latin, Greek, German and Italian, was bound to death against institutions and codes, against the family and the University, against the audience and every literary genre attended by the world in which he was born. Michelstaedter reads Parmenides' Carminum reliquiae as a poetic emergency and sees in Socrates the one who becomes this poetry. The bold link between Parmenides' ontology and Socrates' dialectics constitutes the climax of an iconoclastic and anti-mimetic poiesis. Rhadamanthus' justice (Gorgias 523e), results bitter to Michelstaedter. It discerns, that is, the original relationship of Socrates with death (a dreamless slumber) from that which was superimposed by Plato (the dream of a naked soul in the isles of the blissful); he distinguishes Socrates' beautiful death from that which was enticed by Hegesias, the death-persuader, in the naive; he places Socrates next to Sophocles and the Ecclesiastes, against the mortal event of the birth. Socrates, in case, did not die because of the "cicuta" which parted him from the pain of living, nor because of the eternal idea that he's been contemplating ever since with his immortal soul. He died, instead, after having become something divine and devilish, something that distracts him since his childhood from everything he is about to do, every time, and eventually leads him nowhere (Apology 31c-d). From this anti-contemplative perspective, Michelstaedter acknowledges in every philosophy intended to reconcile the absolute and relative, the rhetoric artifice aimed at concealing an original aporia which can only be dishonestly swayed, rather than overcome. [ABSTRACT FROM AUTHOR]

Copyright of Anthropos: Revija za Filozofijo in Psihologijo is the property of Anthropos 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 introduction sketches a framework for what I would term “the architectures of Shakespeare”, taking into account Shakespeare’s use of architectural terms in order to situate the poet-dramatist’s metaphorical and structural use of building, the master art of the Renaissance. Then, too, his use of the building as a vehicle to communicate themes and ideas also depends on and diverges from the example offered by the work of his contemporaries such as Gascoigne, Sidney, Marlowe and Jonson. After thus providing a brief introduction to the five articles in this volume, I turn my attention to Shakespeare’s documented increased interest in architecture and foreign models before planning and during the building of New Place. That personal project marks, I would argue, a marked shift in his interest in and use of not only architecture, but also the arts in general. [ABSTRACT FROM PUBLISHER]

Around the year 1060, the misbehaving Icelandic skald Sneglu-Halli arrives at the court of king Haraldr harðráði and manages to provoke the king and his fellow courtiers, yet he leaves a richer and more successful man as a result. A literary analysis of Morkinskinna's Sneglu-Halla þáttr shows that the protagonist's portrayal is a deliberate if somewhat exaggerated construction of how Icelanders abroad should behave, as well as which memories of the 11th century the 13th century Icelanders wished to preserve. Sneglu-Halli's provocative behavior is seen as a positive character trait that, if pursued moderately, helps establish the uniqueness of the Icelander at court. This behavior is juxtaposed with the famous skald Þjóðólfr Arnórsson, whose undoubted success at court is downplayed in the þáttr due to his running away from his meager Icelandic beginnings. Cultural Memory studies are the key to understanding this artistic manipulation, since the way we remember the past establishes our perception of the present. [ABSTRACT FROM AUTHOR]