Quantitative patterns in the poetic structure of The Temple Hymns by Enkheduanna

The Temple Hymns by Enheduanna, high priestess of Sumer Moon god Nanna in Ur and daughter of king Sargon of Akkad (2334-2279 BCE), consist of 42 hymns that praise the significant temples of the Mesopotamian cities and their deities. By their writing the goal of uniting the Sumer-Akkad pantheon was set as a part of the wider political task of uniting the Sumerian and Akkadian peoples set by Sargon of Akkad. Numerical patterns in the structure of the hymns are studied in the present paper, with special attention to the number of the lines in each hymns as stated in the colophons. It is demonstrated that the sum of the lines of all hymns is an exact multiple of 100 whereas the sums of the number of lines in both first and second halves of the hymns and several of their subsets make exact multiples of 50 and 10 respectively. A hypothesis is proposed for the deliberate choice of these exact numbers by the author of the hymns and their considerable achievement in the poetic structure of the hymns, as well as achieving the set goal, among other means, by the means of quantitative poetic structure of the hymns.

Conjuring Caliban's Woman: Moving beyond Cinema's Memory of Man in Praise House (1991)

Julie Dash's experimental short film, Praise House (1991), situates conjuring as both a narrative and formal device to invent new memories around Black womanhood that exceed our representation within the epistemes of Man. I view Praise House as an example of conjure-cinema with which we can evaluate how Black feminist filmmakers, primarily working in experimental film, manipulate the poetic structure and aesthetics of film to affect audiences rather than rely on representational narrative alone. Following the scholarship of Sylvia Wynter, I use Man to refer to the representational body of the Western episteme that defines value through mass accumulation. It is through Wynter's scholarship that we find the ontological emancipation from Man that is Caliban's woman, who represents discourse beyond our normative, colonial mode of feeling/knowing/being. Through an analysis of Praise House that foregrounds film's ability to generate affect via its aesthetics, this article argues that aesthetics can similarly enact the same power of conjure as found in Praise House's narrative, and as such conjures an epistemological rupture to our normative order that is Caliban's woman.

“My Unwritten Novel”: The Long Poems of Gajanan Madhav Muktibodh between Genre and Form

The long poems of the Hindi poet Gajanan Madhav Muktibodh (1917–64) present a series of fantastic narratives, in which a nameless speaker journeys through a fantastic landscape. These works, often analyzed solely in terms of a supposed mythic, romantic structure, should be considered as a response to formal problems of the novel and the lyric in midcentury Hindi literature. Despite acknowledging these long poems as his most important contribution, literary critics display a marked discomfort with what they see as their excesses. Muktibodh’s writings, however, reflect his substantive consideration of the problems of narrative poetry. In Muktibodh’s most famous work, “Aṁdhere meṁ” (“In the Dark”), the long poem’s distinct formal structure is deployed to produce the disjointed paratactic narratives that typify Muktibodh’s work. Furthermore, this poetic structure is crucially influenced by free verse poetics in Marathi, making clear that any consideration of modern Hindi literature must take into account the complex interrelationships of literary cultures in South Asia. Thus, Muktibodh’s long poem prompts a reconsideration of the role of genre and form in our understanding of South Asian literary cultures and their engagements with the world.

Thirugnana Sambandhar - A Mathematician

India has been the Land of notable poets whose exemplary works are world renowned. One such great poet is Thirugnana Sambandhar. He is a saint, poet, philosopher, composer who belongs to 7th Century. He was born in Seerkaazhi of Tamilnadu. He had coined many Special Geometrical poetic structures like Thiru ezhukkootrirukkai (poem with mathematical Triangular Pattern), Maalai Maatru (a poem with palindromic Structure), Mozhi Maatru (a poem in which the meaning of the poem can be observed by a systematic Chane of words), Gomuthri (Flow of the poem in such a way it forms a wave line), Chakramaatru (a poem which is constructed in a circular form ). By the above mentioned amazing structure He has no parallels in the worlds poetry Thirugnana Sambandhar is the epitome of Tamil Literature has penned down many such extraordinary poems. A Mathematician is one who uses an extensive knowledge of Mathematics in their work. Mathematicians are concerned with numbers, data, quantity, structure, space,models and change. Here in this poetic form Thiruezhukkootrirukkai Thirugnana Sambandhar had used numbers in a brilliant way to form a Triangle. This is called “Chitrakavi” in Tamil. By analyzing the whole poem we will get a geometrical structure. In this Thiruezhukkootrirukkai Thirugnana Sambandhar has constructed the words in such a way to form a symmetrical triangle. These triangle is arranged in a perfect mathematical calculation. This can be analysed through the law of binomial co- efficient. This is analysed and proved in this paper. Thirugnana Sambandhar belongs to 7th Century whereas the Scientist and Mathematician Pascal who discovered the law of Bi-nomial co-efficient belongs to 17th century. Other than this Mathematical diagram of triangle this poem has Palindromic numbers which add more beauty to this structure which is also a mathematical calculation. By constructing this amazing poetic structure Thirugnana Sambandhar proves beyond doubt that he is a “Mathematician” of India of the 7th Century itself who had applied the law of triangle earlier.

Poetic Structure and Arts of Prose in Modern Arabic Literature

الأدب هو شكلٌ من أشكال التعبير عن مشاعر الإنسان وعواطفه، وهو أسلوبٌ من الأساليب التي يستخدمُها الإنسان لإفراغ هواجسِه وخواطره وعرض أفكاره بمساحة يخلقُها لنفسه من الحروف، ويُعرَفُ الأدب في كلِّ لغة من لغات الأرض بأنّه مجموعة النصوص التي كتبها الأدباء والشعراء حول العالم بهذه اللغة، وتختلف فنون الأدب في كلِّ اللغات؛ فمن الأدباء من يعبّر عن أفكاره ومشاعره شِعرًا، ومنهم من يعبّر عن ذلك نثرًا، وللنثر أنواعٌ أيضًا، وهذا التنوّع في هذه الفنون قائمٌ على الأدوات التي يمتلكها كلُّ كاتب، وعلى الميول الأدبيّة الخاصّة به، كما اتخذ الأدب في العصر الحديث في العالم العربي منحى جديدًا بدخول مجموعة من الفنون الأدبية العربية الجديدة على الأدب، لم تكن هذه الفنون معروفة من قبل أو سائدة عند الأدباء العرب، دخل الفنّ المسرحي النثري والشعري لأول مرة في تاريخ الأدب العربي كلِّه، فقد تطورت الدراسات النقدية في العصر الحديث و اكتشف النقاد عوالمَ أخرى في النص الأدبي العربي ورصدوا تطورات النص الأدبي عبر العصور، وفصَّلوا في المعجم اللغوي والدلالي في كلِّ نص أدبي، فمنحوا النقد مساحات إضافية ونظريّات نقدية جديدة لم تكن معروفة ومتداولة في عصور الأدب السابقة، وهذا المقال سيسلِّط الضوء على الأدب في العصر الحديث بفنونِه المختلفة. الكلمات المفاتيح: الأدب، العصر الحديث، مشاعر، نثرًا، الفنّ الشعري، ونظريّات نقدية. Abstract Literature is a form of expression of human feelings and emotions, and it is one of the methods that a person uses to express thoughts and present his ideas with a space that he creates for himself from words, and literature is known in every language of the earth as the set of texts written by writers and poets around the world in the language, and the arts of literature differ in all languages; Some writers express his thoughts and feelings in poetry, and some express it in prose, and prose has types as well, and this diversity of art is based on the tools and on his own literary tendencies that each writer possesses, and literature in the modern era in the Arab world has taken a new turn with the recognization of new Arab literary arts to literature, these arts were not known before or prevalent among Arab writers. Theatrical prose and poetic art recognized for the first time in the entire history of Arab literature. The Studies of Criticism have developed in the modern era and critics discovered other worlds in the Arabic literary text and monitored the developments of the literary text through the ages and explained the linguistic and semantic lexicon in every literary text. These studies have given criticism additional areas and new critical theories that were not known and circulated in previous literary eras, and this article will highlight on literature in the modern era with its various arts. Keywords: Literature, modern era, emotions, prose, poetic art, critical theories.

Poetic Structure and Arts of Prose in Modern Arabic Literature

Literature is a form of expression of human feelings and emotions, and it is one of the methods that a person uses to express thoughts and present his ideas with a space that he creates for himself from words, and literature is known in every language of the earth as the set of texts written by writers and poets around the world in the language, and the arts of literature differ in all languages; Some writers express his thoughts and feelings in poetry, and some express it in prose, and prose has types as well, and this diversity of art is based on the tools and on his own literary tendencies that each writer possesses, and literature in the modern era in the Arab world has taken a new turn with the recognization of new Arab literary arts to literature, these arts were not known before or prevalent among Arab writers. Theatrical prose and poetic art recognized for the first time in the entire history of Arab literature. The Studies of Criticism have developed in the modern era and critics discovered other worlds in the Arabic literary text and monitored the developments of the literary text through the ages and explained the linguistic and semantic lexicon in every literary text. These studies have given criticism additional areas and new critical theories that were not known and circulated in previous literary eras, and this article will highlight on literature in the modern era with its various arts.

Facets of life and society as depicted in Pillaitamizh literature

Pillaitamizh is a unique, short literary work in Tamil which stands out amidst the multiple short literary formats in Tamil language. Gods, Goddesses, Kings, Queens, nobles or learned teachers are personified as small children and the poetical work is structured as ten stages of growth starting from the first month after birth to about ten to twelve years of age. This format of poetry not only depicts the various beauties and nuances of Tamil language but also reflects upon the way of family life, different aspects of scientific thoughts, religious and philosophical norms, formats of worship, the psychology of the mother and the child to name a few. Some of these features are highlighted in this article and the conclusion that this is a complete and unique poetic structure par excellence is arrived at.

Author’s Transformations of Folklore Images in Yakut Literature

Peculiarities of author’s transformations and interpretations of folklore imagery in the formation of special forms and types of metatext structures in Yakut literature are examined from the point of view of the specifics of genre synthesis: architectonics, figurative-motivational complex, structural-compositional, poetic structure, etc. On the basis of new methodological approaches, literary texts are defined as unique models of genre contamination (meta-genre cyclic formations, montage polycyclic form, “poet’s drama,” etc.). Particular attention is paid to a system-typological study of the issue of meta-genre structures in lyrical and dramatic works. As a result of the research, the author substantiates the position that in the Yakut literature, starting from the middle of the 20th century, a synthetic form of meta-genre structures begins to develop as a qualitatively new phenomenon. It is revealed that the construction of meta-genre forms is based on the formal and meaningful parameters of the imagery of traditional folklore sources, which in the artistic text acquire a new quality depending on the author’s reflection.

Textology of Altai and Teleut shamanic texts dedicated to the deities of the Upper World

For the first time, the textual features of two shamanic texts dedicated to the deities of the Upper World are considered. The purpose of the work was to compare these works and identi-fy common syntagmatic (compositional, stylistic) and semantic (characters, sacred chronotope) elements. The main research method is the structural-semiotic method, which allows considering these cultural texts as signs. Despite the fact that these texts differ greatly in their volume and poetic language, they have common elements. Different shamans performed these texts and at different times with the communicative aim to obtain the blessing of the light dei-ties, the souls for the birth of children. Common elements are observed both in semantics (in the organization of sacred space, in the time of rituals, in the system of characters) and in syntagmatics and style. The addressees of the rituals were deities and spirits, and the acting characters were people. The names of the deities of the Upper World embodied the personifi-cation of the sky and natural phenomena, characteristic of archaic mythologies. The syntag-matic structure of the texts is characterized by certain stability of the poetic structure of the texts, supported by repeated episodes of the shamanic rite, common places, and poetic formu-las. The presence of formulas indicates a common poetic shamanic tradition of the Altaians and the Teleuts.