Philosophical Poetry Nature and Genesis

Research relevance: philosophical poetry expands the level of not only the poet, but also the reader, enriches his inner world, and teaches him to short, clear, figurative speech, showing the power of verbal art. Research purpose: is to consider the features of philosophical poetry, the relationship between philosophy and philosophical poetry. Philosophical poetry focuses on the philosophical meaning of being, man and the philosophical views of the lyrical character. Research methods and materials: attempts are being made to study worldview orientations and philosophical problems on the basis of their artistic heritage. The article also characterizes the nature and basis of philosophical poetry. Philosophical anthropological concepts, views and ideas of poets are studied. The article deals with the difference from philosophy, philosophical lyricism expresses the poet's artistic perception of the poetic world. Research results: direct contact between the author and the reader, as an old friend who shares good and evil, joy and sadness with him, creates a close and trusting atmosphere between them. Conclusions: Despite this universality, philosophical lyricism reflects the fundamental features and national worldview.

Di Seberang Puisi Emosi —Surat untuk Zen Hae

Frasa-frasa Chairil Anwar seperti “hidup hanya menunda kekalahan”, “nasib adalah kesunyian masing-masing”, dan “antara kita maut datang tidak membelah”—merupakan potongan filsafat yang menyaru ke dalam puisi, yang gemanya muncul lagi dalam sajak-sajak Sitor Situmorang dan Goenawan Mohamad. Namun sudah jelas bahwa filsafat atau intelektualisme sang penyair sudah sejak awal menentang “kesusastraan yang programatis”, yaitu yang “mendasarkan diri pada sesuatu dogma atau doktrin yang sudah diterima oleh suatu kaum sebagai kebenaran mutlak.” Menurut Nirwan Dewanto, puisi “Manusia Pertama di Angkasa Luar” dari Subagio Sastrowardoyo berhasil karena kekandasannya dalam berfilsafat dan laku hanyut ke dalam sentimentalitas. Ia berhenti menjadi representasi dari penerbangan luar angkasa maupun dari intelektualisme penyairnya sendiri. Ia sepenuhnya menjadi permainan belaka, verbal art form.

An Invitation to Biblical Poetry

An Invitation to Biblical Poetry is an accessibly written introduction to biblical poetry that emphasizes the aesthetic dimensions of poems and their openness to varieties of context. It demonstrates the irreducible complexity of poetry as a verbal art and considers the intellectual work poems accomplish as they offer aesthetic experiences to people who read or hear them. Chapters walk the reader through some of the diverse ways biblical poems are organized through techniques of voicing, lineation, and form, and describe how the poems’ figures are both culturally and historically bound and dependent on later reception. The discussions consider examples from different texts of the Bible, including poems inset in prose narratives, prophecies, psalms, and wisdom literature. Each chapter ends with a reading of a psalm that offers an acute example of the dimension under discussion. Students and general readers are invited to richer and deeper readings of ancient poems and the subjects, problems, and convictions that occupy their imagination.

The Iraqw society reflected in their language

A close inspection of the anthropological literature on Iraqw (Cushitic, Tanzania) reveals that central properties in their culture include the relative importance of social relations and hence community over kinship relations, the relevance of relative rather than absolute time, the centrality of space in culture and the importance of ritual cleansiness. The paper investigates to what extend the Iraqw language reflects this. Language being a social construct is expected to reflect social structure over time, both in lexicon and in grammar. Indeed the Iraqw language reflects their social structure in a number of way. Their verbal art emphasizes the need for peace in the community and is strongly communal in performance. This is evident, for example, in the rituals for lifting a curse. The centrality of community is reflected in various part of the lexicon. expression for pride being one of them, or the factor of companionship in possession. It is also grammaticalised in an extension of the function of the impersonal subject pronoun to express actions done together. Iraqw mythology and tales never attempt to indicate a point on time and only report chronology of event. This conceptualisation of time is reflected in the absence of lexical elements for absolute time and the abstract notion time. Furthermore the language forces specification of gender in any direct address: the second person pronoun is gender specified, kinship terms used for address are all gender specified as is the interjection for attention. Iraqw shows signs for a disappearing in-law respect register.

Linguïculture: Thomas A. Sebeok as a revolutionary ethnographer

Sebeok started his career as an ethnographer, focusing on the verbal art of anthropology to describe the cultures associated with then-called “primitive” languages. He followed Bloomfield’s linguistics to study Boas’ anthropology of primitive art to investigate man as a civilized member of a native indigenous community with art-like speech habits. Sebeok’s earliest articles were ethnographic descriptions of non-Western folktales from the Cheremis people, which he reformulated into Saussure’s phonetic system to involve literal but culturally free translations. Later, Sebeok developed Peirce’s ethnosemiotics by explaining Sapir-Whorf’s two-way differentiation of linguistic-and-cultural texts. The coded interplay of anthroposemiotics moved Sebeok from language-and-culture to language-with-culture, thence to build up the merged compound of linguïculture.

The Rhetoric of “Bragoro”: The Philosophy Behind Akan Traditional Concept of Marriage

This paper discusses the intertextual relationship between the world of Akan Bragoro (puberty rites) song texts and the real world of Akans. The Akan Bragoro song texts are performed during Bragoro celebrations and the song texts define the Akan concept of sex and marriage within the parameters of traditional Akan philosophy. The paper uses qualitative research methods that are irrigated by ethnographic and stylistics approaches to text interpretation. The findings of the research indicate that texts of Akan Bragoro songs key all the meanings this traditional philosophy has to offer: sex is strictly a marital affair and marriage is for those who are prepared for it. The stylistics of the song texts also frame the epistemic of Akan love and that the basic condition of Akan conjugal love is a good character on the side of both the man and the woman. The paper further reveals that the Akan Bragoro song texts constitute the site where the precipitates of Akan marriage are provided and Bragoro initiates are introduced to the Akan way of life. These precipitates are rehearsed in performance year after year, making the Akan Bragoro an enduring cultural practice that guides the life of the Akans throughout all ages. Keywords: Performance, Bragoro song texts, Verbal art, Cognitive poetics, Tradition