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film</title> <meta name="description" content="Search results for: poetry film"> <meta name="keywords" content="poetry film"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="poetry film"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 1355</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: poetry film</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1355</span> Animated Poetry-Film: Poetry in Action</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Linette%20van%20der%20Merwe">Linette van der Merwe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It is known that visual artists, performing artists, and literary artists have inspired each other since time immemorial. The enduring, symbiotic relationship between the various art genres is evident where words, colours, lines, and sounds act as metaphors, a physical separation of the transcendental reality of art. Simonides of Keos (c. 556-468 BC) confirmed this, stating that a poem is a talking picture, or, in a more modern expression, a picture is worth a thousand words. It can be seen as an ancient relationship, originating from the epigram (tombstone or artefact inscriptions), the carmen figuratum (figure poem), and the ekphrasis (a description in the form of a poem of a work of art). Visual artists, including Michelangelo, Leonardo da Vinci, and Goethe, wrote poems and songs. Goya, Degas, and Picasso are famous for their works of art and for trying their hands at poetry. Afrikaans writers whose fine art is often published together with their writing, as in the case of Andries Bezuidenhout, Breyten Breytenbach, Sheila Cussons, Hennie Meyer, Carina Stander, and Johan van Wyk, among others, are not a strange phenomenon either. Imitating one art form into another art form is a form of translation, transposition, contemplation, and discovery of artistic impressions, showing parallel interpretations rather than physical comparison. It is especially about the harmony that exists between the different art genres, i.e., a poem that describes a painting or a visual text that portrays a poem that becomes a translation, interpretation, and rediscovery of the verbal text, or rather, from the word text to the image text. Poetry-film, as a form of such a translation of the word text into an image text, can be considered a hybrid, transdisciplinary art form that connects poetry and film. Poetry-film is regarded as an intertwined entity of word, sound, and visual image. It is an attempt to transpose and transform a poem into a new artwork that makes the poem more accessible to people who are not necessarily open to the written word and will, in effect, attract a larger audience to a genre that usually has a limited market. Poetry-film is considered a creative expression of an inverted ekphrastic inspiration, a visual description, interpretation, and expression of a poem. Research also emphasises that animated poetry-film is not widely regarded as a genre of anything and is thus severely under-theorized. This paper will focus on Afrikaans animated poetry-films as a multimodal transposition of a poem text to an animated poetry film, with specific reference to animated poetry-films in Filmverse I (2014) and Filmverse II (2016). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=poetry%20film" title="poetry film">poetry film</a>, <a href="https://publications.waset.org/abstracts/search?q=animated%20poetry%20film" title=" animated poetry film"> animated poetry film</a>, <a href="https://publications.waset.org/abstracts/search?q=poetic%20metaphor" title=" poetic metaphor"> poetic metaphor</a>, <a href="https://publications.waset.org/abstracts/search?q=conceptual%20metaphor" title=" conceptual metaphor"> conceptual metaphor</a>, <a href="https://publications.waset.org/abstracts/search?q=monomodal%20metaphor" title=" monomodal metaphor"> monomodal metaphor</a>, <a href="https://publications.waset.org/abstracts/search?q=multimodal%20metaphor" title=" multimodal metaphor"> multimodal metaphor</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotic%20metaphor" title=" semiotic metaphor"> semiotic metaphor</a>, <a href="https://publications.waset.org/abstracts/search?q=multimodality" title=" multimodality"> multimodality</a>, <a href="https://publications.waset.org/abstracts/search?q=metaphor%20analysis" title=" metaphor analysis"> metaphor analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=target%20domain" title=" target domain"> target domain</a>, <a href="https://publications.waset.org/abstracts/search?q=source%20domain" title=" source domain"> source domain</a> </p> <a href="https://publications.waset.org/abstracts/166168/animated-poetry-film-poetry-in-action" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166168.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">64</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1354</span> A Learning Process for Aesthetics of Language in Thai Poetry for High School Teachers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jiraporn%20Adchariyaprasit">Jiraporn Adchariyaprasit</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aesthetics of language in Thai poetry are emerged from the combination of sounds and meanings. The appreciation of such beauty can be achieved by means of education, acquisition of knowledge, and training. This research aims to study the learning process of aesthetics of language in Thai poetry for high school teachers in Bangkok and nearby provinces. There are 10 samples selected by purposive sampling for in-depth interviews. According to the research, there are four patterns in the learning process of aesthetics of language in Thai poetry which are 1) the study of characteristics and patterns of poetry, 2) the training of poetic reading, 3) the study of social and cultural contexts of poetry’s creation, and 4) the study of other sciences related to poetry such as linguistics, traditional dance, and so on. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title="aesthetics">aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=Thai%20poetry" title=" Thai poetry"> Thai poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry%20learning" title=" poetry learning"> poetry learning</a> </p> <a href="https://publications.waset.org/abstracts/19357/a-learning-process-for-aesthetics-of-language-in-thai-poetry-for-high-school-teachers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/19357.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">436</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1353</span> The Element of Episode and Idea in the Descriptive Poetry of Hutai'A</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abubakar%20Ismaila%20Yusuf">Abubakar Ismaila Yusuf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research studied element of episode (events) and idea in the descriptive poetry of Hutai’a with the intention to sale the opinion of this type of analysis to others, and also encourage and open door for researchers that thinks only in drama and novel those elements can be implemented. The research uses explanatory method to point out the element of episode and ideology from the said poetry to show that the same element of drama can be seen in poetry. The research finds that element of drama and novel can be seen and implemented analytically in dramatic and some descriptive poetry and its likes. The researcher finally advice colleague to widened scope of research and always think of modernizing it. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hutai%27a" title="Hutai'a">Hutai'a</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=novel" title=" novel"> novel</a> </p> <a href="https://publications.waset.org/abstracts/48474/the-element-of-episode-and-idea-in-the-descriptive-poetry-of-hutaia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/48474.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">344</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1352</span> The Racism Found in Capitalism’s Poetry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rich%20Murphy">Rich Murphy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> ‘The Racism Found in Capitalism’s Poetry’ claims that since the death of philosophy and the end of art modern poetry has been upstaged by capitalist poetry using similar strategies and techniques; while both sublime moments use spectacle one is more effective. The essay also claims that capitalist poetry is open to racism and analyzes KFC advertising campaign to produce evidence of wide spread acceptance in an era of ‘micro-aggressions’ and confederate flag removals. The essay spends considerable time outlining the history of advertising and the weak literary counters to it that inevitably lent its assistance in education. The essay also suggests that the concept of ‘Enormous Irony’ may be the only way to counter. However, as long as capitalism is the method of the economy and governance, the essay suggests, there was little hope in spite of Obama’s election. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=modern%20poetry" title="modern poetry">modern poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=advertising" title=" advertising"> advertising</a>, <a href="https://publications.waset.org/abstracts/search?q=Kentucky%20fried%20chicken" title=" Kentucky fried chicken"> Kentucky fried chicken</a>, <a href="https://publications.waset.org/abstracts/search?q=capitalism" title=" capitalism"> capitalism</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a> </p> <a href="https://publications.waset.org/abstracts/47920/the-racism-found-in-capitalisms-poetry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/47920.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">254</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1351</span> The Case of Plagiarism and Its Presence in Classical Arabic Poetry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yusuf%20Seller">Yusuf Seller</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Classical Arabic poetry was narrated by the followers of poets, who were memorizing and repeating all the couplets of their master constantly. Although the students established their own styles, it was very natural for them to reflect the style and expression of their masters. This reflection was discussed in classical Arabic literary criticism and rhetoric (al-‘ilm al-balagha), as “al-Sariqah al-shiriyyah”, plagiarism in poetry. This study tests the claim that the reflection of the master's style and expressions in the student's poetry cannot be considered plagiarism. In addition, one of the goals of this essay is also to investigate the methodological emergence of plagiarism phenomena in classical Arabic poetry. The investigation of the methodological origins of plagiarism helps us see the relationship of plagiarism with literary property and the extent of the property`s authenticity. Therefore, the focus is directed towards uncovering the underlying ethical principles governing literary works and academic research in classical Arabic poetry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arabic%20literary%20criticism" title="Arabic literary criticism">Arabic literary criticism</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20Arabic%20poetry" title=" classical Arabic poetry"> classical Arabic poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=plagiarism" title=" plagiarism"> plagiarism</a>, <a href="https://publications.waset.org/abstracts/search?q=al-Sariqah%20al-shiriyyah" title=" al-Sariqah al-shiriyyah"> al-Sariqah al-shiriyyah</a> </p> <a href="https://publications.waset.org/abstracts/184394/the-case-of-plagiarism-and-its-presence-in-classical-arabic-poetry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184394.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">45</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1350</span> Walking in the Steps of Poets: Evoking Past Poets in Sufi Poetry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bilal%20Orfali">Bilal Orfali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It is common practice in modern times to read mystical poetry and apply it to our mundane lives and loves. Sufis in the early period did the opposite. Their mystical hymns often spun out of the courtly poetic ghazal, panegyric, and wine songs. This paper highlights the relation of the Arabic courtly poetic canon to early Sufism. Sufi akhbār and poetry evoke past poets and their poetic heritage. They tend to quote or refer to eminent poets whose poetry must have been widely circulated and memorized. However, Sufism places this readily recognizable poetry in a new context that deliberately changes the past. It is a process of a metaphorization in which the reality of the pre-Islamic, Umayyad, and Abbasid models now acts as a device or metaphor for the Sufi poetics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sufism" title="Sufism">Sufism</a>, <a href="https://publications.waset.org/abstracts/search?q=Arabic%20poetry" title=" Arabic poetry"> Arabic poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a>, <a href="https://publications.waset.org/abstracts/search?q=Islamic%20literature" title=" Islamic literature"> Islamic literature</a>, <a href="https://publications.waset.org/abstracts/search?q=Abbasid" title=" Abbasid"> Abbasid</a> </p> <a href="https://publications.waset.org/abstracts/48765/walking-in-the-steps-of-poets-evoking-past-poets-in-sufi-poetry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/48765.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">313</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1349</span> An Edusemiotic Approach to Multimodal Poetry Teaching for Afrikaans</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kruger%20Uys">Kruger Uys</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Poetry analysis plays a vital role in promoting critical thinking, literary appreciation, and language skills among learners. This paper proposes an innovative multimodal teaching approach that combines traditional textual analysis of poems with multimodal educational semiotic analysis of animated poetry films. The aim is to present a methodological framework through which poetry concepts and elements, along with the visual and auditory components in animated poetry films, can be comprehensively illuminated. Traditional textual analysis involves close reading, linguistic examination, and thematic exploration to identify, discuss, and apply poetry concepts. When combined with a multimodal edusemiotic analysis of the semiotic signs and codes present in animated poetry films, new perspectives emerge that enrich the interpretation of poetry. Furthermore, the proposed integrated approach, as prescribed by CAPS, enhances a holistic understanding of poetry terminology and elements, as well as complex linguistic and visual patterns that promote visual literacy, refined data interpretation skills, and learner engagement in the poetry classroom. To illustrate this phenomenon, the poem My mamma is bossies (My mom’s bonkers) by Jeanne Goosen (prescribed for Grade 10 Afrikaans Home Language learners in the CAPS curriculum) will be discussed. This study aims to contribute to the existing Afrikaans poetry curriculum but also equip all language educators to cultivate poetry appreciation, critical thinking, and creativity among learners in the ever-evolving landscape of education. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=edusemiotics" title="edusemiotics">edusemiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=multimodality" title=" multimodality"> multimodality</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry%20education" title=" poetry education"> poetry education</a>, <a href="https://publications.waset.org/abstracts/search?q=animated%20poetry%20films" title=" animated poetry films"> animated poetry films</a> </p> <a href="https://publications.waset.org/abstracts/189264/an-edusemiotic-approach-to-multimodal-poetry-teaching-for-afrikaans" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/189264.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">24</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1348</span> An Examination on How Poetry Linguistic Elements Predict Trait Mindfulness</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Crystal%20Jewell">Crystal Jewell</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Substantial evidence suggests a link exists between trait or dispositional mindfulness and creativity. While most studies on the mindfulness-creativity link focus on measures of divergent thinking, no study to date has explored the link through the lens of poetry writing. Thus, the present study sought to examine the relation between mindfulness and poetry through various linguistic elements, including word count, references to the self versus references to the collective, and frequency of past-, present-, and future-tense verb usage. Following a questionnaire on demographics, university undergraduates at a United States college completed a survey measuring trait mindfulness, then engaged in a two-part associated poetry-writing task intended to mimic writing tasks used to counter writer’s block. Results indicated no significant relations among any measures of poetry linguistic elements and trait mindfulness, as well as the facets of trait mindfulness. Limitations and future directions call for replication of results and further examination of different poetry linguistic elements. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mindfulness" title="mindfulness">mindfulness</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=linguistics" title=" linguistics"> linguistics</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a> </p> <a href="https://publications.waset.org/abstracts/162031/an-examination-on-how-poetry-linguistic-elements-predict-trait-mindfulness" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/162031.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">81</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1347</span> Poetry as Valuable Tool for Tackling Climate Change and Environmental Pollution</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Benjamin%20Anabaraonye">Benjamin Anabaraonye</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Our environment is our entitlement, and it is our duty to guard it for the safety of our society. It is, therefore, in our best interest to explore the necessary tools required to tackle the issues of environmental pollution which are major causes of climate change. Poetry has been discovered through our study as a valuable tool for tackling climate change and environmental pollution. This study explores the science of poetry and how important it is for scientists and engineers to develop their creativity to obtain relevant skills needed to tackle these global challenges. Poetry has been discovered as a great tool for climate change education which in turn brings about climate change adaptation and mitigation. This paper is, therefore, a clarion and urgent call for us to rise to our responsibility for a sustainable future. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=climate%20change" title="climate change">climate change</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=environment" title=" environment"> environment</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a> </p> <a href="https://publications.waset.org/abstracts/86909/poetry-as-valuable-tool-for-tackling-climate-change-and-environmental-pollution" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/86909.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">206</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1346</span> Evolution of the Speaker in Russian Military Poetry of the Second Half of the 20th Century</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ilya%20A.%20Snegirev">Ilya A. Snegirev</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The article focuses on the comparative study of Russian military poetry of the 20th century. To make a complete description, the verse of different genres, mainly minor lyrical form, is taken. The study makes it possible to emphasize the idea that genre is not completely representative for a comprehensive research, as it is also necessary to dwell upon the strategies of war description in verse. Furthermore, the tendency of lyrical hero individualization is noted. This tendency can be traced throughout the whole second half of the 20th century – the poets of the Second World War – and further, to the whole post-war poetry. To characterize these changes, the texts by K.M. Simonov and A.A. Surkov are being analyzed as the examples of the qualitative transition to an individual hero. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=literature%E2%80%99s%20evolution" title="literature’s evolution">literature’s evolution</a>, <a href="https://publications.waset.org/abstracts/search?q=narrator" title=" narrator"> narrator</a>, <a href="https://publications.waset.org/abstracts/search?q=storytelling%20poetry" title=" storytelling poetry"> storytelling poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=tradition" title=" tradition"> tradition</a> </p> <a href="https://publications.waset.org/abstracts/68094/evolution-of-the-speaker-in-russian-military-poetry-of-the-second-half-of-the-20th-century" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/68094.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">189</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1345</span> Spacial Poetic Text throughout Samih al-Qasim's Poetry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saleem%20Abu%20Jaber">Saleem Abu Jaber</a>, <a href="https://publications.waset.org/abstracts/search?q=Khaled%20Igbaria"> Khaled Igbaria</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For readers, space/place is one of the most significant references to reveal deep significances and indications in modern Arabic poetic texts. Generally, when poets evoke places and/or spaces, they do not mean to refer readers to detailed geographic or physical spaces, but to the symbolic significances and dimensions that those spaces have and through which poets encourage spacial awareness in their readers. Recently, as a result, there has been a great deal of interest in research addressing spacial poetic texts and dimensions in modern Arabic poetry in general and in Palestinian poetry in particular. Samih al-Qasim is one of the most recent prominent Palestinian revolutionary poets. Al-Qasim has published six series of poems that are well known in the Arab world. Although several researchers have studied al-Qasim's poetry, to our knowledge, yet no one has studied the aspect of spacial poetic text in his poetry. Therefore, this paper seeks to fill a gap in the scholarship that has not been addressed up to now. This article aims, not only to demonstrate the presence of spacial poetic text and dimensions throughout al-Qasim's poetry, but also to investigate the purpose for which the poet uses spacial poetic text. Our theory is that the poet, consciously and significantly, uses spacial poetic texts to magnify the Palestinian identity of the Palestinian readers.  Methodologically, we applied a descriptive analytic method, referencing al-Qasim's poetry, addressing spacial poetic texts practically but not theoretically or statistically. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=spatial%20poetic%20text" title="spatial poetic text">spatial poetic text</a>, <a href="https://publications.waset.org/abstracts/search?q=Samih%20al-Qasim" title=" Samih al-Qasim"> Samih al-Qasim</a>, <a href="https://publications.waset.org/abstracts/search?q=space%20and%20identity" title=" space and identity"> space and identity</a>, <a href="https://publications.waset.org/abstracts/search?q=Palestinian%20poetry" title=" Palestinian poetry"> Palestinian poetry</a> </p> <a href="https://publications.waset.org/abstracts/72114/spacial-poetic-text-throughout-samih-al-qasims-poetry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/72114.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">313</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1344</span> Protest Poetry in South Africa: A Study of Oswald Mbuyiseni Mtshali’s Sounds of a Cowhide Drum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ogbu%20Harry%20Omilonye">Ogbu Harry Omilonye</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines protest as a literary mechanism against the unpopular political policy of the white minority regime in South Africa. It examines some of Mtshali’s poems as examples of protest poetry, showing how he deploys his artistic acumen in the popular struggle of the oppressed South Africans against the aberrations and obnoxious apartheid policy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=protest%20poetry" title="protest poetry">protest poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=poems" title=" poems"> poems</a>, <a href="https://publications.waset.org/abstracts/search?q=minority" title=" minority"> minority</a>, <a href="https://publications.waset.org/abstracts/search?q=oppression" title=" oppression"> oppression</a> </p> <a href="https://publications.waset.org/abstracts/9611/protest-poetry-in-south-africa-a-study-of-oswald-mbuyiseni-mtshalis-sounds-of-a-cowhide-drum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9611.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">564</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1343</span> Randomness in Cybertext: A Study on Computer-Generated Poetry from the Perspective of Semiotics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hongliang%20Zhang">Hongliang Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The use of chance procedures and randomizers in poetry-writing can be traced back to surrealist works, which, by appealing to Sigmund Freud's theories, were still logocentrism. In the 1960s, random permutation and combination were extensively used by the Oulipo, John Cage and Jackson Mac Low, which further deconstructed the metaphysical presence of writing. Today, the randomly-generated digital poetry has emerged as a genre of cybertext which should be co-authored by readers. At the same time, the classical theories have now been updated by cybernetics and media theories. N· Katherine Hayles put forward the concept of ‘the floating signifiers’ by Jacques Lacan to be the ‘the flickering signifiers’ , arguing that the technology per se has become a part of the textual production. This paper makes a historical review of the computer-generated poetry in the perspective of semiotics, emphasizing that the randomly-generated digital poetry which hands over the dual tasks of both interpretation and writing to the readers demonstrates the intervention of media technology in literature. With the participation of computerized algorithm and programming languages, poems randomly generated by computers have not only blurred the boundary between encoder and decoder, but also raises the issue of human-machine. It is also a significant feature of the cybertext that the productive process of the text is full of randomness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cybertext" title="cybertext">cybertext</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20poetry" title=" digital poetry"> digital poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry%20generator" title=" poetry generator"> poetry generator</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a> </p> <a href="https://publications.waset.org/abstracts/96100/randomness-in-cybertext-a-study-on-computer-generated-poetry-from-the-perspective-of-semiotics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96100.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">175</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1342</span> Research on the Landscape of Xi'an Ancient City Based on the Poetry Text of Tang Dynasty</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zou%20Yihui">Zou Yihui</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The integration of the traditional landscape of the ancient city and the poet's emotions and symbolization into ancient poetry is the unique cultural gene and spiritual core of the historical city, and re-understanding the historical landscape pattern from the poetry is conducive to continuing the historical city context and improving the current situation of the gradual decline of the poetry of the modern historical urban landscape. Starting from Tang poetry uses semantic analysis methods、combined with text mining technology, entry mining, word frequency analysis, and cluster analysis of the landscape information of Tang Chang'an City were carried out, and the method framework for analyzing the urban landscape form based on poetry text was constructed. Nearly 160 poems describing the landscape of Tang Chang'an City were screened, and the poetic landscape characteristics of Tang Chang'an City were sorted out locally in order to combine with modern urban spatial development to continue the urban spatial context. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tang%20Chang%27an%20City" title="Tang Chang'an City">Tang Chang'an City</a>, <a href="https://publications.waset.org/abstracts/search?q=poetic%20texts" title=" poetic texts"> poetic texts</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20analysis" title=" semantic analysis"> semantic analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=historical%20landscape" title=" historical landscape"> historical landscape</a> </p> <a href="https://publications.waset.org/abstracts/185945/research-on-the-landscape-of-xian-ancient-city-based-on-the-poetry-text-of-tang-dynasty" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185945.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">63</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1341</span> Motherhood in the Poetry of Rosario Castellanos: Other Face of Womanhood</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dovile%20Kuzminskaite">Dovile Kuzminskaite</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Rosario Castellanos is one of the most important Mexican writers; in her poetry and essays, she demythologizes social stereotypes about womanhood that were deeply present in Mexican society of the XXth century. In her extent poetic work, Rosario Castellanos demythologizes such concepts as romance, marriage, and motherhood, showing them in a way which did not agree with the norms of the catholic based society of her times. The aim of this research is to analyze the poetry of Rosario Castellanos working on sematic and structural levels and to investigate closely how she represents motherhood, what is the role of mother and the relationship of mother and child in her poems. Also, it is of interest to observe what are the elements used in the process of creating a different concept of motherhood. In order to reflect on this subject, this research will be based on semiotics, queer studies, and the philosophy of Michel Foucault, who introduces the concept of power when reflecting on gender and society. Rosario Castellanos turned into an example of disobedience and otherness for a generation of intellectuals in Spanish speaking countries, and because of this reason, it is of great importance to understand the politic and social statements that are represented by her poetry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=motherhood" title="motherhood">motherhood</a>, <a href="https://publications.waset.org/abstracts/search?q=women" title=" women"> women</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=Mexico" title=" Mexico"> Mexico</a> </p> <a href="https://publications.waset.org/abstracts/115538/motherhood-in-the-poetry-of-rosario-castellanos-other-face-of-womanhood" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/115538.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">198</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1340</span> Some Theoretical Approaches on the Style of Lyrical Subject of the Confessional Poetry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lemac%20Tin">Lemac Tin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper deals with the lyrical subject of the confessional poetry which is the main part of her stylistic strucuture. We concluded two types of this subject in the classical confessional poetic discourse; reflexive and authentic subject. We offer the model of their genesis, textual features and appeareance realisations. Genesis is related to the theories of deriving poetry from emotion and magic and their similar position in the primitive lyrics and lyrics of the ancient civilizations. Textual features are related to the emotive and semiotic analysis of each type. Appearance realisations of these two types are I-subject, We-subject, transvocal and objectified subject. We check this approaches on some of the poems from World literature. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=confessional%20poetry" title="confessional poetry">confessional poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=confessional%20lyrical%20subject" title=" confessional lyrical subject"> confessional lyrical subject</a>, <a href="https://publications.waset.org/abstracts/search?q=magic" title=" magic"> magic</a>, <a href="https://publications.waset.org/abstracts/search?q=emotion" title=" emotion"> emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=emotive%20analysis" title=" emotive analysis"> emotive analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotic%20analysis" title=" semiotic analysis"> semiotic analysis</a> </p> <a href="https://publications.waset.org/abstracts/30486/some-theoretical-approaches-on-the-style-of-lyrical-subject-of-the-confessional-poetry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30486.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">271</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1339</span> From Teaching Methods to Learning Styles: Toward Humanizing Education and Building Rapport with Students at Sultan Qaboos University</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mounir%20Ben%20Zid">Mounir Ben Zid</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The controversy over the most effective teaching method to facilitate the increase of a student's knowledge has remained a frustration for poetry teachers at Sultan Qaboos University in Oman for the last ten years. Scholars and educationists have pursued answers to this question, and tremendous effort has been marshalled to discover the optimum teaching strategy, with little success. The present study stems from this perpetual frustration among teachers of poetry and the dispute about the repertoire of teaching methods. It attempts to shed light on an alternative direction which, it is believed, has received less scholarly attention than deserved. It emphasizes the need to create a democratic and human atmosphere of learning, arouses students' genuine interest, provides students with aesthetic pleasure, and enable them to appreciate and enjoy the beauty and musicality of words in poems. More important, this teaching-learning style should aim to secure rapport with students, invite teachers to inspire the passion and love of poetry in their students and help them not to lose the sense of wonder and enthusiasm that should be in the forefront of enjoying poetry. Hence, it is the need of the time that, after they have an interest, feeling and desire for poetry, university students can move to heavier tasks and discussions about poetry and how to further understand and analyze what is being portrayed. It is timely that the pendulum swung in support of the humanization of education and building rapport with students at Sultan Qaboos University. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=education" title="education">education</a>, <a href="https://publications.waset.org/abstracts/search?q=humanization" title=" humanization"> humanization</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20style" title=" learning style"> learning style</a>, <a href="https://publications.waset.org/abstracts/search?q=Rapport" title=" Rapport"> Rapport</a> </p> <a href="https://publications.waset.org/abstracts/57826/from-teaching-methods-to-learning-styles-toward-humanizing-education-and-building-rapport-with-students-at-sultan-qaboos-university" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/57826.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">245</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1338</span> Commercialization of Film Festivals: An Autobiographical Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=%C3%96nder%20M.%20%C3%96zdem">Önder M. Özdem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Producing and circulating films of professional standards have become technically easier with the development and widespread use of digital recording and distribution technologies. Additionally, film festivals on common platforms have rapidly increased in numbers and diversity. On the one hand, no-charge applications result in excessive submissions; thus, it complicates the evaluation and selection process. On the other hand, festival’s high submission fees may make the distribution of films with a limited budget very difficult. Inspired by the author’s engagement with the film industry as both a pre-jury member of an international film festival and an applicant to many festivals, this study discusses the causes and consequences of the increasing commercialization of film festivals. The author’s double identity, both as a jury and an applicant, provides a comparative perspective through which one can unfold the different dimensions and dynamics in the film production and distribution processes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=commercialization" title="commercialization">commercialization</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20distribution" title=" film distribution"> film distribution</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20festivals" title=" film festivals"> film festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20production" title=" film production"> film production</a> </p> <a href="https://publications.waset.org/abstracts/166277/commercialization-of-film-festivals-an-autobiographical-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166277.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1337</span> Analysis of Casting Call Process in Thai Film Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Panprae%20Bunyapukkna">Panprae Bunyapukkna</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this research is to analyze the process that most of the Thai film industries commonly use in order to find the right cast to play the role. The result proved that most of the low-budget film productions find the cast by asking from the crew’s friends or friend of friend. Therefore, finding the cast in low-budget film productions normally has only few people shown up for the auditions and sometimes either none of them has acting knowledge or their appearances do not match the character. However, since most of the low-budget film productions do not have much ability to find members of the cast, thus some of them still will be selected. On the other hand, most of the high-budget film productions use modeling companies to find the cast for them. However, most of modeling agencies in Thailand seek and select their cast members from the cast’s appearances or talents rather than the knowledge of acting. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=casting%20for%20film" title="casting for film">casting for film</a>, <a href="https://publications.waset.org/abstracts/search?q=modeling%20business" title=" modeling business"> modeling business</a>, <a href="https://publications.waset.org/abstracts/search?q=acting" title=" acting"> acting</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts" title=" performing arts"> performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20business" title=" film business"> film business</a> </p> <a href="https://publications.waset.org/abstracts/12956/analysis-of-casting-call-process-in-thai-film-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12956.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">424</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1336</span> The Quest for Palestinian Identity throughout Zayyad's Poetry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saleem%20Abu%20Jaber">Saleem Abu Jaber</a>, <a href="https://publications.waset.org/abstracts/search?q=Khaled%20Igbaria"> Khaled Igbaria</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tawfiq Zayyad was born in Nazareth in 1929 and died in 1994. He was a prominent Palestinian poet, writer, scholar and politician. He had participated in the Palestinian political life not only as a poet and writer but also as a mayor of Nazareth as well as a member of the Israeli Knesset. All of the above confirms not only that it is worthy to investigate deeply and academically Palestinian commitment and identity throughout poems of the poet, but also that the poet deserves to include him within the top significant Arab Palestinian poets in despite of his being Israeli citizen. This paper studies to what extent the poet was committed to the Palestinian goals and agenda throughout poetry as well as to explore the ways and techniques in which the poet employed poetry in order to explore the Palestinian belonging and identification of the Palestinians in Israel. Methodologically, this paper will literary analyze some considerable poems of the poet looking in-depth critically and objectively. Moreover, this article relies on several poems of the poet because they are much relevant to the aimed discussion. By addressing both commitment and identity, this article hopes to contribute to a fuller understanding of Palestinian poets of 1960s to 2000s. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tawfiq%20Zayyad" title="Tawfiq Zayyad">Tawfiq Zayyad</a>, <a href="https://publications.waset.org/abstracts/search?q=Palestinian%20poetry" title=" Palestinian poetry"> Palestinian poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=poetic%20commitment" title=" poetic commitment"> poetic commitment</a>, <a href="https://publications.waset.org/abstracts/search?q=poetic%20techniques" title=" poetic techniques"> poetic techniques</a> </p> <a href="https://publications.waset.org/abstracts/90126/the-quest-for-palestinian-identity-throughout-zayyads-poetry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90126.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">163</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1335</span> High Culture or Low Culture: The Propagation and Popularization of the Classic of Poetry in Modern China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fang%20Tang">Fang Tang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A major Confucian masterpiece and the earliest-known poetry anthology (composed approximately 1046-771 BCE), The Classic of Poetry, reflects different cultures in ancient China. It is regarded as a Chinese classic and one of the world’s most significant written works, an essential part of our global cultural heritage. This paper explores how the ancient Chinese classic became transformed into part of popular culture, found in folk songs circulated in Fangxian county, a mountainous location in Hubei province in central mainland China. It is the hometown of one of the most well-known authors of The Classic of Poetry, whose name is Yin Jifu. Local villagers process, refine, and recreate these poems into popular folk songs, which have been handed down from generation to generation. The folk songs based on The Classic of Poetry vividly reflect local customs, life styles, and various cultural activities. After thousands of years of singing these traditional songs, the region has become an important area to maintain part of Chinese cultural heritages; here, the original high culture is converted into a popular culture that is absorbed into people’s daily life. Based on a year’s field research and many interviews with local singers, this paper explores the ways in which locals have transformed the contents of The Classic of Poetry. It examines how today these popular folk songs become part of much-treasured culture heritage, illustrating the transformation of traditional high culture into popular culture. The paper argues that the modern adaptations of the traditional poems of The Classic of Poetry combine both oral and written cultural heritage and reflects the interaction between ancient Chinese official literature and folk literature. The paper also explores the reasons why the folk songs of The Classic of Poetry are so popular in the area, including the influences of its author Yin Jifu, the impact of ancient diasporic culture from the political centre to remote rural areas, and the interactions of local cultures (famous as Chu culture) and Chinese mainstream cultural policies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=high%2Flow%20culture" title="high/low culture">high/low culture</a>, <a href="https://publications.waset.org/abstracts/search?q=The%20Classic%20of%20Poetry" title=" The Classic of Poetry"> The Classic of Poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20functions%20of%20media" title=" the functions of media"> the functions of media</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20policy" title=" cultural policy"> cultural policy</a> </p> <a href="https://publications.waset.org/abstracts/114450/high-culture-or-low-culture-the-propagation-and-popularization-of-the-classic-of-poetry-in-modern-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114450.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">104</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1334</span> Epic Consciousness: New possibilities for Epic Expression in Post-War American Literature During the Age of Late Capitalism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Safwa%20Yargui">Safwa Yargui</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research examines the quest for a post-war American epic poem in the age of late capitalism. It explores the possibility of an epic poem in the context of post-war late capitalist America, despite the prevailing scholarly skepticism regarding the existence of epic poetry after Milton’s Paradise Lost. The aim of this paper is to demonstrate the possibility of a post-war American epic through the argument of epic consciousness. Epic consciousness provides a significant nuance to the reading of the post-war American epic by focusing on the epic’s responsiveness to late capitalism via various language forms; cultural manifestations; and conscious distortions of late capitalist media-related language; in addition to the epic’ conscious inclusion of the process of writing a post-war epic that requires a direct engagement with American-based materials. By focusing on interdisciplinary theoretical approaches, this paper includes both socio-cultural literary theories as well as literary and epic approaches developed by scholars in their critical texts that respectively contextualize the late capitalist situation and the question of post-war American epic poetry. The major findings of this research provides a new theoretical approach to the question of post-war American epic poetry. In examining the role of consciousness, this paper aims to suggest a re-thinking of the post-war American epic that is capable of self-commitment for the purpose of achieving a new sense of epic poetry in post-war late capitalist America. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=american%20epic" title="american epic">american epic</a>, <a href="https://publications.waset.org/abstracts/search?q=epic%20consciousness" title=" epic consciousness"> epic consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=late%20capitalism" title=" late capitalism"> late capitalism</a>, <a href="https://publications.waset.org/abstracts/search?q=post-wat%20poetry" title=" post-wat poetry"> post-wat poetry</a> </p> <a href="https://publications.waset.org/abstracts/167383/epic-consciousness-new-possibilities-for-epic-expression-in-post-war-american-literature-during-the-age-of-late-capitalism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167383.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">99</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1333</span> Writings About Homeland: Palestinian American Poetry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laila%20Shikaki">Laila Shikaki</a> </p> <p class="card-text"><strong>Abstract:</strong></p> ‘Writings about Home’ discusses the poetry of Palestinian American female poets, especially ones who write about their homelands, living away from home, as well as their family ties to the land. This is a paper about poetry, but it is also about Palestinian American women who use English to convey issues pertaining to homesickness, family, and language. She study poems by Naomi Shihab Nye and Natalie Hanal. In ‘My Father and the Fig Tree,’ for example, Nye depicts her father’s life away from Palestine and his attachment to a tree that represents his homeland and nostalgia. Nye’s style is diverse and unified, and her attention is to details and images. While her words and imagery are usually simple, they are always rich in meaning. Nathalie Handal’s poetry, on the other hand, has a more complicated, multi-layered, and nuanced style as the poet herself lived in many areas and spoke multiple languages. ‘Bethlehem,’ for instance, depicts her city of origin, recalling her grandfather. Her poem ‘Blue Hours’ illustrates a persona’s difficulty in belonging, switching from one language to the next, and feeling a betrayal in both. This paper pays attention to language and how being bilingual adds another level of exile and pain to those who have fled or were forced to leave Palestine. This paper is very timely as the issue of Palestinian freedom and its right to autonomy and self-determination is the central stage for many Americans, seen in their protests, university encampments, and graduation ceremonies, not forgetting its effect on voters’ decisions for president and elected officials. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Palestinian%20American" title="Palestinian American">Palestinian American</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=homeland" title=" homeland"> homeland</a>, <a href="https://publications.waset.org/abstracts/search?q=Nye" title=" Nye"> Nye</a>, <a href="https://publications.waset.org/abstracts/search?q=Handal" title=" Handal"> Handal</a> </p> <a href="https://publications.waset.org/abstracts/187443/writings-about-homeland-palestinian-american-poetry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187443.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">29</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1332</span> Man-Nature relationship in Bishop’s Poetry: An Eco-Critical Reading of the Selected Poems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Khaled%20Abkar%20Alkodimi">Khaled Abkar Alkodimi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper attempts to explore Bishop’s eco-poetics and environmental consciousness from an ecocritical perspective. It focuses on her representations of animals, environments, and natural phenomena and the connection between a broad range of human activities and flora, fauna habitats. Indeed, Bishop shows a sense of human responsibility towards the earth in her peculiar treatment of place and livestock, which appears to be more than a static growth process. Her poetry is totally contrary to egoism and egotism, and this can be easily noticed in her subjective understanding of nature and creatures. The findings show Bishop as an eco-poet who committed herself and her poetry to highlight the significance of nature and world life at large. This is obvious through her representation of natural phenomena such as seasonal cycles, weather, and physical and ecological elements, including air, earth, and water, which essentially constitute and inform the poet’s environmental thoughts. Examining Bishop’s conception of a human relationship with ‘external nature through the examination of her poetic language, this study shows how the environmental imagination can suggest social responsibility to readers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=elizabeth%20bishop" title="elizabeth bishop">elizabeth bishop</a>, <a href="https://publications.waset.org/abstracts/search?q=eco-criticism" title=" eco-criticism"> eco-criticism</a>, <a href="https://publications.waset.org/abstracts/search?q=eco-poetry" title=" eco-poetry"> eco-poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=environmental%20consciousness" title=" environmental consciousness"> environmental consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=man-nature%20relationship" title=" man-nature relationship"> man-nature relationship</a> </p> <a href="https://publications.waset.org/abstracts/141765/man-nature-relationship-in-bishops-poetry-an-eco-critical-reading-of-the-selected-poems" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/141765.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">193</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1331</span> The Manifestation of Decadent Mood in Vagif Samadoglu's Poetry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=%C4%B0lahe%20Hajiyeva%20Mesim">İlahe Hajiyeva Mesim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The term "Azerbaijani decadent literature" that dates back to the 70s of the 20th century emerged due to the frustration of the people's wishes concerning egalitarian society and bright future pledged by Soviet Russia. The decadent mood - despair, loneliness, stagnation born of this delusion became the major theme of Azerbaijani literature. One of the zealous promulgators of the philosophy of decadence in Azerbaijani literature, so to speak, the founder of "Azerbaijani decadent literature" appeared to be Vagif Samadoglu known as a poet, playwright, essayist whose poems reflecting his decadent mood and motifs have become the scope of research in this paper. In his poems, the poet depicts realities with unusual metaphors, symbols and similes, giving them new breath. Vagif Samadoglu's poetry is particularly based on absurd situations of life. The figurative language and non-traditional forms of expression of associative thinking unique to the poet distinguish him from his other counterparts. A different view of reality and special approach to objects had enabled Vagif Samadoglu to occupy a leading place among modernist writers. The key purpose of the article is to reveal similar properties of decadent character in Vagif Samadoglu's poetry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azerbaijan%20decadent%20literature" title="Azerbaijan decadent literature">Azerbaijan decadent literature</a>, <a href="https://publications.waset.org/abstracts/search?q=Vagif%20Samadoglu" title=" Vagif Samadoglu"> Vagif Samadoglu</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=modernism" title=" modernism"> modernism</a> </p> <a href="https://publications.waset.org/abstracts/32769/the-manifestation-of-decadent-mood-in-vagif-samadoglus-poetry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32769.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">349</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1330</span> A Fine String between Weaving the Text and Patching It: Reading beyond the Hidden Symbols and Antithetical Relationships in the Classical and Modern Arabic Poetry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rima%20Abu%20Jaber-Bransi">Rima Abu Jaber-Bransi</a>, <a href="https://publications.waset.org/abstracts/search?q=Rawya%20Jarjoura%20Burbara"> Rawya Jarjoura Burbara</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study reveals the extension and continuity between the classical Arabic poetry and modern Arabic poetry through investigation of its ambiguity, symbolism, and antithetical relationships. The significance of this study lies in its exploration and discovering of a new method of reading classical and modern Arabic poetry. The study deals with the Fatimid poetry and discovers a new method to read it. It also deals with the relationship between the apparent and the hidden meanings of words through focusing on how the paradoxical antithetical relationships change the meaning of the whole poem and give it a different dimension through the use of Oxymorons. In our unprecedented research on Oxymoron, we found out that the words in modern Arabic poetry are used in unusual combinations that convey apparent and hidden meanings. In some cases, the poet introduces an image with a symbol of a certain thing, but the reader soon discovers that the symbol includes its opposite, too. The question is: How does the reader find that hidden harmony in that apparent disharmony? The first and most important conclusion of this study is that the Fatimid poetry was written for two types of readers: religious readers who know the religious symbols and the hidden secret meanings behind the words, and ordinary readers who understand the apparent literal meaning of the words. Consequently, the interpretation of the poem is subject to the type of reading. In Fatimid poetry we found out that the hunting-journey is a journey of hidden esoteric knowledge; the Horse is al-Naqib, a religious rank of the investigator and missionary; the Lion is Ali Ibn Abi Talib. The words black and white, day and night, bird, death and murder have different meanings and indications. Our study points out the importance of reading certain poems in certain periods in two different ways: the first depends on a doctrinal interpretation that transforms the external apparent (ẓāher) meanings into internal inner hidden esoteric (bāṭen) ones; the second depends on the interpretation of antithetical relationships between the words in order to reveal meanings that the poet hid for a reader who participates in the processes of creativity. The second conclusion is that the classical poem employed symbols, oxymora and antonymous and antithetical forms to create two poetic texts in one mold and form. We can conclude that this study is pioneering in showing the constant paradoxical relationship between the apparent and the hidden meanings in classical and modern Arabic poetry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=apparent" title="apparent">apparent</a>, <a href="https://publications.waset.org/abstracts/search?q=symbol" title=" symbol"> symbol</a>, <a href="https://publications.waset.org/abstracts/search?q=hidden" title=" hidden"> hidden</a>, <a href="https://publications.waset.org/abstracts/search?q=antithetical" title=" antithetical"> antithetical</a>, <a href="https://publications.waset.org/abstracts/search?q=oxymoron" title=" oxymoron"> oxymoron</a>, <a href="https://publications.waset.org/abstracts/search?q=Sophism" title=" Sophism"> Sophism</a>, <a href="https://publications.waset.org/abstracts/search?q=Fatimid%20poetry" title=" Fatimid poetry"> Fatimid poetry</a> </p> <a href="https://publications.waset.org/abstracts/56634/a-fine-string-between-weaving-the-text-and-patching-it-reading-beyond-the-hidden-symbols-and-antithetical-relationships-in-the-classical-and-modern-arabic-poetry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/56634.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">262</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1329</span> Temperature Coefficients of the Refractive Index for Ge Film</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lingmao%20Xu">Lingmao Xu</a>, <a href="https://publications.waset.org/abstracts/search?q=Hui%20Zhou"> Hui Zhou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ge film is widely used in infrared optical systems. Because of the special requirements of space application, it is usually used in low temperature. The refractive index of Ge film is always changed with the temperature which has a great effect on the manufacture of high precision infrared optical film. Specimens of Ge single film were deposited at ZnSe substrates by EB-PVD method. During temperature range 80K ~ 300K, the transmittance of Ge single film within 2 ~ 15 μm were measured every 20K by PerkinElmer FTIR cryogenic testing system. By the full spectrum inversion method fitting, the relationship between refractive index and wavelength within 2 ~ 12μm at different temperatures was received. It can be seen the relationship consistent with the formula Cauchy, which can be fitted. Then the relationship between refractive index of the Ge film and temperature/wavelength was obtained by fitting method based on formula Cauchy. Finally, the designed value obtained by the formula and the measured spectrum were compared to verify the accuracy of the formula. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=infrared%20optical%20film" title="infrared optical film">infrared optical film</a>, <a href="https://publications.waset.org/abstracts/search?q=low%20temperature" title=" low temperature"> low temperature</a>, <a href="https://publications.waset.org/abstracts/search?q=thermal%20refractive%20coefficient" title=" thermal refractive coefficient"> thermal refractive coefficient</a>, <a href="https://publications.waset.org/abstracts/search?q=Ge%20film" title=" Ge film"> Ge film</a> </p> <a href="https://publications.waset.org/abstracts/71052/temperature-coefficients-of-the-refractive-index-for-ge-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71052.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">298</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1328</span> Mourning through Poetry: Discovering the Lost Love object and Symbolization of Desire</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Galit%20Harel">Galit Harel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Deborah was referred for psychoanalytic psychotherapy following a suicide attempt and depression. She began a fascinating journey spanning more than 10 years. During therapy, many questions arose concerning the suicidal episode, which she could not register consciously. The author tried to understand the reasons for her depression and the attempted suicide through the unconscious process in the therapeutic relationship and through the music and poetry that she brought to sessions. In this paper, the author describes the process of listening for the signifiers of semiotic and symbolic language, both metaphoric and metonymic, as revealed in poetry and music according to the theories of Kristeva and Lacan. The poetry enabled the patient to retrieve childhood memories, experience the movement from unconscious to conscious, and mourn through the experience of transference and countertransference in the therapeutic relationship. Also illustrated is the transition from singing the music to more symbolic language, turning the patient’s sensory experience into language, and connecting her personal experience with the culture of her past. The patient’s mourning and the lost love objects are discussed through the prism of classical and object relations theories. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=depression" title="depression">depression</a>, <a href="https://publications.waset.org/abstracts/search?q=lost%20love%20object" title=" lost love object"> lost love object</a>, <a href="https://publications.waset.org/abstracts/search?q=psychoanalytic%20psychotherapy" title=" psychoanalytic psychotherapy"> psychoanalytic psychotherapy</a>, <a href="https://publications.waset.org/abstracts/search?q=suicide%20attempt" title=" suicide attempt"> suicide attempt</a>, <a href="https://publications.waset.org/abstracts/search?q=symbolization%20of%20desire" title=" symbolization of desire"> symbolization of desire</a> </p> <a href="https://publications.waset.org/abstracts/163843/mourning-through-poetry-discovering-the-lost-love-object-and-symbolization-of-desire" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163843.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">92</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1327</span> “Self” and “The Other” in Dunkirk (2017)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebtesam%20Dessouki">Ebtesam Dessouki</a>, <a href="https://publications.waset.org/abstracts/search?q=Yasaman%20Mousavi"> Yasaman Mousavi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Christopher Nolan’s Dunkirk (2017) is not a conventional war film. He invites the audience to see the war from within, from the characters’ experiences, through suspense and fear, with the help of talented sound designers and musicians such as Hans Zimmer for an extra dimension creating those feelings. This experience of being among the surviving soldiers makes room for an interpretation of this film using the concept of the Self and the Other. The Self is the soldiers and the audience who try to make sense of their reality given limited information about the enemy and their situation, and the Other is the faceless enemy. However, this film can be taken under an even more detailed analysis theorizing that the Other also exists on different occasions in the film. Overall, Nolan leaves a lot of cues for the audience to track the Other and sometimes breaks the rules for the Other. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=Dunkirk" title=" Dunkirk"> Dunkirk</a>, <a href="https://publications.waset.org/abstracts/search?q=other" title=" other"> other</a>, <a href="https://publications.waset.org/abstracts/search?q=self" title=" self"> self</a> </p> <a href="https://publications.waset.org/abstracts/166703/self-and-the-other-in-dunkirk-2017" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166703.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">72</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1326</span> Synthesis and Characterization of Non-Aqueous Electrodeposited ZnSe Thin Film</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20R.%20Kumar">S. R. Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Shashikant%20Rajpal"> Shashikant Rajpal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A nanocrystalline thin film of ZnSe was successfully electrodeposited on copper substrate using a non-aqueous solution and subsequently annealed in air at 400°C. XRD analysis indicates the polycrystalline deposit of (111) plane in both the cases. The sharpness of the peak increases due to annealing of the film and average grain size increases to 20 nm to 27nm. SEM photograph indicate that grains are uniform and densely distributed over the surface. Due to annealing the average grain size increased by 20%. The EDS spectroscopy shows the ratio of Zn & Se is 1.1 in case of annealed film. AFM analysis indicates the average roughness of the film reduces from 181nm to 165nm due to annealing of the film. The bandgap also decreases from 2.71eV to 2.62eV. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electrodeposition" title="electrodeposition">electrodeposition</a>, <a href="https://publications.waset.org/abstracts/search?q=non-aqueous%20medium" title=" non-aqueous medium"> non-aqueous medium</a>, <a href="https://publications.waset.org/abstracts/search?q=SEM" title=" SEM"> SEM</a>, <a href="https://publications.waset.org/abstracts/search?q=XRD" title=" XRD"> XRD</a> </p> <a href="https://publications.waset.org/abstracts/22975/synthesis-and-characterization-of-non-aqueous-electrodeposited-znse-thin-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22975.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">486</span> </span> </div> </div> <ul class="pagination"> <li 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