Zeitschriftenartikel zum Thema „Black modern poet“

Man and nature are two inseparable elements of the world, and the unbreakable connection and coexistence between them is the origin of all kinds of literary works. From ancient times to the present day, we often see poems about nature both in Russian and Persian literature. Using the Natural objects and phenomena in the form of myths and symbols in literary works and giving them personality have various reasons, including political ones. Sometimes poems may be composed under the influence of a poet from another country. This influence can be seen in contemporary Iranian literature. Among the contemporary Iranian poets who are very familiar with the ideas and works of Russian poets and writers is the Iranian naturalist (пейзажист) poet Shafiei Kadkani. He composed his poem “Happy Journeys!”) based on Lermontov’s “The Rock” and “The black Clouds” poems. Both poets have used natural images such as plant (растение), breeze (ветерок), blossoms (цветения), rain (дождь), desert (пустыня), dust (пыль), horror desert (пустыня ужаса), rock / cliff (утес) and black clouds (тучи), which have a symbolic role. By comparing the poems, we can see that they are similar in terms of content and have the same message. And some of the symbols of Shafiei Kadkani are the same as the symbols of Lermontov, such as the desert, or they are chosen in terms of meaning very close to the symbols of Lermontov, such as “rock / cliff and milkvetch” or “small clouds and breeze”, as well as the dynamic movement of small clouds and breeze, which are the symbol of transition and change. Like Lermontov, Shafiei Kadkani also complains about the situation of his society, but symbols like “blossoms and rain” at the end of Shafiei Kadkani’s poem, unlike Lermontov’s poems, promise the morning of freedom, prosperity and transition, but with doubts.

In al-Ğāḥiẓ’s treatise Kitāb Faḫr al-Sūdān calā al-Biḍān, the title of which in the already classic Polish study on Arabic literature was translated as The Superiority of Blacks over Whites, or Treatise on the Superiority of Blacks over Whites, the author of the work lists the characters of black inhabitants of the caliphate; among them he evokes al-Ḥayquṭān, whom he presents as a poet and a preacher of Abyssinian origin. He also quotes al-Ḥayquṭān’s poem, which is a paean to the courage and valor of the Abyssinians, referring to important events that took place in the Arabian Peninsula just before the birth of the Prophet Muḥammad. In modern times, al-Ḥayquṭān’s poem is used in popular publications and online forums as a historical example of a reaction to racism and a reason to be proud of the bravery of the poem’s dark-skinned characters, as well as the example of literary achievement of the inhabitants of the caliphate of African descent. The purpose of this article is to refer to the historical events mentioned in the work of the black poet, present him in the context of the few surviving Arabic sources, explore the potential circumstances of the creation of the work and reflect on the actual circumstances of its creation as described by al-Ğāḥiẓ.

This essay focusses on references to the sixteenth-century black poet and scholar Juan Latino in African American journals in the 1920s–1940s. Although Juan Latino is largely forgotten in the present day, publications such as the Journal of Negro History and the New Negro referred to the poet as an important figure in the intellectual history of the African diaspora. My essay posits Juan Latino (both the historical figure and an early modern play about him) as an alternative exemplar of blackness in early modern Europe to that found in Othello. By turning to Juan Latino instead of to Othello, scholars in the 1920s–1940s were able to suggest a transnational and transhistorical black diasporic identity linked with African American solidarity with the Republican cause in the Spanish Civil War.

Attipat Krishnaswamy Ramanujan (1929-1993), needs no introduction in the word of Indian English Poetry. His poems are liked by every person because his poems are either replete with the humanistic approach or his poem have autobiographical elements. He was a poet, translator, playwright and folklorist. He belonged to a Hindu family. He was a trilingual writer who wrote in English, Tamil and Kannada. He has interpreted some works written in Sanskrit and Tamil bases on some classical and modern variants. He had four poetry collections to his credit: The Striders (1966), Relations (1971), Second Sight (1986), and The Black Hen (1995). Ramanujan’s poems are so easy and personal that these poems touch the heart of reader.

The article describes peculiar features of aesthetics and poetics of “sadistic verses” in the creative work of modern Austrian poet E. Yandle, Russian author A. Grygoriev and Belarusian masters of artistic word V. Zhybul and V. Burlak. Using the means of grotesque, carnivalization, illogic and black humour the authors show their protest against an excessive normativity and nihilistic pathos to modern reality with its standards, and create a peculiar lyrical hero – a weirdo, an eccentric person who falls into the chain of catastrophes, crashes and accidents.

Davíð Stefánsson (1895-1964) is a poet whose work marks a turning point in early twentieth-century Icelandic literature. This essay offers five new English translations from his first collection Black Feathers (Svartar Fjaðrir,1919) and introduces a new decadent perspective. Decadence is widely regarded as flourishing in emergent modern societies, but, as this essay shows, its influence extended beyond western Europe. Written in a remote place, Stefánsson’s decadence speaks to an aesthetic of emptiness and atemporality. These poems broaden our conception of decadence and evidence a rich cultural hybridity, showing the influence of various traditions including symbolism, the Gothic, folk-songs, and decadence.

Women in the modern era have been defined as being revolutionary and opposed to the traditional representation of their lives. Alice Walker (February 1944-) a Pulitzer Prize-winning figure is an African-American novelist, critic and poet who has vigorously defended women's modernist innovations and African American civil rights in her works. Her novel The Color Purple (1982) explores the African American female experience through the life and struggles of the narrator of the novel. What distinguishes The Color Purple is the very feature of psychological state of the heroine whilst struggling for her minimal rights of being a woman and black. The heroine of the novel Celie is revolutionary and anti-traditional. Walker planted her own personal experience within The Color Purple through the sufferings and traumatic life of the female characters.Walker through “Womanism”, a term coined by herself representing Black feminism, combines critical elements in The Color Purple, namely the importance of black history and heritage and the centrality of female creativity and competence in that heritage, which are often symbolized by quilts, sisterhood, liberation, self-identity, double consciousness and other symbols. Further through exhibiting African American woman’s twice-oppressed state, as they were double-discriminated racially and sexually by Americans, on the one hand by white Americans, on the other, by their fellow black male counterparts. The epistolary style of The Color Purple is probably an essential feature of modern literary output. The letters are used to manifest Celie and other characters’ lives to readers. Furthermore, within The Color Purple, Walker employs the very modern African American literary feature which is “Neo-Slave Narrative”. Through Neo-Slave Narrative, she displays her black female characters’ still-enslaved status in the modern era to form a juxtaposition between narrations of her fellow oppressed black women and Slave-Narrations of enslaved African Americans like Harriet Jacobs and Sojourner truth.

The article considers the work of the Chinese poet Hai Zi (mostly based on works not translated into Russian) as a characteristic example of the spiritual and artistic influence of Sergei Yesenin's work on modern Chinese poetry. The poetic dialogue of Hai Zi and S. Yesenin is considered from the point of view of tanatological poetics, which allows us to present their work as a single meta text, developing various variations of tanatopoetics in order to achieve absolute self-identification by synthesising “self” – death – art. The category of death is considered as the integral basis of the work of S. Yesenin and Hai Zi, which ultimately leads to the realisation of their personal attitude to death as the ontological, epistemological and axiological basis of life and creative work. The article justifies that the “romance with death” of S. Yesenin and Hai Zi is a manifestation of their life-building strategy, consonances in motif and figuration are revealed in the aspect of tanatological poetics, taking into account the different nature of those motifs: the spontaneous-organic feeling of death in S. Yesenin and the tanatological ideology of Hai Zi, based on the synthesis of Western philosophy, Confucianism, Taoism. Particular attention is paid to the consideration of S.Yesenin's poem “The Black Man” and the poem “Spring. Ten Hai Zi” as works that expose the key settings of the poets' tanatological discourse, as well as an analysis of Hai Zi's poem "Life Was Interrupted" as prisms for the reinterpretation of S. Yesenin's life and work within the framework of the tanatological paradigm of "Chinese Yesenin" and the most important act of semiotisation of life and creative work of the Chinese youth, when suicide is positioned as the final statement.

British literature, especially poetry has experienced different phases and showed the unique faces from the early periods to what called modernity era. The multi-facetted poetry is inflected by the dynamic atmospheres faced by Britain as results of the responses of poetic artists to the ups and downs of British history, especially the industrial changes and the brutality of World War I and II. Poets responded the political, social and cultural waves with their own unique styles and moods. The traumatic Wars and their casualties were not the sole themes during the war or post war era poetry, some poets reacted the issues of their own ways. This paper will discuss the reaction of some British poets to the wars. The discussion sections will be parted into the general responses, and also the analysis of two post war poets namely Adrian Henry and James Berry to represent their era of 1960 and 1980. This study reveals some findings that the poets experienced WWI and WWII responded the wars in such dramatic and gloomy ways as they are closely affected by the effects of 1915-1945 wars. Adrian Henry lived in the era post-modern, 1960s, the effect should have recovered. His poetic style speaks itself. James Berry, a Black immigrant poet, voices his root, past experiences and hope for a new life. Despite the style and theme, they all flourish British poetry with their own uniqueness.Keywords: British poetry, postwar, postmodern, Adrian Henri, James Berry

Semiotics is one of the modern critical methods of postmodernism in which through signs, it digs deep into the depth of a text.Sherko Bekas’s Rangdan collection is one of the collections in which signs are used abundantly because the poet uses colours 1219 times and many words are used as signs. The most used colours are blue, black, red and white. Each of these colours has its own meanings and implications in different cultures and texts; it has its role on people’s views, and it depicts roles of colours in relations to the lives of people. Hence, the use of Rangdan, which means the collection of colours, is not without purpose, but it has everything to do with environmental, psychological, intellectual and cultural aspects of life.

This essay focuses on a pivotal (if understudied) moment in the history of the translation and reception of Sanskrit erotic poetry in the West – a moment which sees the percolation of this classical poetry from the scholarly sphere to that of non-specialist literature. I argue that a crucial agent in the dissemination and inclusion of Sanskrit erotic poems in the canon of Western lyric poetry was the English poet Edward Powys Mathers (1892–1939), a self-professed second-hand translator of ‘Eastern’ literature, as well as the author of original verses, which he smuggled as translations. Using Black Marigolds (a 1919 English version of the Caurapañcāśikā) as a case study, I show how Powys Mathers’ renderings – which combined the practices of second-hand and pseudo-translation – are intertextually dense poems. On the one hand, Black Marigolds shows in watermark the intermediary French translation; on the other, it functions as a hall of mirrors which reflects, magnifies and distorts the emotional and aesthetic dimensions of both the classical/Eastern and modern/Western literary world. What does the transformation of the Caurapañcāśikā into a successful piece of modern(ist) lyric poetry tell us about the relationship that Western readers wished (and often still wish) to have with ‘Eastern’ poetry? Furthermore, which conceptual tools can we mobilize to ‘make sense’ of these non-scholarly translations of classical Sanskrit poems and ‘take seriously’ their many layers of textual and contextual meaning?

This article forms a response to Bryan Cheyette’s essay in this journal, “Against Supersessionist Thinking: Old and New, Jews and Postcolonialism, the Ghetto and Diaspora,” and focuses on the dialectics of comparing minority experiences in a climate of implicit and explicit violence toward minorities. Agreeing with Cheyette’s invocation of such threatening environments, I speak to what he characterizes as the importance of nonbinary thinking by gesturing to similar work unfolding in Black studies, specifically in the theorization of anti-Blackness and the work of Christina Sharpe. I end with a brief discussion of the Modern Jewish-Indian poet Nissim Ezekiel to focalize the practice of the comparative work between Jewish and postcolonial studies in threatening environments. I argue that Ezekiel’s approach highlights the “fluidity” and in-built multiplicity of such environments, and so undermines the seemingly rigidity of violent and singular binaries.

In the first decades of the 20th century, as a result of revolutionary uprisings and changes in the foreign and domestic policy of the state, the question of the integrity of the country and the state system became the subject of numerous discussions in literary circles. During this period the literary activity of the young poet, writer and literary critic B. Sadovskoy (1881–1952) began to flourish. His name was undeservedly forgotten and only thanks to the efforts of modern scholars it is included in the scientific work again. Social and political views of B. Sadovskoy changed radically during the time whenRussiaunderwent historical changes. Being a monarchist in the pre-revolutionary period, B. Sadovskoy attempted to warn contemporaries concerning the danger of cardinal transformations. The aim of our article is to study the social and political views of the writer in the pre-revolutionary period. Particular attention is paid to the problem of the Black Hundreds, involvement in which was considered unacceptable among the intelligentsia and, if exposed and confirmed, could negatively affect the author’s literary activity depriving the writer of the opportunity to publish in “respected” journals. The views of B. Sadovskoy were close to the ideas of the Black Hundreds. Despite the fact that there is no direct evidence of his connection with the Black Hundred organizations, researchers are aware of his close friendship with one of the most prominent Black-Hundred representative – B. Nikolsky. The writer’s assistance in publishing articles by A. Tinyakov in the journals “Rech” and “Zemshchina” was also proved. An irreconcilable attitude to the latest literary movements, in particular, to futurism was also considered by contemporaries as an attempt to dissociate himself from the ideas and views of the Symbolists. At the end of his literary career he acknowledged that bolshevism regime was the one that his country deserved. Mostly he wrote about that in his diaries and in letters to his friends.

In 1934, Aaron Douglas created an epic four-panel mural series, Aspects of Negro Life (1934), for the branch library on 135th Street in Manhattan, now the Schomburg Center for Research in Black Culture. The panels answered a call, issued by the first major program for federal support of the arts in the United States, to represent “an American scene.” In them, Douglas traced the trajectory of African American history in four stages and across two mass migrations: from Africa into enslavement in America; through Emancipation and Reconstruction; into the modern Jim Crow South; and then northward with the Great Migration to Harlem itself. The narrative Douglas constructed was remarkable in both its historical sweep and as a story of America seen through Black eyes. This essay explores how Douglas's approach to the trenchant and understudied Aspects of Negro Life panels was shaped by rich conversations across a decade-about what it meant to be Black in America, how the “African” in “African-American” was to be understood, and what a distinctly African-American modernism might be-with an interdisciplinary nexus of thinkers, activists, and artists that included W. E. B. Du Bois; a co-founder of the NAACP and co-editor of the Crisis, sociologist Charles S. Johnson; poet-activist James Weldon Johnson; bibliophile Arturo Schomburg; and philosopher-critic Alain Locke. Looking at Douglas's visual narrative in this context offers insight into how parallel practices of archive-building, art making, history writing, and criticism came together not only to shape a vision of America but also to champion a model of Black modernism framed through diaspora.

Contemporary poet and scholar Joshua Bennett recently wrote, “If black studies is indeed the rewriting of knowledge itself, an ongoing critique of so-called Western civilization—as Wynter and Robinson and others remind us—then poetry will be absolutely essential. Like the field of black studies more broadly, the teaching of black poetry is not simply additive nor is it a niche concern. Historically poetry is at the center of black social and intellectual life.” Of no literary or intellectual tradition is this more true than that of the Fayḍa Tijāniyya, inaugurated by the Senegalese Sufi Shaykh and scholar, Shaykh Ibrahim Niasse (d. 1975). Described by its initiates as a “flood” of ma'rifa (divine knowledge) and wilāya (sanctity), the Fayḍa has also produced a veritable outpouring of Sufi literature in Arabic (as well as African and European languages) among its adherents, particularly Arabic poetry in praise of the prophet that both expresses and facilitates access to ma'rifa in a particularly effective manner. Through close readings of three short treatises and poems of Ibrahim Niasse, this paper attempts to outline Niasse’s prophetic poetics of spiritual realization: the closely-linked cosmology, epistemology, and anthropology converging on the Muhammadan Reality (al-ḥaqīqa al-Muḥammadiya) that animates and structures his literary oeuvre and shapes the spiritual, social, and intellectual lives of the members of the Fayḍa Tijāniyya. Building on earlier studies of the Tijānī tradition and Maghrebi/West African Sufism, this article concludes with an examination of the implications of this prophetic poetics for the conception of the “human,” and the intervention literature such as Niasse's has made and can make in contemporary debates surrounding the ethics of knowledge and the re-evaluation of the modern, “Western” category of the “human”.

The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we tend to imagine ourselves in a primeval woodland, a setting without a history. Therefore, his plays are often performed without controversy—and (bizarrely) on or near sites specifically tied to the enslavement or disenfranchisement of people with African ancestry. New York City’s popular outdoor Shakespeare theater, the Delacorte, is situated just south of the site of Seneca Village, an African American community displaced for the construction of Central Park; Alabama Shakespeare Festival takes place on a former plantation; the American Shakespeare Center in Staunton, Virginia makes frequent use of a hotel dedicated to a Confederate general; the University of Texas’ Shakespeare at Winedale festival is performed in a barn built with supports carved by slave labor; the Oregon Shakespeare Festival takes place within a state unique for its founding laws dedicated to white supremacy. A historiographical examination of the Texas site reveals how the process of erasure can occur within a ‘progressive’ context, while a survey of Shakespearean performance sites in New York, Alabama, Virginia, and Oregon shows the strength of the unexpected connection between the performance of Shakespeare in America and the subjugation of Black persons, and it raises questions about the unique and utopian assumptions of Shakespearean performance in the United States.

The authors of this article focus on poetics of “triptych about the Black death”, which is included in the play “Summer’s Last Will and Testament” (1592) written by the Elizabethan writer Thomas Nashe. As this writer is well-known to modern literary scholars mostly as a talented satirist, the author of a novel and numerous pamphlets, the attention to his poetic heritage is nowadays surprisingly relevant from the view point of their thematic vector and from the viewpoint of the author’s contribution into the development of the Elizabethan poetic tradition. The three poems about the London plague of 1592-1594 forced T. Nashe to change both his lifestyle and concepts of his fiction. Faced with inevitable illness and death, the writer demonstrated his imagination about plague in poems that enrich the fictional structure of drama. Being united by the ideas of the life transience and the fear of death, the author’s psycho-emotional state and his contemporaries’ universal vision of the medical disaster are manifested in different ways. In this article, there is also an attempt to find out the ideological and fictional specificity of the poems and their correlation with the structural and compositional organization of the play, as well as to define so-called theatricality as an artistic feature of drama. Some unfamiliar facts from the author’s life and socio-cultural context are also placed in the given article. Having analyzed the poems, the authors of the research came to conclusion that their uniqueness lies in the following: in his first drama Nashe represented his first poems, moreover, for the first time in the Late Renaissance literature, they were devoted to the Black death. This artistic achievement differs Th. Nashe from contemporary men-of-letter. Thanks to these poems, Nashe can be henceworth considered not only a great satirist, but also as a talented poet of the Elizabethan age.

Abstract This paper explores a hitherto unstudied Persian masnawī in praise of the sacred city of Vāraṇāsī, the Kāšī-stut (a phonetically Persianized variant of kāśī stuti, “Hymn to Vārāṇasī”) composed in 1778–9 by a little known Kāyastha scribe from Allahabad, Matan Lāl Āfarīn. The text, is an original poetic transposition of the Hindu religious landscape of Vārāṇasī in Persian verse, conjuring classical and post-classical Persian poetic conventions on the non-Islamic sphere and Sanskrit models such as the Kāśīkhaṇḍa, the Kāśīrahasya or other māhātmyas, and containing an impressive amount of descriptions (sometimes very technical) of idols, temples, pilgrimages, devotees, ascetics, the Ganges and so on. In view of the extraordinary value of the document (from the historical as well as from the literary side) the main aim of the article is not only to discuss the complex socio-cultural entanglements of the treatment of “idolatry” by a late eighteenth-century Hindu poet of Persian, but also, at the same time, to present, as far as I know for the first time, an important Persian document on early modern Vārāṇasī hitherto completely ignored by scholars. The study of the text against the background of contemporary trends in Persian poetry, in South Asia as well as in Iran, will, moreover, provide us with a proper set of interpretative tools for reading what we should begin to call the Hindu Persian literature of the eighteenth century.

In 1900, performer Junie McCree debuted a new character on the stage of vaudeville theatres in New York City. In a short playlet written by McCree entitled The Dope Fiend; or, Sappho in Chinatown, the actor took to the stage in a black suit, fedora, and thick mustache to perform a comic version of an opium-smoking addict from the West of the United States. McCree's addict was marked by his slumped posture, his wisecracks and chicanery, and a broad assortment of inventive slang that was intended as a sign of the character's frontier roots. Undermining expectations regarding addicts as vicious or subhuman, this vaudeville dope fiend was charming in his insouciance and playfully eccentric in behavior. McCree's interpretation was distinct from the already established stage drunk or tramp clown; he was not sloppy or bedraggled, but more the figure of a slow-moving but cunning saloon poet. McCree quickly became famous for the portrayal, spawning numerous imitators who helped make the vaudeville dope fiend a standard character convention, recognizable to Progressive Era audiences of variety entertainment, but almost entirely ignored by modern scholarship. Dissecting the anatomy of McCree's characterization, including its sources and cultural impact, this article argues for the inclusion of the comic dope fiend in the pantheon of stage characters from the period and calls attention to popular entertainment's contribution to the national debate over drug addiction.

The article is devoted to the study of color lexemes as language units. The main tokens, which form the core of the lexical-semantic field of color of modern language, and peripheral, which have seven with a shade of the main tone and may have additional characteristics, are defined. The spectrum of compatibility of color lexemes with other tokens is outlined. It is emphasized that despite the significant scientific achievements on the problem of color designations, there are still aspects that deserve the attention of linguists. One such aspect is the study of color symbols in modern poetic text. The interaction of traditional and individual-authorial in the use of color lexemes is analyzed. It was found out that in S. Barabash's lyric language means for color designation are sometimes specific, and sometimes complicated, rethought. A wide range of basic colors (white, black, yellow, red, green), several mixed (gray, silver, gold, pink, purple) help the poet to convey their own knowledge of the world around them, to generalize impressions and "color" images. It is proved that S. Barabash's poetry is inseparable from the deep sensory principle that permeates its poetics. The writer subtly aestheticizes color, sound, shape. Each color creates around itself a certain semantic field, a certain composition of the author's thoughts, because, in addition to semantic and descriptive function, colors, their combination realizes the emotional function that affects human feelings and thus contributes to the formation of a certain mood. It is noted that the palette of colors S. Barabash characterizes her individual creative style, determines the expansion of the compatibility of components with the semantics of color with commonly used words, which contributes to the enrichment of the ideological and thematic spectrum of poetic works.

The Ukrainian national movement of the beginning of the 20th century in Crimea is poorly researched, although at that time Ukrainians constituted the third largest ethnic community among the Crimean population. The article reconstructs main milestones in the biography of one of the leading figures of the Ukrainian national movement in Sevastopol and the Black Sea Fleet in 1917–1920, public and political activist, writer and poet Viacheslav Lashchenko (1875–1953). He was born in Yelysavethrad (the modern name of the city is Kropyvnytskyi) in the family of Ukrainian intellectuals. Already during his studies at higher educational institutions, V. Lashchenko took an active part in the Ukrainian national movement, in particular, he organized and headed the Ukrainian Student Community in Warsaw. After receiving a historical and philological education, he taught at schools of the Dnieper Ukraine, where the authorities considered him untrustworthy due to his pro-Ukrainian views and transferred him to new jobs several times. In Sevastopol, during the revolution of 1905–1907, V. Lashchenko combined teaching at the gymnasium with participation in the illegal Ukrainian patriotic circle «Kobzar», which soon he headed. During the revolution of 1917, this organization initiated the creation of the Black Sea Ukrainian Community in the city of Sevastopol, which united several thousand Sevastopol civilians, sailors, officers and soldiers. The community played an important role in the development of the movement for the Ukrainianization of the Black Sea Fleet, most of whose sailors were Ukrainians. V. Lashchenko was elected the first head of the Black Sea Ukrainian Community in Sevastopol. In the summer of 1917, he became a member of the Sevastopol City Council on the list of the Ukrainian Party of Socialist Revolutionaries, and in the autumn, he probably headed the Ukrainian Council of Soldiers’ and Workers’ Deputies in Sevastopol. During the frequent changes of power in Crimea in 1918–1919, little is known about his activities, and in 1920, during the Wrangel’s regime, V. Lashchenko joined the leadership of the Ukrainian National Democratic Bloc, which proclaimed loyalty to P. Wrangel, the idea of statehood of Ukraine as part of federal Russia and the creation of the Ukrainian army. After Crimea was seizured by the Bolsheviks, he emigrated to Czechoslovakia, where he engaged in public, creative and, probably, teaching activities. During the Second World War, he emigrated to the USA, but, according to the researcher, he returned to Czechoslovakia, where he died.

Article examines the work by G. Ayurzana (b. 1970), one of the most popular and read authors in modern Mongolia. His creative range is very wide: from postmodernism to magical realism, from psychological detective stories to historical novels. In 2021, G. Ayurzana’s new novel “Their Shadows are Taller than Our Souls” (“Тэдний сүүдэр бидний сэтгэлээс урт”) was released. This time the author turned to science fiction genre. In Mongolia, classic science fiction works by J. Verne, A. Tolstoy, A. Azimov, S. Lem, and Strugatsky brothers have been translated and are popular among readers. In modern Mongolian literature this genre begins to develop in the 1940s 20thcentury. Fantastic ones include L. Tudev’s story “Eternal Flame (”Мөнхийн гал”), J. Gal’s novel “The Secret of the Crystal Mirror”(“Болортолийн нууц”), D. Darzha’s novel “Journey to Distant Worlds”(“Алс холын ертөнцөд жуулчилсан нь”). The title of G. Ayurzana’s novel is a quote from the famous hit of the British rock band Led Zeppelin “Stairway to Heaven”, which appeared in the 1970s. This is a deep philosophical text by Robert Plant about the illusory nature of our world, about vain hopes and unrealistic expectations. The bird — a black jackdaw with a red beak — becomes the center of the narrative in the novel “Their Shadows are Taller than Our Souls.” This is due, among other things, to the mythopoetic tradition of the nomads of Central Asia, which endowed birds with special properties. The image of a talking paper bird is present in the famous surgaal teaching of the poet and religious educator of the 19th century D. Ravzha (1803–1856). However, does the main character encounter a bird on the first page of the novel? No, the hero of the novel meets not with a living bird, but with a cybernetic organism created back in 1984 at the dawn of the microprocessor era in one of the scientific laboratories of the Soviet Union. From the moment a microchip is implanted into the brain, the bird becomes a cyborg, a thing, something else. The author directly raises the problem of otherness in the real world. The hero’s encounter with this thing — the encounter with the other — plays a key role in the entire fantasy novel.

Indian English Poetry is rich in Indian themes and symbols. Although the poets have drawn poetic elements from the Indian soil, theme of spirituality is still left untouched by the IWE. Mahanand Sharma’s poetry is the poetry of spiritual taste. As a poet of Modern Indian English sensibility, he has captured the diverse themes of Indian spirituality and mythology. His collection titled A Rudraksha Rosary and Other Poems is an interesting story of Lord Shiva written in Miltonic blank verse. However, the poet has employed the eighteenth-century diction, he has remained novel in his tackling of themes and myths of Lord Shiva. In a comprehensive manner, he uncovers the valour and exploits of Lord Shiva and provides the spiritual light to the people groping in dark of materialism. This paper is a modest attempt to unravel the spiritual strains in the poetry of Mahanand Sharma.

Undoubtedly, racism is a deeply-anchored problem that continues to vex our world. There is a long history behind it, which can easily be traced back to the Middle Ages and beyond. This article, however, takes into consideration a number of medieval narratives and art works in which surprisingly positive images of Blacks are provided. The encounter with black-skinned people tended to create problems even for the best-intended white intellectuals or poets during the pre-modern era, but the examples studied here reveal that long before the modern age there was already an alternative discourse to embrace at least individual Blacks as equals within the courtly and the religious context. Since Europe did not yet know the large-scale form of slavery, as it emerged in the sixteenth and seventeenth centuries, there were much less contacts between Blacks and Whites. Nevertheless, the evidence brought to the table here clearly signals that we would commit a serious mistake by equating modern-day racism with the situation in the Middle Ages, as much as modern research (Heng) has argued along those lines. It would be more appropriate to talk about the encounter of races within the literary and art-historical context. Even the notion of Black diaspora would not fully address the issue because the evidence brought to the table here engages mostly with black or half-black knights and other individuals who enjoy considerable respect and appear to be integral members of courtly society both in the East and in the West. Instead of working with theoretical models developed for the analysis of racism in our own times, such as Critical Race Theory (CRT), this study offers close readings of literary examples of personal encounters between members of different races in medieval German and Dutch literature, and of the representation of Blacks in late medieval and early modern art history, concluding with some comments on the first Black philosopher in eighteenth-century Germany.

Western suspense novels have garnered widespread readership, and the Poes The Black Cat stands as a classic within the genre. Its success lies in its capacity to captivate and engross readers, allowing them to immerse themselves in a chilling atmosphere and provoke profound contemplation of the narrative. As time progresses, the discourse surrounding the text has expanded, encompassing a broader range of perspectives. For the modern people, the reading experience brought by reading the text has been awakened, and they enthusiastically pursue the high-quality reading experience.Amongst the various reading experiences available, readers themselves find great enjoyment in exploring the text and engaging in the process of inferring its deeper meanings. The iceberg principle is a creative technique that can satisfy this reading experience.This paper delves into the application of article structure, narrative technique, and imagery in the classic suspense novel, Black Cat, through the lens of the iceberg principle. The analysis reveals the inherent simplicity of the iceberg principle in shaping the articles structure, the layered narrative structure, and the symbolic significance of elements such as the conflagration, Monk, black cat, and wife.Furthermore, this paper examines the aesthetic significance of the iceberg principle by drawing parallels with the principles of Chinese blank space and iceberg, thereby uncovering distinct reader experiences and the observations of countless individuals. By exploring the humanistic care and hermeneutics, to analyze the philosophical significance of the iceberg principle, to get the humanistic care that the author gives the initiative to the readers and the inspiration to the contemporary creation.

Abstract African American literature on the Middle Passage has always challenged white supremacy’s language with its power to define and control. This article demonstrates how the border of such a “Universal Language” is challenged and trespassed in Clarence Major’s ekphrastic poem “The Slave Trade: View from the Middle Passage” in order to communicate – through the implementation of the voice of a disembodied water spirit Mfu – the black perspective on understanding the slave trade and effectively resist the symbolic cannibalism of Western Culture. The trope of antropophagy often appears in Middle Passage poems in the context of (mis)communication (which results in the production of controlling, racist images of blacks) and stands as a sign of Euro-American power to create the historical, hierarchical, racial reality of the Atlantic slave trade in its economic and symbolic dimensions. The strategy implemented by Major in his poetic confrontation with representation of historical slave trade in European and American Fine arts may be classified as “off-modern” (to use Svetlana Boym’s (2001) nomenclature), which immediately places his poem in a “tradition of critical reflection on the modern condition that incorporates nostalgia” as a means of a critical analysis of the heritage and limitations of a given culture. My claim is that the poem’s “off-modern nostalgia” perspective is a version of textualist strategy which Henry Louis Gates (1988) identifies as Signifyin(g). Major/Mfu successfully perforates and destabilizes the assumed objectivity and neutrality of the images of blacks and blackness created and circulated within the realm of the visual arts of the dominant Western Culture. In “The Slave Trade: View from the Middle Passage” Signifyin(g) takes the form of what could be called an ekphrastic (re)interpretation of actual works of art and joins in the critique of essentialist views often associated with understanding of meaning.

In the poem “ca’line’s prayer,” Lucille Clift on marks the progression of Black generational memory through the metaphor of drought. The poem’s 1969 publication coincided with one of the worst droughts in modern history. Across the West African Sahel late rains and the onset of famine led to widespread death and displacement. Starting from this conjunctural moment in the late 1960s and using Clifton’s provocation about the “Blackness” of drought, this article contemplates representations of arid environments in African and Afro-diasporic texts. I consider various imaginings of arid spaces, presented simultaneously as wasteland and homeland. Surveying critical scholarship on the Sahelian drought, I interrogate the contested meanings of Black life and death in deserts. I also consider the contemporary resonances of these themes, engaging African eco-critical and Afro/African futurists texts. I show how these portrayals of actual and imagined deserts reveal alternate modes of encounter forged through Black/African ecological thought.

The poetic possibilities of plant vocalization take new directions in the poetry of Lőrinc Szabó and Attila József, feeding on the traditions of romantic and modern poetry, but also renewing them, as we see in the translations and reading methods. They come into contact with the poems of Percy Shelley, Charles Baudelaire, and George Meredith. The study focuses on two poems: Attila József’s “Trees” [Fák] and Lőrinc Szabó’s “In the Black Forest” [A Fekete Erdőben] contextualized with other poems in the oeuvre, the antecedents of the poetic forms, and the comparative influences. In the case of “Trees”, plant thinking and biological operations are paralleled, creating the sound effects of the poem together; in the poem “In the Black Forest”, the equivalence of human and plant life is emphasized through sensual-poetic communication.

This paper attempts to cast light on a leading poet-playwright who signifies several Arabic cultures, proficiencies, and skills. The study aims at revealing to what extent the play Omar is a modern Arabic poetic play. Omar is a historical drama that deals with social problems. Omar presents a vision of Arabic drama in the modern age, but it is also a poetic play. For that, it is the task of the researcher to try to prove that Omar bears several grounds, such as poetic devices and connotative symbols, to be called a poetic drama. The investigator adopts the critical-descriptive method in analyzing the first scene of the introduction of the play, Omar. The paper is planned with an introductory overview dealing with a brief view of poetic drama and blank verse. The second part deals with Ali Ahmad Ba-Kathir as a pioneer poet-dramatist. The main part of the study deals with the epic play Omar with reference to the first scene of the introduction, shedding light on the skillfulness of the writer in manipulating poetic and musical devices. The task finishes with recommendations and a brief conclusion.

The function of poetry is to help people in many different ways to overcome the challenges when they seem to have lost their lives. However, the present paper aims at demonstrating how does imagination in Wallace Steven's(1879-1955) poetry offer skills and techniques which help understand better and cope with difficulties. However, two of Steven's poem are tackled in this paper: "Thirteen Ways of Looking At Black Bird" and '' Disillusion of Ten O'clock". Furthermore, the paper deals with the poem from a new critic point of view. Accordingly, the study concludes that the poet's style of using imagery in many different ways is a modern way of coping with and understanding reality.

This essay follows closely a long tradition of poets writing about war as winter, emphasizing its most dangerous characteristics: an impersonal force that can bring indiscriminate annihilation, freezing numbness or insensibility, and blank illegibility. These poems tell of modern total war avant la lettre and its capacity to destroy what we can feel or know of its work. Focusing primarily on eighteenth-century British poets (Pope, Thomson, Cowper, and Wordsworth) but turning as well to Homer and our contemporary poets, the essay considers the particular threats of war to poetic creation and the difficult, often desperate means by which poets resist those threats. Perhaps most ominous in these figurations are representations of war as still, inactive, and somehow outside the logic of historical eventfulness. Thus the poets meditate as well on the very possibility of historical narrative amid the violence of war.

As one of the most representative modern poets in China, Dai Wangshu not only contributs a lot to the development of the modern Chinese poetry, but also plays an important role in introducing western poetics to China. Dai’s translation of western poetry has a profound influence on his poetic creation. Dai, throughout his poetic career, was at first influenced by the French romanticism, then was fascinated by the French symbolism and post-symbolism. The years of Disaster, a collection of poems in his later years, however, demonstrates an inclination to the Spanish modernist poetry, especially to the poems of Federico García Lorca, one of the most representative poets of the Generation of 27. This paper focuses on analyzing the characteristics of the works of these two poets, Dai Wangshu and Lorca, and is intended to make a comparative study of the affinities and similarities in their poetic beliefs and practice and the Lorca’s deep influences on Dai’s poetic creation, thus filling the blank in this field.

With “Un coup de dés jamais n'abolira le hasard,” of 1897 (“Dice Thrown Never Will Annul Chance”)—a meditation on how to set up a mental dice game that would visually inscribe the fatal play of human thought shipwrecked against unbeatable chance—Stéphane Mallarmé announced modernism. As his celebrated white sonnet about a swan stuck in the glacier of the blank page (“The new, lively, and lovely today”) had established the image of writing as a near-to-death experience, his equally celebrated understatement about how the ultimate presence of the rose depends on its absence “from any bouquet” had set up symbolism as the art of suggestion. Had any French poet ever had such influence on writers to come? such resonance for readers and artists? With Mallarmé modern poetry begins.

This article examines Papyrus Millingen, an important but now-lost manuscript of The Teaching of Amenemhat. The papyrus survives today in a nineteenth century facsimile, which was last published in black and white photographs in 1963. This article presents new color photographs of the facsimile, along with hieroglyphic transcription and philological commentary, which discusses not only the text but also what the facsimile’s paratextual features suggest about the ancient and modern copying processes. P. Millingen’s version of Amenemhat is contextualized within the full corpus of surviving copies of the poem. The article proposes several possible social contexts for the manuscript’s production and usage and considers the impact of those contexts, along with broader cultural trends of the Eighteenth Dynasty, on the papyrus owner’s reception of Amenemhat.

Robert Graves, who in his literary and artistic work combined historical legitimacy, mythology and poetic intuition, sought to create a religious concept which is capable of responding to the moral and spiritual expectations of the modern man, and this expectation found its ideal embodiment in his conceptual idea of the Great Goddess. Like other sensitive followers of the Great Goddess, Robert Graves once saw the awakening of the universal spirit. Many poets, such as Robert Graves, William Butler Yates, Aleister Crowley, Ezra Pound, presented themselves as apostles of the Great God, although they could not pass through the abyss of the phenomenal world, drowned in the waters of their own reflections and spirituality, and became instruments of the Great Goddess. In the Graves' concept, the supposed Great Goddess represents the Divine Child as the fruit of a ''mysterious marriage'' in unity with the other half of this child as the unity of opposites, and the new God, symbolized by the Black Goddess (black and white, expresses intelligence),it will create a new state of consciousness. The Black Goddess must assimilate opposites in the human psyche, in other words, a harmonious substitution will take place. Although Robert Graves came up with an important concept related to the new religion, new consciousness, new world order, he is not optimistic about the development of humanity and the transition to a new religion.

Abstract: Mark McGurl's The Program Era prioritizes the university-based creative writing program for the production of modern literature, but in the 1930s, the Writers' Project of the Works Progress Administration (WPA) was a progressive and antiracist rival. As a federal employee, Margaret Walker synthesized her colleagues' feedback into her classic poem "For My People," which extols Roosevelt's New Deal coalition. Although scholars focus on Walker's years at the University of Iowa, the WPA's folklore studies, directed by Sterling Brown and Benjamin Botkin, inspired the folklore poems of For My People as well as Walker's landmark novel Jubilee . Walker memorialized the Writers' Project in her underappreciated biography Richard Wright, Daemonic Genius , which not only makes a feminist critique of Native Son but also reminds us of the efficacy of government support for literary creativity. In the 1980s, Walker campaigned for Jesse Jackson, writing essays that drew on her skills as a WPA researcher to merge the ethos of the New Deal with that of the Rainbow Coalition. A testament to activist government coupled with national solidarity, her work models a class-conscious multiculturalism relevant for our own time.

Between 1845–1849, twelve enslaved women in Montgomery, Alabama lived through prolonged, gynecologic experimentation at the hands of Dr. James Marion Sims. What happened, in his 16-bed backyard hospital, often begins the origin narrative of modern U.S. gynecology and how it developed into a discrete and international, Western, scientific field of medicine. Sims autobiography references three of these women, by their first names only: Anarcha, Lucy and Betsey. The research questions here are: what more can be known about these women’s lives, their possible social networks and their cultural legacies? Further, what changes if the origin narrative of modern, U.S. gynecology begins with feminist health humanities scholarship and in the pages of black women’s artistry? I discuss original research findings, involving the following primary source: an 1841 property deed, mentioning the first names of 7 other enslaved people owned by Sims. I, then, examine cotemporary U.S. feminist scholarly writing and artistic cultural representations, centering the lives of the women as important historical figures. Last, I conceptualize the notion of poetic ancestral witnessing within the work of the following three, twenty-first century, African American, poets: Bettina Judd, Dominique Christina and Kwoya Fagin Maples. These women published poetry collections on this history, between 2014 and 2018.

Poetry, as a huge part of the artistic culture in the modern day, has had roles from records of stories and letters of flattery to a form of creative expression. Over the years, poetry gained a larger audience, with social media platforms promoting poets and their messages to society. Activist movements had the help of poems to deliver their voices for social justice, such as performance poetry used by black artists to advocate for their rights artistically. However, linguistic activism is not a newly emerging movement; instead, the idea of raising new ideas to society to cause political or social change existed far before our times. To further explore this connection, this paper will use cases from the past and relate concepts from different eras and will therefore propose a conclusion of the necessity of such a connection between art, innovation, social progression, and politics.

Written in the last decades of the sixteenth century and anonymously published for the first time in 1616, Agrippa d’Aubigné’s epic poem Les Tragiques offers an unusual literary testimony of interconfessional violence during the Wars of Religion in early modern France. Focusing on Aubigné’s aim to give a documentation of violence for generations to come, this article discusses the complex relationship between testimony and epic narration. Agrippa d’Aubignés Epos Les Tragiques, das der Autor 1616 nach jahrzehntelanger Bearbeitungszeit erstmals anonym veröffentlicht, stellt in Hinblick auf die gewaltsamen konfessionellen Auseinandersetzungen, die Frankreich in der zweiten Hälfte des 16. Jahrhunderts erschütterten, ein außergewöhnliches Beispiel literarischer Zeugenschaft dar. Mit Blick auf das unverkennbare Anliegen des Autors, die erlittene Gewalt zu bezeugen und der Nachwelt zugänglich zu machen, erörtert der vorliegende Artikel das testimoniale Potenzial epischen Erzählens.

Введение. В историческом плане конвергенция педагогических и производственных факторов, «законов производства», «законов педагогики» и, наконец, педагогического и технического знания всегда являлась камнем преткновения при решении проблемы подготовки человека к трудовой и профессиональной деятельности. Историко-логический анализ дает возможность целостного видения взаимодействия данных факторов, что позволяет учитывать выявленные закономерности в современной практике профессионального образования, включающего все этапы профессионального становления личности – оптацию, профессиональную подготовку, адаптацию, профессионализацию, профессиональное мастерство. Цель исследования – осуществить на основе историко-педагогического анализа разработку эвристической базы исследования проблемы конвергенции педагогических и производственных факторов как важнейшего инструментария совершенствования образовательно-пространственной среды и личностно-профессионального развития ее субъектов. Методы. В ходе исследования использованы теоретико-методологический анализ смыслового и содержательного наполнения предметного поля, синтез полученной информации, индуктивный метод для изучения конвергенции педагогических и производственных факторов. Исходный методологический пункт исследования – идея диалектического дуализма, допускающая возможность признания равноценности и равнозначности противоположностей. Результаты. Заложены эвристические основы теории конвергенции педагогических и производственных факторов как ведущего механизма совершенствования системы профессиональной подготовки и инструментария филогенетического и онтогенетического развития человека. Научная новизна. Предложена гипотеза о ведущей роли конвергенции педагогических и производственных факторов в историческом и индивидуальном становлении человека. Практическая значимость. Результаты исследования могут быть использованы педагогами и руководителями образовательных учреждений для совершенствования методов обучения и воспитания. Introduction. In historical terms, the convergence of pedagogical and production factors, ‘laws of production’ and ‘laws of pedagogy’ and, finally, pedagogical and technical knowledge has always been a stumbling block in solving the problem of preparing a person for work and professional activity. Historical logical analysis provides an opportunity for a holistic vision of this interaction, which, in turn, allows using its laws in the modern practice of vocational education, which includes all stages of professional development- option, professional training, adaptation, professionalisation, professional excellence. The aim of the study is to develop a heuristic base for studying on the basis of historical and pedagogical analysis the problem of convergence of pedagogical and production factors as the most important tool for improving the educational and spatial environment and the personal and professional development of its subjects. Methods. The study used theoretical and methodological analysis of the semantic and meaningful content of the subject field of research, synthesis of the information received, inductive method in the study of the convergence of pedagogical and production factors. The starting methodological point of the study is the idea of dialectical dualism, which recognises the equivalence of opposites. Results. The heuristic foundations for the development of the convergence of pedagogical and production factors have been laid as the leading mechanism for improving the system of vocational training, as well as a toolkit for the phylogenetic and ontogenetic development of a person. Scientific novelty. A scientific hypothesis about the leading role of the convergence of pedagogical and production factors in the historical and individual development of a person is proposed. Practical significance. The results of the study can be used by teachers and heads of educational institutions to improve teaching and upbringing methods.

The scholarly world has little noted nor long remembered the interesting fact that the emancipation proclamation of a culturally separate African-American literature was accompanied by a generous acknowledgment of Russian precedent. In 1925 Alain Locke issued the first manifesto of the modern Black Arts movement, The New Negro. There could not have been a clearer call for the free expression of a suppressed native voice: “we have lately had an art that was stiltedly selfconscious, and racially rhetorical rather than racially expressive. Our poets have now stopped speaking for the Negro—they speak as Negroes.“ Even so, this liberating word of the Harlem Renaissance was uttered with a sideward glance at the prior success of nineteenth century Russia's soulful literature and music. Locke himself cited the testimony of his brilliant contemporary, the author of Cane, a poetic distillation of the pungent essence of slavery's culture of oppression: “for vital originality of substance, the young Negro writers dig deep into the racy peasant undersoil of the race life.

The article describes the way Russian right-wing literature reflected the Buddhist component of the image of Baron R. Ungern von Sternberg. The author used the interpretive and comparative methods to study the works by E. Limonov, A. Dugin, and L. Prozorov, as well as poets and essayists from the Black Corps Almanac published by the Brotherhood of St. Rev. Joseph Volotsky. Each of these authors had their own perception of R. Ungern’s image, but he remained a symbol of struggle against the wrong world order. For E. Limonov and A. Shiropaev, he was an anti-Western, anti-bourgeois, and revolutionary-minded warrior who became Mahagala, a Mongol-Buddhist god of war. For A. Dugin, he was a universal Pratyekabuddhayāna who was to bring a purifying destruction upon the world as a forerunner of Bodhisattva Maitreya. For the team of the Black Corps Almanac, he was a Buddhism-related Christian warrior who opposed the red ideology. For L. Prozorov, R. Ungern was a demonic mystical being who chose fascism as a means to conquer the world but thought himself equal to Buddha and Christ. In all these cases, the image of Baron R. Ungern existed in a high stylistic register while his real biography and religious issues faded into the background, overshadowed by his symbolism. As a result, Baron R. Ungern turned into a principle that still inspires the modern right-wing, Eurasian, and traditionalist idea.

Since 2016 one of my research topics has been the Baltic German reception of English poetry through the lens of cultural historical book collections in Estonia. One of my findings has been that James Thomson’s The Seasons belonged among the most often received works of English poetry by Baltic Germans in Estonia, after James Macpherson’s Poems of Ossian and John Milton’s Paradise Lost and followed by Edward Young’s Night-Thoughts. (Kaur 2018: 375) Except for Milton’s, these works are almost unknown to modern Estonian readers. Therefore a few words to introduce Thomson and his famous work should be said. James Thomson (1700–1748) was an 18th century Scottish poet and playwright. Son of a Presbyterian minister, he studied at the College of Edinburgh to become a minister (1715–1719). However, very soon he found that preaching was not his calling and moved in 1725 to London to commit himself to literary work. There he created his poetic tetralogy in blank verse Winter (first published in 1726), Summer (1727), Spring (1728) and Autumn, which appeared together under the title The Seasons in 1730 (revised version in 1744). Enthusiastic, patriotic and full of love for flora, fauna, people, landscapes and everchanging weather conditions of his surroundings, but also of the wider world, it was received with great admiration by his British compatriots. But not only them: a new fresh interest in nature and especially in the phenomenon of the seasons as well the wish to describe and express them through poetry and other artistic means can be traced in Europe. Some years before Thomson the famous Italian composer Antonio Vivaldi had created his violin concerto The Four Seasons (1718) and a German poet and senator from the city of Hamburg, Barthold Hinrich Brockes, had started to publish his series Irdisches Vergnügen in Gott (Earthly Delight in God) (1721–1748) in which he meticulously described many objects from and views of nature as God’s creations, inspired by English and Dutch physical theology.

Aesthetic radicalism characteristic of the modernist literary culture is explored in the work of Alexander Blok (1880 –1921) and Wallace Stevens (1879 –1955). Poetic imagination, Stevens wrote, is “always at the end of the era” — the two poets shared a sense of writing from a hiatus between no longer and not yet. Both were fascinated, however distantly, by radical ideologies of their time, particularly the power to produce and propagate heroic myth. Heroic visionaries are defined by the “warlike attitude” (R.W. Emerson), the oppositional stance that causes an enhancement and a reduction of imagination. The image of modern heroics in Blok’s and Stevens’ poetry is associated metaphorically with the energizing and deadening effect of the cold. In such poems as “The Twelve,” “The Snow man” and other the breakthrough to “absolute” reality is imagined as a result of the violent self-abstraction from all settled contexts and all subjective values. It is fraught with risk and associated, by Block, with the ability to hear the music of being through the noises of the time or, by Stevens, with the directness of seeing “things as they are.” Trust in the possibility of such a breakthrough, accompanied by the understanding of its utter impossibility is a characteristic paradox of the culture of modernism. It is most vividly observed as we compare the creative strategies of the two poets, however distant they are culturally.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). 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In the modern world, the process of integration between Kazakhstan and China is intensifying. As a result, there is a growing interest and demand for each other's language, culture and literature among the citizens of the two countries. Acquaintance with the mentality and culture of the country begins with the works of the literary giants of this country. And Li Bai is a giant of Chinese literature. However, until now we have considered his works of art only through translations and concepts of Russian scientists, so now it is necessary to study them from a new point of view by Kazakhstani researchers. Only then can the previously unknown secrets of Li Bai's poems be revealed.Furthermore, the poem is a small poetic work. A sequence of real words, the rhythm of which are normalized, the syllables are in a certain order. The peculiarities of Kazakh poems and Chinese literary giant Li Bai’s works are identical. There are some similarities and differences between them. Poems in Kazakh folklore are associated with labor (hunting, four products, March poems), ancient beliefs (shamanic, seduction), customs (rituals, weddings, mourning poems), black poetry, historical poems, aitys poems. While, Li Bai wrote about nature and its beauty.

The article deals with the American short story, which by virtue of its metaphoric nature, ability to produce immediate effect reflects the national mentality, captures both the momentary and deeper perception of contemporary reality. The background and basis of contemporary small prose is the philosophy and aesthetics of postmodernism: the idea of the prevailing chaos, the departure from external reality to explore the inner world of man, fragmented, skilful stream of consciousness, intertextuality, an element of play. The character is often an asocial or even marginal personality, most often the hero has no background and sometimes no name. We see either rejected by society, suffering individuals, or characters obsessed with phobias and painful tendencies. This sometimes creates a gloomy atmosphere of cruelty, insensitivity and loneliness. Modern storytelling characterizes the duality of the finale, the need for speculation, the possibility of ambiguity; the reader is attracted to the co-authorship. There is a variety of stylistic searches of modern prose writers. With some blurring of genre boundaries, the following subtypes stand out: narrative parable / myth / story; encrypted story; story miniature; fairy tale poem; pseudo-documentary story. In spite of the obvious continuity, fundamentally new trends are observed in XXI century novel writing. These are rethinking/reconstructing subjectivity, „new sincerity”, rejection of „black humor” and „tyranny” of irony, emphasis on empathy and soft humor. Whereas in the small prose of the second half of the 20th century there reigned reflection, doubts, and bitter caustic irony, in the new reality the main thing is the acquisition of humanity and the attempt to find logic in the distorted. For the heroes of modern novel writing, „we” are more important than „I”. If one hears the author’s voice in a narrative, then it is not a neutral or ironic observer, but a sincere, sympathetic, even naive commentator.

The present study, entitled “ linguistic characteristics (the morphology - nominal suffixes ) of a number of (Quriyat or koyrat ) by the poet Kamal Mustafa Daquqli, aims at studying and making a comparison between Turkmen dialect written and spoken forms that show many of the hidden language structures. Similarly, the study sheds light on the poet as one of the most prominent literary figures in Turkmenistan literature. Turkman Quriyat is one of Turkman blank verse significant forms. Apart from (songs and Quriyat) and until the 19th C., folk poetry has been stalled for a long time but reclaimed its literary high position in the middle of the 20th C. The study introduction briefly discusses Turkman literature and traces its variant forms, studies the morphology - nominal suffixes of a number of (Quriyat or koyrat ), and makes a comparison between Turkman and Turkish language through number of given examples. Moreover, it presents a faithful reproduction of a number of unpublished original Quriyat with the necessary alterations to suit Turkman language. During the course of the dictionary writing, a special importance is given to the meanings of Quriyat words that have different form and meaning in modern Turkish language. The conclusion sums up the basic characteristics of Turkman language. Özet Şiirimizin başlangıcı sayılan hoyrat bir duygu ve düşünceyi özgün yollarıyla dile getiren, yedi heceli, dört veya daha fazla mısralı bir halk şiiri türüdür. Hoyrat kendine özgü (özel) müzüğü ile mertlik havası uyandıran, sevda gurbet, sevinç keder, yas, yurt sevgisi, kin ve benzer duyguları işleyen, sanat kavramının klasik unsurlarıyla beslenmiş bir halk edebiyatıdır. Hoyrat bizim Irak Türkmen Edebiyat̕ında çok geniş yer tutar yüksek sanat anlayışı ve aynıca duygusunun bir sonucu olarak edebi sanatların varlığını kayıt eder. Irak Türkmen halk edebiyatının kimliği sayılan hoyrat şüphesiz halk şiirinin en güçlü örneğidir. Fakat halk edebiyatı mahsülleri arasınd bölge halkının tapmacalar dediği bilmeceler önemli bir yer tutar. Bir kısmı manzum olan tapmacalar gibi eskiler sözü, yani atasözü de Irak mensur Türkmenlerinin yaşadığı alanlarda canlılığını sürdürür. Halk edebiyatı mahsulleri arasında nükteler, Molla Nasrettin nükteleri, dualar, beddualar, dilek ve temenni sözler ilgi çeker. Ancak Halk edebiyatının nesir örnekleri için, bölge halkı arasında matal denilen masallar başta gelir. Uzun hikâye, destan veya efsâne türü açısından. Türkmenler arasında yaşayan ve günümüze ulaşan örneklere tesadüf edilmemiştir. Bilinen tek uzun hikâye Arzu ile Kanber atalıdır. Kerkük Türkmen ağzının güzel nesir örneği olan bu masal, Halk edebiyatı metinleri arasında verilmiştir. Türkmen Halk edebiyatı çocuk masalları bakımından da zenginlik arzeder. Kemal Mustafa Dakuk̕ lu yıllar boyu içli hoyratlar kaleme almıştır, yazdığı basılmayan hoyratları toplayarak ve akrabaları ile görüşüp hayatı hakkında bilgi toplayı, hoyratları topluyup bir çalışma olarak hazırladım. Çalışma giriş, dil özelliklerinde isim durum ekleri, basılmayan hoyratlar ve sözlükten oluşmaktadır .Girişte Türkmen edebiyatı hakkında bilgiler vermeye çalıştım , basılmayan hoyratları yazdım , daha sonra Kerkük ağzının şekil bilgisinin (isim işletme eklerinin) özelliklerini verip çalışmaya esas olmakla birlikte karşılaştırmalar yapılmıştır. Karşılaştırmada standart Türkiye Türkçesi esas alınmış, Anadolu ağızlarına değinilmiştir. Son olarak hoyratlada geçen kelimelerden standart Türkiye Türkçesine göre önemli şekil ve anlam ayrılıkları gösterenlerle yazı dilinde bulunmayanlar yer almaktadır. Bu çalışmayı yazdığım sürede maddi ve manevi desteklerini üzerimdem esirgemiyen ailem bana her konuda yardım ettiklerinden minnattarım. Bu çalışmanın gerçekleşmesinde değerli bilgilerini benimle paylaşan kendilerine ne zaman danışsam bana zamanlarını ayırıp sabırla ve büyük bir ilgiyle bana faydalı ola bilmek için ilk olarak Kemal DAKUK̕LUNUN gelini olan (Zeynep Abbas) öğrencime , şairin kendi özel defterinden basılmamış hoyratlarını bana getirdiği için sonsuz şukranlarımı sunmaktayım.

The purpose of the article is to reconstruct the history of commemoration of Shevchenko's anniversary in the context of the activities of Ukrainian public centers and organizations in Odesa in the last quarter of the 19th and early 20th centuries. Research methods have become personalistic and systemic. Sources: archival and published documents, as well as epistolaries, journalism, memoirs gleaned from Ukrainian periodicals. The main results consist in understanding the process of commemorating Shevchenko's anniversary as an important factor in the formation of Ukrainian national consciousness and identity among the population of Odesa – an important socio-economic and socio-political center of southern Ukrainian lands. It is shown that the preservation of the historical memory of the great Ukrainian poet and thinker T. G. Shevchenko had a long history in Odessa from the last quarter of the 19th century before the First World War. Commemoration of the Shevchenkiv anniversaries can be traced in the activities of various Ukrainian public centers and organizations, in particular the Odesa Ukrainian Community, the Odesa «Prosvita», the Odesa «Ukrainian Club» and the «Ukrainian House». The main forms of holding Shevchenko's commemorations were literary, musical and vocal evenings of memory; reading reports, lectures, abstracts about Kobzar; publications about T. G. Shevchenko in newspapers, magazines, brochures, bibliographic indexes, etc.; organization of appropriate memorial services. In the 1870s and 1880s, measures to perpetuate the memory of T. G. Shevchenko were held illegally, and from the end of the 19th century gained publicity and relative mass. A notable role in the organization and implementation of events to perpetuate the memory of the Ukrainian poet and thinker belonged to such figures as L. A. Smolenskyi, O. O. Andrievskyi, P. O. Zeleny, M. F. Komarov, I. M. Lutsenko, D. D. Sygarevich, A. V. Nikovskyi, S. P. Shelukhin, and others. The commemoration of Shevchenko's anniversary faced internal difficulties of an organizational and ideological nature that arose in the Ukrainian ethno-national community of a polyethnic and multicultural city. Shevchenko's measures, first of the Odesa Ukrainian community, and later of the Odesa «Prosvita» and its successors, were in the field of view of the local administration, gendarmes and police, who exerted undisguised pressure and repression on conscious Ukrainianism and its public centers and organizations, sought to block the process of spreading Ukrainian national consciousness and identity in the city. However, the punitive and protective measures of the Russian imperial regime could not stop the activity of conscious Ukrainianism in Odessa to perpetuate the historical memory of T. G. Shevchenko, which was of great importance for the revival and preservation of the historical heritage of Kobzar, the spread of Ukrainian national and cultural values in the Russified and at the same time multifaceted in ethno-cultural, ethno-national and social dimensions of the region. Concise conclusions. It has been proven that from the end of the 1870s to 1914, Ukrainian public centers and organizations accumulated important historical experience in commemorating Shevchenko's anniversaries. This activity contributed to the national consolidation of local conscious Ukrainianism, the formation of the modern Ukrainian ethno-cultural landscape.