Zeitschriftenartikel zum Thema „Good and evil – Poetry“
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1
Mestanov, Sunay. „THE GOOD HERO AND THE BAD HERO IN THE EPIC "THE BOOK OF DEDE KORKUT"“. Годишник на Шуменския университет. Факултет по Хуманитарни науки XXXIIIA, Nr. 2 (10.11.2022): 422–33. http://dx.doi.org/10.46687/zaul8254.
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A person is born, learns to live with life's difficulties and struggles, and in the meantime acquires many qualities such as love, understanding, respect, greed, hatred and anger. Qualities such as anger and greed can sometimes force a person to do evil unintentionally, even if he is not a bad person, but a lesson must be learned from this situation so that he does not completely become a bad person. Evil is a negative concept when viewed independently. However, when we explore it together with the concept of good, which is the opposite of evil, we understand that this is not such a negative concept. Because if there was no evil in the world, there would be no good. Therefore, good and evil are two concepts that have existed since the beginning of mankind and will persist forever. These are two opposing concepts that have been discussed for years by philosophers, authors of novels, short stories and poetry. We will analyze in this article the behavior and actions of the good and bad heroes in two of the detsnas of the epic The Book of Dede Korkut – A Song about how Basat kills Tepegöz and A Song about the son of Duha Kodzha, Deli Dumrul.
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Kuzmina, Ekaterina V. „Concepts “good” and “evil” in the Russian poetry of the Silver age“. Bulletin of the Moscow State Regional University (Russian philology), Nr. 3 (2017): 18–22. http://dx.doi.org/10.18384/2310-7278-2017-3-18-22.
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Koichumanova, G. „Philosophical Poetry Nature and Genesis“. Bulletin of Science and Practice 8, Nr. 1 (15.01.2022): 299–303. http://dx.doi.org/10.33619/2414-2948/74/44.
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Research relevance: philosophical poetry expands the level of not only the poet, but also the reader, enriches his inner world, and teaches him to short, clear, figurative speech, showing the power of verbal art. Research purpose: is to consider the features of philosophical poetry, the relationship between philosophy and philosophical poetry. Philosophical poetry focuses on the philosophical meaning of being, man and the philosophical views of the lyrical character. Research methods and materials: attempts are being made to study worldview orientations and philosophical problems on the basis of their artistic heritage. The article also characterizes the nature and basis of philosophical poetry. Philosophical anthropological concepts, views and ideas of poets are studied. The article deals with the difference from philosophy, philosophical lyricism expresses the poet's artistic perception of the poetic world. Research results: direct contact between the author and the reader, as an old friend who shares good and evil, joy and sadness with him, creates a close and trusting atmosphere between them. Conclusions: Despite this universality, philosophical lyricism reflects the fundamental features and national worldview.
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Paul Cahill. „Globalizing Good and Evil in the Poetry of Jorge Urrutia and Jorge Riechmann“. MLN 125, Nr. 2 (2010): 457–76. http://dx.doi.org/10.1353/mln.0.0247.
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Strokal, Oleksandr. „Between good and evil: linguistic explication of the ambivalence of the universe in O. Dovhiy's poetry“. Actual issues of Ukrainian linguistics: theory and practice, Nr. 40 (2020): 40–57. http://dx.doi.org/10.17721/apultp.2020.40.40-57.
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The peculiarities of the linguistic expression of contrast reception in Oleksii Dovhiy's poetry are analyzed in the article. The author deals with such theoretical issues as а poetic text and the reception of contrast in poetry. Аnalyzing the role of evaluation in а poetic text, the author emphasizes the importance of its functions in verse language and human consciousness as a means of structuring cognizable reality. In the process of researching these problems, the author finds that in O. Dovhiy's poetic language, there are units that name both positive and negative realities within the same context, reflecting the artist's view of a particular organization of the world and the universe. Analyzing language units used by the poet to denote the phenomena of nature, elements of landscape and their attributes, we have noticed that in some cases such language units are used by the artist to reflect life challenges that influence the existential choice of a lyrical hero. Depicting the inner world of a lyrical hero, Oleksii Dovhiy uses a number of linguistic constructions that help the artist to emphasize the importance and the decisive role in such a choice of the inner willpower effort-decision of his hero. The analysis made it possible to distinguish among others a number of linguistic units that, when used in one or another context, create the same images with different axiological semantics. Such peculiarities of contextual use of the respective lexemes made it possible to form a separate group of nominations of contrasting images. The researcher has found out that one of Oleksii Dovhiy's brightest ambivalent images is the image of a word. In one case, this image is understood by the lyric hero as a word that has no weight and a weighty word. In the other case we have an emphasis on such a characteristic as the power of a word, its healing properties. Alongside the image of a word, a series of verbalizers is presented in the artist's poetry to denote the image of fire as a creative and at the same time destructive beginning. Stylistic analysis of the features of contextual functioning of lexemes for the designation of environmental phenomena has revealed a number of language units with stereotypically negative semantics, which in the literary context acquire a neutral or a positively marked tonality. It is proved that in Oleksii Dovhiy's poetry the aforementioned linguostylistic feature is unique
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Wood, Derek N. C. „‘Perswasive Rhetoric’ and the Harlot’s Varnished Cheek: Eloquence Good and Evil in Milton’s Poetry“. Florilegium 16, Nr. 1 (Januar 1999): 155–65. http://dx.doi.org/10.3138/flor.16.013.
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McCrea, Lawrence. „Poetry Beyond Good and Evil: Bilhaṇa and the Tradition of Patron-centered Court Epic“. Journal of Indian Philosophy 38, Nr. 5 (26.08.2010): 503–18. http://dx.doi.org/10.1007/s10781-010-9098-4.
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Mihăilescu, Clementina, und Stela Pleşa. „Food Imagery in Lesley Saunders’ Poetry“. East-West Cultural Passage 19, Nr. 2 (01.12.2019): 40–54. http://dx.doi.org/10.2478/ewcp-2019-0011.
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Abstract The essay entitled “Food Imagery in Lesley Saunders’ Poetry” expands upon various food issues that will be approached via Gaston Bachelard’s aesthetic theory which situates us in the proximity of a sensible point of objectivity further enlarged upon from a phenomenological perspective that merges the exterior substantiality of food with the reality of imagination. The acquired intimate connotations of the poetess’ food environment are tackled in terms of the inner/outer opposition and the Platonic dialectics that involves old versus new, good versus evil, plenty versus scarcity, revealing the dynamic virtues of “roots,” the emblem of the diversity of food. Our approach to the house, where various types of food are being prepared, in relation to its pivotal functions of dwelling, preparing food and sharing it, turns both the house and food into the unfailing communality and sociality constructs of all places and ages.
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Saikovska, O. Yu. „Fundamentals of National Identity in Bulgarian and Rusinian Literature (Based on the Works by Hristo Botev and Alexander Dukhnovych)“. Rusin, Nr. 66 (2021): 67–85. http://dx.doi.org/10.17223/18572685/66/5.
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The article focuses on the manifestations of national identity in the poetry of “buditel” (a metaphor of spiritual awakening; i.e. enlightener, awakener) of the Bulgarian people Hristo Botev and the outstanding figure of the Ukrainian people of Transcarpathia (Rusins) Alexander Dukhnovych. The analysis of the national identity foundations is determined by a multilevel approach, which addresses the psychological, cultural, territorial, historical, and political constituents. The main components of national identity, identified in H. Botev’s and A. Dukhnovych’s poetry, are folk song, folklore, mythology, beliefs and everyday life, folk heroes, national characters, and language. The dominant themes of the poetry of both authors are Motherland, national liberation war, heroism and patriotism, people and enemies, confrontation between good and evil, life and death, freedom and slavery. Traditional images in H. Botev’s poetry are those of woman-mother, beloved girl, man-haiduk (rebel), the haiduk’s song, Bulgarian people, patriot. The main images and images-symbols in A. Dukhnovych’s poetry are those of mother, beloved girl, Russian children, Mother-Russia, unity, falcon, forget-me-not. The common images are freedom, homeland, people, dream.
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Alieva, Fatima Abdulovna. „CREATIVE ACHIEVEMENTS OF THE POET-SONGWRITER OF MODERNITY MAZHID AKHMEDOV“. Herald of the G. Tsadasa Institute of Language, Literature and Art, Nr. 22 (15.06.2020): 28–31. http://dx.doi.org/10.31029/vestiyali22/4.
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The article analyses the poetry of Kubachi poet-songwriter Mazhid Akhmedov, whose work has found artistic embodiment of the burning problems of modernity, his poems tell about good and evil, about honor and dishonor, about patriotism, hard work, love for his native land, fellow villagers. The collection especially richly presents love lyrics, which use all kinds of poetic devices and means – epithets, metaphors, comparisons, and figurative expressions characterized by special expressiveness, as well as bearing the imprint of ethnicity.
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Kozaczewski, Jakub. „Okruchy biblijne Jerzego Ficowskiego“. Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (12.12.2017): 210–23. http://dx.doi.org/10.24917/20811853.16.16.
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Jerzy Ficowski’s biblical fragments The article is a general and panoramic attempt at defining the basic forms of the presence of Bible in Jerzy Ficowski’s poetry. It was estblished that biblical themes are not central elements of the poetic world of the author of Inicjał. Nevertheless, they are constantly present throughout his works. The poet most often refers to the Old Testament. In particular, Ficowski is almost obsessively focused on the motif of the tree of the knowledge of good and evil and original sin. The theme is present in a number of poems written during the period of a couple decades. Those poems are the subject of a more detailed analysis and interpretation of the present article.Key words: Jerzy Ficowski; contemporary Polish poetry; biblical inspirations in literature;
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TOTAJ, Gjyle. „Characters in Fatos Kongoli Novel“. PRIZREN SOCIAL SCIENCE JOURNAL 3, Nr. 2 (24.08.2019): 56. http://dx.doi.org/10.32936/pssj.v3i2.98.
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The greater philosopher,Aristotle,dealing with the characters would have said that “due to the fact that they imitate, they imitate acting people, and these people will, of course, be good or evil because characters almost always follow these two peculiarities and it is known that the difference of the character of all the people is done by the good or the evil”. Even though in the novels of our author, Fatos Kongoli, no such traditional line is followed, such distinction is perceptible in every literature and at any time, and of course, in the novels, we are analyzing. Literary scholar Anton Berisha says that "literary character is an important component element, especially of epic creations, may they be prose or poetry”. Berisha also adds that "they are known extremely successful realizations of the characters in the traditional novel, but also in contemporary and generally modern characters, are noteworthy, but also we do not miss the lyrical characters through which the subjective world is introduced.
Key words: Novel, Characters, Fatos Kongoli, Kosovo
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Garrison, Jim. „PROPHETIC EPIDEICTIC RHETORIC: POETIC EDUCATION BEYOND GOOD AND EVIL“. Educational Theory 53, Nr. 2 (Juni 2003): 221–41. http://dx.doi.org/10.1111/j.1741-5446.2003.00221.x.
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Bogen, Don. „TRANSLATING THE CANON: THE CHALLENGE OF POETIC FORM“. Vertimo studijos 4, Nr. 4 (06.04.2017): 9. http://dx.doi.org/10.15388/vertstud.2011.4.10569.
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The literary translator taking on the task of rendering a major work of European poetry into contemporary English verse faces several challenges in regard to poetic form, including the problem of finding forms in English-language poetry today for conventions derived from foreign literary traditions and the need to engage the historical context of the work without sounding archaic. If a translation is to transmit the essence of a canonical text from a century or more ago, including its formal dimension, it must both convey what is distinct about the original, moving the reader toward the fundamental foreignness of the text, as Schleiermacher advised, and speak to the reader in the language of our time, because a translation that is not recognizable as good poetry in contemporary terms will not be read. This essay will compare the particular strategies of three successful but quite different contemporary translations of canonical works: Richard Howard’s versijon of Baudelaire’s Flowers of Evil, Robert Pinsky’s translation of The Inferno, and Seamus Heaney’s Beowulf.
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Holm-Hadulla, Rainer Matthias. „Sympathy for the Devil - The Creative Transformation of the Evil“. Journal of Genius and Eminence 4, Nr. 2020.01 (2020): 4–14. http://dx.doi.org/10.18536/jge.2020.01.01.
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Mythologies, religions, philosophies, and ideologies show that all cultures are concerned with human destructivity. The same is readily apparent in many modern creative works of eminence. In their famous song, “Sympathy for the Devil,” Mick Jagger and the Rolling Stones refer to Goethe’s Faust, where the Devil is characterized strangely as “a portion of that power/ which always works for the Evil and effects the Good … a part of Darkness which gave birth to Light”. These verses remind one of ancient myth but also of modern ideas of the interplay of creation and destruction. The poetry of Goethe, the scientific psychoanalysis of Freud, and the aesthetic enactments of Madonna Ciccone and Mick Jagger show that the creative transformation of destructiveness provides a chance to cope with evil. Through his poetic and autobiographic self-reflection Goethe described how men are composed of constructive and destructive forces, light and dark, good and evil. This dialectic of drives and activities is also fundamental for the Freudian scientific model of the mind and its interrelation with the body and the social environment. Humans can only survive when they transform their destructive inclinations into constructive activities. The creative transformation of destructiveness is also a central issue in today’s pop culture. Paradigmatically the song ‘Sympathy for the Devil’ describes the atrocities humans are able to commit. The song is exemplary for the transformation of violence into music, dance, and shared aesthetic experience. This is also valid for the provocative enactments of Madonna. Behind her sometimes seemingly shameless enactments one can find a serious working through of depression and aggression. Fundamental elements of aesthetic pleasure in art, science, and social activity stem from the creative transformation of human destructiveness.
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McCarthy, John M. „“The Consolation of Christ”: Thomas More's christening of pagan Consolatio in his Sadness of Christ“. Moreana 56 (Number 211), Nr. 1 (Juni 2019): 81–96. http://dx.doi.org/10.3366/more.2019.0052.
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This essay places More's Sadness of Christ in the ancient genre of consolatio. Arising out of Socrates’ use of philosophy as a means of consolation in the Phaedo, the genre was epitomized in Boethius’ Consolation of Philosophy. In the genre, philosophy, with the help of poetry and rhetoric, provides moral remedies to suffering man with the hope of reordering his passions, intellect, and will to their true good. In other words, the genre of consolatio is philosophy's attempt to provide a solution to the moral problem of evil. Thomas More's Sadness of Christ is a Christian version of this ancient genre. While appropriating philosophical principles and images, More recasts those principles and images in the light of faith, and gives the Christian martyr's proper preparation for death and suffering by reordering his passions and intellect to their proper good through consolation in prayer and meditation on the sufferings of Christ.
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Alfadlilah, Muna. „THE PROPHETIC ETHICS IN NABI BARU POETRY COMPILATION BY TRIYANTO TRIWIYANTO“. Journal Of English Teaching For Young And Adult Learners 1, Nr. 2 (29.07.2022): 66–73. http://dx.doi.org/10.21137/jeeyal.2022.2.2.5.
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Literature reflects the social ideology and criticizes the community that violates the Islamic ideology andmoral values. One of literature works is prophetic literature that discusses about daily life. Propheticliterature refers to literature that involves in human history. The development of prophetic literature withreligious pattern has many elements, including the human-God relation and inter-human relation.Prophetic literature also deals with reality, such as socio-cultural judgment and criticisms. The propheticliterature has three matters: ma'ruf (instructing to do the good things, humanization), nahi mungkar(preventing the evil things, liberation), and tukminu billah (having faith in the God, transcendental). Theresearchers used descriptive-qualitative research with Hermeneutics theory of Hans Georg-Gadamer tointerpret the Nabi Baru poetry compilation written by Triyanto Triwikromo, the definition of prophet, andprophetic or the features of a prophet as the ideal spiritual-individual. As the agent of change, propheticliterature has a motivation to return to the prophetic values and to guide the community in to the rightway. This matter needs three united materials to create unity. This research explains the representations ofhumanism, transcendental, and liberal values. The results showed that Nabi Baru poetry compilation bookby Triyanto Triwikromo contained values, such as humanism, liberal, and transcendental values.
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Darabus, Carmen. „Bizanțul în filtrul balcanic – poezie română din a doua jumătate a secolului XX / Byzantium in Balkanic filter – Romanian poetry in the second part of twentieth century“. Swedish Journal of Romanian Studies 3, Nr. 1 (17.04.2020): 64–70. http://dx.doi.org/10.35824/sjrs.v3i1.20416.
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Talking about Balkanism in Romanian contemporary poetry means to betray, to a certain extent required by degradation or alteration, some literary themes and motifs. Finding ourselves in a geographical area of cultural contaminations, the influence of other peoples in Balkans comes naturally: the nostalgia of Byzantium perfection, continuous reporting at an ideal time, abstraction of the chronology. Balkan themes and motives in poetry are identifiable from the early writings of Romanian literature, including the folklore, with Anton Pann, the Vacarescu and Conachi poets – and their ludic descriptivism – , to Ion Barbu, who strikes a metaphysical note in the Balkan motifs, and later, in the second part of twentieth century, with the species of parody. The Romanian native receptivity allowed continuous assimilations without creating an unpleasant heterogeneous feeling. This openness has contributed decisively in a formative way to bring Byzantium on a new soil in a perfect and saturated array; the perfectibility is not possible anymore, so the failure was natural, in a degraded status – Constantinople. Oriental-Byzantine gravity becomes in Oriental-Balkan tragedy or comedy, balance slid to one extreme, sometime becoming ridiculous. Contemporary poetry does not express any more a true lament, but a kind of parody (in ludic poetry) or sheer contempt (in the solemn poetry). The Balkan intelligence is not critical, but creative, with the risk of perpetuating monstrous forms, beyond good and evil. Byzantium established itself through a double filter – for the East and for the West – influencing and being influenced, in turn. Romanian poetry has the full sequence of themes and aesthetic formulae, from tragic to comic, often switching rapidly from one edge to the other, taking into account the old Thracian solemn part, then the proud Byzantium and its absorption in Constantinople – all rolling in a series of formal expressions reflected in themes and vocabulary.
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Sarnowski, Michael. „Enemy Encounters in the War Poetry of Wilfred Owen, Keith Douglas, and Randall Jarrell“. Humanities 7, Nr. 3 (14.09.2018): 89. http://dx.doi.org/10.3390/h7030089.
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While some war poets amplify the concept of anonymity for enemy soldiers, projecting an “us vs. them” mentality, other defining voices of war counter this militaristic impulse to dehumanize the enemy. This pivot toward describing the World Wars more like humanitarian crises than an epic of good and evil is most notable in poems that chronicle both real and imagined close-range encounters between combatants. The poem “Strange Meeting” by British First World War soldier Wilfred Owen uses the vision of two enemy soldiers meeting in hell to reinforce his famous notion that war is something to be pitied. As a result of technological advancements in the Second World War and the increasing distance of combat, the poems “Vergissmeinnicht” and “How to Kill” by British Second World War soldier Keith Douglas wrestle with dehumanizing the enemy and acknowledging their humanity. “Protocols” by American Second World War soldier Randall Jarrell is an imagined view of civilian victims, and is a reckoning with the horrors human beings are capable of committing.
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Chikina, Natalia Valerievna. „THE WORLD OF IMAGES IN SANTTU KARHU’S POETRY“. Yearbook of Finno-Ugric Studies 13, Nr. 2 (25.06.2019): 248–57. http://dx.doi.org/10.35634/2224-9443-2019-13-2-248-257.
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The paper analyzes the works of a well-known poet and rock musician S. Karhu, who writes in the Karelian language. The aim of the study is to highlight the author’s artistic system of images. The following tasks were set for the study: to formulate the poet’s original concept, to scrutinize and comment on the images in Karhu’s lyrics. The object is verses from the first and so far only volume. The subject of the study is the specific ethnic traits of Karhu’s poetry, as seen in the system of images. Literary-historical and comparative methods were used in the analysis. The scientific novelty is in the absence of similar studies on the poet’s works. Systemic analysis of the ethnic sources, the evolution and genre choices of the Karelian language literature associated with the changing artistic consciousness are coming to the foreground in this time of global change, when preserving the people’s cultural heritage is especially important. The poet’s personal background has brought him into the sphere of artistic creativity, enabled him to verbalize the world of ethnic life that had been opened up to him. The article points out some specific features of the world of images, language and culture of the Karelian people. Karelian literature shows a tendency to use folklore heritage. The transformation of folk poetic symbolic images is arguably the most characteristic trait of folklorism in contemporary Karelian-language poetry, where folk poetry symbols tend to be equaled with the image of the native land. Karhu’s philosophical verses increasingly pose and confidently resolve the questions of good and evil, happiness and pain, life and death. It is essential for him that the character retains the folklore origins, for he deems it to be the spiritual source of modernity.
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Tychinina, Alyona. „Hryhoriy Skovoroda’s Idea of Related Work in the Poetry of the Modernist Association “Muzaget”“. Pitannâ lìteraturoznavstva, Nr. 106 (30.12.2022): 25–40. http://dx.doi.org/10.31861/pytlit2022.106.025.
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Hryhoriy Skovoroda’s idea of the immanent existence (1722–1794) about related work in Ukrainian modernists poetry, in particular representatives of the artistic group “Muzaget” (1919) is considered as the main methodological prism that conceptualize related work of Panna, outlined with the support of V. Gorsky, L. Ushkalov, and D. Chyzhevsky. The article describes the history of creation and specifics of Kyiv post-revolutionary group of symbolists “Muzaget” activities. The literary and artistic almanac with a similar name was analyzed, where each member of the collective presented his “related” art form: poetry, prose, criticism, painting and, at the same time, recorded the affinity of individual and social (national) principles. Based on the analysis of Mykhailo Zhuk, Dmytro Zahul, Volodymyr Kobylyansky, Klym Polishchuk, Oleksa Slisarenko, Mykola Tereshchenko, Pavlo Tychyna, Pavlo Fylypovych, and Volodymyr Yaroshenko poetry, conceptual dominants have been singled out, which in general realize the creative and collective affinity of “Muzaget poetry”. The symbolism of poetic images-archetypes is outlined: God, Christ, joy, star, flower, wind, path, poet’s soul, singing, music, and dream. The functioning of antitheses and parallelisms is emphasized: the flow of human life / the impermanence of nature, life / death, earth / hell / heaven, good / evil, day / night, asceticism / holiness / sinfulness, Christ / Satan, loneliness / crowd. The polyphonic musical imagery and musicality of the poem are analyzed by using tropes, phonetic and syntactic means. It is concluded that poetic innovation, truthful exhibition of creativity and individuality, accentuation of affinity between talent and character, productive interaction of friends in popular creative collectives in the conditions and under the influence of complex historical events and ideological dilemmas of the 20-30s of the 20th century, led some Musagetists to glorious recognition, and others to the tragic consequences of the Red Renaissance.
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Boldyreva, Elena M., und Elena V. Asaf’yevа. „“HOUSE LIKE A SHADOW”, “BUTTERFLY OF REVENGE” AND A “DEAD PORTRAIT”: MOTIF CONCORDANCE IN RUSSIAN GULAG POETRY AND CHINESE “FOG POETRY”“. Vestnik of Kostroma State University, Nr. 3 (2020): 177–86. http://dx.doi.org/10.34216/1998-0817-2020-26-3-177-186.
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The article considers the system of creative concordances of Russian gulag poets and representatives of Chinese «fog poetry». The creative work of poets is analysed in the context of typologically similar trends in the Russian and Chinese literary process – the Russian literature of the gulag and the Chinese literature «wounds and scars», «the fate of poets are considered as an example of the complex opposition of the personality to the totalitarian system. When comparing the works of the «fog poets» and the poets of the gulag, a lot of motifs and figurative calls significant for the artistic world of poets are revealed: images of a butterfly of revenge, shadow, a portrait leading to horror, a motif for identifying historical memory, a motif for the absence of guilty, a destroyed youth, the inseparability of the fate of man from the fate of the homeland, a motif for suffering for the good and faith in the future, a representation of poetry as a way of survival and overcoming evil, a motif for resistance to nature, a steady and decisive movement forward, a motif for bodily destruction, voices from under stone, patience. After studying a number of common ideas and motifs, the authors of the article conclude that the creative work of «fog poets» and gulag poets is not only a way to survive in harsh conditions of imprisonment and exile, but also a historically significant phenomenon, because it reflects the nature of the era in which poets were forced to write and exist. This body of texts is considered as a material for studying the status of the poetry word as an aesthetic means capable of giving historical and artistic evidence of the Soviet and Chinese reality of the 20th century.
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Rawda Ibrahim Jalout, Wejdan Al-Miqdad, Rawda Ibrahim Jalout, Wejdan Al-Miqdad. „The Effectiveness of the Contradictory Duals in Osama bin Munqith's Poetry: فَاعِليَّة الثُّنَائِيَّات الضِّديَّة في شِعِر أُسَامَةَ بنِ مُنقِذ“. مجلة العلوم الإنسانية و الإجتماعية 5, Nr. 16 (27.12.2021): 79–56. http://dx.doi.org/10.26389/ajsrp.w190821.
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Antagonistic dualities are a philosophical phenomenon that has been transferred to the context of literary criticism and then applied to literature, and it is a reflection of the aspects of the universe based on contradiction such as good and evil, light and darkness, existence and nothingness, death and life, and an expression of the human soul with its struggles and fluctuations, a term defined by our rhetorical inheritance. Among them are antithetical, equivalent equivalence, and considering literature as a form of self-expression, this research came to show the importance of oppositional dualities and the effectiveness of their presence in the literary text with the vitality they give it, in addition to their role in persuasion and influence through the element of paradox and astonishment that it creates in the recipient through the encounter of dualities And the collection of contradictory meanings, which are integrated in the service of the literary text , finding the pleasure of reading and receiving , working on analysis and creating semantics.
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Forti, Tova. „Bee's honey—from realia to metaphor in biblical wisdom literature“. Vetus Testamentum 56, Nr. 3 (2006): 327–41. http://dx.doi.org/10.1163/156853306778149674.
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AbstractThe word děbāš in the Bible denotes various types of fruit syrup as well as the honey produced by bees. An overview of the literary adaptation of honey in biblical narrative and poetry leads us to an impressive assemblage of honey metaphors in the wisdom books of Proverbs and Job. This study identifies four rhetorical categories which encompass both didactic and reflective frameworks of honey imagery: A. 'Honey' as a metaphor of internalization wisdom and attaining good reputation; B. 'Honey' as a symbol of restraint and moderation against overindulgence; C. 'Honey' as a metaphor for temptation and ensnarement; D. 'Honey' in the context of the two antithetical idiomatic expressions; "Honey under the tongue" and "venom under the tongue". These expressions serve to draw an ideational contrast between the pleasant words of the Wise and the evil stratagems of the Wicked. My investigation will provide insight into the way that particular qualities of raw bee honey inspired the composers of the various metaphors.
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Alfarraji, Saddam Ali Saleh. „Humanity Values in Pre-Islamic Prose“. Journal of AlMaarif University College 33, Nr. 2 (30.04.2022): 20–36. http://dx.doi.org/10.51345/.v33i2.494.g265.
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The research aims to show the importance that prose played in influencing society with the great meanings it offers, and this influence in society created an interactive atmosphere among the members of the same nation ,That is why we find that they have used this art to instill human values in the souls of the members of society, leading them to the perfection that they seek, and this represents the correct building block for any sophisticated society free from any distortion or what prevents it from entering the vortex of evil or what is contrary to good, add to that Prose is similar to poetry, and it was no less important in embodying events or influencing the nature of life and the behavior of the people of society to paint a bright picture that removed the darkness that some of the people of that era almost dyed their era with. The researcher helped the extrapolation of texts to reach these values. The concerned people assumed this task because they saw the great importance of literature in influencing society and expressing the nation’s issues in a way that brings good and keeps them away from all harm.
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Khaninova, Rimma. „Lyrics of Vladimir Nurov: The Genre of Curse (Kharal) and Ritual of Its Removal Analyzed“. Бюллетень Калмыцкого научного центра Российской академии наук 4, Nr. 24 (07.11.2022): 130–51. http://dx.doi.org/10.22162/2587-6503-2022-4-24-130-151.
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Introduction. Within the genre paradigm of twentieth-century Kalmyk poetry, the folklore-derived one of curse (Kalm. kharal) used to be represented by few local and original samples that remained in the periphery of the literary process. The latter include poems by A. Suseev, M. Basangov, B. Sangadzhieva, D. Kugultinov to have been and yet to be examined in our articles. Goals. The paper aims to identify V. Nurov’s works clustering with the genre of curse, and consider the poetics of two poems — Well-Wish and Curse (Kalm. Йɵрǝл болн харал, 1973), I Cut the Black Tongue off (Kalm. Хар кел керчүлнәв, 1980) — in historical / literary, historical / functional, and comparative / typological aspects, as well as Russian translations of the second text. Results. The first poem has two versions slightly different in style. The principle of contrasting two folklore genres in this poem conveys worldviews and perceptions of the Oirat ancestors, their inclination to prioritize the spiritual over the material, when the good word was valued above all. In the second poem, the philosophemes of good and evil are actualized in the paradigm of the ancient rite that served, as ancestors believed, to annihilate negative effects of the harmful message. The poem I Cut the Black Tongue off (Kalm. Хар кел керчүлнәв) was translated by Yu. Neiman (1981) and V. Shoshin (1992), and is instrumental in showing how Kalmyk text’s form and content tend to be perceived by Russian translators in the perspective of imagology — ‘us and them’. Conclusions. The folklore tradition inherent to the curse genre in V. Nurov’s poems gets transformed in philosophical discourse, those reproduce neither formulas of curse nor any certain actions, despite the latter poem mentions the rite of ‘cutting off the black tongue’ never to describe it. The Kalmyk proverb about well-wishing and damnation introduced in the first poem becomes a starting point for the author’s reflections on good and evil.
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LUSHNEVSKAYA, E. „"THE NIBELUNGENLIED" IN THE CONTEXT OF EUROPEAN EPIC TRADITION“. Herald of Polotsk State University. Series A. Humanity sciences, Nr. 2 (28.02.2024): 16–22. http://dx.doi.org/10.52928/2070-1608-2024-70-2-16-22.
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The article considers the German heroic epic "The Nibelungenlied" in the context of the Western European epic (on the example of "Beowulf" and "Song of Roland") and Old Russian byline epic. It is emphasised that the researched epics are characterised by commonality at the plot and thematic level. It is about historical convention; about the opposition of grief and joy, good and evil; about the motives of snake-fighting, betrayal and revenge; about the presence of difficult trials, which the hero is helped to overcome by strength, courage and honour; about material benefits and the hero's attitude to fate, as well as about the hero's death. The author concludes that these features are associated with the presence of elements of oral poetry in the epic genre, which are born from the synthesis of heathen and Christian worldviews. As a result, along with typological similarities, the differences were revealed, connected, on the one hand, with the specificity of culture, and, on the other hand, with the personality of the author of the epic, in particular "The Nibelungenlied".
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Van Den Beld, A. „Killing and the Principle of Double Effect“. Scottish Journal of Theology 41, Nr. 1 (Februar 1988): 93–116. http://dx.doi.org/10.1017/s003693060003129x.
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When we raise the question of whether the pleasures of the human body are as valuable as those of the human mind — whether, for example, pushpin is as good as poetry — it is quite possible that people will disagree on their answers. But we would also expect most people to agree with the assertion that the death of a human being would generally be a bad thing; whilst his continuing to live would be a good thing. Furthermore, we would expect most people to concede immediately that the death of five human beings is a worse evil than the death of one single individual: all other things being equal, I hasten to add. It seems to follow now, on the basis of this commonly held view, that saving the lives of five people, who would be doomed to a certain death without an intervention on the part of another, would be morally right, if not praiseworthy, even if the action which is necessary to save those five lives would also entail the death of another person. To liven up the proceedings, if you will pardon the expression in this context, let me put to you this specific case:organs distributed. In that case, there would be one dead but five saved.’
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Strokal, Оleksandr. „Poetics of color names in Anatolii Moisiienko’s creativity“. Ukrainian Linguistics, Nr. 48 (2018): 29–36. http://dx.doi.org/10.17721/um/48(2018).29-36.
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The article is devoted to the analysis of individual and author’s features of the use of color names in Anatolii Moisiienko’s poetic idiolect. The color category is one of the basic components of ethnoculture, since it’s closely connected with the individuals’ ideas about the original cause of the universe, good and evil, joy and sorrow. Color is a psychic and physiological phenomenon, a means of influencing the personality and social consciousness. Each culture has its own color dominants, which are special universal elements of the world picture. Color nominations are effective markers that can be used to study national and individual characteristics, since fantasy and feelings produce the emergence of individual images that reflect the character of the nation. The color designations receive additional associative-connotative semantics in the poetic text. They take part in the creation of bright poetic images, in the transfer of the inner state of the lyrical hero by the author, in the depiction of a particular artistic space. These nominations reflect the conceptual picture of the world of the lyric hero through the linguistic picture of the world. The conducted research has shown that the conceptual picture of the world of the Anatolii Moisiienko’s lyric hero has a bipolar character, which is represented by words denoting bright and dark colors. These colors represent the universal notions of the world of good and evil, white and black. But the author’s feature is that the world of the lyrical hero is represented not only in black or white. In poetry, the author uses the names blue, blue, golden and black. The words that denote the first three colors have a positive or neutral connotation. Poetic contexts with the component “black” help the poet to convey the inner state of the lyric hero (fatigue, apathy) or negative developments. Author’s neologisms with the above component also take part in creating poetic image of time. Using the above words helps the author create a special artistic world, full of bright colors and expression.
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Fedorov, Alexey V. „Afanasy Afanasyevich Fet as a poet-thinker“. Literature at School, Nr. 6, 2020 (2020): 9–23. http://dx.doi.org/10.31862/0130-3414-2020-6-9-23.
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The article proposes to consider the creative individuality of A.A. Fet as a poet-thinker. It places a special emphasis on his ideological views, expressed in his enthusiasm for the teachings of A. Schopenhauer’s and in disputes with L.N. Tolstoy; extensive epistolary material is involved (this correspondence with Ya.P. Polonsky, L.N. and S.A. Tolstoy, N.N. Strakhov, K.R. and others); a brief overview of the critical reviews of contemporaries on the poet’s poetry collections is given. Here, Fet’s philosophical lyrics are analyzed in particular detail (first of all – the late, period of “Evening Lights”, in which there is an understanding of the universal categories of being – life and death, good and evil, the world and man, time and eternity), some parallels are drawn with F.I. Tyutchev. The article traces the development of spiritual and religious issues in the work of Fet’s (gospel stories and motives, the image of the Lord, the genre of prayer, etc.). The article raises the question of expanding the concept of “poet-thinker” taking into account the category “mind of the heart” designated by Fet himself. From these positions, his poem “I am waiting, embraced by anxiety...” from the “Evening Lights” collection is analyzed. Considering Fet’s work as “the poetry of thought” does not cancel, but enriches his airy image in our minds, allows us to present Fet’s personality in more volume, to clarify and expand the idea of the real complexity and versatility of his artistic nature, to come closer to understanding “lyrical insolence” as “the property of great poets” (words of L.N. Tolstoy about A.A. Fet).
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Grigorieva, S. V. „«HERE IS DUST, WAR, UNITA AND NIGHTMARES…»: THE IMAGE OF ANGOLA IN THE POETRY OF THE SOVIET MILITARY, PARTICIPANTS IN THE ANGOLAN CIVIL WAR (1975–2002)“. Izvestiya of Samara Scientific Center of the Russian Academy of Sciences. History Sciences 4, Nr. 3 (2022): 51–60. http://dx.doi.org/10.37313/2658-4816-2022-4-3-51-60.
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The article is devoted to a socio-historical and cultural phenomenon, designated by the author as "amateur poetry of the Soviet military, participants in the civil war in Angola (1975-2002)". The author reveals the political and psychological reasons for the appeal of soldiers-internationalists to poetic creativity and proves the possibility of using these works as historical sources. A comprehensive analysis of the literary heritage of 17 Soviet military men who served in Angola in the 1970s–1990s was carried out in order to characterize the image of Angola. The author argues that the stereotypes imposed by the literature of the 20th century were continued in the poetry of the Soviet military, for whom the People's Republic of Angola appeared as a "distant" unknown African country. The dominant feature in creating the image of the country was a landscape built on recognizable memes: red earth, life-giving ocean, savannah, palm trees, papaya, heat. Another traditional motive for Soviet literature was the idea of Angola as "a place of confrontation between the forces of good and evil, socialism and imperialism", therefore, the fulfillment of international duty, cooperation with the "progressive forces of Angola" for these people was considered natural and fully justified. The third myth, reflected in amateur poetry, concerned the "poverty and backwardness" of Angola, and, therefore, its inability to defend its freedom and independence without outside help. The author proves that the stereotypes imposed by Soviet propaganda were refracted in amateur poetry under the influence of reality and time. Angola during the years of the civil war turned out to be not Gumilyov's "lost paradise", but a "terrible hell", from which not everyone managed to get out; "angolans" turned out to be not a single people dreaming of a "bright socialist future", but a multitude of warring tribes. The secrecy of the participation of the USSR in the conflict in Angola and the unwillingness of the authorities to recognize Soviet military as combatants entitled to appropriate benefits formed the idea of Angola as a country "where Soviet military personnel could not be".
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Syarofi, Abdullah. „Bentuk, Makna, dan Fungsi dalam Mantra Pengobatan Dukun di Kabupaten Lamongan (Kajian Etnolinguistik)“. Al Yazidiy : Jurnal Sosial Humaniora dan Pendidikan 4, Nr. 1 (05.05.2022): 99–109. http://dx.doi.org/10.55606/ay.v4i1.28.
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Paper is aimed to describe and explain the form, meaning, and function of Lamongan dukun’s (Indonesian shaman) spell in healing the patient. The research method used in this article is observation approach. In this research, the researcher involves himself as an audience when the dukun cast his spell to his patient. The researcher recorded the interviews with the Dukun. In addition, this study also uses literary data from books, papers, internet, thesis, journal, and any other sources that support the research. In analyzing the data, the researcher decided to classify the data into form, meaning, and function. The ‘form’ data is analyzed using poetry structure theory. The ‘meaning’ data is analyzed using semantic approach. The ‘function’ data is analyzed using Malinowski theory. There are two results of the ‘form’ analysis, which are: Seloka and Bidal. From the ‘function’ analysis, there are three functions, which are: (1) For a healing spell; (2) To pray to Allah SWT; (3) and as a medium to bring evil and good. The ethnolinguistic analysis of this research focused on the process of language dimension in cultural dimension of a Dukuns’ ritual in casting his spell to his patient.
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Ancerowicz, Aleksandra. „Motyw nadziei w twórczości Igora Talkowa“. Studia Rossica Posnaniensia 48, Nr. 2 (29.12.2023): 83–96. http://dx.doi.org/10.14746/strp.2023.48.2.6.
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The aim of this paper is to present the literary theme of hope in the works of the Soviet Russian rock poet Igor Talkov (1956–1991). The poet’s poems as well as fragments of texts from the author’s prose serve as examples. In the course of analyzing the literary legacy of the composer, the author of the article distinguishes the following images of hope: the theme of hope conditioned by striving to fulfil his role in a dignified way in the arena of life; the theme of hope for the immortality of the poet’s fame and poetry; an inverted image of hope, interpreted as a loss of delusions; the theme of hope leading to victory in the unequal struggle of two ambivalent forces: Good and Evil; the theme of hope which is faith in a better life. Moreover, the conducted research shows that the poet, recalling the literary image of hope in his work, repeatedly referred to biblical texts and the works of the authors of the Golden Age, which, as works by Igor Talkov, allows to distinguish another characteristic feature of the presented speech master.
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Dukkon, Ágnes. „The Poetics of Nocturnal Landscapes in Gogol’s Early Works“. Проблемы исторической поэтики 18, Nr. 2 (Mai 2020): 87–108. http://dx.doi.org/10.15393/j9.art.2020.8082.
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<p>In the present article the nocturnal landscapes of some of the short stories from the <em>Evenings on a Farm near Dikanka</em> and <em>Viy</em> from the <em>Mirgorod</em> cycle, are reconsidered, thus analysis is focused on the depiction of the Evil and the author’s attitude to the metaphysical background of this problem. The scrutiny is prompted by a few groups of questions: 1. what sort of poetic principles regulate the depictions of Ukrainian landscapes and the relationship between man and the ’scenery including him’ in N. V. Gogol’s early works? 2. how do a great variety of elements taken from different traditions cross each other at one point, such as the Bucolic (pastoral) poetry, clichés of Romanticism, folkloric archetypes and the author’s own, independent artistic means? 3. what is hidden behind the apparent Dualism of the Good and the Evil in Gogol’s early works? how do elements of Romanticist <em>Weltanschauung</em> and the traits of Evangelic (<em>paskhal’naya</em>) Aesthetics co-exist? With these questions traced down, the function of the multifoldness of the Gogolian prose can get verified alongside with identifying a close relationship between text and subtext. According to the approach of the author of the present article, the research into the ‘literary appearance’ of Gogol’s early works may reveal the various stages in the development of the writer’s artistic idea.</p>
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Pandey, Dr Rajesh Kumar. „Poetic Justice in Literature“. International Journal for Research in Applied Science and Engineering Technology 11, Nr. 11 (30.11.2023): 1489–90. http://dx.doi.org/10.22214/ijraset.2023.56807.
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Abstract: Poetic justice in literature describes evil characters are punished or brought to justice for their actions, and good characters are rewarded. Literature that utilizes poetic Justice will often have happy endings with moral lessons for the reader to learn. The history and definition of poetic justice come from Thomas Rymer , a drama critic who wrote the essay “The Tragedies of the Last Age consider’d. ” in 1678 . Rymer’s view was that a poem ( In a sense that includes dramatic tragedy) is an ideal that realm of its own and should be governed by ideal principles of decorum and morality and not by the random way things often work out in actual world.
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Zeng, Hong. „Practical Gods: Carl Dennis’s Secularized Religious Visions“. Religions 14, Nr. 6 (06.06.2023): 752. http://dx.doi.org/10.3390/rel14060752.
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This paper examines Carl Dennis’s secularized religious visions in his Pulitzer-winning poetry collection, Practical Gods (2001). Dennis’s secularized religious visions can be quite understandable in the context of the ascending trends of secularization, diversification, and globalization of religion in America, and they demonstrate affinities with literary predecessors such as Wallace Stevens, with his aestheticized religion under the influence of Nietzsche, as well as with the innovative religious thinking of William Blake, Kazantzakis, and Oscar Wilde, and with certain aspects of Taoism and Zen Buddhism. This paper addresses Dennis’s perception of theological controversies, such as the contradiction between the omnipotence of God and the existence of evil, theological determinism vs. human free will, theological view of history vs. New Historicism, divinity in man, aestheticized religion, and earthly paradise through the focused lens of Dennis’s “practical religion”. Despite the breadth of the theses in Dennis’s conceived practical religion as examined in this paper, they are all tied up with the core of the phenomenological study of religion: that religion is important to believers of the religion irrespective of the objective truth of the religion or the actual existence of God. In Dennis’s views, as accorded with the phenomenological study of religions, God maybe an idea and a fiction, but it is a necessary fiction for humans. Thus, Dennis humanizes gods with the flaws and fragility of humanity while deifying ordinary humanity in the contemporary context. Contrasting what he views as theological determinism with its view of linear history and the apocalypse of grand events, Dennis embraces human free will, a non-teleological, aestheticized living with necessary fiction, and a transient paradise on earth. Carl Dennis’s religious vision reveals a poststructuralist (even though he did not brand himself so) abolition of the absoluteness of a transcendent signifier as well as binary opposition (between God and man, good and evil, religious/historical truth and fictionality), and it manifests an affinity with New Historicism and the phenomenological study of religion.
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V, Bharathi, und Muthuramalinga Andavar Va.Mu.Se. „Social Thought in the Works of Poet Vaali“. International Research Journal of Tamil 4, Nr. 4 (16.10.2022): 239–45. http://dx.doi.org/10.34256/irjt22431.
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Millions of people all over the world are still listening to Vaali's songs every day. Poet Vaali has carved a niche for himself in the film industry for more than 60 years as a film lyricist. Vaali entered the film industry when Kannadasan was ruling the industry with his songs and became famous for composing songs on par with Kannadasan's songs. He has written a variety of songs such as traditional poetry, new poems, and musical compositions, and made them fly the flag of success. He is also able to deal with social ills and social problems with a view to creating social awareness. The poet Vaali is someone who can use film songs and poetry as a good means of communication. This article explores how he has approached social evils and social woes in his works with his rich vocabulary.
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Wati, Ella Susila, Yuli Imawan und Hellen Tiara. „ARABIC LITERATURE IN THE ISLAMIC PERIOD: SYI’IR AND NATSAR“. Afshaha: Jurnal Bahasa dan Sastra Arab 2, Nr. 2 (31.10.2023): 90–104. http://dx.doi.org/10.18860/afshaha.v2i2.20772.
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Arabic literature during the Islamic period played a crucial role, serving as a central force in shaping the Muslim community. This research aims to analyze the development of Arabic literature during the Islamic period (shadr Al-Islam) in the forms of syi’ir and natsar. It employs a qualitative descriptive research method with a literature review approach. Data were sourced from journals, books, notes, and other documents related to the development of Arabic literature during the Islamic period. Data were collected through documentation techniques and analyzed using qualitative data analysis methods, including data reduction, data presentation, and drawing conclusions. The research findings indicate that the development of Arabic literature during the Islamic period manifested in the forms of poetry and prose, both of which were present in two periods: the era of the Prophet and the era of the Rightly Guided Caliphs. The main characteristics include the use of language styles that constantly remind of Allah, containing verses of qauliyah and kauniyah. These literary works uphold the principles of amar ma’ruf nahi munkar, enjoining good and forbidding evil, marked by deep compassion and wisdom, reflecting Islamic teachings. The themes often revolve around profound love and devotion to Allah, the Prophet, parents, and dedication to struggles in the path of God. This love extends to encompass all of Allah's creations, reflecting a holistic and inclusive worldview
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Matkovska, Mariya. „SOCIOCULTURAL BACKGROUND AND THE SEMANTIC CHANGE OF THE CONCEPT CHOICE (a case study poetic texts by John Keats)“. Scientific Journal of Polonia University 63, Nr. 2 (08.07.2024): 56–63. http://dx.doi.org/10.23856/6306.
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The aim of the paper is to prove the hypothesis: the conceptual schema Choice verbally embodied into the text is formed on the basis of interpretation of conceptual structures represented by socio-cultural experience. The article deals with the concept of Choice in terms of its history, etymology and change. The author tries to analyse the concept of Choice and to compare it with original meaning and different opinions in order to clarify it. The relevance of the paper is due to the need to identify the common and specific features in poetry of John Keats. And also the interrelation of language and context, which will promote the better understanding of the rational worldview reflected in the linguistic pictorial version of the universe. The relevance of my topic is also confirmed by the fact that raised understanding as a cognitive choice that is hard for everyone to make, which carries with it many consequences, which disposes of the concepts of imposition of good and evil, dark and light, freedom and slavery, life and death. The concept Choice is a central category of philosophy. It expresses ideas about human existence. It is the level of all that is positive and all that is negative in human life. Through the prism of this concept, human actions are evaluated.
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Kang, Soo-Won. „A Study on the Color Image of Heo Soo-kyeong’s Poetry: Focused on the Aspect of Mixture and Entanglement of Black and White color“. Dongnam Journal of Korean Language and Literature 54 (30.11.2022): 5–25. http://dx.doi.org/10.21654/djkll.2022.54.1.5.
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Black and white in Heo Soo-kyeong's poetry reveal unique color symbolism in a way of repetition and reversion. This aspect deepens and expands the emotion and the subject consciousness, which forms her own distinct poetic aesthetics. Furthermore, the black and white color images in her poems display an Assemblage effect, forming mixed and entangled aspects in one work. This is a new possibility created by a combination of disparate elements, a further level of thinking from the conventional wisdom that the two colors indicate an opposing single network of meanings in different works.
In the case where the two color images are mixed and entangled in a single work, in Heo Soo-kyeong's poem, there appears two aspects of confrontation and coessentiality in the meaning of the subject consciousness. First of all, the two colors appear as opposing color images, which assumes the symbolism that schematizes the power structure of the strong and the weak. However, the meaning of these two colors can be interchangeable, not being fixed as an opposite between good and evil or strong and weak and, thereby presenting the poet's flexible way of thinking.
On the other hand, in the case where the two color reveal coessential color images, they assume two aspects, negative coessentiality and positive coessentiality. In other words, both black and white reveal negative coessentiality by maximizing the emotion of sadness and depression, or positive coessentiality by aspiring after a world of purity and peace. This pattern deviates from the conventional wisdom that regards white and black as opposite colors, which is a point that reveals Heo Soo-kyeong's distinct sense of color.
In this light, the color images of black and white forms deeper and richer semantic network when they appear to be mixed and entangled in one work than when used solely. This is the result of the poet's expanded creative imagination for the symbolism of color images, and it can be interpreted as the expression of multidimensional and fluid color aesthetics and securing new possibilities for color symbolism through the interaction of black and white.
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Novikov, Boris, Tamara Rudenko und Svitlana Babina. „G. SKOVORODA’S PHILOSOPHICAL WORK IN ASPECT OF MORAL IMPROVEMENT OF MAN“. Educational Discourse: collection of scientific papers, Nr. 41(7-9) (14.11.2022): 38–46. http://dx.doi.org/10.33930/ed.2019.5007.41(7-9)-4.
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G. Skovoroda’s creative work includes many contradictory teachings that originate in ancient and early Christian philosophy, but it is still clear to us that the leading idea of his work is the theme of man, his moral being. G. Skovoroda builds his ideal of a person who has common features with an ancient ideal. The teaching of a philosopher about two natures, which are the basis of the worlds he defined, namely, macrocosm, that is, the universe, microcosm, as projections of the universe, which is a man and a symbolic world that is a Bible for him – resembles the cosmic logos of ancient Greeks with an invisible nature that identifies with God. It appears as a worldwide mind and the law that organize the world, so in the understanding of the philosopher to live in harmony with God means to live in harmony with nature, to find the harmony of the inner world. An important issue for the philosopher is understanding and highlighting the problem of human happiness, which, according to the thinker, can be achieved through the moral improvement of man. The philosopher interprets human life as moral activity, introduces the concept of “related” work, which is based on natural gifts of a person: “if he does work without putting his heart into it he will never be a success”, but if a person lives according to Nature’s law he will certainly be happy [4, p. 11]. The philosopher turns to the Stoic Philosophy and the Bible, which defined his philosophical position – identifying philosophy with ethics, and his task is considered to teach a person to maintain peace of mind in a changing world. Divine will makes a person act in accordance with moral laws, that is how a person can find peace of mind. To build a harmonious relationship with the world, it is important for man to know his nature, self-knowledge. The divine law contained in the Bible, the philosopher believes, encourages man to moral actions. According to the thinker, the knowledge of the symbolic world of the Bible comes through the heart. The figuratively-symbolic world of the Bible cannot be known literally, by reason, it can be understood only by heart. The heart gives the opportunity to distinguish between good and evil, for G. Skovoroda the heart of man is an area of constant struggle of good and evil: “…all worlds consist of two entities: evil and good” [8, p. 154]. G. Skovoroda’s symbolic philosophy has common features with ancient teachings, his symbol images often have several meanings, but he never tried to break the material and spiritual world, but always tried to see spiritual in the material, that is why the symbol of “true” man is formed in the microcosm through a spiritual appeal to God. In his figurative and symbolic worldview every element of the outside world corresponds to the internal and external essence, form and matter, and the main purpose of man, as the thinker believed, is the knowledge of the inner essence of the world in which the truth is hidden “of two entities two thoughts and two hearts: perishable and unperishable, pure and unclean, dead and alive” [8, p. 145]. As L. Ushkalov noted, G. Skovoroda in his works appears to be a philosopher and theologian first of all, he is characterized by a combination of “poetry, philosophy, theology and religious mystical entertainments”, his symbolic way of philosophizing caused “many different, sometimes completely opposite, reasoning and sentences”[11, p. 35-36]. G. Skovoroda’s doctrine is a model of symbolic worldview, the philosopher tried to unite the inner and external human nature, and the divine essence of man can be got not only by mind, but also it can be felt with the heart. Self-knowledge, self-absorption, life in harmony with nature, says the philosopher, provides peace of mind. Realizing the need for self-knowledge, he tries to find the answer to the main questions of ethics, namely, through the specificity of the small world, that is a person, he understands the spiritual foundations of being, outlines his moral and ethical dimensions, considers good and evil, points the path to a “true” person. G. Skovoroda offers the way of moral improvement of man through self-knowledge, following the nature, which will allow man to know himself and turn to God.
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Dr. Jamal M. Al-Sayed Alawi. „The Shakespearean Poetic Rosary: The ‘Sacred Numbers’ in Shakespeare’s Sonnets“. Creative Launcher 7, Nr. 4 (30.08.2022): 27–33. http://dx.doi.org/10.53032/tcl.2022.7.4.04.
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In human culture there are certain numbers of special importance. They are mostly used in old and modern writings as “sacred numbers” of religious and literary significance. They are present in the Greek myths, in Egyptian Pharaonic culture, in ancient Persian, in the Indian culture, and in Arab traditions; then (Islamic) culture as well as in the Biblical Western culture. These numbers are of two kinds: even and uneven or odd. The odd numbers 1, 3, 5, 7and 9 play a far more important part than the even numbers. One is Deity, three the Trinity, five the chief division, seven is the sacred number, and nine is three times three. These numbers have good function and been looked at as ‘Sacred’ or ‘Perfect’ numbers either of good omen or evil. There is another forth number, which is “10”, it comes mainly in Jewish and Islamic education in very few cases having similar religious suggestion. Shakespeare has used the number Ten in Sonnet 6 Then let not winter's ragged hand deface. “Sacred Numbers” have become a part of religion and even of modern belief, and mostly represented in the popular rituals. Shakespeare has used the “Sacred Numbers” in his works either prose or poetry, and this article is restricted to deal only with three Shakespearean sonnets where I imagine Shakespeare reciting his Latin Rosary in a poetic religious tone and drawing the cross sign on his chest and on the forehead of his sonnets in order to invoke divine protection. It seems that Shakespeare’s date of birth and death (1564 -1616) carries a certain secret of his fondness for sacred numbers; thus: The sum of the date of his birth (1564=16) is doubled in the date of his death (1616).
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Biliatska, Valentyna. „Poetic Skovorodiniana of Dnipro region“. Philological Review, Nr. 2 (10.12.2022): 134–43. http://dx.doi.org/10.31499/2415-8828.2.2022.268666.
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Research of Hryhorіy Skovoroda phenomenon is significant, but his creative heritage has not been sufficiently studied especially the artistic interpretation of his figure. The poetic image of the Ukrainian philosopher in the lyrics of Dnipro region writers was not the object of scientific study. In the poetry of Dnipro residents Skovoroda is a key figure of our culture, it is a measure of the truth of life values, the personification of the spirit strength, a source of inner harmony and spiritual insight: «gray – haired lubomudr» (S. Burlakov); «judge of earthly vanities», «harsh philosopher», «affectionate judge», «thoughtful» (V. Korzh); «Immortelle-ozonets» (H. Prokopenko).
Assimilating the philosophical and aesthetic experience of Hryhorіy Skovoroda, artistic and ideological aspects of his heritage, the poets of Sicheslav region poetically interpreted the leading philosophical theory of the sage – cognition: by embracing himself and the world around him, a person asserts himself, develops his natural inclinations, chooses his own path and fulfills his earthly purpose; they focused on his teaching about work as a necessity of being to which God called rewarding him with talent and giving him the ability to know himself (S. Burlakov «Slobozhanshchina, I love your gardens», O. Zaivyi «Skovoroda», V. Zemliany «Skovoroda», V. Korzh «From the life of Hryhorіy Skovoroda. Rest», A. Kravchenko-Rusіv «Hryhorіy Skovoroda», N. Nikulina «Over the books of Skovoroda», H. Prokopenko «Testament of Skovoroda», H. Svitlychna «Skovoroda», I. Sokulsky «Skovoroda», K. Chernyshоv «It happens that the spirit of Skovoroda»).
In the poetry of Dnipro region artists symbolic images of Skovoroda are revealed: roads as a fact of the sage’s biography and inner world; garden as a kind of model harmony with nature, God, the world, and with himself, which corresponds to the biblical Garden of Eden and is associated with the immortality of the philosopher and his way of life; hearts and souls as a constant struggle between good and evil, helping to overcome all misconceptions and learn the true essence of a person. The works of poets were written mainly in the 70s and 80s of the twentieth century, but the lyrics interpreted this outstanding personality as a carrier of freedom, a carrier of «free spirit» (K. Chernyshоv), «son of freedom» (H. Prokopenko), and a «freedom-loving person» (A. Zaivyi).
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Collins, C. John. „Reading Genesis Well: Navigating History, Poetry, Science, and Truth in Genesis 1-11“. Perspectives on Science and Christian Faith 72, Nr. 4 (Dezember 2020): 243–44. http://dx.doi.org/10.56315/pscf12-20collins.
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READING GENESIS WELL: Navigating History, Poetry, Science, and Truth in Genesis 1-11 by C. John Collins. Grand Rapids, MI: Zondervan Academic, 2018. 336 pages. Paperback; $36.99. ISBN: 9780310598572. *C. John Collins makes judicious use of C. S. Lewis throughout his book and offers a reading of the early chapters of Genesis that seeks to avoid both an ahistorical fundamentalist interpretation and a dismissive scientism that views Genesis as bad science by ignorant people. Collins identifies himself as a "religious traditionalist," and he seeks to read Genesis in ways that take seriously the original context of the author and first readers of the text. In doing so, he makes more evident the real meaning of Genesis as a rival creation story to other creation stories circulating at that time in the ancient near East. Collins has a twofold goal. "The first is to provide guidance to those who want to consider how these Bible passages relate to the findings of the sciences. The second is to establish patterns of good theological reading, patterns applicable to other texts" (p. 32). *Collins emphasizes quite rightly that to interpret a text correctly it is important to consider the context. It is context that determines whether the words, "I'm going to kill you" are a lethal threat to life or the joking retort of a friend. Genesis is not trying to do contemporary science, so to read Genesis as opposed to or in support of contemporary science is to rip Genesis from its ancient context in terms of both its literary form and its world view. The story of Genesis is not trying and failing to answer contemporary scientific questions; rather, the story of Genesis is emphasizing that, "all human beings have a common origin, a common predicament, and a common need to know God and have God's image restored in them" (p. 113). *We can understand what Genesis truly means by putting Genesis back into its ancient context. As Collins notes, "I take the purpose of Genesis to begin with opposing the origin stories of other ancient peoples by telling of one true God who made heaven and earth ..." (p. 137). Once Genesis is put back into its context, we can better appreciate the genre of the work. The language of Genesis is not scientific but poetic. Collins notes that we can communicate truths using different kinds of language. In ordinary language, we say, "You are beautiful." In scientific language, we might say, "You exhibit visible signs of youth, health, fertility, and symmetry." In poetic language, we could say, "Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date." Imagine someone who got out a weather almanac, looked up the speed of winds last May, and replied, "Last May, the winds were unseasonably calm. No rough winds at all. Shakespeare was horrible at correctly noting the weather! What a dunce!" Of course, in writing Sonnet 18, Shakespeare was not trying and failing to compose an accurate weather report. The Bard's purposes, genre, and context are entirely different than meteorology. So, too, Genesis is not trying and failing to provide a scientific account of the origin of sun, moon, and stars--or man. To fault Genesis as a bad science is like faulting Shakespeare as a bad weather man. Collins correctly notes, "To call Genesis 'science,' whether ancient or modern is an enormous literary confusion" (p. 279). *So, if Genesis is not failing to be good science, since it is not even attempting to do science, what is Genesis about? The Genesis account is a correction to the rival stories of the ancient world. Genesis holds, in contrast to the pagan myths, that the sun, moon, and stars are not gods. The heavenly bodies exist to serve humans, to mark time. The idea that nature is not a god is an idea of signal importance, for if the created order is not divine, then the door is open for science to dissect and examine the secrets of nature. Genesis steers a middle course between a radical environmentalism (worshiping nature as divine) and a radical anti-environmentalism (domineering of nature as worthless material). *The role of humankind is also made more plain by contrasting Genesis with rival stories. Collins notes, "In the Mesopotamian stories the gods made humankind to do the work they do not wish to do, but they regret their action and decide to eliminate humanity because people have multiplied and become so noisy that the gods cannot rest (which was their original goal in making man)" (p. 190). *How unlike the God of Abraham who urges human beings to be fruitful and multiply. The Greek poet Hesiod wrote, "Zeus who thunders on high made women to be an evil to mortal men, with a nurture to do evil." By contrast, Genesis proclaims both man and woman to be made in the image and likeness of God. Both man and woman fall to the serpent's temptation. Both man and woman are cared for by God after the Fall. *Reading Genesis Well is a good book, and it could be made even better. At times, there is a great deal of windup before the pitch. At other times, there is needless repetition. For example, Collins writes, "The creation narrative portrays the sun, moon, and stars as makers for the (liturgical) seasons. They are servants to help humankind worship the Maker, not masters themselves worthy of human worship" (p. 293). This is a great point, but the point is made at least three times in the text. *The organization of the text could be improved in places. For example, when Collins quotes Rudolf Bultmann's famous assertion, "It is impossible to use the electric light and the wireless [radio] and to avail ourselves of modern medical and surgical discoveries, and at the same time to believe in the New Testament world of spirits and miracles," he does not respond to this assertion until pages later. *In places, not just form but substance can be improved. Collins quotes with approval James Packer saying, "The church no more created the canon [of scripture] than Newton created the law of gravity; recognition is not creation." But this is not quite right. The New Testament was written by early leaders of the church, such as Paul, Mark, Luke, Matthew, and John. It was the Council of Rome (p. 382) that fixed the biblical canon which was in some state of flux until then. The New Testament arose from the leaders of the early church and was cast into its current form by the leaders of the patristic church. That is much more than a mere recognition. Collins touches on the monogensism-polygenism question but does not address the dispute at sufficient length. *None of these quibbles should deter readers from profiting from Collins's research. Reading Genesis Well can indeed help us better understand one of the most ancient, most important, and most influential texts of all time. *Reviewed by Christopher Kaczor, Professor of Philosophy, Loyola Marymount University, 1 LMU Drive, Los Angeles, CA 90045.
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Bokach, D. D. „Mythological motives in the fairy tales of M. Vagatova“. Nizhnevartovsk Philological Bulletin 6, Nr. 2 (04.12.2021): 6–12. http://dx.doi.org/10.36906/2500-1795/21-2/01.
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The Khanty writer Maria Kuzminichna Vagatova (Voldina) put into her fairy tales not only moral and ethical guidelines for the younger generation: what is good and evil, the need to respect nature and animals, but also the cultural layer of the indigenous people of the North, which consists of mythological motives. The tales of Maria Vagatova are studied in the national schools of Khanty-Yugra within the framework of the subject Native (Khanty) Literature, due to which students absorb a conscientious appeal to the world around them from childhood, and also study a significant part of Khanty mythology, which has not disappeared under the influence of modernity and forms the outlook of those who still honor the traditions of their ancestors. The relevance of this topic lies in its poor study. When looking for the necessary information, it was noticed that most often when considering the work of Maria Vagatova, researchers turn to her poetry, and not to fairy tales, and mostly in the aspect of comparison with the works of other Khanty writers. This explains the theoretical significance of this article. The practical significance implies the possible use of the analysis of mythological motives in the fairy tales of Maria Vagatova in the educational activities of national schools. The main content of the work is based on the analysis of mythological motives in the fairy tales of Maria Vagatova from the collection Tyoi, Tyoi: Hips-Vips, Hily and Aki Black Heart, Hare and Fox, Khlebushko, Bunny-Black Tail ... To identify these motives, elements of a system-holistic analysis of a work of art and a hermeneutic method were used.
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Zafar, Asiyah. „Pessimism in the selected poems of Thomas Hardy“. International Journal of English Literature and Social Sciences 8, Nr. 4 (2023): 302–5. http://dx.doi.org/10.22161/ijels.84.49.
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The recurrent thought that good or positive will subdue and evil as well as negative will aggravate is known as pessimism. Thomas Hardy was trained as an architect but is famous as a poet and novelist of the Victorian Era (1837–1901). His view of life is mainly centred around this tendency. He has a different outlook towards life. He primarily focuses on the exposition of sufferings as his themes reflect. His main concern is to exhibit things in a miserable and pathetic state. He lost hope in life and thinks that the human condition will not improve. In his poems, death is not an escape from the weariness of life. This paper attempts to examine his pessimistic tendency by taking his few poems. His poems contain themes like death, loneliness, love and loss, war and its aftermath etc. Hardy's events of life also find space in his poems and play a very significant role in his pessimistic outlook. And especially the death of Emma shook him from the inside. He began his poetic career in 1898 with the publication of Wessex poems. Its setting is in the desolate and bleak landscape of Dorset. Until 1928, his death, he published eight volumes of poetry. He faces several bleak and pathetic conditions in his life like the Napoleonic Wars, World War, his near-death experience and most importantly death of Emma all contribute to his melancholic tone. The Victorian dilemma also touched his personality. However, his later poems exhibit a shift in his tone from melancholic to hopeful. In this article researcher has explored the pessimistic temperament in the selected poems of Thomas Hardy.
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Lundgreen-Nielsen, Flemming. „Grundtvigs nordisk-mytologiske billedsprog - et mislykket eksperiment?“ Grundtvig-Studier 45, Nr. 1 (01.01.1994): 142–98. http://dx.doi.org/10.7146/grs.v45i1.16146.
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Grundtvig ’s Norse Mythological Imagery - An Experiment that Failed?By Flemming Lundgreen-NielsenSince his early youth, Grundtvig worked frequently and diligently with Norse mythology. From 1805 to 1810 he tried in a scholarly way to sort out its original sources and accordingly its ancient meanings, though Grundtvig even as a philologist preferred to give spontaneous enthusiasm aroused by a synthetic vision a priority above linguistic proofs (Norse Mythology, 1808). After a pause of some years, Grundtvig in 1815 returned to Norse mythology, allowing himself a more free and subjective interpretation in lieu of an all-encompassing conception. From now on aiming to turn the Norse myths into an accessible store of modeme national imagery, he adapted a favourable evaluation of Snorri’s Edda, which until then he had been regarding as late, distorted information.Drawing mainly upon previously unprinted material the paper demonstrates, how Grundtvig around 1820, 1832, in the 1840’s and during the Schleswig-Holstein war 1848-50 tried to revive Snorri’s Edda for actual commonday use. To put Grundtvig’s opinions in a historical perspective, other contemporary statements are included, such as a Copenhagen press and pamphlet feud on the potential usefulness of Norse mythology to sculptors and painters (1820-21) and a public lecture in favour of Greek mythology and Christian civilization given by professor Madvig (1844).Grundtvig’s own attempts to mobilize the Norse gods in current affairs are illustrated in selected examples from his poetical works. The conclusion indicates that his project was a failure: none of his ballads and poems popular then and today deal with Norse mythology, and although his Norse Mythology, 1832, became a handbook for teachers of the Folk Highschools, neither later poets nor philosophers employed the Norse mythological imagery he recommended. In the war 1848-50 Grundtvig wanted to take advantage of situations from myths and legends such as Thor battling the giant Hrungnir and prince Uffe the Meek killing two Saxons, but the majority of the Danes cherished heroes of the people such as the brave unknown army soldier celebrated in a 1858-statue and the little homblower from a bestselling verse epic. At the end of his life, Grundtvig continued to write poetry in Norse mythological terms, but apparently made no efforts to get his manuscripts printed - why is not known.Among the reasons to be suggested for the failure of Grundtvig’s Norse mythological imagery, the victorious ideas in Romantic 19. century poetry and arts pertaining to originality and individualism, the prominent place of traditional classical mythology in the minds of the cultured public, and the political emphasis in the mid century period on democratization are probably most decisive.Finally attention is given to the fact that the proverbial phrase about ’freedom to Loki as well as to Thor’, the only surviving popular dictum from Grundtvig’s Norse mythological writings, almost invariably is misunderstood to be a token of boundless tolerance to both parties in the struggle between good and evil. However, several instances can be mentioned to prove that Loki, mythologically half god, half giant, in Grundtvig’s understanding does not represent evil as much as a gifted intellectualism without religious faith, possessing potential to acquire it.An English version of the paper with less regard to quotes from unprinted Grundtvig manuscripts and more attention to introductory paragraphs on Danish literary history is published in Andrew Wawn (ed.): Northern Antiquity. The Post-Medieval Reception of Edda and Saga, Hisarlik Press, 1994, p. 41-67.
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D, Ammu. „Personification of Puranaanutru Avvai“. International Research Journal of Tamil 4, S-8 (20.07.2022): 86–92. http://dx.doi.org/10.34256/irjt22s812.
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Personality is the ability to govern oneself and others. In psychological terms, personality refers to a person's organised dialectical characteristics and the resulting attitudes, behaviors, feelings, and thoughts. Personality in general refers largely to one's outward appearance. Although women were not given full freedom during the Sangam period, they excelled in many fields during that time. As well as excelling in various fields, they were well versed in Tamil as well. Reminiscing about the excellence of Sangam period woman poet Avvaiyaar and studying her language skills and intellect can teach us a lot. Sangam women lived a life of virtue, chivalry, love, pleasure and nature. Because they were literate, they became creators and recorded the lives of women. Women were the root of the akappaatalkal (poetry of love genre). Most of the epithets built on femininity are seen in Akappaatalkal as Thalaivi (woman-lead), Thozhi (friend), Virali (young girl), Natraai (mother), Sevilitthai (nanny). Literature is the one that captures various aspects of life. In it, the speech and life of Purananutru Avvaiyaar are seen with pride. Though Athiyaman Neduman Anci was a king of a small region, she befriended him and stayed in his court till the end. She sang heroic songs, especially for the king. She tirelessly supported Anji till the end. She had lived a simple life and was considered a worldly poet because of her respect for humanity and culture. The new saying is that good things happen and evil things are destroyed by women. Women are gifted with wisdom and intelligence. The qualities of excellence, knowledge, humility, etc. are inherent in nature. The purpose of this article is to look only at the personality of Puranaanutru Avvaiyaar.
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Kumar, Dr Yogendra. „Muhurta science in view of Valmiki Ramayana (वाल्मीकि रामायण की दृष्टि में मुहूर्त विज्ञान)“. Yog-garima 1, Nr. 1 (28.03.2023): 27–30. http://dx.doi.org/10.52984/yogarima1105.
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If we look into the Indian tradition, we get the description of many high quality books. In that Valmiki Ramayana composed by Maharishi Valmiki has an important place in human life. Regarding this epic, Dr. Neelam Singh has told in his research paper that Ramayana is a unique Sanskrit epic written by Adi poet Valmiki. This is the part of Hindu memory through which the saga of King Rama of Raghuvansh was told. It is also called the poetry of the beginning. There are seven chapters of Ramayana which are known as Kanda. The story of Lord Shri Ram versed by Maharishi Valmiki is known as Valmiki Ramayana and is called Adikavi of Valmiki and Valmiki Ramayana is also known as Adi Ramayana.1 Throwing light on the importance of the epic, it has been told that the importance of Valmiki Ramayana is there even today and will remain so in the future. True literature has the ability to shape the future, it is in the Ramayana. Ramayana meets this criterion. He has the ability to show the way to the generations to come. In it, generosity, righteous meaning and work surrender and protection of the victim, superiority of human, friendship, obedience, fasting, sweet and plant speech etc. undoubtedly make Ramayana an immortal epic.2 Among the common people, the Ramkatha has come to be revered as the struggle of good against evil and the dignity and deep compassion of various human relationships. It is a kind of cultural document. It is a matter of pleasant surprise that even after so many years its attraction has not decreased at all. How deep is the attraction and impact of the original spirit of this epic, it can also be felt from the place Ramkatha has found in the folk tales, drama, dance, architecture, sculpture, etc. of many countries of Asia. Therefore, showing the description of importance, etc., in this research paper, astrologers will try to tell about the science of Muhurta in this epic.
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Potashova, K. A. „Image of Celestial Firmament in Poetic Cosmology of “Evenings on a Farm near Dikanka”“. Nauchnyi dialog 13, Nr. 4 (25.05.2024): 249–68. http://dx.doi.org/10.24224/2227-1295-2024-13-4-249-268.
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This study explores the features of poetic cosmology in N. V. Gogol’s tales from the cycle “Evenings on a Farm near Dikanka”. It examines the poetics of the nocturnal landscape and the symbolic richness of celestial space. The functions of light details in poetic depictions of the universe are identified. Special attention is paid to portraying the Universe as a visible expression of the problem of good and evil, which serves as the core theme of the entire cycle “Evenings...”. It is argued that celestial space is not only a central landscape image but also a distinct ontological category. The study reveals that for the cycle “Evenings...”, two contrasting models of the universe — harmonious and chaotic — play a significant role, based on the relationships between earth and sky. Earth and sky, as two coordinates of the universe, can form a cohesive picture for Gogol, where earthly space is revealed through celestial beauty. Celestial space can be understood as a kind of screen onto which human potential for spiritual transformation or sorrow due to its absence is projected. Beneath Gogol’s primary aestheticization of the daytime and nighttime universe lies a philosophical depth in his paintings, prompting reflections on human earthly journey, the sinfulness of earthly existence, and the aspiration towards the heavens, which generates the image of the disconnection between earthly and celestial realms.