Thematische Bibliographien / Poetic Pilgrimage

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Poetic Pilgrimage“

Autor: Grafiati
Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "Poetic Pilgrimage"

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Alatas, Ismail Fajrie. „The Poetics of Pilgrimage: Assembling Contemporary Indonesian Pilgrimage to Ḥaḍramawt, Yemen“. Comparative Studies in Society and History 58, Nr. 3 (Juli 2016): 607–35. http://dx.doi.org/10.1017/s0010417516000293.

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AbstractThis article investigates the socio-discursive processes that have enabled the emergence and maintenance of pilgrimage practice by examining the rising popularity of the Ḥaḍramawt valley of southern Yemen as a pilgrimage destination for Indonesian Muslims. Pilgrimage to Ḥaḍramawt mainly revolves around visiting the tombs of Bā ʿAlawī (a group of Ḥaḍramīs who claim direct descent from the Prophet Muḥammad) Sufi saints and scholars scattered around the valley. Moving away from ritual analysis, I examine the roles of various actors involved in the production and consumption of pilgrimage. I analyze pilgrimage as a poetic project that frames travel as a transformative process. As a project, pilgrimage can be described as poetic because it hinges on the construction of multiple chronotopes that are juxtaposed, compared, contrasted, and assembled into meaningful alignments. The actors discussed are involved in producing chronotopes of Ḥaḍramawt as a spiritually idealized place, which are made to resonate with mass-mediated chronotopes of idealized Islam circulating among Indonesian Muslims, and contrasted with chronotopes of the modern world. Framed by such a poetic mediation, pilgrims comprehend their actual travel to Ḥaḍramawt as a cross-chronotopic movement that they believe transforms their own selves. The article observes the various mechanisms of attraction and seduction at work in pilgrimage practice, while demonstrating the structural similarities between pilgrimage and other forms of tourism.
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서진영. „Pilgrimage imagination in the poetic space of Kim Jongsam“. Journal of Humanities, Seoul National University ll, Nr. 68 (Dezember 2012): 225–52. http://dx.doi.org/10.17326/jhsnu..68.201212.225.

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Sandy, Mark. „‘I Have Thought / Too Long and Darkly’: Writing and Reading Modes of Being in Byron“. Byron Journal 48, Nr. 2 (01.12.2020): 133–44. http://dx.doi.org/10.3828/bj.2020.19.

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Byron’s treatment of subjective modes of being are characterised by a poetic mobility that permits competing and contradictory perspectives of the self to coalesce. Starting with Michael O’Neill’s sense of fixity and fluidity as a marker of Byronic identity, this article examines Byron’s darker poetics of madness that permit a glimpse into the destructive and transformative elements of selfhood. In Childe Harold’s Pilgrimage and Beppo, Venice emerges as the imaginative site of Byron’s self-aware artistry and psychodrama of self. Elsewhere Byron’s poetics of selfhood are read as inextricably bound to deliberate self-conscious acts of writing and reading that both dread and delight in the fictionality of self, memory, and history.1
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Barton, Anna. „Byron, Barrett Browning and the Organization of Light“. Romanticism 22, Nr. 3 (Oktober 2016): 289–98. http://dx.doi.org/10.3366/rom.2016.0290.

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Feminist readings of Casa Guidi Windows frequently invoke Canto IV of Childe Harold's Pilgrimage as a significant intertext for Barrett Browning, identifying in Barrett's Italy a direct retort to Byron's representation of the Italian nation as a languishing female body, which returns to it the potential agency inherent in the republican body politic. But Barrett's Italy not only challenges Byron's account of Italy as the feminine victim of masculine history, it also negotiates the obliterating glare of Byronic light. Responding to recent interpretations of the poem's windows as apertures that compromise the division between public masculine and private feminine space, this article explores the ways Casa Guidi, both the poem and the home that it describes, represent a liberal architectonics that is as concerned with resisting as it is with celebrating the subliming forces of indifferent nature and international politics. One of the ways in which that resistance is performed is via the poet's negotiation of Italian light, natural, divine and artistic, a negotiation through which Barrett describes a post-Romantic feminine poetics that realigns poetic form and the domestic, and suggests both as spaces through which light may break.
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Kim, Joey S. „Byron’s Cosmopolitan “East”“. Essays in Romanticism 27, Nr. 2 (01.10.2020): 167–85. http://dx.doi.org/10.3828/eir.2020.27.2.6.

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This essay examines the first four of Lord Byron’s Eastern Tales, crafted in the immediate success of Childe Harold’s Pilgrimage. I argue that these tales constitute an example of Byron’s cosmopolitanism forged directly by his early-career aesthetic and Orientalist inventions. I challenge any fixed notion of Byron’s identifying traits of cosmopolitanism and trace his creation of a textualized and simulated “East.” This “East” is depicted in terms of Byron’s competing personal, aesthetic, and cultural impulses. These impulses culminate in his fourth tale, Lara, and the myth of the cosmopolitan figure for which Byron’s heroic subjectivity became known. By expanding the poet’s subjectivity beyond clear cultural and geographical borders, these tales also raise the question of literary scale and the limits and boundaries of poetic form and content—how to adequately represent the individual poetic subject during an era of shifting global and cosmopolitan relations.
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Sandy, Mark. „“The Colossal Fabric’s Form”: Remodelling Memory, History, and Forgetting in Byron’s Poetic Recollections of Ruins“. Articles, Nr. 51 (31.10.2008): 0. http://dx.doi.org/10.7202/019258ar.

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Abstract This essay reads Byron’s personal and historical reflections in Manfred and Childe Harold’s Pilgrimage through Nietzsche’s meditations on memory and forgetting in Untimely Meditations. These poetic recollections are explored as moments of wilful erasure. Central to Nietzsche’s thoughts “On the Use and Disadvantages of History for Life” is how single moments are forgotten only to be unwillingly recalled at some future present historical moment. Byron’s desire to forget biography and history, paradoxically, produces a capacity to remember. Byron’s meditations on historical ruins become his own imaginative reflections on both the impulse to, and impossibility of, recovering historical and personal origins or securing an authorial posthumous reputation.
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Ruscica, Giovanni. „From China to the World: The main media pilgrimages of Sun Wukong and Son Gokū“. Mutual Images Journal, Nr. 10 (20.12.2021): 21–50. http://dx.doi.org/10.32926/2021.10.rus.china.

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The ‘Journey to the West’, also translated as the’ Pilgrimage to the West’, is one of the masterpieces of ancient Chinese literature. Published anonymously by the putative author Wu Cheng'en in the late 16th century, the story traces in broad outline the journey taken by the monk Tripitaka in the year 629 a.D. to India to acquire Buddhist scriptures, and it is the result of reworking antecedent works, such as ‘Poetic notes on the pilgrimage of Tripitaka of the Great Tang to acquire the Sutras’ and ‘‹Journey to the West› Opera’. In this fiction, the writer moves away from the authenticity of the traditional pilgrimage: here the monk is escorted by sinful-followers (i.e., a dragon-horse, a pig, a demon, and a monkey) capable of removing malevolent beings throughout the journey. Sun Wukong is the wild and skillful monkey that ascends to Buddhity, becoming a ‘Victorious Fighting Buddha’ at the end of the literary work. Later on, the Chinese work of fiction was used as a source of inspiration for the creation of Dragon Ball, a Japanese fantasy & martial arts manga. Published in 1984 as a manga and then adapted into an anime, Dragon Ball sketchily follows the Chinese work of fiction. After coming across Bulma, young Son Gokū decides to escort the girl in her quest to collect seven magic dragon spheres. The series’ success allowed the manga’s author, Akira Toriyama, to continue the story arc and launch a new series in 2015. Since 1986, several videogames with a monkey character have entered the market. The purpose of this article is to highlight the main affinities between Sun Wukong and his Japanese counterpart Son Gokū first, and then attempt to explain how the monkey character has become a world-famous symbol, and contextualise it into the phenomenon of ‘worldwide pilgrimage’.
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Miro, Dr Baidaa Muhyi Al-Din. „Hajjajiyah Narrative Phrase in Diwan (In the Mirror of the Letter) by the Poet Adib Kamal Al-Din“. Alustath Journal for Human and Social Sciences 60, Nr. 4 (20.12.2021): 123–42. http://dx.doi.org/10.36473/ujhss.v60i4.1816.

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Perhaps in the research, we are trying hard to study the argumentative narrative phrase in the poetic image, and to show the extent of the effectiveness of the pilgrims in narration, due to the absence of addressing this axis in most pilgrimage studies, which is its ability to prove that the poetic discourse possesses an argumentative characteristic that distinguishes it from the rest of the literary races by entering the world of the recipient and the influence In it and his conviction of the usefulness of his message while adopting the condensation, suggestion and symbolism, formative elements codify the dimensions of the poetic discourse, and it is not far from our minds that the Hajjaji approach has emerged in the form of complex and stable persuasion mechanisms on the level of linguistics or contemporary rhetoric, but we decided to support our research with new persuasion mechanisms that would start From the fact that literary discourse, especially poetry, is a dialogue discourse in which voices overlap and multiply by the heated conflicts that afflict the product of the discourse, so the field of pilgrims is dialogue and discourse where the faces of its use appear, and the methods of its operation are evident . As poetry comes out of the circle of lyricism into the space of narration / saying and from the aesthetic formation of the singular or the sentence refers to the ability of the poetic text to interrogate its product and to convey insights and ideas that are subjective and trans-subjective.
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Τσούπρου, Σταυρούλα. „Rilke, Παλαμάς, Σαχτούρης, Αθανασιάδης: ένα σημείο συνάντησης / Rilke, Sachtouris, Palamas, Athanasiades: a point of convergence“. Σύγκριση 25 (16.05.2016): 99. http://dx.doi.org/10.12681/comparison.95.

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With the date 28.1.1924, the translation of the first nine verses from the “Book of Pilgrimage” is entered in the Appendix of Xanatonismene Mousike [Retoned Music], that is the collection of translations by Kostis Palamas, as these were included in his Complete Works. The “Book of Pilgrimage” is the second of the three parts of Rainer Maria Rilke’s Stundenbuch (which was translated into Greek as “Horologion” by Aris Diktaios, but is more widely known as “Book of Hours” and is referred to as such in Palamas’s translation. This translation of the characteristic excerpt from the poetic oeuvre of the “romantic” Rilke, as Palamas considered him, was destined – and not without reason – to be the most popular, even though several translations have followed. Except that, as we shall see, the perception of the specific verses as referring to the love affair between a man and a woman, a perception-interpretation that has prevailed widely, does not correspond (exactly) to the “reality” of Rilke’s poem. The two intertexts, to which we shall refer in the present article, seem to presuppose a corresponding interpretation, at least broadly speaking. So, examined here is the intertextual contact of the aforesaid poetic passage-translation from Rilke’s Stundenbuch, on the one hand, with the poem “The night of the forgotten woman” from the collection the Forgotten Woman (1945) by Miltos Sachtouris (who spoke often with love and respect about the influence of Rilke’s work on his own), and on the other, with a prose passage from the novel The Throne Room, by Tasos Athanasiadis (whose rich textual-intellectual contact with Rilke’s oeuvre has also been pointed out), which has characteristically been defined as a “modern Aesop’s fable”.
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Brissos-Lino, José. „O menino que mudou o olhar de Severino de Jesus“. Revista Épicas E4, Nr. 2021 (31.03.2021): 51–58. http://dx.doi.org/10.47044/2527-080x.2021vne4.5158.

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In this article, we discuss the migratory movement of retreatants from northeastern Brazil in the 20th century, represented in poetic form by João Cabral de Melo Neto, which appears symbolized in the metaphor of travel as a representation of human life. Severino de Jesus' pilgrimage takes place in an atmosphere of darkness, with a very strong culture of death persisting as a backdrop until the moment when life breaks out, unexpectedly, thus changing the entire psychological scenario of the retiree. It is this sudden event that the author invokes indirectly, in this Christmas literary piece, as a parallel with the outbreak of Jesus Christ in human history, as a light in the midst of darkness, capable of triggering an attitude of hope.
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Dissertationen zum Thema "Poetic Pilgrimage"

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Ahmed, Irshad Gulam. „Kamala Das:a study of her Poetic Pilgrimage“. Thesis, University of North Bengal, 1999. http://hdl.handle.net/123456789/1137.

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Takahashi, Isamu. „From Palestine to India : Bishop Heber's poetic pilgrimage“. Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615654.

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Suzana, Elisabete. „Performing islam in europe : a case study of Poetic Pilgrimage´s performance of empowerment in-between art and religion“. Thesis, Södertörns högskola, Institutionen för historia och samtidsstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-25185.

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In this thesis I explore performances of empowerment in the work and artistic persona of Londonbased hip hop duo Poetic Pilgrimage. By using intersectionality, critical race and performance theories, I sketched a possible reading of their performance of religion in the complex context of their positionality as black, british, women, muslim converts and performing artists. I looked specifically at how performance shapes possibilities of cultural and religious interpretations of race, religion, nationality, gender and the arts. The question that guides me is: how do they shape their Empowerment with their Performance? After becoming familiar with the material, I realised that one way of answering this question is by looking into how they relate to an intersectional idea of Empowerment, namely how they relate to race and gender in their islamic art (religion/occupation/class) and how Empowerment is directly connected with Performance, it is the Performance that enables their Empowerment: artistic Performance that shapes their ethnographic Performance of muslimness, womanhood, black womanhood, muslim womanhood, women artistry, britishness, etc. So in this text, it is their Performance of categories and themes that constitute strategies and processes or Empowerment. My focus of Empowerment is on representation, which makes me define Empowerment as the act of learning to Love yourself and others in positive ways. This is inspired in the work of Audre Lorde. And it is reflected in Poetic Pilgrimage's own stance, as revealed by the opening statement of this thesis, We have no LOVE OF SELF. My focus on Performance means that I distance myself from constructs of identity markers that are not sensitive to construction and deconstruction. My underlying approach is to reflect on how Poetic Pilgrimage are and have been constructed by deconstructing them, question them. Taking into account that I cannot not think intersectionally, all themes under scrutiny here deal with ways in which Poetic Pilgrimage expose, explore and create islam and the arts of Performance to forge possibilities of Empowerment, in a way that I attempt to research all categories intersected. In the first thematic chapter (black european islam), emphasis is put on race and in the second thematic chapter (modesty is the new cool), focus turns to gender, though understood in relation to each other and to other categories, such as nationality, class, occupation, ethnicity. In terms of material, I focus on the final product (on stage/videoclips), having Poetic Pilgrimage's Performance on facebook as public artistic persona as a framework for the event of artistic Performance itself. Performing self, or everyday life Performance using artistic means is the trade mark of hip hop culture, which Poetic Pilgrimage are a part of.
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Langemak, Elizabeth. „Confession and pilgrimage in the work of Anne Carson /“. free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1426080.

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Ryan, Francis Xavier. „A critical edition of Wilfrid Holme's 'The Fall and Evill Successe of Rebellion From Time to Time.'“. Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302616.

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Holmgren, Rylander Linda. „La autorrealización en el Camino de Santiago : Un análisis diacrónico sobre la representación de la autorrealización y el camino como símbolo de la vida en la poesía sobre el Camino a Santiago de Compostela“. Thesis, Stockholms universitet, Romanska och klassiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182225.

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En el presente estudio realizaré un análisis diacrónico de la representación de la autorrealización en cinco poemas seleccionados sobre el Camino de Santiago. Los poemas elegidos son los siguientes, en orden cronológico: “Don Gaiferos de Mormaltán” de un autor anónimo, “A Santiago” de Fray Luis de León, “Camino blanco, viejo camino” de Rosalía de Castro, “Peregrino” de Luis Cernuda y “El Camino de Santiago” de Francisco Vaquerizo. Los textos mencionados representan poemas que han sido escritos desde la Edad Media hasta la actualidad. El presente análisis se concentra en el tema de la autorrealización y cómo se representa en la poesía del Camino de Santiago, y, además, analizamos el camino como símbolo de la vida. El análisis se realiza en cinco secciones y cada una corresponde a un poema seleccionado. Cada sección se divide entre los dos temas esenciales: la representación de la autorrealización y el camino como símbolo de la vida. Por último, hacemos un breve análisis comparativo entre los poemas. El análisis se realiza a través de la teoría de isotopías de Greimas (1966) y unos conceptos poéticos de Bousoño (1962) y Lapesa (1962). Además, las reflexiones se basan en el análisis en los conceptos de Kurt Goldstein (1940) y Abraham Maslow (1943) sobre el concepto de la autorrealización. Por lo tanto, la teoría isotópica funciona como una herramienta retórica para buscar las palabras de cada poema que tiene el mismo sentido semántico en común. Los resultados del análisis muestran un fuerte deseo de seguir adelante, no volver atrás y tener una creencia firme religiosa o espiritual para continuar el camino. Además, es posible percibir el camino como un símbolo de la vida, dado que hay un movimiento con un comienzo y un fin en la mayoría de los textos. Los resultados igualmente indican que hay ciertos aspectos similares en relación con la autorrealización tanto el poema de la Edad Media como en el poema del siglo XXI.
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Bücher zum Thema "Poetic Pilgrimage"

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Haight, Amanda. Anna Akhmatova: A poetic pilgrimage. Oxford: Oxford University Press, 1990.

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Anna Akhmatova: A poetic pilgrimage. Oxford: Oxford University Press, 1990.

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Sibande, Dumisani. Poetic 23 pilgrimage: Poems collection (1993-2016). Harare: MediPlus, 2017.

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The pilgrimage: Selected poems, 1962-2012. Beaumont, Texas: Lamar University Press, 2013.

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Melville, Herman. Clarel: A poem and pilgrimage in the Holy Land. Evanston: Northwestern University Press, 1991.

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Melville, Herman. Clarel: A poem and pilgrimage in the Holy Land. Evanston, Ill: Northwestern University Press, 2008.

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George, Herbert. A selection of poems by George Herbert, the Lenten poet: Exploring his pilgrimage of faith. Tring, Herts, England: Lion Pub., 1988.

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Brodsky, Louis Daniel. The words of my mouth and the meditations of my heart: A poetic pilgrimage from illness to healing-living. St. Louis, Missouri: Time Being Books, An imprint of Time Being Press, 2014.

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Byron's poetic experimentation: Childe Harold, the tales, and the quest for comedy. Aldershot, Hants, U.K. ; Burlington, Vt: Ashgate, 2000.

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Heart's pilgrimage. Baltimore: PublishAmerica, 2007.

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Buchteile zum Thema "Poetic Pilgrimage"

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Phillips, Carl. „On the Road with Donne: An Idiosyncratic Pilgrimage“. In John Donne and Contemporary Poetry, 15–27. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55300-9_3.

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St Clair, William. „4. Poets and Travellers“. In Byron and Trinity, 37–64. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0399.04.

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Chapter 4, ‘Poets and Travellers’ (1998), explores various aspects of Lord Byron’s literary and political engagements, beginning by focusing on his satirical work ‘English Bards and Scotch Reviewers.’ William St Clair details the poem’s tumultuous publication history, marked by its rejection by London publishers, discussing the complexities of forgeries and controversy surrounding the poem. The chapter then shifts to Byron’s involvement with the Elgin Marbles and his critical stance on Lord Elgin’s actions, seen in his poem ‘The Curse of Minerva’. The discussion extends to Byron’s influential work Childe Harold's Pilgrimage, controversial for attacking Lord Elgin and addressing the removal of the Elgin Marbles. Byron's influence on the Philhellenic movement and his use of romantic poetry conventions, coupled with explanatory notes, contribute to ongoing debates about Greece's historical and cultural significance.
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Grammatikos, Alexander. „Childe Harold’s Pilgrimage, British travellers to Greece and the ‘idea of Europe’“. In Byron: The Poetry of Politics and the Politics of Poetry, 226–38. Burlington, VT : Ashgate, [2016] | Series: Publications of the: Routledge, 2016. http://dx.doi.org/10.4324/9781315570686-19.

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Oliver, Susan. „Crossing ‘Dark Barriers’: Byron, Europe and the Near East in Childe Harold’s Pilgrimage Cantos 1 and 2“. In Scott, Byron and the Poetics of Cultural Encounter, 103–55. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230555006_4.

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„The Psalms: Poetic Prayer of Ascent“. In Dante’s Prayerful Pilgrimage, 47–95. BRILL, 2019. http://dx.doi.org/10.1163/9789004405257_004.

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Leask, Nigel. „Easts“. In Romanticism, 137–48. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199258406.003.0012.

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Abstract ‘Stick to the East;—the oracle [Madame de Staël] told me it was the only poetical policy. The North, South, and West, have all been exhausted . . . the public are orientalizing, and pave the path for you.’ Thus Lord Byron to the Irish poet Tom Moore in May 1813, a year after he had achieved fame with the first two cantos of Childe Harold’s Pilgrimage, based on his own Levantine Grand Tour of 1809–11. Byron’s remarks give us insight into the workshop of Romantic orientalism, spiriting us behind the splendid façade to the nitty-gritty of poetic production. His canny exhortation ‘stick to the East’ suggests both the importance of oriental settings and materials for Romantic poets, as well as the sheer popular demand which stimulated them. Byron was the most accomplished orientalist poet of his generation: by 1813 he had completed The Giaour, the first of a series of Turkish Tales (The Bride of Abydos, The Corsair, and The Siege of Corinth).
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Halmi, Nicholas. „The literature of Italy in Byron’s poems of 1817–20“. In Byron and Italy. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100559.003.0002.

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This chapter focuses on Byron’s The Lament of Tasso and The Prophecy of Dante alongside his translations of Filicaja in the fourth canto of Childe Harold’s Pilgrimage and Pulci’s Morgante Maggiore. It begins by exploring the ways in which Byron ‘exploited both the writings and the figures of Italian writers (especially the exiled Dante and imprisoned Tasso) to construct his own cosmopolitan poetic identity’, reinventing himself as simultaneously – and ambiguously – an English and an Italian poet. In the translation of Pulci, however, Byron stresses his foreignness to both British and Italian poetic traditions, cutting a cosmopolitan figure not through identity but difference. While in his letters – and, of course, many of his poems – Byron is both British and Italian, Italian literature could also offer the poet a way of being neither.
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O'Neill, Michael. „‘A Very Life in Our Despair’: Freedom and Fatality in Childe Harold's Pilgrimage, Cantos 3 and 4“. In Liberty and Poetic Licence, 37–49. Liverpool University Press, 2008. http://dx.doi.org/10.5949/liverpool/9780853235897.003.0004.

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Levy, Michelle. „Lord Byron, Manuscript Poet“. In Literary Manuscript Culture in Romantic Britain, 140–81. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474457064.003.0005.

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Chapter 4 considers the most popular and commercially successful of the English Romantic poets, Lord Byron, to explicate his continuous and deep engagement with manuscript culture. It begins by offering a quantitative assessment of his use of print publication and manuscript dissemination. Throughout, from his earliest poetic efforts to his last, we find that Byron encountered difficulty in preparing his verse for print and relied on manuscript to circulate his poetry, particularly his short verse. The chapter considers his earliest four verse collections, and then studies the manuscript revisions to the poem that launched his fame – Cantos I and II of Childe Harold’s Pilgrimage. Both examples demonstrate Byron’s early struggle to transition from narrower to wider audiences without compromising his poetic candour. Afterwards, Byron avoided these time-consuming processes of rearrangement and revision by separating his writing into two categories: the handwritten short poems he entrusted to members of his coterie and the longer poems he wrote for the public. This chapter demonstrates Byron’s use of manuscript at all stages of his career, confounding the notion that he can be regarded exclusively as a print author and elucidating the sources of his discomfort with print.
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Nievergelt, Marco. „Experience“. In Medieval Allegory as Epistemology, 246–322. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192849212.003.0005.

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Abstract This chapter argues that Deguileville finally registers and confronts the epistemological contradictions that crystallize in his poem, and does so by staging a series of crises experienced by its first-person dreamer/protagonist/narrator figure. The pilgrim first undergoes a deeply transformative experience of conversion at the Rock of Penitence, closely associated with the gift of the famous ABC prayer handed to him by Grace Dieu, personification of divine grace. The two experiences—prayer and conversion—finally enable a more fundamental reconfiguration of the poem’s underlying values and assumptions. The crisis of the pilgrim thus also denotes an authorial crisis, signalling Deguileville’s turn away from didactic allegory towards a new type of mystical and contemplative poetry, which finds its fullest expression in his late Latin corpus of poetry (1355–60?). In parallel, however, Deguileville also becomes engaged in the effort to recuperate and redefine his original poetic project as crystallized in the first Pèlerinage de Vie Humaine (1331), releasing a revised version of the latter (1355), followed by two further pilgrimage poems, the Pèlerinage de l’Âme (1356) and the Pèlerinage de Jesuscrist (1358), as well as an earlier reflection on the semantics of allegorical signification (Le Dit de la fleur de lis, 1338). The remainder of the chapter proposes a new analysis of the trajectory of Deguileville’s entire poetic career, reconsidering the divergent and conflicting aspirations of his different poems within the larger oeuvre, and proposing an analysis of the evolving nature of Deguileville’s poetic vision over time.
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Konferenzberichte zum Thema "Poetic Pilgrimage"

1

Juhásová, Jana. „Sanjuanist motifs in the poetic work of Erik Jakub Groch“. In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-19.

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One of the key poets of Slovak post-November poetry was shaped in the Komúna dissent group headed by philosopher and artist M. Strýko during the communist regime. Operating in dissent supported the radicality of his poetic gesture and lifestyle, the image of an active, evolving individual freed from the senselessness of civilization, and also the idea that it is possible to integrate evil into a higher good. These ideas also form branches to the sanjuanist motifs and intellectual solutions that are close to Groch. The article seeks these penetrating places with special attention on the symbol of the journey and pilgrimage, and at the same time points to Groch’s creative updates of one of the most famous spiritual teachings of the West.
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2

Toichkina, Alexandra V. „KULISH AND BYRON (TO THE HISTORY OF DON JUAN’S TRANSLATIONS INTO UKRAINIAN)“. In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.19.

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Translations of Byron’s works occupy a special place in the work of P. A. Kulish (1819– 1897). They can be divided into three parts: nine poems included in the poetry collection Borrowed kobza; Don Juan, first canto; Childe Harold’s Pilgrimage. As far as we know, Kulish was the first to attempt to translate Byron’s last, unfinished poem into Ukrainian. He chose not the “learned” type of translation, but “rehash”, which allowed more free experimentation in the field of vocabulary and rhythm. The edition was published as a separate reprint in 1891. Kulish saw his task in providing a translation of Byron’s poem Don Juan to help the younger generation of Ukrainians as a kind of textbook of life, as a means of protecting oneself from spiritual passions, from human egoism. In addition, the translation of the poem was important for Kulish in terms of developing a lyrical narrative style, which he applied in his last poem Kulish in Hell. Byron developed his own style of narration and used a confidential tone in the poem, referring to the direct experience of the reader. Kulish’s translation into Ukrainian of such a complex and rich work in terms of vocabulary, intonation, and rhyme was a rather difficult experiment. This translation is important both for the study of the creativity of Kulish and the processes of formation of the Ukrainian literary language and Ukrainian poetry. Refs 10.
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