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Relevant bibliographies by topics / Mysticism and poetry

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Academic literature on the topic 'Mysticism and poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Mysticism and poetry"

1

Haqqulov, Ibrohim. "MYSTICISM AND POETRY OF MAKHTUMQULI." Theoretical & Applied Science 88, no. 08 (August 30, 2020): 83–86. http://dx.doi.org/10.15863/tas.2020.08.88.20.

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., Mudita. "Mysticism in Indian English poetry." RESEARCH HUB International Multidisciplinary Research Journal 7, no. 10 (October 5, 2020): 1–2. http://dx.doi.org/10.53573/rhimrj.2020.v07i10.001.

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Birns, Nicholas. "Christian Mysticism and Australian Poetry." Journal of Australian Studies 38, no. 2 (April 3, 2014): 246–47. http://dx.doi.org/10.1080/14443058.2014.904720.

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Azarova, N. M. "ADVENTURES OF THE SOUL: TRANSMISSION OF THE SYSTEM OF MYSTICAL POETRY IN THE LANGUAGE OF VENIAMIN BLAZHENNY." VESTNIK IKBFU PHILOLOGY PEDAGOGY AND PSYCHOLOGY, no. 1 (2023): 50–60. http://dx.doi.org/10.5922/pikbfu-2023-1-5.

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The poetry of Veniamin Blazhenny (the Blessed) can be seen as a vivid example of the translation of the typological properties of the language of mysticism in late 20th century poetry. The artistic nature of the work of the Blessed during this time did not receive a fundamental analysis. The soul, a key concept of Blazhenny’s poetry, reveals undoubted similarities with the conceptualization of the soul and the idea of metempsychosis in Jewish and Judeo-Christian mysticism. This study focuses on grammatical elements, and in particular the system of pronouns and negative poetics, the way the subject is constructed and the strategy of anti-discursiveness. The key word and concept of Blazhenny’s poetry is the Soul which reveals an undoubted similarity with the conceptualization of the soul and the idea of metempsychosis in Jewish and Jewish-Christian mysticism.

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Park,Ryung. "Mysticism and Imagination in Wordsworth’s Poetry." New Korean Journal of English Lnaguage & Literature 56, no. 4 (November 2014): 37–57. http://dx.doi.org/10.25151/nkje.2014.56.4.003.

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Li, Kunyuan, Ruoyu Li, Manxi Liu, Xinwen Liu, and Bingxin Xie. "A Mysticism Approach to Yeats Byzantium." Communications in Humanities Research 4, no. 1 (May 17, 2023): 438–44. http://dx.doi.org/10.54254/2753-7064/4/20220657.

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William Butler Yeats is the most famous poet in the history of modern Irish literature. He is called the greatest poet of our time by T.S Eliot. He was awarded the Nobel Prize for Literature in 1925. He has a strong interest in mysticism and has made unremitting exploration of it throughout his life. Mysticism is an important source of Yeatss life creation. From the early collection of Irish folklore and mythology to the formation of the later mysterious system, Yeats constructed his own set of mythological systems. Yeats mysticism is particularly evident in his poem Byzantium. His poems are full of mystery due to the combination of Irish folk mythology, Swedish mysticism philosophy, Judaism and Christian doctrine, Indian Buddhist thought, ancient Greek and ancient Egyptian mythology and other factors. Among them, his poems are famous for the symbol of Oriental mysticism. This paper makes a detailed interpretation of Byzantine and then implements the analysis of this masterpiece in each section. Based on this analysis, this paper focuses on the interpretation of mysticism in poetry and its impact in order to achieve a better understanding of the mysticism embodied in poetry and provide a valuable reference for future research on related issues.

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Vijay, Aparna. "Mystic Philosophy and Spiritual Consciousness: A Study on Sri Aurobindo’s Select Poems." SMART MOVES JOURNAL IJELLH 8, no. 1 (January 28, 2020): 10. http://dx.doi.org/10.24113/ijellh.v8i1.10359.

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Mysticism is a broad term which expresses an area of concern rather than a specific set of beliefs. It is concerned with the nature of the ultimate reality. Mysticism can be a vague, ill-defined, religious and spiritual belief. This paper aims to explain Sri Aurobindo’s poems “The Meditations of Mandavya”, “Nirvana” and “Transformation” on the concept of spiritual consciousness and how the spirit of joy is attained. It focuses on how the poet attains the ideal of adwaita or non-duality. He also brings out the idea of “Absolute” where he drives home the meaning of spiritual unity of all beings in the universe. He is of the view that the world and our own individual existence break all the personal and egoistic limits and become one with our Earth. Mysticism is usually defined as a spiritual discipline used to make contact with the Divine. Mysticism is not an unexamined phenomenon, but one should be able to see its relevance to the human situation too. It proves the individual’s capacity to rise above the conditional factors of nature, nurture and history, to achieve a third force which might change the core and outline of collective life. The readers have themselves fallen into a trance while reading all of the mystical works. In order to understand the real feeling that a mystic poetry creates, the reader initially has to understand the really what mysticism really is. Only then one gets the accurate meaning and feeling of what a mystic poetry clearly says. There is always depth and meaningfulness in such a poetry. Then it can be stated that the reader has attained that sublime state which a poet usually wishes from his readers. It is not easy to attain that state. It requires real and thorough knowledge of mysticism. The mystical and philosophical beauty has been put forth by all the poets through their poetry.

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Kaczor-Scheitler, Katarzyna. "O wpływie spuścizny Świętej Teresy z Ávili na piśmiennictwo i kulturę polskiego baroku." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 21 (December 23, 2021): 48–74. http://dx.doi.org/10.24917/20811853.21.3.

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The subject of this article is to discuss the penetration of influences of Spanish mysticism, in particular, the works of Saint Teresa of Ávila, on the literature and culture of the Polish Baroque. The intercultural influence of Spanish mysticism on Polish artists is reflected in the translations of the writings of Saint Teresa of Ávila. The considerations focus on the influence of the mysticism of Saint Teresa on mystical autobiographies and anonymous poetry of Carmelite nuns from Krakow from the 17th and 18th centuries. The reflection also covers the centres of the veneration of the saint in Poland, in services and prayer books, and her popularisation through art. Mystical influences are also visible in the poetry of the 17th and 18th centuries, including poetry by Kasper Twardowski, Sebastian Grabowiecki, Stanisław Grochowski, Mikołaj Mieleszko, Zbigniew Morsztyn, Maciej Kazimierz Sarbiewski, Elżbieta Drużbacka, and Konstancja Benisławska. The Polish-Spanish ties situate the research issues undertaken in a comparative context, without which the studies on post-Tridentine spirituality would not have produced real achievements.

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Ansari, Amirali, and Hossein Jahantigh. "Evokers of the Divine Message: Mysticism of American Transcendentalism in Emerson’s “Nature” and the Mystic Thought in Rumi’s Masnavi." Theory and Practice in Language Studies 9, no. 11 (November 1, 2019): 1442. http://dx.doi.org/10.17507/tpls.0911.10.

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Mysticism, religion and mankind’s relationship with an all-absolute deity has been a prominent part of the human experience throughout history. Poets such as Emerson and Rumi were similarly concerned with this question in creating their works. Although Rumi’s thought stems from the Quran and Emerson’s manifestation of Nature takes roots in the ancient eastern philosophies such as Buddhism, their works seem to share some explicit characteristics. Rumi (1207-1273) lived most of his life in Konya and Khorasan and Emerson (1803-1882) lived in America, but their immense geographic and temporal distances did not surpass their analogous attitudes as mystics. The biggest and the most obvious affinity between these mystic thoughts is believing in Monism as a spiritual practice. Although Emerson read and was influenced by classical Persian poetry of Hafiz and Sa’di, there is no evidence suggesting that he was familiar with Rumi’s poetry. Moreover, thematic analogies between Rumi’s Masnavi and Emerson’s essay on Nature result in a shared ideology which includes themes varying from monism, kashf or unveiling, attitudes towards language and the uninitiated. These concepts, observed in both works, point us toward the realization of universal features of mysticism.

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Harahap, Khoirul Amru. "Hamzah Al-Fansuri: A Figure of Malay-Indonesian Philosophical Mysticism and Sufi Literature." International Conference of Moslem Society 2 (April 23, 2018): 33–42. http://dx.doi.org/10.24090/icms.2018.1847.

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This paper discusses Hamzah al-Fansuri and his mysticsm philosophical thought and his sufi literature. His mysticism philosopical thought was very controversial that it raises debates in in his era. One of the hardest figure that attack his mysticism philosophical thought was Nuruddin ar-Raniri. This sunni’s mysticism figure considered al-Fansuri a deviate mysticism, zindiq and mulhid (heathen). Mysticism concept he practiced was the concept of wahdah al-wujud or known as wujudiyah concept, which is mostly affected by Ibnu ‘Arabi. Al-Fansuri’s Wujudiyah concept is a concept stating that wujud (existency) is essentially one, even though it seems a lot. All things that are seen a lot by the sense organ, actually just appearance of a form of existency, Allah. However, al-Fansuri separated it between intrinsic form and inherent form. Inherent form is actually nothing, it can be fana’ at every time, and it does not exist without an essential being. Even though he practiced wujudiyah concept, he is strongly refused ittihad concept (the united of the sufi with God) and hulul concept (God put a place from the body of someone). Meanwhile, his sufi literature has 6 characteristics: 1. He used authorship markers. 2. He quoted a lot of verses of Quran, hadith, and Arabic words. 3. He put his name and nick name in the end of his poetry ties. 4. He used imageries and metaphorical symbolic. 5. He was clever in joining diction with rhythm in a balanced way. 6. He was clever in joining metaphysics sense, logical and sufi aesthetic in his poems.

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Dissertations / Theses on the topic "Mysticism and poetry"

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El-Shaer, Mohamed Sharaf. "Mysticism in the poetry of Kathleen Raine." Thesis, Durham University, 1987. http://etheses.dur.ac.uk/1687/.

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Bradley, Arthur Humphrey. "Reading Shelley negatively : mysticism and deconstruction." Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263790.

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Davidson, Toby, and tdavidso@deakin edu au. "Born of fire, possessed by darkness : mysticism and Australian poetry." Deakin University. School of Communication and Creative Arts, 2008. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20090218.124155.

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This dissertation is structured around five Australian mystical poets: Ada Cambridge, John Shaw Neilson, Francis Webb, Judith Wright and Kevin Hart. It examines the varieties of Western Christian mysticism upon which these poets draw, or with which they exhibit affinities. A short prelude section to each chapter considers the thematic parallels of their contemporaries, while the final chapter critically investigates constructions of Indigeneity in Australian mystical poetry and the renegotiated mystical poetics of Indigenous poets and theologians. The central argument of this dissertation is that an understanding of Western Christian mysticism is essential to the study of Australian poetry. There are three sub-arguments: firstly, that Australian literary criticism regarding the mystical largely avoids the concept of mysticism as a shifting notion both historically and in the present; secondly, that what passes for mysticism is recurringly subject to poorly defined constructions of mysticism as well as individual poets use of the mystical for personal, creative or ideological purposes; thirdly, that in avoiding the concept of a shifting notion critics have ignored the increasing contribution of Australian poets to national and international discourses of mysticism.

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Gillett, R. M. "'Mysticism', 'myth' and 'magic' in the poetry of Alfred Mombert and Oskar Loerke." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233945.

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The aim of my dissertation, far from being narrowly comparative, is to construe the similarities between Mombert and Loerke as symptons of a common predicament, while providing a full and fair account of their poems. I have therefore examined the appropriateness and implications of three terms often applied to both and carefully investigating specific passages of poetry. The first chapter, on Mombert, is divided into three parts. The first begins with a consideration of 'Incipit Creatio' and touches on Mombert's vocation and his style before investigating the similarities of theme and imagery which link him and mysticism. The second section is based on a close interpretation of Der Sonne-Geist, from which more general conclusions are drawn about the relations between Mombert's dreams and various mythological traditions. The third section is anchored in a virtual fairy-tale from Mombert's last work and devoted to an investigation of 'magic' in which the absence of a recognised body of pre-defined material is supplied by abbreviated literary-historical references to Novalis and Júger. The second chapter, on Loerke, has the same structure. The poems stressed are 'Mystische Sicht', 'Gott' and 'Die Einzelpappel' for mysticism; 'Das Schweigen auβer der Welt', 'Schnellen' and 'Kleine Erzfigur des Osiris' for myth; and 'Die Vogelstraβen' and 'Keilschrift-zylinder' for magic. And the conclusions are that the terms 'mysticism' and 'myth' are inappropriate because they imply a binding metaphysical certainty which both poets vainly sought to recapture; that the term 'magic' can be, and since romanticism has been, applied to precisely this problem; that its overtones of invocation and transformation sum up the aims and poetic techniques of both poets; and that Loerke, though he seems more modern than Mombert and could no longer make the same grandiose gestures, was nonetheless writing for substantially the same reasons and in much the same way.

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Brewer, Benjamin. "Poetry and Ecstasy: Thinking Bodily with Heidegger and Bataille." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19323.

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This essay explores the possibilities for thinking of the body as a site of exposure to and commingling with the world. I begin with Martin Heidegger’s engagement with the question of poetry as an encounter with the non-conceptual dimension of experience (earth). I then show how the disclosure of this non-conceptual dimension of experience in poetry requires an irreducibly bodily form of thought and experience. In the second chapter, I turn to the work of Georges Bataille in order to explore the bodily experiences and meditative practices he developed in the decades around and during World War II. First, I examine his writings concerning eroticism and laughter to show how these bodily experiences exceed conceptual determination and explanation. Lastly, I look at Bataille’s appropriation of medieval mystic Angela of Foligno’s practice of stigmatic meditation as a discipline of bodily exposure.

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Alotaibi, Nada Abdullah. "The making of an aesthetic and ineffable 'mysticism' in Victorian poetry and poetics." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/13400/.

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Relying on a constructivist framework of analysis drawn from the disciplines of Philosophy, Religious Studies, and History, this thesis examines the contribution of Victorian poetry and poetic theory to the modern construction of ‘mysticism’ as an aesthetic and ineffable category. My analysis is guided by the Foucaultian notion that any definition of a given concept reflects issues of authority, which I use to propose that, in the increasingly secularized milieu of nineteenth-century culture, many Victorian intellectuals sought to assert the ineffability and aesthetic character of mysticism as part of a larger nineteenth-century search for an authoritative place for poetry. With a special focus on the writings of Thomas Carlyle and James Thomson (B. V.), the problematization of mysticism I offer here spans the period between the mid-1820s and 1880s, a relatively broad context that allows me to draw connections among various poets, critics and their works, and weave these into a readable narrative where mysticism figures as a key player in the collective aesthetic consciousness of an age. Chapter I of this thesis establishes the conceptual and theoretical parameters of the debate informing the constructivist method I employ, with the aim of offering a critique of previous literary scholarship on Victorian poetry that adopts mysticism as a primary analytic category. I argue that such scholarship largely bases its analysis on essentialist definitions, and often ends up being ideologically exclusionary. Chapter II provides a detailed look at the conceptual overlap between mysticism and poetry in both Modernist and Victorian discourse for the purpose of establishing that modern mysticism is fundamentally a poetic and aesthetic construct, one that was shaped by the nineteenth-century discourse on poetry and art. Situating Carlyle’s discourse on mysticism within that of other contemporary figures, Chapter III examines his leading role in the nineteenth-century conceptual transformation of ‘mysticism’ from a term that was pejoratively used to signify ‘unintelligibility’ to one that was used to denote the transcendental legitimacy of poetry. Chapter IV traces Thomson’s career-long engagement with mysticism along his religious and intellectual development from a theist to a self-proclaimed atheist, arguing that it reflects on a larger scale the history of mysticism’s development in the second half of the Victorian age: how its Romantic appropriation in the mid-nineteenth century was especially freighted with religious meanings, and how this would gradually change at the turn of the century, where it would become more open to secular and naturalistic interpretations.

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Marsden, Steven Jay. ""Hot little prophets": reading, mysticism, and Walt Whitman's disciples." Texas A&M University, 2004. http://hdl.handle.net/1969.1/1213.

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While scholarship on Walt Whitman has often dealt with "mysticism" as an important element of his writings and worldview, few critics have acknowledged the importance of Whitman's disciples in the development of the idea of secular comparative mysticism. While critics have often speculated about the religion Whitman attempted to inculcate, they have too often ignored the secularized spirituality that the poet's early readers developed in response to his poems. While critics have postulated that Whitman intended to revolutionize the consciousness of his readers, they have largely ignored the cases where this kind of response demonstrably occurred. "Hot Little Prophets" examines three of Walt Whitman's most enthusiastic early readers and disciples, Anne Gilchrist, Richard Maurice Bucke, and Edward Carpenter. This dissertation shows how these disciples responded to the unprecedented reader-engagement techniques employed in Whitman's Leaves of Grass, and how their readings of that book (and of Whitman himself) provided them with new models of identity, politics, and sexuality, new focuses of desire, and new ways in which to interpret their own lives and experiences. This historicized reader-response approach, informed by a contexualist understanding of mystical experience, provides an opportunity to study how meaning is created through the interaction of Whitman's poems and his readers' expectations, backgrounds, needs, and desires. It also shows how what has come to be called mystical experience occurs in a human context: how it is formed out of a complicated interaction of text and interpretation (sometimes misinterpretation), experience and desire, context and stimulus. The dissertation considers each disciple's education and upbringing, intellectual influences, habits of reading, and early religious attitudes as a foreground to the study of his or her initial reaction to Leaves of Grass. Separate chapters on the three figures investigate the crises of identity, vocation, faith, and sexuality that informed their reactions. Each chapter traces the development of the disciples' understanding of Whitman's poetry over a span of years, focusing especially on the complex role mystical experience played in their interpretation of Whitman and his works.

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McCullough, Eleanor G. ""Except you ravish me" [microform] : the images of Christ as courtly knight, bridegroom, and mother of the soul as woven through the religious love lyric "In a valey of this restles mynde" /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p048-0326.

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Kouakou, Kouassi ange-valery. "La quête spirituelle dans la poésie française de 1918 à 1945 (Jouve, Bataille, Valéry)." Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20011/document.

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Traversé par une insatiable soif de spiritualité et de liberté, le XXe siècle est connu pour être celui de la « Mort de Dieu » ou plus explicitement celui du repositionnement de l’homme au centre du divin. C’est dans l’élan de modernité, de renouvellement spirituelle, donc de rejet de toute sorte de tradition religieuse que s’inscrit l’expérience poétique de Pierre Jean Jouve, Georges Bataille et Paul Valéry.Alors que rien ne semble a priori les réunir, ces trois poètes aux idées divergentes et souvent opposées, un croyant iconoclaste et hétérodoxe, un athée hanté par la quête du sacré et un pur rationaliste à la recherche de son « Dieu », ont fait de l’univers de la poésie un lieu de questionnement, d’exploration profonde de l’intériorité et de quête de soi. A travers une extase à la fois poétique et mystique qui fait le lit à l’éros, à l’amour, à la musique et à la mort dans une sorte de jonction entre Immanence et Transcendance, il se dessinent de nouvelles voies d’expérimentation spirituelle qui érigent ces poètes en véritables prophètes de leur époque
Crossed by insatiable one thirst of spirituality and freedom, the XXth centuryis known to be the one of «God’s Death or more explicitly that repositioning of theman in the center of the divine. It is in the moose of spiritual modernity, of renewal,thus various rejection of religious tradition that joins the poetic experience of PierreJean Jouve, Georges Bataille and Paul Valéry. While nothing seems to gather them, these three poets in the divergent andoften set ideas, an iconoclastic and heterodox believer, an atheist haunted by the questof the sacred and a pure rationalist in search of his "God", made of the universe of the poetry a place of questioning, deep exploration of the interiority and quest of one.Through an ecstasy at the same time poetic and mystic which makes the bedfor éros, love, music and death in a junction of Immanence and Transcendence, it take shape new ways of spiritual experiment which set up these poets as real prophetsof their time

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Acker, Elizabeth Anne. "God in the Darkness: Mysticism and Paradox in the Poetry of George Herbert and Henry Vaughan." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0720101-152602/unrestricted/ackera0808a.pdf.

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Books on the topic "Mysticism and poetry"

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Nagar, Anupam Ratan Shankar. Mysticism in Tagore's poetry. Bareilly: Prakash Book Depot, 1995.

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Bhatnagar, R. S. Mysticism in Urdu poetry. New Delhi: Dept. of Islamic Studies, Jamia Hamdard, 1995.

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Davidson, Toby. Christian mysticism and Australian poetry. Amherst, New York: Cambria Press, 2013.

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Zagajewski, Adam. Mysticism for beginners. New York: Farrar, Straus & Giroux, 1999.

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Zagajewski, Adam. Mysticism for beginners. London: Faber and Faber, 1998.

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Zagajewski, Adam. Mysticism for beginners. New York: Farrar, Straus & Giroux, 1997.

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Alan, Jacobs, ed. The Element book of mystical verse. Shaftesbury, Dorset: Element, 1997.

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Neihardt, John Gneisenau. The divine enchantment: A mystical poem. Albany, N.Y: Excelsior Editions/State University of New York Press, 2008.

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Neihardt, John Gneisenau. The divine enchantment. Albany: Excelsior Editions, 2008.

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Neihardt, John Gneisenau. The divine enchantment: A mystical poem ; and, Poetic values : their reality and our need of them. Lincoln: University of Nebraska Press, 1989.

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Book chapters on the topic "Mysticism and poetry"

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Fredman, Stephen. "Mysticism: Neo-Paganism, Buddhism, and Christianity." In A Concise Companion to Twentieth-Century American Poetry, 191–210. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470757680.ch10.

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Johnson, George M. "Purgatorial Passions: “The Ghost” (aka Wilfred Owen) in Owen’s Poetry." In Mourning and Mysticism in First World War Literature and Beyond, 187–200. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137332035_7.

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Ross, Bruce. "A Poetry of Mysticism: Solomon Ibn Gabirol, Maulana Jalaluddin Rumi, and Rainer Maria Rilke." In Sharing Poetic Expressions:, 81–105. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-0760-3_8.

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Mund, Subhendu. "An Indigenous Perception of 'Myth' and 'Mysticism': A Study in the Early Indian English Poetry." In The Making of Indian English Literature, 251–71. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003203902-17.

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Mirbagherifard, Seyyed Ali Asghar. "Analysis of the Ratio of Poetry and Islamic Mysticism in the Formation of Rumi's Personality." In Routledge Handbook of Ancient, Classical and Late Classical Persian Literature, 313–34. London: Routledge, 2023. http://dx.doi.org/10.4324/9781315124216-22.

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Sahlani, M. J. "In the Name of God: Sufi’ism, a Transcendental Pantheism and the Mystery of Mysticism in Persian Poetry." In Mystery in its Passions: Literary Explorations, 115–24. Dordrecht: Springer Netherlands, 2004. http://dx.doi.org/10.1007/978-94-007-1017-7_9.

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Sepsi, Enikő. "Kenosis in Simone Weil's mysticism." In Poetic Images, Presence, and the Theater of Kenotic Rituals, 79–88. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003163930-7.

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Sidiropoulou, Chryssi. "Self, Other and Nothingness in Western Philosophy and in Islamic Mysticism." In Sharing Poetic Expressions:, 107–24. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-0760-3_9.

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Sepsi, Enikő. "Mysticism in the approach to theater: the “kenotic” theater." In Poetic Images, Presence, and the Theater of Kenotic Rituals, 89–97. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003163930-8.

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Serventi, Silvia. "I laudari gesuati: la raccolta poetica del Bianco da Siena." In Le vestigia dei gesuati, 95–116. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-228-7.09.

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The extensive poetic collection of Bianco da Siena reflects the rich spirituality of Jesuates as, under the generic definition of «lauds», there are writings belonging to different literary genres, such as the abecedary, the acrostic, the epistle and the preaching in verse, the mystical, penitential, santoral, Marian lauda, in addition to the paraphrase of prayers. The characteristic themes of «jesuate piety» often emerge in his compositions, such as the repetition of the name of Jesus, the desire to be dishonored, the importance of prayer, the Immaculate Conception, the devotion to the pope and to the clergy. A «jesuate specificity» emerges, intended to spread the «affective mysticism» of Carthusian matrix first of all among the Jesuates, but more generally among the true lovers of God.

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Conference papers on the topic "Mysticism and poetry"

1

Campana, Silvia. "Enthralled by mystery. Eckhart, Heidegger and the poet Mujica in an interdisciplinary dialogue." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-5.

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Mysticism and poetry make up an inseparable pairing and, in these times of absence, they reveal the deep desire of man to go beyond the immediate, the existential, the superficial. The Argentine poet Hugo Mujica opens, from his poetic saying, a door towards the abyss and the desert, towards the limit of language and silence. We can glimpse in his poetry Heidegger’s legacy and, together with the philosopher, the Master Eckhart is also dragged from his going to God without god. From the interdisciplinary dialogue between philosophy, theology and poetry, we will approach to decipher this influence that transforms the saying of the poet-philosopher and updates his word in the desert and plunges us into the mystery of the unspeakable.

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Kaizerová, Petra. "A probe inside the poetic form of mysticism of Slovak Romantic Messianists." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-17.

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The Slovak Romantic Messianism is perceived by us as a phenomenon growing from a specific current epochal situation relating to a relatively rich tradition, which existed in the Slovak cultural context already in previous historical periods. By considering the characteristic features of production, its existence was often relativised. Nevertheless, it represents an important testimony of a concrete epoch. Its artistic implementation (perhaps today more than in the past) is being well appreciated, thanks to its interesting form and to its expressive and narrative strength or value. By focusing our attention on its expressive and thematic means, it is possible to prove that the authors tried to mediate a mystical experience to the readers. As mystagogues, they introduced and initiated the readers to the mysteries of God’s plans aiming at transformation of this world. In this sense, through their literary production, they invoked and prayed God to give them a chance to live a direct mystic experience in the reality. By pursuing this purpose, they filled their poetry with curious archaisms and neologisms (the so-called self-creation of language). They gave way to a speculative etymologism and poetical forms. Generally, they were syncretically stylying poetical shapes. And they often exploited experiments or complex strophic structures.

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MUȘAT, Liliana. "The manifestation of the symbolism in Romania." In Învățământul superior: tradiţii, valori, perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.29-30-09-2023.p288-296.

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The Symbolist literary movement emerged in Romania in the late 19th and early 20th centuries, heavily influenced by French Symbolism and the works of poets like Baudelaire and Rimbaud. Romanian Symbolism was characterized by a focus on subjective experience, mysticism, and the use of symbols and metaphors to convey deeper meanings. Prominent Romanian Symbolist poets and writers included George Bacovia, Ion Minulescu, and Alexandru Macedonski.

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4

Raušerová, Andrea. "Mystical experience in late works by Julius Zeyer." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-7.

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Mystical experience is connected with ineffability. This paper proves it in works by various authors. It mentions some common phenomena associated with mysticism, such as stigma, levitation, appearance of light, religious anorexia, etc. Some of them are observed in late works by Julius Zeyer, a Czech novelist and poet, which represent the core of the analysis. Christine the Miraculous and The Three Memoirs of Vít Choráz both reflect mystical experience experienced by the main characters. The paper refers to accompanying aspects of the behaviour of the characters related to ineffable.

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Gritti, Fabiano. "The silence of God in the poetry of Father David Maria Turoldo." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-6.

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The article concerns the last phase of poetic production of father David Maria Turoldo, notably the last collection published when he was still alive – the Final Chants. In his very long work or religious poet, liturgist, and essayist, he treated a number of topics, incl. social themes and current affairs. In his last phase of his poetic, he doesn’t speak to the society, to the poor, and to marginalised people like in the past, but he addresses God directly – by forming an intense dialogue with the Absolute. In this poetical and mystical dialogue, he interrogates God about the most impenetrable mysteries for human understanding. These mysteries overwhelmed theologians and mystics of all times. Here, we shall focus notably on the topic of God being far from His creation – which is manifested through the divine silence. God seems not to hear the invocations of the faithful; it looks as though He doesn’t care about the problem of suffering (especially of the weakest persons) that remains apparently unrelieved by divine intervention. We shall present some meaningful short examples of such deep and complex issues, in order to introduce the reader to the knowledge of the peculiar Turoldian approach, by providing a possible interpretative key.

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Esmaeili, Nooshin, and Dr Brian Robert Sinclair. "Wisdom of Persian Architecture: Exploring the Design of the M.T.O. Sufi Centres in Search for the ‘Spirit of Place’." In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15239.

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The field of architecture and design has changed and been impacted by advanced technology over the past few decades. Our world, which was already experiencing drastic change, has recently encountered accelerated upheaval due to the global pandemic. Enamored by virtual reality (VR), 3D printing, global positioning, and the proliferation of robots, we are arguably too often surrounded by resultant superficial, meaningless, and soulless spaces to which we can neither relate nor connect. The sense of delight, serenity, poetry, and beauty that we inherently desire and yearn for, is becoming increasingly rare -- and at times even lost -- in today’s architecture. It can be argued that contemporary architecture risks becoming more a tool and product than a work of art that mirrors society and self. As architects, we are responsible to humanity through our quest to design spaces that reunite us with our inner selves and foster a sense of being. Considering recent challenges, crises, and catastrophes, designers are continuously researching the well-known traditional and aged architecture of the past for novel approaches that can enlighten future works. Architects are beginning to more assertively seek factors that propel transcendental experience in space. The present paper considers the case of Persian architecture - one of the richest and most eminent architectural styles in the world. Most buildings of this genre were designed by individuals who were most notably spiritual masters, mystics, astronomers, mathematicians, philosophers, and then architects. This paper interrogates architecture to critically delineate Persian architecture’s role in enhancing contemplation and provoking reflection while highlighting spaces that poetically respond to and nurture our soul. Deploying a literature review and analysis of recently built Sufi Centers in the United States, the research then builds an argument for linking the wisdom of Persian architecture with the spirit of place focusing on the encounter of transcendental moments in space. All these Sufi centers are affiliated with the Maktab Tarighat Oveysi (M.T.O.) Shahamaghsoudi School of Islamic Sufism. Analysis of case studies culls out qualities of space that give rise to sacred (non-religious) experiences including connection with self, balance/ harmony, and most important of all, unity, and oneness internally and externally. Persian architecture, as one of history’s most celebrated building traditions, considers the intense relationship between the sacred and profane, between mortal and immortal, and between the physical and the non-physical. The analysis of these exceptional case studies serves as the foundation for an anticipated and thought-provoking guide to ‘transcendental design,’ introducing a novel approach for designers that encourages advancing beyond the physical form to pursue and optimize the vital intersection of wisdom, space, place, and self.

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