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Relevant bibliographies by topics / Pilgrim poet

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Academic literature on the topic 'Pilgrim poet'

Author: Grafiati

Published: 18 May 2024

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Journal articles on the topic "Pilgrim poet"

1

Morot-Sir, Edouard, and Judith Suther. "Raissa Maritain: Pilgrim, Poet, Exile." South Atlantic Review 56, no. 3 (September 1991): 132. http://dx.doi.org/10.2307/3200045.

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Dana Greene. "Denise Levertov: Poet and Pilgrim." Logos: A Journal of Catholic Thought and Culture 13, no. 2 (2010): 94–108. http://dx.doi.org/10.1353/log.0.0073.

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Mizingou, Jeannine. "Robert Lax: Poet, Pilgrim, Prophet." Logos: A Journal of Catholic Thought and Culture 4, no. 1 (2001): 98–113. http://dx.doi.org/10.1353/log.2001.0009.

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Flack, Corey. "Is Dante a pilgrim? Pilgrimage, material culture, and modern Dante criticism." Forum Italicum: A Journal of Italian Studies 55, no. 2 (July 4, 2021): 372–98. http://dx.doi.org/10.1177/00145858211021554.

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The phrase “Dante the pilgrim” has become commonplace within scholarship on the Commedia as a way to refer to the character within the text who travels the Christian afterlife, as distinct from “Dante the poet,” the voice which narrates the poem. Yet, despite such prevalence, the validity of the term “pilgrim” goes rather unquestioned by scholars. This study aims to challenge the label through Dante’s own definition of a peregrino in the Vita nuova as “chiunque è fuori de la sua patria” (XL.6), a definition that shows a more nuanced understanding of the term than modern scholarship acknowledges. Instead, by tracing out the legacy of the term “Dante the pilgrim” as emerging from late 19th-century criticism such as Francesco de Sanctis’s Storia della letteratura italiana, this article will show that the typical understanding of pilgrim ignores a central dimension of Dante’s own definition: a sense of physical displacement. For Dante, pilgrimage becomes constitutive of the virtual world in the poem, drawing off of material practices of travel to inform the physical experiences of the protagonist. This literal level, signified by an embodied protagonist in similar ways as pilgrims to holy sites interacted with those places, is fundamental for interpreting the larger theological truths Dante conveys, even in minute details such as kicking rocks in Inferno 12.

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Caponi, Francis J. "“I did not die, nor did I stay alive:” The Dark Grace of Nonexistence in Inferno XXXIV." Quaderni d'italianistica 35, no. 1 (January 15, 2015): 5–25. http://dx.doi.org/10.33137/q.i..v35i1.22349.

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In the final canto of Inferno, Dante confronts Dis, “la creatura ch’ebbe il bel sembiante” (XXXIV.18). In response, the poet declares: “Io non mori’ e non rimasi vivo; / pensa oggimai per te, s’hai fior d’ingegno, / qual io divenni, d’uno e d’altro privo.” (XXXIV.22-27) Beneath this apparently innocuous proclamation is a metaphysical “event” unique among Western letters, as the poet arrogates godly power and bestows on the pilgrim the experience of “existence” beyond the divine will. By this gracious gift of non-existence, the Pilgrim surpasses the mere corruption of Satan and his kingdom, and enters into a state of uncreation. Evidence of this unparalleled passage is found in the pilgrim’s absence of fear during his remaining time in hell.

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Amprimoz, Alexandre L. "Judith D. Suther.Raïssa Maritain: Pilgrim, Poet, Exile." Romance Quarterly 39, no. 2 (May 1992): 237–39. http://dx.doi.org/10.1080/08831157.1992.10544992.

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Edelman, John. "Pilgrim Readers: Introducing Undergraduates to Dante’s Divine Comedy." Religions 10, no. 3 (March 14, 2019): 191. http://dx.doi.org/10.3390/rel10030191.

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In the context of undergraduate education, “Teaching Dante” often means reading selected cantos from the Divine Comedy, most, if not all of them, taken from the Inferno. I suggest, however, that Dante’s aims in the Divine Comedy, as well as the particular experiences related in the Inferno itself, cannot be understood from any perspective offered by the Inferno alone. In spelling out my reasons for saying this I offer an approach to the text that includes readings from each of its three cantiche within the sometimes severe time-limitations of an undergraduate course. Central to this approach is the notion that student-readers of the Divine Comedy are called upon by the poem to be not mere observers of the experiences of the poet-pilgrim but to become themselves “pilgrim-readers.” In this presentation, this “call” is itself explored through the treatment of “divine justice” within the poem.

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Kuznetsova, Ekaterina V. "Traditions of franciscanism and pilgrimage in the life and work of A. Dobrolyubov." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 19–30. http://dx.doi.org/10.20323/2499-9679-2021-2-25-19-30.

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The fate and personality of Alexander Dobrolyubov gave rise to a kind of Dobrolyubov myth about the eternal wanderer in the culture of the Russian Silver Age and in many ways unfairly obscured his literary work. The article traces the influence of Francis of Assisi on Dobrolyubov's own life-creating strategy and his contemporaries' perception of him as a «Russian Francis. The author considers the peculiarities of artistic interpretation of the whole complex of motifs associated with the fate and personality of the Italian saint in the last collection of Dobrolyubov's works, From the Book Invisible (1905). The author analyzes the image of the pilgrim, glorification (preaching) of the poor, hermit’s life and the unity of man and wildlife, plants and the elements of nature in the context of teachings of St. Francis and the Russian franciscanism of the modernist era; the features of their modernist reception are traced in Dobrolyubov’s works written after his «departure». On the other hand, the author reveals evidence that the poet implements the individual author's interpretation of the characteristic Russian cultural and historical phenomenon of pilgrimage (real, metaphysical and spiritual), which was reflected, for example, in N. S. Leskov’s works, and philosophically interpreted in science and criticism of the early 20th century (V. Rozanov, N. Berdyaev, etc.). The author suggests that the poet was influenced by an anonymous work of Russian religious literature «A Pilgrim's Confessional Stories to his Spiritual Father». As a result, the author concludes that the poet creates a modern variation of the Franciscan image of the «simple man» and the divine man, possessing the gift of communication with nature, who combines the features of an Italian ascetic preacher with the type of a Russian pilgrim-god-seeker.

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Willard, Thomas. "Chaucer and the Subversion of Form, ed. Thomas A. Prendergast and Jessica Rosenfeld. Cambridge Studies in Medieval Literature, 104. Cambridge and New York: Cambridge University Press, 2018, pp. ix, 224." Mediaevistik 31, no. 1 (January 1, 2018): 430. http://dx.doi.org/10.3726/med012018_430.

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Readers of Chaucer become accustomed to his self-deprecating humor. In one famous example, the character of Chaucer the Canterbury pilgrim begins telling the tale of a knight named Sir Thopas who tries to rescue the elf queen. He uses such complicated verse forms that the host tells him to stop the “rym doggerel” and to “telle in prose somewhat.” Chaucer the poet thus shows his virtuosity and his humanity. The host is not an uncultured boor, as some early critics said; however, the pilgrim does not speak as Chaucer himself would have done on such an occasion.

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Beraia, Izonera, and Miranda Todua. "BESIK GABASHVILI/ NIKOLOZ BARATASHVILI – PARALLELS AND REMINISCENCES." ARTS ACADEMY 3, no. 3 (September 2022): 94–114. http://dx.doi.org/10.56032/2523-4684.2022.3.3.94.

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Poetry of Nikoloz Baratashvili was inspired by national tragedy of Georgia in the end of the 18th century. Speaking on the epoch of Baratashvili, one of the first biographers of the poet – Iona Meunargia - noted that Georgia tried to keep the atmosphere of ancient times from Ioane Petritsi to Ioane Batonisvili. By the manifesto of Georgian modernist Titsian Tabidze - «Blue Horns» - poetry of Baratashvili (especially, his first verses) had reflected enigmas of Besik Gabashvili. It`s important to study allusions and reminiscences of Besik Gabashvili and Nikoloz Baratashvili. The verse of Besiki – «I understood…» – one of the poems of the circle of «Sorrow Garden» («Sevdis Baghi») is an inspiration of lyrical narrative of Baratashvili «The Hyacinth and the Pilgrim». Characters of the Besiki`s poetical narrative – the Hyacinth, the Pilgrim, the Nightingale, the Rose - are reflected in the Baratashvili literary text – it`s a dialogue among the Hyacinth and the Pilgrim. But the context/concept is/are different: In the text of Besiki the beloved is aparted from his sweetheart (the Rose) by his own will, and the strange landscape is a new home for the belover himself. The Hyacinth is only a medium. In the text of Baratashvili main characters are the Hiacintus and the Pilgrim and their dialoge is a main theme of the verse. The most important problem of Baratashvili text is the concept of leaving/parting the native land/fatherland. Metapchorically, a native land is a Paradise, but we think, in this concrete context the author speaks about a real Fatherland (Georgia) and the tragedy of 1832 insurrection as well as the marriage of Ekaterine Chavchavadze. The Hiacintus is trubbled because of losing of freedom. Concept of Baratashvili is the same as «The Pilgrimage of Childe Harrold» - it`s a «texts of innitiation». «Mtatsminda Twilight» by Baratashvili is inspired by the verse of Besiki «Sorrow Garden». The Mtasminda Mountain is the Sorrow Garden as well. The landscape of Besiki is allegorical but the environment of Baratashvili is real mountain as well. The poet looks for Eternity. Political choice of Georgian State and its results are reflected in the conceptual poems of Besiki («For Aspindza», «The Rukhi Battle») and Baratashvili («Destiny of Qartli (Georgia).»

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Dissertations / Theses on the topic "Pilgrim poet"

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Mary, K. V. "John Henry Cardinal Newman : the pilgrim poet." Thesis, University of North Bengal, 1996. http://hdl.handle.net/123456789/1151.

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Calvert, Robert [Verfasser]. "Pilgrims in the Port : The Identity of Migrant Christian Communities in Rotterdam / Robert Calvert." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1202695221/34.

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Shah, Omer. "Made in Mecca: Expertise, Smart Technology, and Hospitality in the Post-Oil Holy City." Thesis, 2021. https://doi.org/10.7916/d8-j409-cp77.

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Under the new Vision 2030 national transformation plan, the kingdom of Saudi Arabia seeks to increase number of annual pilgrims from eight million to thirty million. If oil has certain limits, then pilgrimage is framed as lasting “forever.” But this exuberant claim of “forever” belies a more subtle transformation unfolding at the level of knowledge, technology, and hospitality as Mecca and its crowds are made and re-made into a resource for a national economy. This dissertation examines the Saudi state’s efforts to manage, and ultimately intensify and optimize Mecca’s pilgrimage through new sciences and technologies of crowd management, logistics, and secular hospitality. I demonstrate how these new forms of knowledge production operate in tension with older and decidedly more Islamic ways of knowing, managing, and belonging in the holy city. Instead of approaching religious knowledge and secular knowledge as discrete spheres, my research explores their entanglements and aporias across a range of techno-political practices: navigation, hospitality, urban planning, systems thinking, crowd management, and optimization. Ultimately, I explore how in this moment of ritual intensity, the cosmopolitan logics of the holy city come to be blunted.

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Books on the topic "Pilgrim poet"

1

Raïssa Maritain: Pilgrim, poet, exile. New York: Fordham University Press, 1990.

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2

Suther, Judith D. Raïssa Maritain: Pilgrim, poet, exile. New York: Fordham University Press, 1990.

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3

McMullin, J. Phillip. Poets, dreamers & pilgrims. Whitby, Ont: The Plowman, 1999.

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4

Cotton, John Carl. Planters, pilgrims, and poets. Paradise Valley, AZ: The Authors, 1996.

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Pilgrims: Selections from salvationist poets. London: International Headquarters of the Salvation Army, 1988.

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6

Gurnah, Abdulrazak. Pilgrims way. London: Cape, 1988.

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Singh, Iqbal. The ardent pilgrim: An introduction to the life and work of Mohammed Iqbal. Delhi: Oxford University Press, 1997.

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8

John, Bunyan. Pilgrim's progress. Nashville, Tenn: T. Nelson Publishers, 1999.

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Bunyan, John. The pilgrim's progress. Oxford [England]: Oxford University Press, 1998.

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John, Bunyan. The pilgrim's progress. Uhrichsville, OH: Barbour Publishing, 2010.

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Book chapters on the topic "Pilgrim poet"

1

Hashemi, Morteza. "Pilgrim Atheists and the Myth of Warfare." In Theism and Atheism in a Post-Secular Age, 99–115. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-54948-4_5.

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Gust, Geoffrey W. "Claiming The “Popet”: Ethics, Evasion, and the Pilgrim’s Progress." In Constructing Chaucer, 159–98. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230621619_5.

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Chevez, Agustin. "Deconstructing Pilgrimages." In The Pilgrim’s Guide to the Workplace, 85–88. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4759-9_24.

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AbstractThe online Camino started in the beautiful Saint-Jean-Pied-De-Port, right at the foot of the French Pyrenees. This time there was not a small get-together at the starting point and that was a good thing, because I wasn’t there either. I started the walk many thousands of kilometres away.

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Chevez, Agustin. "The Good, the Bad, and the Ugly." In The Pilgrim’s Guide to the Workplace, 53–56. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4759-9_16.

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AbstractAs the towns along the way got smaller the ‘award-winning’ signs and their competition began to disappear. One small town had nothing more than a pub that doubled as a post office – a default winner for my patronage. However, the experience of this small-town pub was in sharp contrast to the scones and jam of larger towns.

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"III. Pilgrim and Poet: Definition by Dialectic." In Lectura Dantis Americana, 57–90. University of Pennsylvania Press, 1989. http://dx.doi.org/10.9783/9781512817164-004.

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Barron, Caroline M. "Chaucer the Poet and Chaucer the Pilgrim." In Historians on Chaucer, 24–41. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199689545.003.0002.

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Owen, Rachel. "The Image of Dante, Poet and Pilgrim." In Dante on View, 83–94. Routledge, 2017. http://dx.doi.org/10.4324/9781315258522-7.

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Moffett, Joe. "“Before the Word and World became Separate”." In The Fire That Breaks, 199–216. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781942954361.003.0011.

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There is in Charles Wright’s work a complicated spiritual quest that frequently turns to Gerard Manley Hopkins. Wright’s reappearing “pilgrim” persona, who, unlike Chaucer’s pilgrims, never arrives at his intended destination, persists in a stubborn search for divine insight. Wright uses Hopkins as a sounding board, both in the sense of testing his own spiritu- ality against Hopkins’s and the sense of experimenting with Hopkins’s very sounds. Wright marvels at his predecessor’s ability to combine world, word, and Word; he often attempts, and fails, to do the same, coming to believe that language has become severed from its spiritual origins, but in exploring that rift, which Wright often does in Hopkinsian terms, the poet “burrows deep into the core of the human condition” and achieves a gravity unlike that of any other contemporary poet.

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Cooper, Helen. "The Tale of Sir Thopas." In The Canterbury Tales, 299–309. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198711551.003.0021.

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Abstract The ‘miracle’, so defined in this link, leaves the pilgrims in a solemn mood, and so Harry Bailly calls for ‘a tale of myrthe’ from his next victim— Chaucer himself. He is undistinguished by any professional definition— ‘What man artow?’—but the Host has high hopes of his producing ‘som deyntee thyng’. Harry Bailly also, in passing, makes some comments on the pilgrim Chaucer’s portliness, his habit of staring at the ground, and his detachment from the company: the nearest thing we have to a portrait of Chaucer, if the Host (or the poet Chaucer) can be trusted. As with the Monk and Nun’s Priest later in the Fragment, his comments extend from appearance to some hazards as to his sex life.

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"7. A Different Universalism? Oceanic Voyages of a Poet as Pilgrim." In A Hundred Horizons, 233–71. Harvard University Press, 2006. http://dx.doi.org/10.4159/9780674028579-007.

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Conference papers on the topic "Pilgrim poet"

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Shehata, A. M. A., and A. M. Z. Elzawahry. "Post-occupancy evaluation of pilgrims’ accommodation: a case study of Mina in Makkah city." In SUSTAINABLE CITY 2016. Southampton UK: WIT Press, 2016. http://dx.doi.org/10.2495/sc160541.

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Székely, Vladimír. "Phenomenon Camino de Santiago: impact of overtourism and pandemic years on discussion about (un) sustainable rural development strategy." In Cooperation and experience of science in support of policies for rural development. European Rural Development Network, 2023. http://dx.doi.org/10.61517/rad/2023/18.0100.

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The renaissance of the cult of St. James and Camino de Santiago (the Christian pilgrimage route to the tomb of St. James the Apostle in Santiago de Compostela, Spain) began from the second half of the 20th century through the pro-active Catholic volunteers. Their effort has been accompanied by the activities of state and public administration bodies aimed to create the profane, tourist Camino as an effective way to promote Galicia region and the town Santiago de Compostela as a tourism destination. The applied different development strategies had also the ambition to solve the local and regional problems of socio-economic development of the backward rural areas, affected by Camino with its visitors. The study deals with the phenomenon Camino and its transformation from the Christian pilgrimage route to post-secular’s product of mass tourism in the context of (un)sustainable rural development. The special turn in the permanent growth in the number of tourists and pilgrims on the Camino (from overtourism to undertourism) is connected with the shock pandemic years of 2020 and 2021, and Camino as rural development strategy is again studied from the rural sustainability point of view

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Aung, Theint. "Myinkaba village Bagan: The Resilience of Traditional Knowledge and Culture | ပုဂံမြင်းကပါ (သို့) ယဉ်ကျေးမှု ဓလေ့ရိုးရာအသိပညာ၏ ကြံ့ကြံ့ခံနိုင်စွမ်း." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-21.

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The distinct traditional knowledge and culture of Myinkaba (ancient Anuradha) village at Bagan is closely linked to its port location and ecology on the Ayeyarwaddy River. Myinkaba has smelting and production evidence from the first millennium CE in seven glass/glaze kilns, with beads traded along the river. Beads, potsherds and finger-marked bricks suggest it may be one of the earliest villages of Bagan. Its historical architecture includes the rare Nanphaya sandstone temple with images of Brahma. Other significant traits of Myinkaba include the large seasonal lake or inn gyi, silica-rich sand deposits and bamboo. Particular bamboo species are used in Myinkaba’s lacquer industry with bamboo also essential for making mats, house sidings and baskets. The traditional knowledge of the lacquer arts, bamboo crafts, crop and water management, and paper puppet making and cultivation are passed on through apprenticeship informed by knowledge of the local environment. While the absence of tourists during the Covid-19 period has brought much lacquer production to a standstill, making vessels for local religious and domestic uses has continued. The bamboo products and trade market has stayed stable with local workshop owners providing free food and half-wages to the labours. Active pagodas have been secure with the donation from pilgrims and online gifting. As part of the UNESCO World Heritage site, the ancient remains are preserved by the Department of Archaeology but as this paper describes, this works together with community protection of traditional knowledge. The social identity as Myinkaba natives, the unique local and natural resources, have supported local pride and resilience for more than a thousand years.

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