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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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Portnoy, Phyllis. "The Best-Text/Best-Book of Canterbury: The Dialogic of the Fragments." Florilegium 13, no. 1 (January 1994): 161–72. http://dx.doi.org/10.3138/flor.13.010.
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Geoffrey Chaucer’s final utterance is so un-Chaucerian in sentiment that several ingenious theories have evolved over the years to account for its textual persistence. The Retraction has been read as a real confession by Chaucer the poet in the face of imminent death; as a realistic confession by Chaucer the Pilgrim in response to the Parson’s sermon; and as an ironic parody of both confession and retraction in keeping with the Manciple’s cynical counsel to silence.
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Rothaus Moser, Matthew. "Understanding Dante’s Comedy as Virtuous Friendship." Religions 10, no. 3 (March 22, 2019): 219. http://dx.doi.org/10.3390/rel10030219.
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As Dante explains in his epistle to Can Grande, the purpose of the Comedy is to move the reader from a state of misery to a state of happiness. The poet himself testifies that the poem was written as a work of moral philosophy oriented to the achievement of happiness, eudaimonia: the beatific vision of God. Moreover, Dante insists on his poem’s efficacy to affect in its readers a similar moral and religious transformation as that which the poem represents through the narrative journey of the pilgrim. To put it another way, Dante represents his poem’s relationship to its reader as a kind of virtuous friendship. This essay sets forth a model for teaching Dante’s poem as an experiment in virtuous friendship that can transform the classroom into a workshop for the philosophical and religious quest for happiness. This involves teaching the text with an eye not only to the content and style of the poem but also to the performative and participatory demands of the text. Beginning with this framework, this essay works out pedagogical strategies for teaching the Comedy as a form of virtuous friendship extended over the centuries between Dante Alighieri and the contemporary reader. Chiefly, I explore ways Dante makes his readers complicit in the pilgrim’s own moral and spiritual journey toward the virtue of hope translated into the practice of prayer through a close, pedagogical reading of Inferno 3, Purgatorio 5, and Paradiso 20. I explore ways that Dante’s use of surprise, shock, misdirection, appeal to mystery, and retreat to silence creates a morally significant aporia of knowledge that serves as a laboratory for readers’ own virtuous transformation. I end with a critical assessment of the challenges involved in understanding the Comedy as virtuous friendship.
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Morrison, Susan Signe. "Slow Pilgrimage Ecopoetics // La eco-poética del lento peregrinaje." Ecozon@: European Journal of Literature, Culture and Environment 10, no. 1 (April 27, 2019): 40–59. http://dx.doi.org/10.37536/ecozona.2019.10.1.2527.
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To show the intellectual roots of environmental citizenship, this essay transverses literary and ecological paths by focusing on medieval pilgrimage poems. While design seems integral to the concept of pilgrimage—wayfaring from one’s home to a sacred shrine—in actuality pilgrims not infrequently wandered from the official path. Contingency, rather than randomness, acts as a dynamic agent in affecting the meanderings of the pilgim-walker.Pilgrimage practice entailed reading the landscape through slow walking. Slow pilgrimage manifests itself in major ways: the slow change in the vernacular language of fourteenth-century pilgrimage poems; the slow amendment pilgrimage is meant to spark spiritually; the slow somatic travail on the road itself; and the act of slowly reading as a form of textual wayfinding. The pilgrimage road, which amends over time, itself works within a diverse ecotone, replete with various pilgrims and pilgrimage works.Literary pilgrimage poems self-consciously commit themselves to promoting the vernacular. The ecopoetics of a specific “landguage,” the living and resilient vernacular used by medieval pilgrimage writers, sparks amendment—the spiritual change pilgrimage was meant to kindle. Amendment recurs thematically, indicating material change in the actual path walked on by historical pilgrims.Pilgrim readers undertook textual wayfaring, as do pilgrim-writers through variant texts amended by the poet himself. A strategy of slow ecopoetics authorizes the reader to co-perform the text, making author, reader, and text all kin. Just as the pilgrim presses ahead through a new space, creating the “edge effect” with each step, the pilgrim reader advances alongside the writer, co-creating a resilient literary work. Resumen Analizando los poemas medievales del siglo XIV relacionados con la peregrinación y comparando estos con otros textos más contemporáneos, este ensayo explora cómo los elementos inherentes a la eco-poética del peregrinaje oscilan entre lo diseñado y lo casual, tanto a nivel literal como literario. Pese a que su construcción se vehicula a través del concepto de la peregrinación, con elementos temáticos basados en el viaje desde el hogar a un santuario sagrado, lo cierto es que los peregrinos frecuentemente se desviaban. La contingencia, en lugar de la casualidad, funciona como un agente dinámico que afecta a los desvíos del caminante-peregrino.El lento andar de los peregrinos contribuyó a una eco-poética de la lentitud: el lento ejercicio de seguir el camino; el lento cambio en la lengua vernácula que se empleaba para articular la poesía de la peregrinación; la lenta transformación espiritual provocada, idóneamente, por los actos de peregrinar, caminar, o leer; y la lectura mesurada en sí hecha como forma de un lento peregrinaje.La enmienda se repite temáticamente en estos textos como concepto y término indicando cambios materiales, espirituales, lingüísticos, y poéticos—los caminos materiales modificados por los peregrinos históricos que los pisaban y seguían. Estas modificaciones corresponden de forma análoga al espectro literario, donde algunas versiones rivales de los poemas medievales sobre la peregrinación eran enmendados y editados por sus autores. Los poemas literarios de peregrinación promueven conscientemente lo vernáculo. La eco-poética de una lengua vernácula viva, o la “topo-poética”, usada por los autores medievales es lo que motiva el cambio espiritual que pretende provocar la peregrinación.Los lectores-peregrinos emprendían un deambular textual tal como hacían los autores-peregrinos por medio de los textos variados que el propio poeta modificaba. Una de las estrategias de la eco-poética lenta es permitir que el lector coopere en la interpretación del texto, avanzando así junto al autor para crear una obra literaria que responda a un público heterogéneo. Como resultado del no ser maestros del diseño sino seres errantes y contingentes del medio ambiente y de la poesía, los peregrinos—históricos y literarios—contribuyen a la existencia de una adaptabilidad vibrante, como lo ejemplifica la lenta eco-poética de la peregrinación.
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Birns, Nicholas. "Stolen from the Snows: John Kinsella as Poet and as Fiction Writer." CounterText 6, no. 2 (August 2020): 232–38. http://dx.doi.org/10.3366/count.2020.0195.
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This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.
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Costa, Dennis. "The Speed of Fright: Temporal Dramas in Dante's Inferno." KronoScope 2, no. 2 (2002): 185–98. http://dx.doi.org/10.1163/156852402320900733.
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AbstractThis article is in two parts. It opens with a synoptic view of how Dante-poet connects the particular purview of his fictive character (whom critics typically name 'Dante-pilgrim') with a worldview - a philosophical theology, a cosmology and an ethics - shared fairly commonly among Christian intellectuals in the late Middle Ages. This worldview includes certain general assumptions about the nature of time and some detailed ideas about how a human person, an individual psyche, is contextualized by time. Included are some reflections on the medieval figure of the cosmos as God's "book" and of divine creativity and providence as a 'narrative' art. Dante, particularly in the Paradiso, is perhaps the greatest elaborator of that figure. The article's second part is a detailed textual analysis of the episode of the barrators (those who illicitly offer or receive political favors) in Inferno XXII-XXIII. A psychology of uncertainty and terror is dramatized poetically in these cantos in terms of the differences (and some likenesses) between one trapped sinner's experience of time and the pilgrim's participation in it. Virgil's guidance, fidelity and extraordinary discernment are also figured by Dante in temporal terms.
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Moran, Andrew. "Milton’s Dantean Raphael." Ben Jonson Journal 29, no. 1 (May 2022): 99–132. http://dx.doi.org/10.3366/bjj.2022.0330.
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While Raphael’s guidance of Adam has provoked much discussion, his origin in the Apocrypha, which Milton in Christian Doctrine derided as “fabulous, low, trifling, and quite foreign to real sagacity and religion,” deserves more attention. This article argues that his origin in Tobit, considered canonical by Catholics, is only the beginning of his Catholic identity. Through the “divine” Raphael, who encourages in Adam an exaggerated confidence in his own nature, Milton critiques another charming, philosophical, Catholic storyteller whose teachings are grounded in the analogia entis, the author of The Divine Comedy. Milton imitates Dante’s practice of making the epic predecessor a character—Raphael guides Adam as Virgil had the Pilgrim—to critique Dante’s poetic presumption and deficient understanding of sin. Michael, the angel from the Protestant Bible whose teaching hews closely to Scripture, with his emphasis on sin and obedience then provides a model for the Protestant poet.
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Hoekema, Alle. "The Motif Of Si Anak Hilang in the Poetry Of Sitor Situmorang." Exchange 34, no. 1 (2005): 61–80. http://dx.doi.org/10.1163/1572543053506301.
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AbstractRecently the Indonesian poet, novelist and essayist Sitor Situmorang reached the age of eighty. Situmorang has a Christian background; his origins are to be found in the Batak area in North Sumatra. His life and work have been summarized as 'to love, to wander'; in a way he has been a perennial wanderer and pilgrim, roaming around in many places of the world and being home, finally, in his poems. Part of his life he spent in prison as a political detainee. In this article we analyse the motif of 'the lost [prodigal] son' which occurs no less than four times in Situmorang's lyrical work, each time in a different context and with a different meaning. Connected with the role of the father and the mother and of a deep longing for his native village, this motif forms an important thread in his poetry, which often has religious allusions.
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Lisowska, Natasza. "Metafora ciemnej nocy w dziełach Johna Henry’ego Newmana." Filozofia Chrześcijańska 16 (December 15, 2019): 87–101. http://dx.doi.org/10.14746/fc.2019.16.5.
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The metaphor of dark night has been deeply rooted by John Henry Newman in the Bible, as evidenced in his sermons. In addition, it results from the inspiration of works of the Fathers of the Church, including St. Gregory of Nazianzus, whose poetry he valued, as well as it was taken over from Anglican theologians, Lancelot Andrewes, Bishop Winchester and Thomas Sherlock, Bishop of London. Apparently, this metaphor resounded in The Pillar of the Cloud, and other works confi rm the interpretation that the dark night depicts whole life of man as a pilgrim. Faith helps him to lean on God who leads him home. Certain similarities with this metaphor also occur in the poetry of Luis Rosales, a 20th-century Spanish poet. The dark night is also the season that fell after original sin, making the world unfriendly to man; henceforth he is subject to ignorance, sin and death. However, a believer can see some positive signs that night, which indicate the truth that the world is moving to the end of its path.
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Meyer-Hoffman, Gretcheo Iman. "Pagans, Tartars, Moslems, and Jews in Chaucer's "Canterbury Tales"." American Journal of Islam and Society 19, no. 3 (July 1, 2002): 129–32. http://dx.doi.org/10.35632/ajis.v19i3.1930.
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Brenda Deen Schildgen's analysis of the Canterbury Tales explores thecontemporary worldviews of medieval Europeans. Chaucer, an Englishcourt poet, wrote probably his greatest work- the Canterbury Tales - at theend of the fourteenth century. It is a collection of 24 tales told by pilgrimsas they make their way to Canterbury cathedral. Chaucer frames the taleswith a prologue and dialogue between the tales.Schildgen's book examines the eight tales set outside Christian Europe.Much of the book discusses the medieval view of paganism and the continuinginfluence of pagan philosophy on medieval intellectual thought.She analyses the "Man of Law's Tale," whose story takes place in bothpagan and Muslim lands. (It is worth pointing out here that, although by thefourteenth century the Mongols increasingly were becoming Muslims, theTartars in the "Squire's Tale" are associated with paganism.) In addition todiscussing the tales involving pagans and Muslims, Schildgen analyzes theanti-Semitic "Prioress' Tale."Drawing on Habermas's theory of practical discourse (in which discussantsengage in a discourse where each is aware of and open to the other'sperspectives and interpretations), Schildgen argues that the Canterbu,yTales is an excellent example of what Habermas has in mind. Traditionalanalysis states that Chaucer does not favor one pilgrim over the others, andSchildgen takes this a step further by arguing that the Canterbury Talesincorporates "a range of intellectual and ethical attitudes that thrived inChaucer's pan-European contemporary cultural and social world." She ...
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Bogdanova, O. V., and E. A. Vlasova. "“Sometimes I Feel Like Shakespeare...” (Intertextual Layers of “Pilgrims” by I. Brodsky)." Nauchnyi dialog, no. 8 (August 24, 2021): 129–48. http://dx.doi.org/10.24224/2227-1295-2021-8-129-148.
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The article examines the well-known poem by I. Brodsky “Pilgrims” (1958), and offers a new, in-depth interpretation of it. The authors of the work focus on the “second” version of Brodsky’s text, supplemented in 1959 with an epigraph from a sonnet by W. Shakespeare. Starting from the epigraphic lines, the authors of the article instead of the generally accepted interpretation of the poem (through the traditional motif of the pilgrim’s wanderings as the endless movement of a person through life) bring to the fore the image (post)Shakespeare’s pilgrims-thoughts, pilgrims-feelings. Changing the perspective of perception allows them to see deeper layers of Brodsky’s poem and re-interpret already familiar images and motifs. Thus, the title lexeme of the text — “pilgrims” — is explained; the “strange” image of the “blue sun”, interpreted by critics as an element “from science fiction”, is reinterpret-ed; the semantics of the motif of the modern “bar”, read by researchers “as a symbol of mysterious foreign luxury”, is explained; the “unexpected” quotation in the text of a poem by N. Nekrasov, unloved by Brodsky, analyzed and explained; etc. Identification of broad intertextual layers of “Pilgrims” — poems by K. Balmont, V. Bryusov, F. Sologub, A. Akhmatova, O. Mandelstam, M. Lokhvitskaya, etc. — allows the authors of the work to demonstrate the multiplied potential of the poem, to in-crease the intensity of the tragic understanding of the world by the lyrical hero of Brodsky.
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Philippovsky, German Y. "The legacy of the European Romantics and the motif of a traveler in the night (A. S. Pushkin and M. Y. Lermontov)." Verhnevolzhski Philological Bulletin 1, no. 28 (2022): 8–16. http://dx.doi.org/10.20323/2499-9679-2022-1-28-8-16.
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This article examines European origins of Pushkin's and Lermontov's romantic motif 'wandering in the night' in the works of German and English Romantic poets. The image of the night as an «echo» of the day held an important place in the hierarchy of «universal empathy» in the Romanticist poetic thinking («the light also shines in the night», interpret-ing the biblical text: «and the light shines in darkness, and darkness has not embraced it» (John 1:5). In the famous works by Pushkin and Lermontov, «The Winter Road», «The Possessed», and «I Go Out Alone on the Road...», wander-ing in the night is immersed in an atmosphere of romantic dual reality. The motif of communication in poetic texts is by no means the property of our global communication age alone, but goes back to earlier eras: Antiquity (Homer's Odys-sey), the Middle Ages and the Renaissance (the poetry of Dante and Chaucer), Pre-Romanticism and Romanticism (the poetry of Goethe, Eicheldorf, and Hölderlin). Pushkin's later poem «The Wanderer» (1835) goes back to John Benja-min's poem «The Way of the Pilgrims» (1678). Pushkin's poetic quest of the 1830s turned to the motifs of Salvation and Light, the search for the Right Way (the image of a young man reading a book (the Bible) in «The Wanderer», showing the traveler the Right Way and the narrow gate of Salvation). Lermontov, in his famous nocturne «I go out alone on the road...» (1840s), creates an image of a traveler in the night, which is closely related to the tradition of the German Romantics: Goethe, Eichendorff, and Hölderlin. Pushkin's «night inquiries» in 1830 and 1835 texts, with refer-ences to John Benjamin's English poem and to the Lake School poets W. Wordsworth and R. Southey, are a striking proof of F. M. Dostoyevsky's thoughts on the «universal empathy» of our great poet.
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Pikovskiy, Ivan V. "Liturgical theology of psalm 120 (121)." Issues of Theology 3, no. 2 (2021): 159–76. http://dx.doi.org/10.21638/spbu28.2021.203.
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The Songs of Ascents (Psalms 120–134) can be understood as the songs of the pilgrims, historically associated with Sion and symbolically with man’s journey along the road of life. Included in this collection psalm 120 (121) is rather short and does not contain references to historical events of the past. This is why probably it was left without attention in Russian biblical studies. In foreign studies, this poem is often interpreted as a private song of a pilgrim leaving his home, written in the form of a dialogue between father and son (Bob Becking, Arthur Weiser, Klaus Seibold). Following Sigmund Mouvenkel, Hans-Joachim Kraus and Marina Manatti, the author of this article suggests a liturgical approach to the analysis of the psalm 120 (121). The poem contains a rhetorical question from a pilgrim (v. 1), a priest’s answer (v. 2) and words of consolation (v. 3–8). The theology of the psalm focuses the reader’s attention on the role of YHWH, who in relation to man is not only the creator, but also the helper, guardian, stronghold and cover. The peculiarities of the “liturgical theology” of this hymn, according to the author, show that in the present form, psalm 120 is adapted for liturgical performance. Consequently, the psalm was primarily performed in the Jerusalem temple by priests or Levites, and afterwards, it was sung by ordinary Israelites on their way back home.
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Post, Paul. "De Pelgrim en de Toerist: Verkenning van een topos." NTT Journal for Theology and the Study of Religion 67, no. 2 (May 18, 2013): 135–49. http://dx.doi.org/10.5117/ntt2013.67.135.post.
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This contribution explores the topos of the Pilgrim and the Tourist, and examines how it has developed, how, and in which contexts, it was used and appropriated. For this purpose a compact fourfold typology of the topos is offered. In the first three, we see a clear movement from divergence toward convergence. In the last type we are beyond the topos. The Pilgrim and the Tourist are no longer poles of a coherent scale or taxonomy; rather, they are accents in a complex whole of ritual and cultural dynamics, in which they can flow into each other.
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Nealon, Chris. "Poem (we File Like Pilgrims...)." Iowa Review 41, no. 3 (December 2011): 16. http://dx.doi.org/10.17077/0021-065x.7054.
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HABIBI, Ayyoub. "https://www.ijherjournal.com/journaldetail/the-eloquency-of-ethos-in-arabic-poetry_105#:~:text=THE%20ELOQUENCY%20OF%20ETHOS%20IN%20ARABIC%20POETRY." International Journal of Humanities and Educational Research 03, no. 05 (October 1, 2021): 67–73. http://dx.doi.org/10.47832/2757-5403.5-3.6.
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This research paper aims to study some Arabic poetic verses through an argumentative approach of the poetic self-image, which poets draw about themselves inside and outside the poetic utterance. The poet aims through his poetry to convey a specific message, and to convince his addressees of it. The interest in studying Arabic poetry comes from being a discourse, carrying what is pragmatic, through which the seeker intends to persuade, prove or increase the evidence. Hence, the poet’s messages need argumentative mechanisms that make the recipients convinced of what is offered to them. Among the most famous of these argumentative mechanisms is the "ethos", which is the image that the poet draws about himself by means of linguistic and non-linguistic structures and patterns. We have tried to clarify the argumentative dimension of the self-image in poetry by presenting the characteristics of the poetic self and its images that are presented in its poetry to their addressees through the values it employs such as loyalty, generosity and courage… We have concluded that Arabic poetry is a discourse about worthy of study and analysis in terms of self-image, to reveal About the "Ethos", due to its noble human values. Keywords: Ethos, Poetry, Pilgrims, Values.
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Habibah, Nur, and Ely Nurmaily. "A SEMIOTIC ANALYSIS ON ELDORADO POEM BY EDGAR ALLAN POEM." Linguistics and Literature Journal 1, no. 2 (December 28, 2020): 78–84. http://dx.doi.org/10.33365/llj.v1i2.284.
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The research is entitled “A Semiotic Analysis on Eldorado poem by Edgar Allan Poe”. This study is aimed to know the meaning of the symbols of Gallant knight, Eldorado, shadow, a pilgrim shadow, shade, over the mountains related to the socio-historical issue. This study is also used in the qualitative method and library research. Starting from the writers’ interest in the poem and think that, the poem has a unique word inside it. In this research, the knight who do the long journey to search for “Eldorado”. This study focuses on semiotic analysis, which uses the semiotic approach. Charles Sanders Pierce is the theory that the writers use to analyze “Eldorado” poem by Edgar Allan Poe. The use of semiotic analysis is to find a symbol of Eldorado poem. This study also used the socio-historical approach that correlates with the Eldorado poem.The symbols of Eldorado poem, a gallant knight, Eldorado, shadow, a pilgrim shadow, shade, and over the mountains represent the meaning, where Eldorado is true of a wealthy city made of gold. However, Eldorado is not a place but a person. The whole journey of Europeans to find a golden city is in vain. Eldorado's poem is related to the symbol of time in 1849 in California, where the attitude of the Muisca tribe is different from the people of Europe who see gold as a symbol of wealth, as well as power. Furthermore, the minds of Europeans who heard the story were only fascinated by how much gold was thrown into the lake or buried in shrines throughout Colombia. Not the meaning of gold itself. That is why Poe revealed a poem entitled Eldorado which means that Eldorado itself was a rich king who had covered his entire body with gold.
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Chłap-Nowakowa, Ewa Justyna. "Wanderers – Pilgrims – Soldiers – Emigrants." Rocznik Filozoficzny Ignatianum 29, no. 3 (September 29, 2023): 151–80. http://dx.doi.org/10.35765/rfi.2023.2903.10.
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The main purpose of the article is to review imageries and experiences of a specific group of poets organized within the frame of the Second Polish Corps during World War II, and to analyze its most characteristic motifs within a deeper historical context of Polish romanticism, as “replayed” in the paths and roles of the Corps poets-soldiers. The study is based on the extensive use of all available books of verses and other literary publications of the Corps, which were produced on the long way from the Soviet Union, where the bulk of Corps was formed in 1941–1942, through the Middle East, Italy, to the final exile station, London in most cases. This material is analyzed within the reference framework of the Polish poetry of World War II studies, as well as comparative studies on the Polish romantic literary tradition, especially that of the Great Emigration. This comparative point of view and method of analysis is used in all parts of the chronologically organized text. From a short presentation of the history of the Corps variegated cultural life which accompanied its development from 1941 to 1945, it proceeds to similarly succinct picture of the group of more than 80 active poets publishing in the Corps. The study centers its analysis on the main theme forming the time-perception of the world presented in soldier poetry: the motif of the road or path. It reveals a phenomenon of uniting very different poetic “schools” and styles (from extreme avant-gardist and futurist, through neoromanticism, to cabaret texts) under the pressure of the war and exile experiences, as well as the strength of the great romantic tradition of Polish poetry formed along a very similar path: from Russia, Siberia, through the Middle East, to Italy, where Polish soldiers had fought under Napoleon, to London and Paris, centers of the Great Emigration. Topoi of martyrdom, strengthened through Siberia and the Holy Land connections, homelessness, martial experiences in Italy, a “treason” of Western allies (Teheran and Yalta conferences) are effectively “refreshed” in this comparative approach.
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Wilson, Jonathan. "Tactics of Attraction: Saints, Pilgrims and Warriors in the Portuguese Reconquista." Portuguese Studies 30, no. 2 (2014): 204–21. http://dx.doi.org/10.1353/port.2014.0003.
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Golden, Renny. "The Chispa Carrier For Rosemary Radford Ruether." Feminist Theology 31, no. 3 (April 29, 2023): 270–71. http://dx.doi.org/10.1177/09667350231163309.
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Renny Golden, professor emerita from Northeastern Illinois University and Pilgrim Place resident, was a teaching colleague of Rosemary’s for many years while they were in Chicago. She offers a beautiful poem about her close friend that captures the essence of Rosemary’s enduring spirit which we carry
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Butler, George F. "Statius and Dante's Giants: The Thebaid and the Commedia." Forum Italicum: A Journal of Italian Studies 39, no. 1 (March 2005): 5–17. http://dx.doi.org/10.1177/001458580503900101.
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Near the beginning of Inferno 31, Dante's pilgrim mistakes the giants of Cocytus for a wall of towers surrounding a city. While Dante's account does not have a clear parallel in the Aeneid or Metamorphoses, it summons the Thebaid. In the underworld of Statius' poem, soldiers who are the offspring of Mars encircle a blood-red lake. Statius calls them earth-born, and his phrase links them with the rebellious giants of classical myth. Statius also stresses their love of war. So too, Dante emphasizes the ferocity of his giants and associates them with Mars; and Cocytus is fed by Phlegethon, which is red with blood. Dante finds in Statius a precedent for commenting on the moral qualities of his giants, and he evokes the Thebaid to underscore their violence and stupidity. In doing so he reinforces the authority of Statius, who will guide the pilgrim through purgatory; underscores Thebes as a model for the city of Dis; and points to the Thebaid as a poem that is possibly more significant than Virgil's Aeneid.
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Vetranović, Mavro. "Aurea aetas (The Golden Age), Pelegrin (The Pilgrim), Pjesanca gospodi krstjanskoj (A Short Poem to Christian Noblemen), Pjesanca u pomoć poetam (A Short Poem in Support of Poets)." Journal of Croatian Studies 45 (2004): 120–35. http://dx.doi.org/10.5840/jcroatstud2004-0545-466.
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Nazurty, Nazurty, and Zainal Rafli. "THE STRUCTURE OF POEM IN TALE KERINCI FOLKLORE." IJLECR - INTERNATIONAL JOURNAL OF LANGUAGE EDUCATION AND CULTURE REVIEW 1, no. 1 (June 1, 2015): 31–40. http://dx.doi.org/10.21009/ijlecr.011.04.
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Tale is the folklore in the form of poem that is sung. This study aims to gain in-depth understanding of the structure of Tale poem in the release of the Kerinci pilgrims. This qualitative study employed content analysis as the method with a structural approach. This study discussed the structure of the Tale poem. The results of the study are Tale poem consists of sampiran phrase, the rhyme/ sound phrase, and content. It composed by ten lines to twenty lines. It has ab ab rhyme according to the sound phrase flanking each line. The sound expression serves as rhyme and rhythm former.
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Самоделова, Е. А. "Grandmother’s Tales by S. A. Yesenin: its folklore-ethnographic and literary contexts." Вестник Рязанского государственного университета имени С.А. Есенина, no. 2(79) (August 7, 2023): 122–33. http://dx.doi.org/10.37724/rsu.2023.79.2.012.
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В статье рассматриваются вопросы датировки текста стихотворения С. А. Есенина «Бабушкины сказки» и различных творческих влияний. Датировка уточняется по времени участия Есенина в Суриковском литературно-музыкальном кружке в Москве и публикации в журнале «Доброе утро!». Показано, что идейно-тематическое воздействие на стихотворение Сергея Есенина оказали предшествующие писатели-классики и современные ему поэты, а также личные воспоминания автора о детстве в селе Константиново Рязанской губернии. Поэтическое воссоздание темы сказывания сказок было известно Есенину по стихотворениям И. З. Сурикова, А. Н. Плещеева, а также его современника, друга и редактора сочинений, поэта И. А. Белоусова. Анализируется историко-культурный контекст стихотворения «Бабушкины сказки» Есенина. Название произведения восходит к заглавиям стихотворений классиков и еще в большей мере — к изданиям сказок в XVIII–XIX веках. Традиция рассказывать и слушать сказки охватывала все слои русского общества, начиная от царей и заканчивая крестьянами. Образы сказочников и сказочниц запечатлены в исторических документах, а в память Есенина врезались подобные личности — его родственники старшего поколения и странники по деревням и монастырям. Безусловно, Есенин познакомился и с образами сказочников по школьным учебникам и хрестоматиям. В стихотворении отражено вечернее зимнее время рассказывания сказок, характерное для российской повседневной и праздничной традиции (особенно на Святки и Масленицу). Это же время зафиксировано фольклористами, в том числе современниками Есенина, и отражено в произведениях со сказочной тематикой. Для детей день зимой состоял из катания на санках и последующего слушания сказок в крестьянской избе или дворянском особняке. Статья предназначена стать основой для «Есенинской энциклопедии». The article deals with the dating of the text of the poem by S. A. Yesenin Grandmother’s Tales and its various creative influences. We specify the dating according to the time of Yesenin’s participation in the Surikov Literary and Musical Society in Moscow and publication in the Good Morning! journal. The paper shows that there existed an ideological and thematic impact on Sergei Yesenin’s poem from earlier classical authors and contemporary poets, as well as the author’s personal memories of his childhood in the village of Konstantinovo, Ryazan Governorate. Yesenin knew about the telling of fairy tales from the poems of I. Z. Surikov and A. N. Pleshcheyev, as well as from his contemporary, friend and editor, the poet I. A. Belousov. We look into the historical and cultural context of Yesenin’s poem Grandmother’s Tales. The title of the poem goes back to titles of some classical poems and also to the editions of fairy tale classics in the 18th–19th centuries. The tradition of telling and listening to fairy tales involved all layers of Russian society, from tsars to peasants. We come across images of storytellers in historical documents, and such personalities entered Yesenin’s memory (from his older relatives and pilgrims wandering in villages and monasteries). Of course, Yesenin also got acquainted with the images of storytellers from his school textbooks and Russian anthologies. The poem describes winter evening engaged in telling of fairy tales, which were typical of Russian household and festive traditions (especially at Christmas time and Maslenitsa (Pancake Week). The same event was recorded by folklorists, including Yesenin's contemporaries, and reflected in works with fairy tale themes. For children, their winter day included sledding and further listening to fairy tales in a peasant’s home or a nobleman’s mansion. The current article is intended to enter The Yesenin Encyclopedia.
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Hutchins, Zachary McLeod. "The Structural Poetics of Incompletion in Clarel 's Wilderness." J19: The Journal of Nineteenth-Century Americanists 11, no. 2 (September 2023): 361–84. http://dx.doi.org/10.1353/jnc.2023.a921885.
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Abstract: Part 2 of Herman Melville's centenary epic, "The Wilderness," opens with a truncated sonnet of thirteen lines, a poem embedded within Melville's larger poetic project that signals the dominant theme of this second movement and the epic as a whole: incompletion. The sonnet calls attention to its own imperfection in the final line, describing human life, Chaucer's Canterbury Tales , and Clarel itself as "unfulfilled romance." Through death and desertion, Melville's wilderness culls the troop of pilgrims from a band of sixteen to a party of twelve. After three of the pilgrims flee, readers, too, are invited to abandon their journey through the poem: "They fled. And thou? The way is dun; / Why further follow the Emir's son?" Melville's structural poetics reflect this thematic interest in incompletion; Part 2 begins with a truncated sonnet and it ends abruptly after canto 39. The biblical children of Israel wandered in the wilderness for forty years before entering the promised land of Canaan, but the reader's sojourn in the wilderness is cut short, before a fortieth canto. In The Wilderness Melville invites his readers to consider incompletion as both poetic end and means, the inescapable human condition in mortality.
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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, no. 4 (December 20, 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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Gilmanov, Vladimir Kh, and Аlexandra S. Kosinskaya. "The phenomenology of Pushkin’s ‘universal sympathy (based on ‘Аscene from ‘Faust’, ‘The feast in the time of plague’, and ‘the Wanderer’)." Slovo.ru: Baltic accent 11, no. 2 (2020): 18–34. http://dx.doi.org/10.5922/2225-5346-2020-2-2.
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This article attempts to approach the discovery of what Dostoevsky called Pushkin’s ‘great secret’. In his essay ‘Pushkin’, Dostoevsky wrote that the poet had ‘a capacity for universal sympathy’. The ‘secret’ of Pushkin is analysed in this article in the context of the general cultural problem of fundamental ontological predicates, which determined the main cultural codes of the literary worlds reflected in the poet’s oeuvre. The methodological approach is based on Valentin Nepomnyashchiy’s concept of the poetic momentum of Pushkin’s literary work, which is always in the stress field between the Christmas and Easter meta-codes. This field dictates the solution to the main Christian problem of correlations in the dialogue between God and the human being. It is concluded that Pushkin was aware of the dangers of ‘the mystery of iniquity’, which is closely connected with the ideas of Gnosticism when partaking spiritually and poetically of the literary phenomenology of Goethe’s tragedy Faust, John Wilson’s poem ‘The city of the plague’, and John Bunyan’s allegorical novel Pilgrim’s Progress. The article emphasises that Pushkin used his ‘capacity for universal sympathy’ to incorporate those dangers in both life and poetry. The hermeneutics of poetry is also dealt with in its connection to the hermeneutics of faith within the context of Russia’s and Western Europe’s eschatological objectives, which shaped the cultural codes of the two territories.
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Trusov, Vadim. "A.N. Muravyov, the Younger Brother of M.N. Muravyov-Vilensky, as Phenomenon of Russian Religious Life." Almanac “Essays on Conservatism” 4 (December 25, 2023): 152–57. http://dx.doi.org/10.24030/24092517-2023-0-4-152-157.
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The article is devoted to the study of life and work of Andrey Muravyov (1806–1874) who was one of the signifi cant spiritual Orthodox writers, church historians, pilgrims and poets. He was Honorary Member of the Imperial Academy of Sciences since 1963 and contributed substantially to Kiev historical center preservation. He can be considered a unique phenomenon of theological thought of the Synodal period.
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Miller, Peter. "Patience Agbabi, The Canterbury Tales , and Polyhistorical Form." ELH 91, no. 1 (March 2024): 263–84. http://dx.doi.org/10.1353/elh.2024.a922016.
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Abstract: This essay engages the question of historical form via one of the more remarkable retellings of Chaucer, the British-Nigerian poet Patience Agbabi's 2014 book Telling Tales . Retaining Chaucer's governing conceit that the pilgrims share tales to pass the time while traveling from London to Canterbury, Agbabi layers onto this frame narrative a dazzling array of poetic and linguistic forms. The result is a work that flaunts its literary historical textures while resisting single period-based historicization. Rather than peeling back the layers of culture and history that inevitably accrue on artworks as they pass through time, Agbabi's book accentuates them, modeling a brand of historical poetics based not on recovery, but remediation.
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Trapp, J. B. "Homage to Petrarch as Humanist Saint: Peregrinatio litterarum ergo." Moreana 35 (Number 135-, no. 3-4 (December 1998): 233–43. http://dx.doi.org/10.3366/more.1998.35.3-4.15.
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Francesco Petrarca retired in 1370 to the small country house at Arquà, near Padua, in which he died. The house, its contents, and the great marble sarcophagus erected for his remains outside the parish church brought fame to the village, as Giovanni Boccaccio had prophesied they would. By the fifteenth century literary pilgrims were attracted to the village; in the sixteenth, house and tomb were adomed by Pietro Paolo Valdezocco, and Anton Francesco Doni proposed an elaborate memorial. In the seventeenth, Giacomo Filippo Tomasini described the village and tomb, and by the eighteenth and nineteenth centuries the site had become popular with tourists, Lord Byron included. Among the attractions was the mummified corpse of a cat, said to have belonged to the poet.
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Agarwal, Megha. "Scrounging and Salvaging: Literary Guidance and the Descent into the Underworld in the Inferno, Paradise Lost, Frankenstein and Heart of Darkness." Comparative Critical Studies 14, no. 2-3 (October 2017): 133–53. http://dx.doi.org/10.3366/ccs.2017.0232.
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Socrates, in Phaedo, posits that the route to Hades is far from ‘straightforward’, and that it is riddled with ‘crossroads’ that demand the presence of a vigilant guide. The possibility of multiple routes culminating in the underworld, and the necessity of guidance, form the bedrock of the interwoven analysis of the Inferno, Paradise Lost, Frankenstein, and Heart of Darkness. Amidst the profusion of pathways, the Inferno and Paradise Lost gesture towards a direction that is replicated and repudiated in Mary Shelley and Joseph Conrad's versions of the descent voyage in Frankenstein and Heart of Darkness. Dante and Milton's ‘prototype’ narratives exemplify the descent – or the fall – into hell, and shape the two novels through ‘literary guidance’. Heart of Darkness emerges as an inversion of the meticulously structured Dantean universe. The Pilgrim's progress in the Inferno is a consistent counterpoint to Conradian chaos and Marlow's wilful yet meandering descent into colonial Africa. Dante's Pilgrim emerges from the underworld to progress onwards, while Marlow remains entrenched in the inescapably infernal condition of twentieth-century imperialism. The Inferno is an unacknowledged spectre that haunts the proceedings of the novella, but Milton's poetic re-telling of Genesis is a recognised presence in Frankenstein. Paradise Lost is re-viewed through the perspective of the hapless Monster, who oscillates between identifying with Satan and Adam. Both poets thus dabble in the attainment (or the elusiveness) of salvation, while the novelists struggle to salvage a semblance of significance with which they can imbue their characters' journeys. While 2016 saw several literary anniversaries, a strand that the organisers envisioned intertwining with ‘salvaging’, the year 2015 marked the 750th birth anniversary of Dante, sparking speculation about the present-day pertinence of the afterlife. This interplay between the theme of Salvage and these four narratives ought to provide unexpected insights that complement BCLA's emphasis on renewing critical perspectives.
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Saiber, Arielle. "“The lantern of the world rises to mortals by varied paths”: Paul Laffoley (1935–2015) and Dante." Forum Italicum: A Journal of Italian Studies 55, no. 2 (July 14, 2021): 581–626. http://dx.doi.org/10.1177/00145858211021572.
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American artist and architect Paul Laffoley (1935–2015) had a life-long fascination with Dante. Not only did he refer to Dante and the Commedia throughout his writings and paintings, but he created a large-scale triptych illustrating the poem, as well as sketched out plans for a full-immersion Dante study center on a planetoid orbiting the Sun, complete with a to-scale replica of the medieval Earth, Mount Purgatory, the material heavens, and the Empyrean through which a “Dante Candidate” could re-enact the Pilgrim’s journey. Laffoley’s work is often placed by art critics within the visionary tradition and Laffoley himself embraced that label, even as he deconstructed the term in his writing. Among the many visionary artists, poets, and philosophers Laffoley studied, Dante was central. He was, for Laffoley, a model seeker of knowledge, a seer beyond the illusions of everyday life. The essay that follows offers a brief biography of Laffoley and his works; an overview of his two main Dante projects ( The Divine Comedy triptych [1972–1975] and The Dantesphere [1978]); and initial considerations on how Dante’s works and thought fit into Laffoley’s larger epistemological project.
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SÖYLEMEZ, İdris. "Bekır Sıdkı Efendı's Fezaıl-ı Menasık-ı Hajj." İslami İlimler Dergisi 17, no. 1 (March 27, 2022): 217–41. http://dx.doi.org/10.34082/islamiilimler.1093930.
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Hajj, which is one of the five basic conditions of Islam, is the subject of fiqh works, as well as literary works on different occasions. Besides the literary Works written in the style of hajnâme or menazilnâme, the Works dealing with the rules to be followed during the pilgrimage are also named as “menâsik-i haj”. The purpose of writing these works is to inform the pilgrims who go to the holy lands for the duty of pilgrimage, about the rules, orders and prohibitions that must be followed during the pilgrimage. One of the Works written by Master Bekir Sıtkı for this purpose in 1110/1911 is the work written in prose poem. As a result of the researches made from the sources, sufficient information about the author of the work could not be found. In the preliminary of the work, the author discussed the inertia and laziness of all the world's Muslims and the cruelty of the world states. In the poem of 30 couplets called Menâsik-i Hajj, s/he included some information about the conditions, fards, wajibs and sunnahs of the hajj. In the last part of the work, there is an elegy written for the pilgrims who died as a result of the attacks to the Ottoman state ships as a result of the problems had with the Italians before the First World War and the shooting or sinking of some civilian ships in the meantime. The work is in the Istanbul Metropolitan Municipality Atatürk Library and registered in Bel.Os.K. 05154. The work is between the pages of 3-16. In our study, generally, literature on the concept of menâsik and menâsik-i hajis is included. Subsequently, the determinations about the author of the work were shared. The work has been examined and the transcribed text of the work has been presented.
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Afolayan, Adeshina. "Fálétí’s Philosophical Sensibility." Yoruba Studies Review 3, no. 2 (December 21, 2021): 1–10. http://dx.doi.org/10.32473/ysr.v3i2.129978.
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Let us begin with an unfortunate fact: Adébáyọ̀ Fálétí is one major writer that is hardly anthologized. The problem could not have been that he wrote in Yorùbá because Fágúnwà is far more anthologized than he is. Simon Gikandi’s edited Encyclopedia of African Literature (2003) has an entry and other multiple references to Fágúnwà. There is only one reference to Fálétí which is found in the index without any accompanying instance in the work. In Irele and Gikandi’s edited volumes, The Cambridge History of African and Caribbean Literature (2004), Fálétí only managed an appearance in the bibliography that featured four of his works—Wọn Rò Pé Wèrè Ni ́ (1965), Ọmọ Olókùn Ẹṣin (1969), Baṣòrun Gáà (1972) and Ìdààmú Páàdì Mínkáílù (1974). In the preface, Irele and Gikandi write: The scholarly interest in African orality also drew attention to the considerable body of literature in the African languages that had come into existence as a consequence of the reduction of these languages to writing, one of the enduring effects of Christian evangelization. The ancient tradition of Ethiopian literature in Ge’ez, and modern works like Thomas Mofolo’s Shaka in the Sotho language, and the series of Yorùbá novels by D. O. Fágúnwà, were thus able finally to receive the consideration they deserved. African-language literatures came to be regarded as a distinct province of the general landscape of imaginative life and literary activity on the African continent (2004, xiii). Essays 60 Adeshina Afolayan In fact, the publication of Fágúnwà’s Ògbójù Ọdẹ Nínú Igbó Ìrúnmalẹ (The ̀ Intrepid Hunter in the Forest of Spirits, 1938) made the chronology of literary events in Africa, and it misses out Fálétí’s 1965 work. In her “Literature in Yorùbá: poetry and prose; traveling theater and modern drama,” in the same volume, Karin Barber seems to redress this imbalance when she gives a place to Fálétí in her discussion of post-Fágúnwà writers. According to her, In the late 1960s and throughout the 1970s there was an explosion of literary creativity, with many new authors emerging and pioneering new styles and themes. Among the most prominent were Adébáyọ Fálétí whose ̀ Ọmọ Olókùn Ẹṣin (1969) is a historical novel dealing with a revolt against the overlordship of Ọyọ, and Ọládèjọ Òkédìjí, author of two brilliantly innovative crime thrillers (Àjà ló lẹrù, 1969, and Àgbàlagbà Akàn, 1971), as well as a more somber tragic novel of the destruction of a young boy who is relentlessly drawn into a life of crime in the underworld of Ifẹ (Atótó Arére, 1981). Notable also are Akínwùnmí Ìsòlá, whose university campus novel Ó le kú (1974) broke new ground in social setting and ambience; Afọlábí Ọlábímtán, author of several novels, including Kékeré Ẹkùn (1967), which deals with the conflicts arising from early Christian conversion in a small village, and Baba Rere! (1978), a contemporary satire on a corrupt big man; and Kólá Akínlàdé, prolific author of well-crafted detective stories such as Ta ló pa Ọmọ Ọba? (Who Killed the Prince’s Child?). These authors were all verbal stylists of a high order; they transformed the literary language, moving away from Fágúnwà’s rolling cadences to a more demotic, supple prose that successfully caught the accents of everyday life (2004, 368). While it may be misplaced to draw a comparison between Fágúnwà and Fálétí, there is a sense in which Fálétí’s demonstrates a more robust literary sensibility that goes beyond the allegorical into a realistic assessment of human relationship and sociality within the context of the Yorùbá cultural template. While Fágúnwà could not resist the influence of Christianity, and especially the allegorical motif of the journey in which humans encounter spiritual challenges (which John Bunyan’s Pilgrim Progress made popular), Fálétí is fundamentally a cultural connoisseur; a writer with a most intimate and dynamic understanding of the Yorùbá condition, especially in its conjunction with the political and sociocultural contexts of contemporary Nigeria. And we have Ọlátúndé Ọlátúnjí to thank for the deep exploration and interrogation of the fundamental poetic and literary nuances that Fálétí has left for us. In this essay, I will attempt to unearth the philosophical sensibility that undergirds Fálétí’s literary prowess, especially as demonstrated by his poems. Fálétí’s Philosophical Sensibility 61 Both the poets and the philosophers have always had one thing in common— the exploration of the possibilities that ideas and visions yield: As theoretical disciplines concerned with raising social consciousness, philosophy and literature engage in similar speculation about the good society and what is good for humanity. They influence thoughts about political currents and conditions. They can, for instance, lead the reader to critical reflections on the type of leaders suitable for a given society and on the degree of civic consciousness exercised by the people in protecting their rights. Philosophy and literature, equally, offer critical evaluation of existing and possible forms of political arrangements, beliefs and practices. In addition, they provide insights into political concepts and justification for normative judgements about politics and society. They also create awareness of possibilities for change (Okolo 2007, 1). Compared to Ọlátúnjí’s exploratory unraveling of Fálétí’s poetry, my objective is to enlist Fálétí as a poet that has not been given his due as one who is sensitive to the requirements of political philosophy and its objective of ensuring the imagination of a society that is properly ordered according to the imperatives of justice.
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Classen, Albrecht. "William Langland, Piers Plowman: The A Version. A New Translation with Introduction and Notes by Michael Calabrese. Washington, DC: The Catholic University of America Press, 2020, xlvii, 160 pp." Mediaevistik 34, no. 1 (January 1, 2021): 509–10. http://dx.doi.org/10.3726/med.2021.01.139.
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Abstract: One of the main criteria to determine the true status and quality of a literary work easily proves to be the number of translations into various languages. Of course, there are also some literary masterpieces both in the past and the present which remain in the shadow of public awareness, tend to be forgotten, or are simply not understood. But when a work like William Langland’s Piers Plowman attracts ever new editors and translators, we can be certain that it is determined by considerable meaningfulness and relevance. Piers is a wanderer in dream visions, and thus could easily be compared with the pilgrim Dante Alighieri in the Divina Commedia or Guillaume de Deguiville in his Le Pèlerinage de la Vie Humaine. As the translator Michael Calabrese beautifully formulates in the introduction, “The poem asks eternal questions that pertain not only to Christians but to all communities. Readers of different world faiths, or no faith at all, will engage with its ethical challenges” (xvii).
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Cherchi, Paolo. "Sull’umiltà nella Commedia." Forum Italicum: A Journal of Italian Studies 55, no. 2 (July 11, 2021): 316–35. http://dx.doi.org/10.1177/00145858211022608.
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Dante deals specifically with the theme of humility only in the canto of the superbs ( Purgatory, X–XII). Still, the topic permeates the entire poem, from the moment Vergil invites Dante to follow him. Obedience is the predominant form that humility takes in Inferno. In Purgatory, it determines the choral forms of the language (prayer and singing), but it manifests itself most spectacularly in the Earthly Paradise procession, which takes the shape of a Cross, the highest symbol of humility in Christ and of Christianity. In Paradise, it is present in some key episodes (that of Cato, of St. Francis, and Dante’s theological exam). Yet, it is continuously signified in the language of image-symbols’ configuration that the blessed souls take in each heaven. Finally, it is humility that allows the Pilgrim to see God with his physical senses, which provide the lowest and most concrete form of knowledge, and yet the most sublime one.
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Colantoni, Elizabeth. "Botticelli." General: Brock University Undergraduate Journal of History 8 (April 19, 2023): 11–36. http://dx.doi.org/10.26522/tg.v8i.4229.
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This paper investigates Sandro Botticelli’s Chart of Hell by drawing on select canti and scenes from Dante Alighieri’s Inferno. The chosen episodes of Hell are examined to determine how Botticelli chose to represent them visually. Throughout this analysis, Botticelli’s knowledge and familiarity of The Divine Comedy and especially Inferno is made clear as he depicts key exchanges and characters whenever possible. Although it is a map, the image created is far from flat and static. This paper argues that Botticelli was able to create movement and narrative in his map. With the continued appearances of Dante the pilgrim and his guide Virgil, viewers are able to keep track of and follow these figures throughout their journey in Hell. Sandro Botticelli’s chart can therefore be interpreted in varying ways: chronologically (following their descent further into Hell, as is narrated in the poem) or all at once (as a visual overview of their journey).
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Pritula, Anton. "From Tigris to Jerusalem: East Syriac Poetic Notes from the Ottoman Time." Hugoye: Journal of Syriac Studies 22, no. 1 (January 1, 2019): 193–234. http://dx.doi.org/10.31826/hug-2019-220106.
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Abstract The poems published and studied here - most of them for the first time - represent literary tastes of East Syriac educated circles of the Ottoman period. These text collections appeared as later additions in the manuscripts written by ʿAbdīšōʿ of Gāzartā, the Uniate East Syriac Church poet and the second patriarch (1555-1570). These small texts, usually having very little or even nothing to do with the main manuscript text, represent a kind of verse notes made by different pilgrims, and reflect popular poetic tastes of the period. Short poems, especially quatrains, are an ideal form for such poetic activities. Judging from their great number, the spread of short poems was constantly increasing since the time the Syriac Renaissance, when they were first borrowed from Arabic and Persian poetry. Apparently, the multi-lingual poems of the Mongol period (second half of the 13th-early 14thcentury) - the heyday of the Syriac tradition in the Islamic period - were treated as appropriate models to portray contemporary cultural life of the multi-lingual Christian communities in the Ottoman Empire.
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Kumar, Mr Rabichandan. "The Waste Land by T.S. Eliot as a modern epic." International Journal of English Literature and Social Sciences 7, no. 5 (2022): 225–27. http://dx.doi.org/10.22161/ijels.75.35.
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‘The Waste Land’, of course by T. S. Eliot has been treated as the magnum opus of T. S. Eliot on account of its big canvas, wide range of themes, saga of suffering, with epic grandeur. It concludes with an optimistic note- “ Shantih, Shantih, Shantih'' as well as “Da, Datta, Dayadhvam'' The mental journey from ‘The Burial of the Dead’ to ‘What the Thunder Said’ via ‘A Game of Chess’, ‘The Fire Sermon’ and Death by Water’ undertaken by Tiresias symbolizes the journey of the Christiana in John Bunyan’s ‘Pilgrim’s Progress. In Spite of this, the complexity of theme prompted a sensitive Hindi poet Nirala to remark- “ Kahan ka ianta kahan ka roda, T. S. Eliot ne kunwa joda'' The elegiac note of the opening part visualizes ‘a ray of hope’ when the poet refers to ‘the Holy river’ Ganga and the Himavant i.e. the snowbound mountains in Himalayan Ranges. Suddenly, the attention is shifted towards the famous fable of the ‘Brihadaranyaka Upanishad’ The three-fold offspring of the Creator, Prajapati, Gods, men and demons; these three approached Prajapati for instruction after completing their formal education. To each group, He uttered the single syllable ‘Da’. The message was sent to all three in the form of encoding but they interpreted or decoded in their own ways. The Gods decode it as ‘Damyata’ (Control Yourselves). The Gods decoded it as ‘Datta’ (give). The demons interpreted it as ‘Dayadhvam’ ( be compassionate). When these three meet Prajapati, aware of their interpretations, He responds with ‘OM’ signifying that they have fully understood. This concludes with the thrice repetition of thunder - Da. Da. Da. viz, control yourselves, give, be compassionate.This episode reminds us of T.S. Eliot’s focus on Charles Lanman, his Sanskrit teacher at Harvard University who gave Eliot a copy of ‘Vasudev Lakshman Shastri Phansikar’s Sanskrit edition of ‘The Twenty Eight Upanishads'. While interpreting ‘Dayadhvam”, Eliot refers to Dante’s Ínferno’Book 33, line 46 - “And below I heard the outlet of / The horrible tower locked up”. These words are uttered by Ugonio della Gherardesca, a 13th century Italian novelist as he recalls his imprisonment in a Tower with his two sons and two grandsons where they starved to death. This allusion communicates a sense of finality and suggests the terrifying consequences of imprisoning oneself within one’s own ego or consciousness. Eliot feels that only by confining to one’s own faith one is ought to transcend the boundaries of tradition. According to the European tradition or Christianity ‘Shantih ‘has been interpreted as ‘Peace Which passeth understanding ' . Indeed, It is a feeble translation of the inherent meaning of the world. Eliot anticipates something absolute and sublime as has been suggested by the Upanishadic Connotation. To conclude it can be said that this poem begins with pessimistic suffering but concludes with robust optimism.
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Fedotova, Kseniia S. "Nikolay Gumilyov’s toponymical epithets." Vestnik of Saint Petersburg University. Language and Literature 19, no. 1 (2022): 169–80. http://dx.doi.org/10.21638/spbu09.2022.109.
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This article analyzes functions and semantics of epithets pertaining to geographical names (topopoetonyms) in Gumilyov's poems. Among 206 proper names and 77 epithets are definitions containing emotional assessment: crazy Africa (“Love Island”), kingly Niger (“Niger”) and color characteristics: golden Baghdad (“Pilgrim”), green Siberia (“Sahara”) prevailed. The epithet in genitival constructions usually refers to the main word of the nominal group: Tsargrad's golden gate (“Sweden”), green waves of the Euphrates (“Adam's Dream”), but in the periphrases it can be given to a geographical name: the queen of boundless Rus (i. e. Moscow, “Muzhik”). The analysis of the most common definitions (distant, remote; ancient; mysterious) showed that the epithet in the poetic text conveys several dictionary meanings, and its semantics are befogged by contextual connotations. Thus, the epithet distant to the topopoetonym Siberia (“Modernity”) express the idea of remoteness both in time and space, while the image of Siberia opens up a special space of poetic world — a place where the past continues in the present. In the poem “Galla”, the idea of opposing different cultures, is conveyed through the image of remote and wild Russia, as it is presented through the voice of a teacher of Islam. The definition ancient (“Words to Davydov's music”, “Rhodes”) in Gumilyov's poems also creates a temporal perspective of poetic description, has a positive connotation referring to high importance of the object designated by the topopoetonym, while the epithet mysterious (e. g. Rus, the poem “Old estates”) has an additional meaning — ‘associated with sacrament’.
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Hughes, Lachlan. "Dante's Arethusa and the Art of Transition." Modern Language Review 118, no. 4 (October 2023): 482–95. http://dx.doi.org/10.1353/mlr.2023.a907833.
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Abstract: This article examines Dante's allusion in the opening lines of Purgatorio to Ovid's account in the Metamorphoses of the song contest between the Muses and the Pierides. It argues that the Ovidian episode's pervasive concern for transition, seen in its many embedded and digressive tales, informs and amplifies Dante's negotiation of the textual border between Inferno and Purgatorio . In particular, it claims that the nymph Arethusa, whose journey from the underworld to 'see the stars again' occupies the lowest level of embedded narration in Ovid's poem, serves as an important but hitherto unacknowledged model for the pilgrim's arrival in Purgatory.