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Furaih, Ameer Chasib. "A Poetics of De-colonial Resistance: A Study in Selected Poems by Evelyn Araluen Cor." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, no. 02 (2022): 439–56. http://dx.doi.org/10.37648/ijrssh.v12i02.029.
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First Nations peoples in Australia, as in many other colonized countries, were forced to acquired English soon after the arrival of the colonists in their country during the second half of the 18th century. In response to their land dispossession, Indigenous Australian poets adopted and adapted the language and literary forms of colonists to write a politicized literature that tackles fundamental subjects such as land rights, civil, and human rights, to name but a few. Their literary response can be traced back to the early 1800s, and it had continued through the 20th century. One example is the poem “The Stolen Generation” (1985) by Justin Leiber, which has since been considered a motto for the struggle of Aboriginal peoples against obligatory removal of children from Aboriginal families.This paper aims at examining 21th century politicized literary response of Aboriginal poets. It sheds lights on the poetry of Evelyn Araluen as a telling paradigm of decolonial poetics, demonstrating her role in the political struggle of her peoples. Analysing representative poems by the poet, including “decolonial poetics (avant gubba)” and “Runner-up: Learning Bundjalung on Tharawal,” the paper examines the interdisciplinary nature of her poetry, and demonstrates how the poet transgresses the boundaries between poetry and politics, so as to be utilized as an effective tool of political resistance.
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Hoang, Mai. "Trần Dần: Selected Poetry Translations." Columbia Journal of Asia 1, no. 1 (April 26, 2022): 15–33. http://dx.doi.org/10.52214/cja.v1i1.9383.
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After Trần Dần criticized the poetry collection of Tỗ Hữu, a politician—calling his magnum opus a manual collection of propaganda and leadership—Tỗ Hữu assembled 150 poets and party intellectuals to criticize the poet, declaring Trần Dần and likeminded writers guilty of petty bourgeoisie. In February 1956, Trần Dần was purged from the party and sent to the infamous Hanoi Prison. Though he was released after an attempted suicide, Trần Dần was suspended from the Union of Arts and Literature for the next thirty years. In other words, for most of the poet's life, his works never saw the light of day. In August 2018, I was sitting in a cafe in Saigon sipping coffee when a novel caught my eyes: Crossroads and Lampposts it read—after a few lines I was mesmerized. I had seldom seen Vietnamese used in such a creative thought-provoking and frankly rule-breaking way. I searched up the author’s name and incredulously realized that instead of an emerging avant-garde writer, I was looking at the wikipedia entry for a 20th century radical who produced the draft fifty years before it was published. What followed was an obsessive pursuit of the elusive author's only poetry collection that led me from bookstore to bookstore across town without success. I afterwards realized that I could not find any copies because it had gone out of print long ago. Though the state had officially given Trần Dần pardon, their relationship with his poetry is still a precarious one. Fortunately, I was able to contact an Australian expatriate in Hanoi, the translator of Crossroads and Lampposts who had an electronic copy of the poetry collection that he shared with me.
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Boltivets, Sergii. "EDUCATION AS HARMONY INTELLIGENCE AND HEALTH." Problems of Psychology in the 21st Century 12, no. 2 (December 25, 2018): 60–62. http://dx.doi.org/10.33225/ppc/18.12.60.
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The emergence of a public request for the realization of special abilities of a person, focused on children, is typical for countries where awareness of their own intellectual backwardness has become a consequence of comparison with others. This is the so-called post-totalitarian or, more specifically, post-communist countries, different from the free world, as thoroughly proved by the study "Psychotherapy in the Western World and in the USSR" (1973) by one of the most prominent hypnotherapists and psychotherapists of the world Dr. Eugene Hlywa (Sydney, Australia). In particular, a definite stature, inherent in every human population, the aggregate of the capacities of people's abilities is roughly equal in each country. However, the countries of the free world, by their freedom of expression and respect for this individual self-expression, create conditions for the implementation of any capacities of abilities, while totalitarian - only conditions for a relatively small number of able people, sufficient to serve the interests of the ruling elite. Everyone else, as it was already in the history of Ukraine at the beginning of the 20th century, was destroyed: most Ukrainian kobzars were shot at Kharkiv, Ukrainian poets, writers and playwrights - shot in the Sandarmokh Karelian tract, etc. Comparison of ancient Greek cities confirms the vitality of Athens as a city of free prosperity of human abilities and the decline of Sparta, which served as an example of a state organization for future communist and national-socialist leaders of the USSR and the Third Reich.
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García, María Isabel Maldonado. "The Spanish Women Poet’s Contribution To The Literature Of The 20th Century." Pakistan Journal of Gender Studies 10, no. 1 (March 8, 2015): 129–43. http://dx.doi.org/10.46568/pjgs.v10i1.230.
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The 20th century offers us a wealth of literary authors. The Spanish poets of the 20th century that usually come to mind are mainly male due to the fact that the female poets never received proper recognition and were ignored for many years. The historical events of the 20th century could have ceasedthe literary works of the Spanish authors. However, instead, the Spanish utilized the poetry of protest as a means of rebelling towards their social reality. Not only male poets but also women were extremely prolific in their craft. First during the Civil War and after during the thirty six years of dictatorship that followed in spite of the hardships, censorship and vigorous opposition. A few of these women are Carmen Conde, Rosa Chacel, Ernestina de Champourcin and others. This research studies thecontribution of a few outstanding women poets to the 20th century Spanish literature and language.
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정소연. "Poets' Translation on Traditional Hansi in the 20th Century." HANMUNHAKRONCHIP: Journal of Korean Literature in Chinese 51, no. ll (October 2018): 59–85. http://dx.doi.org/10.17260/jklc.2018.51..59.
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Mustafayeva, Nailya B. "Stanza form of mukhammas in Azerbaijan lyrics in 20th century." Neophilology, no. 21 (2020): 76–84. http://dx.doi.org/10.20310/2587-6953-2020-6-21-76-84.
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In Azerbaijan literature of the early 20th century mukhammas were created, they were distinguished by the search for new forms and the problematic range. For example, Sabir began mukhammas with beit (couplets) of tarji, repeated it at the end of each stanza. Many other poets repeated a similar technique afterwards. There are other features of the mukhammas of the specified period; the topic in general covered lyric and poetic, patriotic, social and political, philosophical, and religious issues. The patriotic mukhammas included a description of the nature beauties, the motherland defenders courage, the impulses of those who strove for the progress of the country, for its freedom. The number of satirical mukhammas increased. Takhmis (imitations) were written on classical poems, including Fuzuli’s ghazals. At the early 20th century in Azerbaijan, as well as in other places of the Russian Empire, political activity grew among the population. The famous poet Mahammad Hadi wrote in his mukhammas about the need to achieve freedom. After all, only free people can achieve true progress and prosperity. In Soviet times, a number of poets continued to write their poems in the classical style. Poets such as V. Abbaszade Hammal, M.S. Ordubadi, A. Nazmi, Mikayil Rafili, Ali Nazim, Suleiman Rustam, Mikayil Mushfig praised their native land in their mukhammas, at the same time they did not forget to note the role of the Communist Party in the prosperity of the country. A lot of poems were devoted to international events, criticism of the imperialist forces. During World War II, Aliaga Vahid in his mukhammas predicted German fascism an inevitable defeat, expressed admiration for the heroism of Soviet soldiers. In the second half and at the end of the 20th century, the number of mukhammas on religious themes is growing in Azerbaijan poetry. A number of poets have moved from writing poetry in the classical nazm style to the mukhammas genre.
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Kuttybaev, Sh, and Е. Abdimomynov. "TRADITION AND INNOVATION IN MODERN KAZAKH POETRY (XX century and independence)." BULLETIN Series of Philological Sciences 76, no. 2 (September 15, 2021): 118–28. http://dx.doi.org/10.51889/2021-2.1728-7804.15.
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The article analyzes views on innovation in the literary science of the early twentieth century and the work of Alash representatives in an era that is a period filled with profound changes and large-scale innovations in Kazakh society. In addition, works related to freedom, enlightenment, politics, spiritual values, the position of the people as a whole and social changes are considered the idea of independence and continuity. On the way of evolutionary development of the Kazakh literature, artistic power, thematic and ideological character, substantial and stylistic features of poetry of poets in the beginning of the XX century and during the Great Patriotic War, in subsequent years and years of independence are discussed in detail. In addition, on the basis of literary traditions and novelty, the works of prominent poets of Kazakh poetry of the 20th century and Independence are considered and comprehensively characterized, i.e. internal motives, the content of life phenomena in national poetry are analyzed in close connection with the works of poets. The original vision of the traditional and differentiated in the literature of the Soviet period in the works of poets from a new perspective, from the point of view of today. In addition, the works of outstanding poets of Kazakh poetry in the period of the 20th century and independence are considered on the basis of classical tradition and novelty in literature.
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Janowska, Karolina. "Amor udrí – la poesía cortesana árabe en la Península Ibérica." Forum Filologiczne Ateneum, no. 1(7)2019 (December 31, 2019): 323–42. http://dx.doi.org/10.36575/2353-2912/1(7)2019.323.
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The poetry of Arab-Andalusian poets is a bridge between Eastern and Western culture. Its roots date back to the sixth century, when the first Bedouin songs resounded in the limitless areas of the Arabian desert. His echoes resounded in the poetry of Provençal troubadours. Traces of this poetry can be found in the works of Renaissance poets, including Petrarc. Elements of Andalusian poetry were also visible in the poetry of the Spanish court since the 16th century. The characteristic poetic forms still appeared in 20th century poetry – at least one of the most outstanding Spanish poets, Federico Garcia Llorca, reached for it. Its greatest prosperity was in the 10th andd 11th centuries, and among the outstanding Andalusian poets were both men and women. The main motive of this poetry was unfulfilled love, which remained the dominant element of modern European court poetry.
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Mieder, Wolfgang. "The Poets' Grimm: 20th Century Poems from Grimm Fairy Tales (review)." Marvels & Tales 18, no. 2 (2004): 331–35. http://dx.doi.org/10.1353/mat.2004.0046.
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Moody, Ivan. "Mensagens: Portuguese Music in the 20th Century." Tempo, no. 198 (October 1996): 2–10. http://dx.doi.org/10.1017/s0040298200005313.
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These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism. Other poets, particularly Mario Sa-Carneiro (1890–1916), and plastic artists, notably Amadeo de Sousa Cardoso (1887–1918) and Jose de Almada Negreiros (1893–1970), similarly reflect the strength of these patriotic and mystical ideas in Portugal during the country's deepening social crisis in the early part of the century. But Pessoa, who famously split himself into several persons, each with their own name, style and poetic output, may also stand as a symbol of the different currents Portuguese composers have ridden in search of their national identity.
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Rutgers, Wim. "Dutch Caribbean Poetics in a Historical Perspective." Werkwinkel 13, no. 1-2 (December 1, 2018): 9–26. http://dx.doi.org/10.2478/werk-2018-0001.
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Abstract This article provides an overview of two hundred years of Dutch Caribbean poetics: from Eurocentrism to originality, from imitation towards creation. In the 19th century colonial poets of the ABC islands followed European examples, in the beginning of the 20th century they searched for local themes and forms, and from the last decades of the 20th and in the beginning of the 21st centuries they combined the local and the global arriving at a creative amalgam of the glocal.
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Betz, Dorothy M. "Australian Divagations: Mallarme & the 20th Century (review)." Nineteenth Century French Studies 32, no. 3 (2004): 413–14. http://dx.doi.org/10.1353/ncf.2004.0004.
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Armitage, Marc. "Antipodean traditions: Australian Folklore in the 20th century." International Journal of Play 2, no. 2 (September 2013): 150–52. http://dx.doi.org/10.1080/21594937.2013.823812.
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Chornyi, Ihor, Viktoriia Pertseva, Viktoriia Chorna, Olena Horlova, Oleksandra Shtepenko, and Mykola Lipisivitskyi. "Postmodern Tendencies in the Russian Poetry of the “Silver Age”." Postmodern Openings 12, no. 4 (December 17, 2021): 124–40. http://dx.doi.org/10.18662/po/12.4/364.
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For the first time, the article analyses certain aspects of Russian poetry of the “Silver Age” in order to identify the rudiments or features which are characteristic of the postmodern creative paradigm. It is noted that a number of poets almost do not have any postmodernist tendencies. Despite the fact it is proved that postmodernism denies the personality-centric and aesthetically oriented concept of modernism, it nevertheless arose on the basis of modernism and has sharpened evolutionary features formulated in the first half of the 20th century. The article aims to prove a hypothesis that arises in the authors during a preliminary perceptual reading of the poets` works of the “Silver Age”: in the early 20th century. Sporadically and consistently in individual authors can be observed irony, play, reconstruction and performance as precursor of postmodernist creative thinking. Specialties of the Russian poetry of the “Silver Age”, which directly correlate with postmodernist tendencies of the second half of the 20th century is not a description itself, but the realization of reality, ambivalence, as well as following the linguistic and figurative, conceptual, motive levels of gradual transitions between the paradigms of “symbolism – modernism” and “modernism – postmodernism”. The international significance of the article is that the material of one of the Eastern European literatures has proved the existence of postmodern (quasi-postmodern) features in the first half of the 20th century for the first time, which can serve as a deeper research in the field of literary typology, continuity; culturology and anthropology.
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Majerek, Rafał. "W poszukiwaniu kobiecych tradycji literackich. Zapomniane poetki słowackie pierwszej połowy XX wieku." Kultura Słowian Rocznik Komisji Kultury Słowian PAU 18 (November 9, 2022): 231–40. http://dx.doi.org/10.4467/25439561ksr.22.017.16369.
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W artykule zaprezentowana została jedna z ważnych, w kontekście słowackiego literaturoznawstwa ostatnich lat, inicjatyw wydawniczych – antologia Zatopione dusze. Z twórczości poetek słowackich pierwszej połowy XX wieku (2017) pod redakcją Andrei Bokníkovej. Tom przypomina twórczość dwunastu poetek, które aktywne były w życiu literackim pierwszych dekad XX wieku, następnie z różnych powodów z działalności literackiej zrezygnowały, a pamięć o nich stopniowo ulegała zatarciu. Opublikowane teksty stanowią punkt wyjścia do refleksji nad możliwością reinterpretacji historii literatury słowackiej i zdynamizowania jej opisu, m.in. dzięki rekonstrukcji linii pisarstwa kobiet, często pomijanego lub schematycznie prezentowanego w pracach historycznoliterackich. Projekt taki wpisywałby się w aktualne poszukiwania nowych sposobów konceptualizacji literackiej przeszłości. In Search of Women’s Literary Traditions. Forgotten Slovak Female Poets in the First Half of the 20th Century The article presents one of the publishing projects important in the context of Slovak literary studies in recent years, the anthology Sunken Souls. From Works by Slovak Female Poets in the First Half of the 20th Century (2017), edited by Andrea Bokníková. The book recalls the works of twelve women poets who were present in the literary life of the first decades of the 20th century, then gave up their literary activity for various reasons, and memory of them was gradually blurred. The published texts could be a starting point for reflection on the possibility of reinterpreting the history of Slovak literature and making its description more dynamic, e.g. thanks to the reconstruction of the line of women’s writing, often ignored or schematically presented in historical literary studies. This kind of project would correspond with the current search for new ways of conceptualising the literary past.
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Dvoynishnikova, M. P., T. F. Semian, and E. A. Smyshlyaev. "Traditions of the Russian avant-garde in children’s poetry." Culture and Text, no. 51 (2022): 167–80. http://dx.doi.org/10.37386/2305-4077-2022-4-167-180.
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The article presents the experience of understanding the traditions of Russian avant-garde in children’s poetry. In poems for children poets, whose work is traditionally classified as avant-garde, focus on the techniques of minimalism and primitivism, guided by children’s perception. The article deals with the mechanisms of organization and specifics of children’s poetry by G. Sapgir, J. Grants, as well as artistic parallels between the works of representatives of the Russian avant-garde of the 20th century and contemporary poets of the Ural region.
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Scherr, Barry P. "Odd Stanzas." Studia Metrica et Poetica 1, no. 1 (April 22, 2014): 28–54. http://dx.doi.org/10.12697/smp.2013.1.1.03.
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Stanzas with seven and nine lines have had a long tradition in English verse, but stanzas with an odd number of lines and longer than five lines occur relatively rarely in Russian. Indeed, Russian poetry has never developed a strong tradition of longer lines with an odd number of stanzas, despite two moments when they might have achieved wider acceptance. From the 1820s through the 1840s a few poets, including Lermontov and the less known Kjukhel’beker, composed some notable experiments with these forms. Even Lermontov’s famous Borodinskaja strofa did not attract many imitators, although a number of poets throughout that century and up to the present day have continued to write poems in stanzas with 7, 9 and even 11 or 13 lines. The second period occurred during the early 20th century, but among modernist poets the interest in stanzas was focused more on traditional forms, such as the sonnet. Perhaps because of their rarity, the odd stanzas found among Russian poets most often serve as the platform for complex and unconventional rhyme schemes, often accompanied by other striking formal features as well.
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Darwish, Hisham A. "The Alcaic Odes of Horace and Greek Poems of the Early 20th Century." Acta Antiqua Academiae Scientiarum Hungaricae 60, no. 1-2 (June 24, 2021): 149–70. http://dx.doi.org/10.1556/068.2020.00010.
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SummaryThis article is concerned with shedding light on two examples of influence between Horace and the Greek poets, both ancient and modern. The aim of this paper is to shed light on several parallel aspects between two of the Alcaic odes of Horace and two modern Greek lyric poems by Constantine Cavafy and Angelos Sikelianos, respectively. Subsequently, I show, within the wider framework of inter-textuality, a subtle example of the utilization and re-utilization of lyric elements that are originally ancient Greek in nature by the Latin and modern Greek poets. In my argumentation, I will rely on textual similarities, as well as on the views expressed by scholars in non-comparative contexts The paper is divided into two parts. In the first part, I compare Horace’s carm. 2. 3 with Cavafy’s Ithaka. The most important points of comparison in this section are three common features: instructive tone, the epicurean tendency and the melancholic end. In the second, I compare Horace’s carm. 1. 37 with Sikelianos’ Dithyramb. The most important points of comparison in this section are three common features, namely, the connection of the Bacchic ecstasy to political issues, the connection of the Dionysiac spirit to the struggle against the national enemy and the association of Bacchic frenzy with hunting and chase.
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Glebova, I. I. "Literature and Dictatorship: Culture of the Beginning of the 20th Century in Search of Ideal Power (Essay)." Journal of Political Theory, Political Philosophy and Sociology of Politics Politeia 104, no. 1 (March 28, 2022): 162–82. http://dx.doi.org/10.30570/2078-5089-2022-104-1-162-182.
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The end of the 19th — beginning of the 20th century is a watershed moment for Russia. It was the era of “theomachy”, or getting rid of the former gods (authorities, restrictions, coercion and control), in politics, economy, science and culture. In this sense, the motto “Down with the autocracy!” is the political equivalent of the poets’ slogan “Throw Pushkin off the ship of Modernity”. Poets, like politicians, wanted to break out of the past by removing its linchpin — the tsar, the old power. Some intended to reestablish it, others — to rethink it. Politicians sought their ideal in “geography” (the political structure of advanced, democratic Europe), poets — in culture. And they found it in Peter the Great — the revolutionary on the throne, the demiurge of St Petersburg’s Russia. That cult, which was seemingly organic for that culture, concealed the expectations that can be politically deciphered as “the dictatorship of development”. It was Peter’s model of transformation (radical upheaval, a step from the past into the future, with the leader heading the process) that was adopted by the Russian culture as a normative. The revolution and the new (“October”) world, with its eulogy of the future, dictatorship, and cult of the leader, have become the answer to the questions of the beginning of the century and their test. The article views revolution precisely as an experience (which, for all its intensity and tragic nature, has received insufficient reflection) that failed to have any impact on the subsequent political practice. At the same time, although the main goal of the study is political in nature, the author draws on literary, mostly poetic sources, showing how revolutionary practice (not only at the start, but also at the end of the century) highlights the extent to which the “irresponsible chatter” of poets was truly reflective in political and moral respects.
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Ferreira de Lima, Francisco. "A quinta estação de Jorge de Sena." e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes 03 (2019): 51–56. http://dx.doi.org/10.53943/elcv.0219_08.
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Based on the reading of some poets of the 16th century, which explored the topos of changing, through which one gets the irreversible asymmetry between the cycles of nature and of human life, the text presents a brief approach of the poem «As quatro estações eram cinco» by Jorge de Sena. The goal is both to highlight affinities and emphasize differences in depicting time between the 20th century poet and his predecessors.
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Frederiksen, Jorgen S., and Stacey L. Osbrough. "Tipping Points and Changes in Australian Climate and Extremes." Climate 10, no. 5 (May 19, 2022): 73. http://dx.doi.org/10.3390/cli10050073.
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Systematic changes, since the beginning of the 20th century, in average and extreme Australian rainfall and temperatures indicate that Southern Australian climate has undergone regime transitions into a drier and warmer state. South-west Western Australia (SWWA) experienced the most dramatic drying trend with average streamflow into Perth dams, in the last decade, just 20% of that before the 1960s and extreme, decile 10, rainfall reduced to near zero. In south-eastern Australia (SEA) systematic decreases in average and extreme cool season rainfall became evident in the late 1990s with a halving of the area experiencing average decile 10 rainfall in the early 21st century compared with that for the 20th century. The shift in annual surface temperatures over SWWA and SEA, and indeed for Australia as a whole, has occurred primarily over the last 20 years with the percentage area experiencing extreme maximum temperatures in decile 10 increasing to an average of more than 45% since the start of the 21st century compared with less than 3% for the 20th century mean. Average maximum temperatures have also increased by circa 1 °C for SWWA and SEA over the last 20 years. The climate changes in rainfall an d temperatures are associated with atmospheric circulation shifts.
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Šalamon, Samo. "The Political Use of the Figure of John Coltrane in American Poetry." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 81–98. http://dx.doi.org/10.4312/elope.4.1-2.81-98.
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John Coltrane; one of the most influential and important musicians and composers of the 20th century; began to inspire jazz musicians and American poets in the 1960s with the Black Arts Movement poets. His music was interpreted and used for the promotion of political ideas in the poetics of Amiri Baraka; Sonia Sanchez; Askia Muhammad Toure; Larry Neal and others. This is the political Coltrane poetry. On the other hand; Coltrane’s music inspired another kind of poets; the musical poets; which began to emerge in the 1970s. In this case; the poetry reflects the true nature of Coltrane’s spiritual music quest. The poets belonging to this group; like Michael S. Harper; William Matthews; Jean Valentine; Cornelius Eady; Philip Levine; Nathaniel Mackey and others; go beyond politics; beyond race or gender. The paper will examine the first type of the Coltrane poetry; where Coltrane’s music was used to promote the political ideas of the Black Art Movement in connection with the political movement of Malcolm X. These poets changed; rearticulated and shifted Coltrane’s spiritually musical message towards the principles of the black nationalism.
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Vinogradov, Vladimir Vyacheslavovich. "New "Lyrical Sentience" of Guillaume Apollinaire and "Lyrical Truth" of Louis Delluc." Journal of Flm Arts and Film Studies 3, no. 1 (February 15, 2011): 90–101. http://dx.doi.org/10.17816/vgik3190-101.
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The article is devoted to the period of forming of the first wave of French Avant-guard (Film Impressionism). It considers the influence of Guillaume Apollinaire, one of the greatest French poets of the 20th century, on the theoretical conception of Louis Delluc, an outstanding film critic and director. Particularly, the closeness of Appolinaire's "lyrical sentience" and Delluc's "lyrical truth" is analyzed.
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Fitch, Kate. "Rethinking Australian public relations history in the mid-20th century." Media International Australia 160, no. 1 (August 2016): 9–19. http://dx.doi.org/10.1177/1329878x16651135.
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This article investigates the development of public relations in Australia and addresses calls to reconceptualise Australian public relations history. It presents the findings from an analysis of newspaper articles and industry newsletters in the 1940s and 1950s. These findings confirm the term public relations was in common use in Australia earlier than is widely accepted and not confined to either military information campaigns during the war or the corporate sector in the post-war period, but was used by government and public institutions and had increasing prominence through industry associations in the manufacturing sector and in social justice and advocacy campaigns. The study highlights four themes – war and post-war work, non-profit public relations, gender, and media and related industries – that enable new perspectives on Australian public relations history and historiography to be developed.
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Nuriadi, Nuriadi. "BOOK REVIEW. DISTOPIA." Jurnal Humaniora 27, no. 3 (April 9, 2016): 384. http://dx.doi.org/10.22146/jh.v27i3.22440.
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Robert Frost, one of the most prominent American poets of the mid-20th century, once stated that “literature is a performance in words” (Barnet et al., 1961: 1). The phrase “performance in words” specifically refers to the real significance of language in the presentation of a literary work. If there is no language, then there will be absolutely no literature or literary work. Language serves not only as a medium for the work’s existence but also for a work to be called a work of art. Related to this proposition, poetry as a literary genre certainly exists because of the language by which the poets or the authors pour out their artistic and creative craftmanship, and through which readers can really read, enjoy, and concretize the poets’ ideas and messages.
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Sokolov, Oleg A. "Unsheathing Poet’s Sword Again: The Crusades in Arabic Anticolonial Poetry before 1948." Vestnik of Saint Petersburg University. Asian and African Studies 14, no. 2 (2022): 335–51. http://dx.doi.org/10.21638/spbu13.2022.211.
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Both Arab and Western scholars agree that, starting in the mid-20th century, the correlation of Western Europeans with the Crusaders and the extrapolation of the term “Crusade” to modern military conflicts have become an integral part of modern Arab political discourse, and are also widely reflected in Arab culture. The existence of works examining references to the theme of the Crusades in Arab social thought, politics, and culture of the second half of the 20th century contrasts with the almost complete absence of specialized studies devoted to the analysis of references to this historical era in Arab culture in the 19th century and first half of the 20th. An analysis of references to the era of the Crusades in the work of Arab poets before 1948 shows that, already in the period of the Arab Revival, this topic occupied an important place in the imagery of anti-colonial poetry, and not only in Egypt, Syria, and Palestine, historically attacked by the Crusaders, but also in other regions of the Arab world. If, before World War I, Arab poets only praised the commanders of the past who defeated the Crusaders, then afterwards the theme of the Crusades was also used to liken the European colonialists to the “medieval Franks”. The authors of the poems containing images from the era of the Crusades were, among others, the participants of the Arab Uprising of 1936–1939 and the Arab-Israeli War of 1947–1949, who set their goal with the help of poetry to mobilize the masses for the struggle.
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Truskina, Anna V., and Vladimir V. Nekhotin. "Irkutsk Group “Barque of Poets” in V. P. Trushkin Private Archive." Studies in Theory of Literary Plot and Narratology 14, no. 2 (2019): 198–256. http://dx.doi.org/10.25205/2410-7883-2019-2-198-256.
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The publication contains materials from a private archive compiled by Vasiliy Prokopyevich Trushkin (1921–1996), a professor at the University of Irkutsk, who studied Siberian literature of the early 20th century. Some unknown texts by four poets of the 1920s are published for the first time now. These are Igor Slavnin (1898–1925), Sergey Alyakrinskiy (1889–1938), Vasiliy Prelovskiy (1892–1938), and Mikhail Imray (Gorin; dates of his life remain unknown). All of them were members of Irkutsk literary group “The Barque of Poets”, which in fact was an institution for adapting pre-revolutionary Russian modernism to new realities of the early Soviet era.
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Frolova, Natal'ya S. "Devices of comic in the work of the 20th century English-speaking Ugandan poets." Vestnik of Kostroma State University, no. 4 (2019): 140–44. http://dx.doi.org/10.34216/1998-0817-2019-25-4-140-144.
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Poetry of the Ugandans are analysed in an article in the context of the use of devices of comic in the East African English-language poetry. The critical-realistic and enlightener tendencies that were eagerly apprehended by most East African authors in the 1960s have not allowed them going beyond the direct criticism of damning poetry to this day as well, although point-by-point attempts to use humour and satire when contemplating socio-political issues, do occur throughout the sixty-year existence of East Africa English-language poetry. The dilogy by Okot p’Bitek, Timothy Wangusa and Taban Lo Liyong are clear examples of such attempts made in Uganda literature. At the same time, the three authors use fundamentally different techniques of comic, when portraying modern reality, both purely African and universal human.
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Kaufman, James C. "Genius, Lunatics, and Poets: Mental Illness in Prize-Winning Authors." Imagination, Cognition and Personality 20, no. 4 (June 2001): 305–14. http://dx.doi.org/10.2190/m3w0-at3t-gtle-0l9g.
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The links between mental illness and the creative arts, especially creative writing, are well-established, if controversial. Several studies have found more mental illness in creative writers than in control groups; few studies, however, have investigated the truly eminent, genius-level writers. To address the question of how genius-level writers compare to merely accomplished writers, two historiometric studies examined writers who won the Nobel Prize and Pulitzer Prize. Study One examined 986 20th century writers, while Study Two 889 American writers from the 17th century to the present day. In both studies, both types of prize-winners were more likely to suffer from mental illness than non-winners. In addition, Nobel Prize winners were more likely to suffer from alcoholism (Study One) and experience a personal tragedy (Study Two). Implications and theoretical possibilities are discussed.
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ALDULAIMI, Ihsan Hadi Ahmed. "DEATH AND POST-DEATH IN THE POETRY OF AHMED ARIF." Rimak International Journal of Humanities and Social Sciences 4, no. 1 (January 1, 2022): 320–28. http://dx.doi.org/10.47832/2717-8293.15.24.
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The great Turkish poet Ahmed Arif is considered one of the important poets in Turkish literature in the 20th century. He was born in Diyar Bakr on 23rd of April 1923 and died on 2nd of June 1991 in Ankara. Through his life that lasted for 68 years, he published one book about poetry. It was considered the best book to be published in Turkey which makes him different from any other poet. Death as a fact and part of our nature is considered the end of life. The separation of the soul from the body is inevitable. It is impossible that a man can be born again after his death. Hence, there was a great discussion about the nature of our life and the existence of death throughout the whole history of human beings. Specifically, the scientists, philosophers, and thinkers, made scientific activities over humanity and death and what would happen after it. The poets are among the groups who express their opinion concerning this subject arousing different new point of views in their comments and thoughts. The nature of the poem is to think differently and explain it differently too resorting to symbolic language. Hence, the exposition of the beliefs difficult to be understood through poetry and literature create a genuine overflow of thoughts. Ahmed Arif is one of the well-known poets by his valuable thoughts in this subject. I decide to introduce a detailed explanation about life of the great Turkish poet Ahmed Arif as well as his literary orientation and poem. Among his poems, we introduce some information about death and life after death through which I browse all the poems by Ahmed Arif who is considered one of the important poets in Turkish literature in the 20th century. Key words: Ahmed Arif, Turkish Literature, Death, Death and Beyond.
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Zou, Luwei, and Maria V. Mikhaylova. "The Phenomenon of “Podakhmatovki”: Akhmatova’s Discourse in Women’s Poetry of the First Third of the 20th Century." Studia Litterarum 6, no. 4 (2021): 198–223. http://dx.doi.org/10.22455/2500-4247-2021-6-4-198-223.
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The article mainly deals with the role of Akhmatova’s discourse in women’s poetry of the first third of the 20th century. After the publication of Akhmatova’s first collections of poems characterized by “the superior simplicity,” women’s poetry got access to the new opportunities for self-presentation. There emerged such phenomenon as “podakhmatovki” (e.g. female poets influenced by Akhmatova), the list of which, however, varies in different studies. We argue that the most representative “podakhmatovki” were L.F. Kopylova, N.G. L’vova, and V.M. Inber. For the first time, the article proposes a specific analysis of the poems by these three female poets which allows us to discover their ways of absorbing and developing Akhmatova’s insights from a psychological stand. We claim that Kopylova almost duplicates Akhmatova’s methods of comprehending the inner world of women being, to a certain extent, an imitator; L’vova is trying to combine the image of Akhmatova’s female characters and futuristic poetics; and Inber prefers a dialogue and exhibits “rivalry” of a kind with Akhmatova in her poetry.
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Lewisohn, Jane. "Flowers of Persian Song and Music: Davud Pirniā and the Genesis of the Golhā Programs." Journal of Persianate Studies 1, no. 1 (2008): 79–101. http://dx.doi.org/10.1163/187471608784772742.
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AbstractThis article examines the 'Flowers of Persian Song and Music' (golhā) radio programs broadcast during the third quarter of the 20th century on the Iran National Radio. These programs—some 1,400 of which the author has collected and deposited in the British Library—constitute an unrivalled encyclopaedia of classical Persian music and poetry. The golhā programs introduced to the general public over 250 poets from the ancients to the moderns, and it preserved Persian classical music and fostered its future development. The seminal role played by Dāvud Pirniā in founding and producing these programs is examined and explored, while highlighting the various artists, poets, musicians, vocalists and scholars who performed in them.
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Nastopka, Kęstutis. "Literary Intertextuality of Tomas Venclova‘s Poetry." Colloquia 42 (June 1, 2019): 29–47. http://dx.doi.org/10.51554/col.2019.28653.
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Borrowing from poetry which belongs to another literary epoch or is written in another language is a constituent part of poetic action. According to Thomas Stearns Eliot, “Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.” In semiotic terms, this can be described as transformation of another poetic language. Algirdas Julius Greimas said: “Meaning is nothing else but transposing one level of language into another level, or one language into another, a different one.” This paper aims to describe the traces of interaction of poets who wrote in different languages and to discuss the direction of transformation of poetic language.The most authoritative teacher of the young Tomas Venclova was Boris Pasternak. The early poems of the Lithuanian poet remind us of Pasternak’s poems from his collection Above the Barriers in their metric variations, rhyming schemes, and alliterative clusters. Two poems by Venclova dedicated to the memory of Pasternak were written in 1960 and 1961. What Venclova ‘steals’ from Osip Mandelstam is mostly semantic figures. In a number of poems, Venclova gets very close to the polyphonic language of this Russian poet. Joseph Brodsky is another constant dialogic partner of Venclova. Sometimes Venclova quotes or paraphrases Lithuanian poetic texts. His poems integrate Lithuanian history of the 20th century, and touch upon the themes of the Holocaust, partisan movement, and the victims of the occupational regime.The values paradigm in Venclova’s poetry is supported by Dante and Shakespeare, as well as a number of 19th and 20th century poets, such as Keats, Baudelaire, Rilke, Apolinnaire or Dylan Thomas. Cyprian Norwid’s “A Funeral Rhapsody in Memory of General Bem” and Czesław Miłosz’s “Ars Poetica?” are also used as poetic subtext. In his later period, Venclova wrote five poems on Biblical stories.Venclova’s connections with the Lithuanian poetic tradition can be defined as hyponymous relationship of belonging: the language and the historical memory. The poetic meanings created by Venclova are actualisations of subtexts of poetry written in many languages. Therefore we can consider Venclova to be a European poet who writes in the Lithuanian language.
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Walczak-Delanois, Dorota. "Poems by Polish Female Poets and the Burning Issue of Religion." Religions 12, no. 8 (August 9, 2021): 618. http://dx.doi.org/10.3390/rel12080618.
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The aim of this paper is to show the presence of religion and the particular evolution of lyrical matrixes connected to religion in the Polish poems of female poets. There is a particular presence of women in the roots of the Polish literary and lyrical traditions. For centuries, the image of a woman with a pen in her hand was one of the most important imponderabilia. Until the 19th century, Polish female poets continued to be rare. Where female poets do appear in the historical record, they are linked to institutions such as monasteries, where female intellectuals were able to find relative liberty and a refuge. Many of the poetic forms they used in the 16th, late 17th, and 18th centuries were typically male in origin and followed established models. In the 19th century, the specific image of the mother as a link to the religious portrait of the Madonna and the Mother of God (the first Polish poem presents Bogurodzica, the Virgin Mary, the Mother of Jesus) reinforces women’s new presence. From Adam Mickiewicz’s poem Do matki Polki (To Polish Mother), the term “Polish mother” becomes a separate literary, epistemological, and sociological category. Throughout the 20th century (with some exceptions), the impact of Romanticism and its poetical and religious models remained alive, even if they underwent some modifications. The period of communism, as during the Period of Partitions and the Second World War, privileged established models of lyric, where the image of women reproduced Romantic schema in poetics from the 19th-century canons, which are linked to religion. Religious poetry is the domain of few female author-poets who look for inner freedom and religious engagement (Anna Kamieńska) or for whom religion becomes a form of therapy in a bodily illness (Joanna Pollakówna). This, however, does not constitute an otherness or specificity of the “feminine” in relation to male models. Poets not interested in reproducing the established roles reach for the second type of lyrical expression: replacing the “mother” with the “lover” and “the priestess of love” (the Sappho model) present in the poetry of Maria Pawlikowska-Jasnorzewska. In the 20th century, the “religion” of love in women’s work distances them from the problems of the poetry engaged in social and religious disputes and constitutes a return to pagan rituals (Hymn idolatrous of Halina Poświatowska) or to the carnality of the body, not necessarily overcoming previous aesthetic ideals (Anna Świrszczyńska). It is only since the 21st century that the lyrical forms of Polish female poets have significantly changed. They are linked to the new place of the Catholic Church in Poland and the new roles of Polish women in society. Four particular models are analysed in this study, which are shown through examples of the poetry of Genowefa Jakubowska-Fijałkowska, Justyna Bargielska, Anna Augustyniak, and Malina Prześluga with the Witches’ Choir.
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Ahmed, Mohammad Kaosar, and Sultana Jahan. "A Quest for Idyllic Beauty in the Land of Mystery: A Comparative Discussion of Rabindranath Tagores ÒAimless JourneyÓ (ÒNiruddesh YatraÓ) and Robert Frosts ÒStopping by Woods on a Snowy EveningÓ." IIUC Studies 12 (December 10, 2016): 27–40. http://dx.doi.org/10.3329/iiucs.v12i0.30579.
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A study in poetic affinities between Rabindranath Tagore and Robert Frost seems a bit strange to the reader as both the poets belong to two different nations. Apparently there is no connection between the two great poets one belongs to America and the other belongs to India with a poetic career spanning the last four decades of the 19th century and the first four decades of the 20th century. The affinities between Tagore and Frost are clearly seen in their works. In respect of their poetic vision, their attitude to nature, the world, sense of beauty and wonder, yearning for the ideal, both the poets share a considerable portion of similarities. However, a sense of divergence from each other prevails beneath the similarities as Tagore is a devotee and his appreciation, particularly in the West, refers to him as a mystic poet, while Frost is an agnostic. This paper attempts to make a comparative study of Frosts Stopping by Woods on a Snowy Evening and Tagores Aimless Journey with a view to unfolding the astonishing similarities and differences between the poets.IIUC Studies Vol.12 December 2015: 27-40
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Gavrileva, N. G. "N.A. Nekrasov and the Literature of the Small Indigenous Peoples of Russia (Translation of the Poem "Knyaginya Trubetskaya" into the Yakut Language)." Язык и текст 8, no. 3 (2021): 61–67. http://dx.doi.org/10.17759/langt.2021080308.
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The article is devoted to the history of translation thought in Yakutia. Much attention is paid to the literary influence of Decabrists and Russian writers on the work of Yakut poets the first half of the 20th century. The main focus of the author is the controversy about the specificity of the artistic translation from Russian into Yakut, his function in the Russian literary process, and the peculiarities of the creative individuality of the translator.
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Smyth, Russell, and Vinod Mishra. "The Prestige of Australian State Supreme Courts Over the 20th Century." Australian Journal of Political Science 45, no. 3 (August 17, 2010): 323–36. http://dx.doi.org/10.1080/10361146.2010.499160.
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Korchagin, Kirill M. "Bureau “Transatlantic”: French and US Poets on Rendezvous." Literature of the Americas, no. 12 (2022): 261–73. http://dx.doi.org/10.22455/2541-7894-2022-12-261-273.
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Since the middle of the 19th century, American literature has been perceived by French poets as a kind of Other, at the same time alien and attractive, capable of teaching the experience of liberation, which the French poets themselves lack. Nevertheless, the situation is more familiar when other poets of the world are looking for inspiration in French poetry. French poetry for American modernists of the first quarter of the 20th century was synonymous with everything that expands the horizons of literature. At the same time, the reverse situation, when French poetry is saturated with outside influences, in particular, American ones, is studied much worse. Abigail Lang's book tries to fill this gap, considering the transformations that the new, “post-Surrealist” French poetry is experiencing under the impression of the new American poetry. The book is divided into three chapters: the first one deals with the reception of objectivism since the 1970s to the present, the second one deals with the problem of the “transatlantic” poetic community, which manifests itself in various forms and genres, and, finally, the third one tells about the “speech turn,” which, from the author's point of view, takes place in French poetry of recent decades.
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Chizhov, N. S. "Soviet Poetic Underground in Critical and Scientific Coverage (Article Two)." Nauchnyi dialog, no. 10 (October 29, 2021): 298–326. http://dx.doi.org/10.24224/2227-1295-2021-10-298-326.
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An overview of scientific and critical works devoted to the study of Soviet uncensored poetry as a historical and literary phenomenon in general and the work of its key personalities, in particular is presented in the article. The relevance of the work is due to the lack of study of this segment of Russian literary criticism of the 20th century and the need to systematize the accumulated experience of evaluating and interpreting underground poetic culture in order to identify promising directions for its further scientific development. The article focuses, first, on the samizdat criticism of the uncensored poets of the 1980s. Such features of their artistic writing as culture-centricity, impersonality, autonomy of poetry due to the rejection of the “Aristotelian mimesis” and the reorientation of the poetic utterance to “the language itself”, etc. are characterized. Secondly, the author considers the formation in the scientific-critical discourse of the postmodernist concept of the development of Russian literature, in the light of which such underground style movements as “metarealism” and “conceptualism” are presented as the most representative phenomena of poetic postmodernism. Thirdly, it is indicated that in literary criticism of the 2000s-2010s, a number of scientific concepts were proposed that limit the research field of application of postmodern theory to Russian poetry of the second half of the 20th century (“neomodernism”, “transavant-garde”, “post-realism”). Fourth, it is determined that the development of the legacy of the Soviet poetic underground in modern literary science occurs primarily from the standpoint of a systematic study of the poetics and axiology of the work of nonconformist poets and the identification of the genetic links of their poetry with the Russian modernist and avant-garde tradition of the early 20th century.
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Houtman, Cornelis. "Rewriting a Dramatic Old Testament Story the Story of Jephthah and his Daughter in Some Examples of Christian Devotional Literature." Biblical Interpretation 13, no. 2 (2005): 167–90. http://dx.doi.org/10.1163/1568515053683112.
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AbstractFour examples of the literary rewriting of Judg. 11:29-40 in devotional literature, dating from the end of the 18th century to the beginning of the 20th century, are described and analysed. All do away with the simplicity and "neutrality" found in the biblical story of Jephthah and his daughter and turn it into high drama with sharply drawn and distinct protagonists and a sometimes exuberant depiction of atmosphere. In the hands of the authors the story becomes the bearer of the theological ideas and moral views which the novelists and poets and their times espoused.
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Scheyer, Lauri, and Zanyar Kareem Abdul. "THE FUNCTION OF POETRY IN THE MODERN WORLD: A CASE STUDY OF WALT WHITMAN AND AUDRE LORDE’S POEMS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 6, no. 2 (December 27, 2022): 245–50. http://dx.doi.org/10.30743/ll.v6i2.5226.
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Lyric poetry has historically referred to a genre that we think of as brief, musical, and personal as well as subjective. This article addresses the role of lyric poetry in the modern world, and how critical analysis enables us to better appreciate the potential impact of poetry today. Specifically, we will offer brief contrastive assessments of two landmark exemplars of American poets, Walt Whitman and Audre Lorde. These two figures demonstrate some of the varied ways of the American poetry tradition. We compare Walt Whitman, a canonical white male poet from the 19th century, with an equally important 20th century African American woman poet, Audre Lorde. These American poets differ in historical periods, sex, race, and other factors, yet both uphold the conventional functions of lyric poetry and prove its continuing relevance to a global readership. The results show that as the reflection of human life, poetry could represent honesty, realism, democracy and even power.
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Taylor, Ellen Maureen. "Personal Geographies: Poetic Lineage of American Poets Elizabeth Coatsworth and Kate Barnes." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (December 16, 2016): 111–27. http://dx.doi.org/10.4312/elope.13.2.111-127.
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This paper examines the relationship between two 20th-century American poets, Elizabeth Coatsworth and her daughter, Kate Barnes. Both women mined their physical and personal geographies to create their work; both labored in the shadows of domineering literary husbands. Elizabeth’s early poetry is economical in language, following literary conventions shaped by Eastern poets and Imagists of her era. Kate’s work echoes her mother’s painterly eye, yet is informed by the feminist poetry of her generation. Their dynamic relationship as mother and daughter, both struggling with service to the prevailing Western patriarchy, duties of domestication and docility, also inform their writing. This paper draws from Coatsworth’s poems, essays, and memoir, and Barnes’ poems, interviews, and epistolary archives, which shed light on her relationship with her renowned mother.
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Sharahina, Olha. "Cordocentrism and Natural Philosophy of Hryhorii Skovoroda in the Poetry of “Silent Poets”." Kyiv-Mohyla Humanities Journal, no. 9 (December 29, 2022): 212–21. http://dx.doi.org/10.18523/kmhj270846.2022-9.212-221.
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The article has examined the influence of cordocentrism and natural philosophy of Hryhorii Skovoroda on the formation of worldviews and aesthetic program of “silent poets.” The motive and figurative constants of “silent poets,” the specifics of the creation of their poetic universe through the conceptual system of cordocentric and natural philosophical codes are clarified. It is proved, that in the poetry of Iryna Zhylenko, Svitlana Yovenko, Anatolii Kychynskyi, Volodymyr Pidpalyi, Liudmyla Skyrda, Leonid Talalai, Pavlo Movchan, Dmytro Cherednychenko the image of the heart became a symbol, which emphasized the spirituality of human, formed by the humanistic attitude to the world. The dominant place in the poetic creativity of “silent poetry” was occupied by the sensual imperative: love, love for relatives, and the native land. Emphasis is placed on the fact that the natural world endowed the lyrical hero of “silent poets” with mental harmony and freedom of choice, conditioned by moral foundations and beliefs, independent of the political situation of the second half of the 20th century.
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Qu, Shuang. "The Study of the Theme of Nature in Robert Frost’s Pastoral Poems." SHS Web of Conferences 148 (2022): 01014. http://dx.doi.org/10.1051/shsconf/202214801014.
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As one of the most celebrated and popular American poets in the 20th century, Robert Frost created a lot of poems that are frequently quoted and widely loved. In his poetry, Frost’s pastoral poems are the most distinctive, therefore winning him the reputation of “the pastoral poet in the industrialized society”. His pastoral poems primarily explored that the beauty of nature was the real beauty, and this beauty could purify men’s souls and bring sublimation to men’s spirits.
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Místecký, Michal. "Five Ways of Investigating Adnominals in Czech Sonnets of the 19th and 20th Centuries." Glottotheory 9, no. 2 (October 25, 2019): 173–200. http://dx.doi.org/10.1515/glot-2018-0013.
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Abstract The paper focuses on analysing the use of adnominals in the selected fifteen sonnet authors of the 19th- and 20th-century Czech literature. The poets have been selected so as to represent the main literary schools of the period, the main criterion of their ranking being their dates of birth. The investigation treats both general trends (changing numbers of adnominals in various eras, the measure of ornamentality in particular authors), and specific, Czech-based issues (premodification and postmodification, attributes and genitives). The goal of the paper is threefold: first, there is an endeavour to determine some principles of the development of the sonnet tradition in the Czech literature; second, some micro-analyses of the poets are provided, including contrastive views of various writing tactics employed by them; and third, one way of measuring ornamentality has been sketched, as the tool may be of help in unearthing stylistic preferences of different authors. All counts and figures are accompanied with interpretations which may be further enriched by literary scholars.
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cooke, miriam. "RECORDING WORLD WARS." International Journal of Middle East Studies 46, no. 4 (October 9, 2014): 801–7. http://dx.doi.org/10.1017/s0020743814001135.
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World War I inspired countless artists, poets, novelists, and even soldiers across the world to record their unimaginable experiences and to reject the millennial lie: dulce et decorum est pro patria mori (it is sweet and appropriate to die for one's country). Early 20th-century European writers like Wilfred Owen, Virginia Woolf, Erich Maria Remarque, and Henri Barbusse have become household names. Less well known are the Arab civilians and soldier writers who struggled on the edges of the war's fronts.
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Gromova, Mariya. "Transformation of the Image of Japan in Murzilka Magazine in the 20th century." Stephanos Peer reviewed multilanguage scientific journal 49, no. 5 (September 30, 2021): 18–24. http://dx.doi.org/10.24249/2309-9917-2021-49-5-18-24.
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The image of Japan in the children’s magazine “Murzilka” has been changing depending on the relations between the USSR and Japan and the development of interliterary ties during the 20th century. During the period of the Japanese invasion to Manchuria and the Lake Khasan Battle, abstract “Japanese” are presented as aggressors, fascists, encroaching on the Soviet borders. The class nature of the Japanese-Chinese conflicts is emphasized. During the period of the Khrushchev Thaw Japan turns out to be a country with an interesting and unique culture. There are published poems and songs of Japanese poets, fairy tales, descriptions of folk holidays and everyday life, “paper theater” kamishibai there. In the first decade after the collapse of the Soviet Union, Japan mesmerizes “Murzilka”’s readers with the unity of material and spiritual culture, presented in ikebana, origami and tea ceremony. It is a country that exists beyond time, and the basis of Japanese life is formed by ancient traditions and exquisite holidays.
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Oblučar, Branislav. "Avangarda poslije avangarde u hrvatskoj poeziji." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 159–73. http://dx.doi.org/10.14746/pss.2020.18.9.
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The article discusses the problem of the avant-garde in Croatian poetry during the second half of 20th century. It supports the thesis about the continuity of the avant-garde before and after World War II, and perceives the artistic and literary experiments of the neo and post-avant-garde as a part of a long avant-garde tradition. The analysis brings forward the different perceptions of avant-garde in the works of Radovan Ivšić and Josip Sever, and post-avant-garde poets of 1970s and 80s.
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Pepler, Acacia S., Josephine Fong, and Lisa V. Alexander. "Australian east coast mid-latitude cyclones in the 20th Century Reanalysis ensemble." International Journal of Climatology 37, no. 4 (June 28, 2016): 2187–92. http://dx.doi.org/10.1002/joc.4812.
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Weiss, Max. "THE CULTURAL POLITICS OF SHIءI MODERNISM: MORALITY AND GENDER IN EARLY 20TH-CENTURY LEBANON." International Journal of Middle East Studies 39, no. 2 (May 2007): 249–70. http://dx.doi.org/10.1017/s0020743807070092.
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In an early 1980s interview, Amira Muhammad ءAli al-Houmani, daughter of one of the 20th century's most revered Lebanese Shiءi poets, insisted that the “southern woman” (al-marʿa al-janūbiyya) had always been a “partner” to the southern Lebanese man, both “in the house and in the field.” She explained how Lebanese women both in and from the south have historically played important domestic as well as productive economic roles spanning both the private and the public. Beyond casual nods toward their political and economic participation, however, disputes about and including Shiءi women in Lebanon and, more broadly put, discussions of and about gender, generally have been occluded from historical narratives. Considering the indisputable contemporary significance of Lebanese Shiءi communities in Jabal ءAmil (South Lebanon), the Bekaء Valley, and Beirut, it is even more remarkable that the diverse histories of gender in Shiءi Lebanon have yet to be written.