Journal articles on the topic 'Poetsch'
To see the other types of publications on this topic, follow the link: Poetsch.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Poetsch.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Grasso, Elsa. "Christoph Poetsch, Platons Philosophie des Bildes. Systematische Untersuchungen zur platonischen Metaphysik." Philosophie antique, no. 21 (December 15, 2021): 276–78. http://dx.doi.org/10.4000/philosant.4130.
Full text
2
Sharma, Amrita. "Innovation and the Poetic Discourse: Reading Experimental Trends in Post-War American Poetry." SMART MOVES JOURNAL IJELLH 8, no. 1 (January 28, 2020): 8. http://dx.doi.org/10.24113/ijellh.v8i1.10371.
Full textAbstract:
This paper aims at analysing the rise of innovative and experimental poetics within the American poetic grounds and the factors that remain extremely influential in establishing an alternate poetic culture that emerged with the rise of modernism within poetic circles. With influential and significant American poetic voices like Ezra Pound, T.S. Eliot and innovative women poets like Gertrude Stein popularising the use of ‘experimental’ techniques within the processes of poetic construction, the American poetic culture witnessed the rapid growth of an alternate realm of poetic activity that particularly gained significant recognition in the post-war era. This paper attempts to present an overview of the various post-war poetic groupings that contributed to the establishment of an experimental tradition within contemporary American poetics.
3
Jiajing, Song. "Affinity and Influence of Federico García Lorca on the Poetry of Dai Wangshu." Sinología hispánica 7, no. 2 (January 14, 2019): 133. http://dx.doi.org/10.18002/sin.v7i2.5734.
Full textAbstract:
As one of the most representative modern poets in China, Dai Wangshu not only contributs a lot to the development of the modern Chinese poetry, but also plays an important role in introducing western poetics to China. Dai’s translation of western poetry has a profound influence on his poetic creation. Dai, throughout his poetic career, was at first influenced by the French romanticism, then was fascinated by the French symbolism and post-symbolism. The years of Disaster, a collection of poems in his later years, however, demonstrates an inclination to the Spanish modernist poetry, especially to the poems of Federico García Lorca, one of the most representative poets of the Generation of 27. This paper focuses on analyzing the characteristics of the works of these two poets, Dai Wangshu and Lorca, and is intended to make a comparative study of the affinities and similarities in their poetic beliefs and practice and the Lorca’s deep influences on Dai’s poetic creation, thus filling the blank in this field.
4
Schweppenhäuser, Jakob. "Poetikkens kunstformer: Om forholdet mellem poesi og poetik i Niels Lyngsøs MORFEUS." K&K - Kultur og Klasse 37, no. 108 (August 22, 2009): 160–87. http://dx.doi.org/10.7146/kok.v37i108.22002.
Full textAbstract:
Art Forms in Poetics: On the Relationship between Poetry and Poetics in Niels Lyngsø’s MORFEUS:In Denmark, the genre of poetics has to a high degree developed into poets’ own reflections on their literary work and working process. This turn has resulted in a textual hybridity, restlessly oscillating between essayistic-theoretical orientation and poetic discourse. It has been pointed out that scholars have generally failed to pay attention to the artistic elements of such poetological writings. This is where this article takes its point of departure, probing Danish poet Niels Lyngsø’s abundant, complex and ambitious bastard piece MORFEUS from 2004 – a blend of visual poetry, sonnets, associative lists, essays on literature and the arts and many other forms. Inserted in a slipcase, the large quadratic, unpaged sheets, fastened with metal rings, seem extremely tactile; the reader becomes a percipient, a sensing body. As the poetry and the poetics are inseparably wrapped in each other, the poetic, sensuous perception mode is encouraged to be transferred to the ordinarily content-orientated reading of theoretical reflections. The point is now that this transfer turns out to be fruitful: the poetic function is at times strikingly operative. Passages where this is the case are analysed profoundly and the implications and perspectives of this fusion of poetry and poetics are unfolded.
5
Rowett, Catherine. "Analytic Philosophy, the Ancient Philosopher Poets and the Poetics of Analytic Philosophy." Rhizomata 8, no. 2 (December 1, 2020): 158–82. http://dx.doi.org/10.1515/rhiz-2020-0008.
Full textAbstract:
Abstract The paper starts with reflections on Plato’s critique of the poets and the preference many express for Aristotle’s view of poetry. The second part of the paper takes a case study of analytic treatments of ancient philosophy, including the ancient philosopher poets, to examine the poetics of analytic philosophy, diagnosing a preference in Analytic philosophy for a clean non-poetic style of presentation, and then develops this in considering how well historians of philosophy in the Analytic tradition can accommodate the contributions of philosophers who wrote in verse. The final part of the paper reviews the current enthusiasm for decoding Empedocles’ vague and poetic descriptions of the cosmic cycle into a precise scientific periodicity on the basis of the recently discovered Byzantine scholia on Aristotle. I argue that this enthusiasm speaks to a desire for definite and clear numerical values in place of poetic motifs of give and take, and that this mathematical and scientific poetic is comparable to the preferred poetic of analytic philosophy.
6
Alle, María Fernanda. "Cuadernos de Cultura y la conformación de un ámbito de poéticas comunistas en la Argentina de los años 50." Catedral Tomada. Revista de crítica literaria latinoamericana 7, no. 12 (July 26, 2019): 218–51. http://dx.doi.org/10.5195/ct/2019.373.
Full textAbstract:
This paper inquire the configuration of an area of communist poetics in the framework of the magazine Cuadernos de Cultura in the 1950s. It is argued that the literary program defined from Cuadernos gave a prominent place to the diffusion and promotion of the poetic genre, from the assiduous publication of reviews, notes, critical commentaries and poems, that influenced the conformation of a specific field of “communist poetics”, identified, according to the Soviet programs that the magazine adopts, for its realism and national character. This field gets together a broad group of poets who come from the metropolitan center and the interior of the country. In this direction, the politic “poetic” that the magazine put into play resulted in a reconfiguration of the central and peripheral spaces of the communist left’s sector of the poetic field.
7
Džemić, Kemal, and Ramiz Tiganj. "Identity marks in the poetic worlds of Zaim Azemović and Faiz Softić." Univerzitetska misao - casopis za nauku, kulturu i umjetnost, Novi Pazar, no. 19 (2020): 127–36. http://dx.doi.org/10.5937/univmis2019127d.
Full textAbstract:
The paper deals with the poetic features of Zaim Azemović (1935 - 2015) i Faiz Softić (1958), the contemporary Sandžak poets, writers, publicists, essayists, critiques and researchers of folklore who have given the original poetic discourse to Sandzak-Bosniak and the entire Bosniak literature with their works, whereby enriching these literary traditions with new thematic-motive material and peculiar language expression. Zaim and Faiz shaped their artistic worlds with classic methodological acts, but also with modernistic literary and artistic techniques. Using the interpretative approach, in this paper we comparatively observe their most significant poetic accomplishments, basing the research on the hypothesis that identity mark significantly influenced the poetics of these two notable Sandžak poets. The richness and diversity of the opus of these two Sandžak and Bosniak poets, visible influences they left and are leaving on the contemporary literary messengers, and the esthetic qualities of their creativity, are the main incentive for choosing the authors and the corpus of works that are the subject of our research.
8
Conners, Carrie. "‘Ping Ping Ping / I break things’: Productive Disruption in the WorkingClass Poetry of Jan Beatty, Sandra Cisneros, and Wanda Coleman." Journal of Working-Class Studies 3, no. 1 (June 1, 2018): 6–19. http://dx.doi.org/10.13001/jwcs.v3i1.6111.
Full textAbstract:
This essay explores how working-class lives are represented in the poetry of three American women poets, Jan Beatty, Sandra Cisneros, and Wanda Coleman. It discusses how the poets’ working-class backgrounds affect their poetics and their perceptions of poetic craft. Through analysis, I show how their poetry shares a sense of defiant resistance, communicated through imagery of violence, labor, and sexual pleasure, responding to societal and institutional limitations placed on working-class women and working-class women writers.
9
Isabel Castelao-Gómez. "The Art of Life, the Dance of Poetry: Gender, Experiment and Experience in Mina Loy and Diane di Prima." Miscelánea: A Journal of English and American Studies 56 (December 20, 2017): 33–56. http://dx.doi.org/10.26754/ojs_misc/mj.20176786.
Full textAbstract:
Mina Loy and Diane di Prima’s experimental poetic contributions to their early “situational avant-gardes” (the 1910s Modernists and late 1950s Beats in New York) vindicated the relation of gender and experiment within their countercultural movements, redefining these groups’ poetic and ideological tenets. Firstly, I will connect and contextualize these two poets as part of American feminist avant-garde tradition. Then, I will study their early poetry’s specificities and their common particularity: a gendered approach to the interconnectivity between experiment and experience. The article develops the idea that Loy and di Prima’s “motional” poetics of alternate forces of expression and linguistic experimentation is a dynamic materialization of the ambivalence involved in their bodily and spatial experiences of inclusion and exclusion as bohemian women poets in their urban environment and their artistic communities. The last section theorizes the way these embodied positionalities, and the continuum formed by environment, space, body and language, interrelate with Loy and di Prima’s feminist motional avant-garde poetics based on material feminist philosophies and postmodern and experimental literary critics’ views.
10
Wieczorek, Anetta, Magdalena Achrem, Józef Ryszard Mitka, Maciej Rogalski, and Katarzyna Werczyńska. "Genetic Variability of the Populations of Zwackhia viridis (Ach.) Poetsch & Schied (Lecanographaceae, Lichenized Ascomycetes) in the Eastern Poland: Geographic Versus Habitat Distance." Polish Journal of Ecology 62, no. 2 (June 1, 2014): 253. http://dx.doi.org/10.3161/104.062.0206.
Full text
11
Romanova, Natalia. "POETIC INTERPRETATION OF THE CONCEPT OF THE SOUL IN GERMAN POSTWAR LYRICS OF THE ХХ СENTURY." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2021, no. 33 (December 2021): 488–507. http://dx.doi.org/10.24195/2616-5317-2021-33-33.
Full textAbstract:
Terminological uncertainty of the concept of the soul in psychology necessitates further comprehensive analysis of its verbalization using the latest methods aimed at penetrating the mechanisms of national language creativity. The relevance of the study is determined by the general focus of modern linguistic poetics on the semantics of the literary text in the plane of mental processes, which allows to clarify the nature of the interaction between language and thinking, between language and emotional personality. The purpose of summarized scientific research is to clarify the semantic content of the concept of the soul in the German-language postwar lyrics of the twentieth century. The article reveals the concept of Seele “soul”, outlines its synonyms, reflects the lexical means of realization in the text fabric, traces and correlates geography, gender and logical-semantic approaches to interpreting the nature of the soul, identifies and analyzes semantic subgroups that denote the phenomenon. Quantitative indicators establish a “typical”, “transitional” and “atypical” poetic interpretation. “Typical” poetic interpretation is based on the index “3” and above, “transitional” has the index “2”, “atypical” — the index “1”. Typical approaches are philosophical, psychological, cultural and integrated (combined), transitional are cosmogonic, religious, biological and scientific, atypical are the sacred approach. The ethnic, cultural and gender differences in the interpretation of the soul, as well as the encyclopedic views of poets of Germany, the selectivity Nosenko of poets of the GDR, Austria, Switzerland, outlying (neglect) of poetsof Luxembourg are proved. The obtained conclusions are essential for clarifying the specifics of the national conceptosphere of a certain culture and the types of variant language equivalents in the course of reproduction of the common ethnocultural content.
12
Pogorelaya, E. A. "The 2000s: Applied eschatology." Voprosy literatury, no. 6 (March 22, 2022): 44–62. http://dx.doi.org/10.31425/0042-8795-2021-6-44-62.
Full textAbstract:
The article is devoted to an eschatological journey, a poetic tackling of the mystery of life and death. In her analysis of the new publications by A. Pereverzin, S. Saprykina and L. Yugay, the author discusses the diverse types of the 2020s’ ‘eschatological poetics’: the traditional Christian variant, the mythological one, which entails a journey to the underworld, and the one based in research; the latter typifies, for example, the poetics in the works by Yugay, who has a background in folklore studies. Exploring the poetics of the aforementioned poets in the context of the lyrical poetic tradition of the 20th and 21st cc., the critic discovers that modern poems on death are largely therapeutic, bringing closer the space of comforting memory — but without classical tragedy or the poignancy of the experience. That world and this world are brought together by soothing memory; it is the category of memory that determines the new poetic mysticism — with a mild flavour of a life’s tragedy offset by a promise of a continued relationship with the departed within a private or familial mythology rather than a traditional clan myth.
13
LEVİ, Melih. "Gottfried Benn’s Poetry and Unbracketing the Expressionist Image." Cankaya University Journal of Humanities and Social Sciences 16, no. 2 (December 6, 2022): 149–68. http://dx.doi.org/10.47777/cankujhss.1081784.
Full textAbstract:
After studying the prevailing expressionistic attitude in Benn’s early poems such as “Nachtcafé,” the paper traces the loosening of imagery in Benn’s more psychoanalytic and mythological poems. The paper then offers a close reading of “Das sind doch Menschen,” a poem from Benn’s latest period, which exemplifies a distinct break in his poetics and the emergence of a markedly performative and personal voice. The backdrop of expressionism, his early fascination with mythology and mid-career attempts to achieve a perfect lyric structure continued to have obvious influences on Benn’s later writing but this personal and anecdotal period occasions a new balance between poetic image, lyric self, and abstract statement. In addition, the paper also traces Benn’s attempts to recover a more agentic lyric self within the larger poetic context of the post-war era, turning to poetic theories advanced by contemporaneous poets such as Ingeborg Bachmann and in Benn’s own momentous lecture on poetics, Probleme der Lyrik.
14
Sipkina, N. Ya. "WAR BALLADS GENRE IN THE POETRY OF R. ROZHDESTVENSKY AND V. VISOTSKY (comparative poetics of the poets’ styles) IN THE CONTEXT OF THE LITERARY PROCESS OF 1970S: BASIC TRENDS OF DEVELOPMENT." Bulletin of Kemerovo State University, no. 2 (July 8, 2016): 210–15. http://dx.doi.org/10.21603/2078-8975-2016-2-210-215.
Full textAbstract:
The paper considers the poetics of the artistic styles of romantic poets R. Rozhdestvensky and Vladimir Vysotsky in the context of poetic-style trends of the second half of the 20th century, with the example of their ballad works. This aspect of the research is topical in the modern literary criticism. The author concludes that the unity of the poetic trends and feeding their traditions have helped artists to reveal their talents more brightly and make a new word in the evolution of the style of the Russian verse.
15
Mutlag, Abdulkadhim Hashim, and Ahmed Hasan Mousa. "Chaos in Worlds: A Critical Quest for Metapoetry." International Journal of Early Childhood Special Education 13, no. 2 (December 2, 2021): 108–13. http://dx.doi.org/10.9756/int-jecse/v13i2.211045.
Full textAbstract:
Metapoetry is a self–reflexive poetic construction on poetry. It penetrates the process of writing poetry from a self-oriented view. This study purports to scrutinize the term from a critical-aesthetic and culture perspective. It aims at interpreting selected metapoems, classic and modern. The study hypothesizes that metapooesis is not progressive of modernity; it is practiced through the history of worldwide literature. Therefore, the study is not confined to the exploration of the Anglo-Saxon world of poetry. Rather, it will draw on the German, Persian and Arab Poetics as well. One finding of the study is that metapoetics is a culture- aesthetic universal, shared by worldwide poetics and poets. Metapoetics in this sense, is timeless poetics form.
16
Lam, Joshua. "A Poetics of Thingification: Dawn Lundy Martin and the Black Took Collective." boundary 2 49, no. 4 (November 1, 2022): 67–110. http://dx.doi.org/10.1215/01903659-10045160.
Full textAbstract:
Abstract In the last two decades, African American poets working in innovative and avant-garde forms have produced poetry focused upon the theme of racial objectification. Individual and collaborative projects by Dawn Lundy Martin, Duriel E. Harris, and Ronaldo V. Wilson, who write and perform together as the Black Took Collective, practice what this article calls a poetics of thingification: a poetry that draws attention to language's capacity for reification in general and for racial objectification in particular. Drawing upon thing theory and recent scholarship on race and avant-garde poetry, this article focuses on Dawn Lundy Martin's poetics in order to demonstrate how poets combine innovative techniques with racial stereotypes to scrutinize hegemonic expectations at the level of poetic form, especially within the tradition of African American poetry. Rather than adopting the humanizing rhetoric and lyrical modes of conventional African American poetry, these poets use the trope of the objectified Black body to deconstruct linguistic processes of racial reification from within.
17
Guimarães, Paula. "‘A FONDNESS FOR BEING SAD’: SOME PORTUGUESE SOURCES FOR ELIZABETH BARRETT BROWNING’S POETICS OF MELANCHOLY IN SONNETS FROM THE PORTUGUESE (1850)." Diacrítica 31, no. 2 (October 2, 2018): 23. http://dx.doi.org/10.21814/diacritica.230.
Full textAbstract:
In seeing melancholy as the antithesis of poetic creativity, the Victorians often broke with the traditional Renaissance and Romantic attitudes of equating melancholy moods with artistic or poetic genius. This article proposes to explore how, initially viewed as an emotional and ‘depressed’ woman poet, Elizabeth Barrett Browning tried to resist and escape the sickening disempowerment or abandonment which had affected poets such as Felicia Hemans and Letitia Landon, and engage in a new poetics of melancholy in Sonnets from the Portuguese (1850). It demonstrates how the poet plays this poetics out in most of her later sonnets, where she indeed attempts to prove that good poetry can be written without melancholy, even if she herself does not always succeed in this deliberate rejection of ‘dejection’. The article thus intends to suggest, through a brief comparative analysis, that her apparently contradictory poetics of melancholy very probably derived from a specifically Portuguese poetic tradition, namely the ‘fondness for being sad’ of Luís de Camões, as well as the sorrowful love of Mariana Alcoforado’s epistles (1669) and of Soror Maria do Céu’s mannerist poems, an influence that is supported in the great similarity of motives and language that can be found in the respective texts.
18
Rarytskyi, Oleh. "Ivan Prokofiev is a poet and researcher of literature." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION SCHOLARLY PAPERS PHILOLOGY, no. 18 (December 29, 2021): 169–83. http://dx.doi.org/10.32626/2309-7086.2021-18-2.169-183.
Full textAbstract:
The article deals with the artistic creativity and literary studies work of writers who at diff erent times were students or teachers of the University of Kamianets-Podilskyi. In particular, the literary and literature studies heritage of Ivan Prokofi ev is outlined, some aspects of his creative evolution are highlighted, the specifi cs of poetic and scientifi c research, some details of their interactions are revealed, psychological factors of their mutual intensifi cations are analyzed.I. Prokofi ev’s poetic works are full-fl edged, artistic and informative. The au-thor’s own poetic practice signifi cantly helped him to penetrate into the deep layers of other writers’ poetics form and content, which provided the scientifi c novelty of his research. The possession of the ability of creating images activated the intuition of the scientist in the comprehension of complicated associative complexes.The study of Leonid Talalai’s poetics performed by I. Prokofi ev is analyzed separately. It is about the infl uence of I. Prokofi ev’s poetic abilities on his compre-hension of the form and content peculiarities of L. Talalai’s works, in particular the intuitive foundations of the latter’s poetry. The methods of psychological refresh-ment of reception and comprehension of poetic works used by I. Prokofi ev are ana-lyzed. As one of the most important facets of L. Talalai’s poetics, I. Prokofi ev con-siders the historiosophical motives of his lyrics, traces the evolution of the writer’s understanding of the Ukraine’s historical role from ancient times to the present.The experience of I. Prokofi ev’s implementation of the slow, hypersensi-tive reading method of poetic texts, the reception in the state of proposed by him «literary clairvoyance» of author’s individual methods of creating images and integration of deep poetic meanings is noteworthy. The article can be useful for researchers of individual poetics and other literary critics.In our opinion, the scientifi c practice of poets who deal with literary studies, including I. Prokofi ev, has certain prospects for the more profound study of fi ction.
19
Ramayya, Nisha. "Poetry in Expanded Translation: Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, Don Mee Choi." English: Journal of the English Association 69, no. 267 (December 1, 2020): 310–30. http://dx.doi.org/10.1093/english/efaa031.
Full textAbstract:
Abstract In this article, I discuss the politics and poetics of translation in the work of Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, and Don Mee Choi, considering each poet's ideas about translation and translation practices, suggesting approaches to reading and thinking about their work in relation to translation and in relation to each other. I ask the following questions: in the selected poets' work, what are the relationships between the movement of people, the removal of dead bodies, and translation practices? How do the poets move between languages and literary forms, and what are the politics and poetics of their movements with regards to migration, dispossession, and death, as well as resistance, refusal, and rebirth? I select these poets because of the ways in which they confront relationships between the history of the English language and literature, imperialism and colonialism, racialisation and racism, gendered experiences and narratives, and their own poetic practices. These histories and experiences do not exist in isolation, nor do the poets attempt to circumscribe their approaches to language, representation, translation, and form from their lived experiences and everyday practices of survival and resistance. The selected poets’ work ranges in form, tone, and argument, but I argue that their refusal to circumscribe politics and poetics pertains to their subject positions and lived experiences as racialised and post/colonial women, and that this refusal is demonstrated in their diverse understandings of translation and translation practices.
20
Nykyforuk, Tetyana. "Sydir Vorobkevych on poetics: theme, idea." Current issues of social sciences and history of medicine 29, no. 1 (February 25, 2021): 98–100. http://dx.doi.org/10.24061/2411-6181.1.2021.252.
Full textAbstract:
The purpose of the article. To analyze the scientific literature related to the study of the elements of poetics of poetic works of S. Vorobkevych. To study the author's views on the form of a poetic text. Research methods are predetermined by the purpose and tasks of the work, the object of research and are complex. The hermeneutic method and comparative and comparative historical, biographical method makes it possible to find out the dependence of S. Vorobkevych’s views on poetics on the life basis. Scientific novelty. The realization of this task is also connected with the study of the writer's views on poetics. They may not always be correct, some judgments have undergone some changes chronologically, but their value in understanding the poetics of works is unquestionable. The writer mostly used the term "style", interpreting this category as a set of artistic means that distinguish the work of one author from another. S. Vorobkevych divided literature into poetry, prose and drama. He differentiated poetry into folk (folklore) and literary. He defined a literary work as a structure consisting of content and form. In the content segment, S. Vorobkevych defined a theme and an idea. In his own work, the writer described two themes: the theme of Bukovyna in various versions and the theme of the historical past of Ukraine. The poet defined the idea of a literary work as "pearl", "grain", "fruit". Conclusions. S. Vorobkevych’s arguments about the form of the literary work were important. The results obtained are an important material for expressing our knowledge of the poetics of S. Vorobkevych's poetic works; they are the material for comparison with the similar material on the artistic nature of Y. Fedkovych’s poetic works. Researcher might receive a general picture of the poetics of national poetry works in Bukovynain the second half of the nineteenth century on the basis of revealing common features, taking into account the data of other Ukrainian poets of the region of this period.
21
Chaturvedi, Namrata. "Christian Devotional Poetry and Sanskrit Hermeneutics." International Journal of Asian Christianity 1, no. 1 (November 1, 2018): 64–90. http://dx.doi.org/10.1163/25424246-00101005.
Full textAbstract:
This paper focuses on exploring dhvani as a hermeneutical tool for reading Christian devotional literature. Dhvani is a theory of poetic suggestion proposed by Ānandavardhana in the eighth century and elaborated upon by Abhinavagupta in the eleventh century that posits layers of semantics in poetic language. By focusing on the devotional poetry of the seventeenth-century religious poets of England, this paper argues for Ānandavardhana’s proposed poetics of suggestion as an enabling way of reading and cognizing devotion as a psycho emotive process. In the context of Indian Christianity, dhvani has been suggested by certain scholars as also enriching the possibilities of interfaith dialogue. This paper argues for incorporating poetic frameworks like dhvani as modes of interfaith dialogue, especially when reading Christian texts in India.
22
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.
Full textAbstract:
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.
23
Deudney-Theron, E. "Metapoëtiese raakpunte in die poësie van Gerrit Kouwenaar en Breyten Breytenbach." Literator 12, no. 2 (May 6, 1991): 49–58. http://dx.doi.org/10.4102/lit.v12i2.758.
Full textAbstract:
Prompted by the poem "brief in een fles voor breyten" in which a certain poetic relationship between the Dutch poet Gerrit Kouwenaar and the Afrikaans poet Breyten Breytenbach is implied, the author of this article traces the outlines of a meta-poetics common to both poets and through which their poetry has intertextual links with the poetics of among others Poe, Mallarme and Wallace Stevens. The following common denominators are found in Kouwenaars’s body of works and Breytenbach’s ("yk") and Lewendood: the proliferation of the subject, the ‘killing’ of life in language, the extended metaphor of food, eating and excretion and the living poem as a present absence.
24
Rogova Gaxha, Blerina. "Poetry of Revolt: Unmasking Revolution and Patriotism." Balkanistic Forum, SOCIAL ANXIETY AND SOURCES OF MOBILISATION 31, no. 3 (September 15, 2022): 65–77. http://dx.doi.org/10.37708/bf.swu.v31i3.5.
Full textAbstract:
This paper aims to thematize poetry as a form of protest, revolt, and rebellion. Our analysis seeks the poetry of authors who have a different cultural backgrounds, but who are approached by language and the common literary scene. Ervin Hatibi and Arben Idrizi are distinguished poets, who have bought into Albanian literature unique revolting poetry. Hatibi and Idrizi consider the poetic revolt as an essential literary act of reaction to pressure and oppression. Rebel poets both, however, neither conceive revolt as political resistance, on the contrary, revolt in their poetics arises as intra-literary rebellion which requires the revolting power of human beings, as a condition of renewal and non-alienation in a society in transition. Their point of view provides us with a geo-poetic and cultural background of the literature and culture of revolt in the works of literature of Southeast Europe. The theoretical introduction will be followed by the analysis of the authors’ poems and, in the end, we will generalize about the role that the poetic rebellion plays against the dominant political and cultural forces.
25
Glushakov, P. S. "‘For lack of a better word…’ M. Isakovsky’s two letters on A. Prasolov’s poetry." Voprosy literatury, no. 5 (October 30, 2022): 125–40. http://dx.doi.org/10.31425/0042-8795-2022-5-125-140.
Full textAbstract:
Letters of the poet Mikhail Isakovsky to the literary historian Anatoly Abramov (1917–2005) published in this article constitute a portion of the poet’s extensive epistolary legacy. The two selected letters dated 1968 are mainly concerned with the poet Aleksey Prasolov (1930–1972), whose literary career Abramov actively supported. Having approached Isakovsky for an opinion about the Voronezh-based poet’s verses, Abramov received very harsh feedback. There can be a number of reasons why the poems, some later recognised as Prasolov’s best, were dismissed by Isakovsky: the fact that the two poets belonged to very different poetic generations and traditions and adhered to disparate aesthetic principles may have played a key role here. A poet of a traditional folk-poetic formation, Isakovsky rejected Prasolov’s verses, whose poetics is directly influenced by Blok’s modernist experimentations. Isakovsky expected Prasolov, an author of challenging complexity, to write about subjects easily recognisable and clear to the reader. Thus, incompatible ideas about a poet’s purpose and dissimilarity of poetic languages precluded the two remarkable poets from ever meeting in person.
26
Thieberger, Nick. "Review of Hobson, J., K. Lowe, S. Poetsch & M. Walsh (2010) Re-Awakening Languages. Theory and Practice in The Revitalisation of Australia’s Indigenous Languages." Australian Review of Applied Linguistics 35, no. 1 (January 1, 2012): 128–31. http://dx.doi.org/10.1075/aral.35.1.10thi.
Full text
27
Robert, Jörg. "Poetic Physics (Poetische Naturwissenschaft)." Daphnis 46, no. 1-2 (March 15, 2018): 188–214. http://dx.doi.org/10.1163/18796583-04601013.
Full textAbstract:
This article deals with Martin Opitz’s didactic poem Vesuvius (1633) and tries to elucidate its fundamental poetical and epistemological issues. In his Buch von der Deutschen Poeterey (1624), Opitz establishes a set of rules for the genre of carmen heroicum that comprises both didactic poetry and narrative epics. Especially didactic resp. scientific poetry plays a decisive role in Opitz’s overall concept of poetry as it denies being fiction (‘Erdichtung’) and claims strict factuality. Thus it is not surprising that Vesuvius becomes the opening piece of the posthumous collection of Opitz’s Teutsche Poemata (1644). Vesuvius reveals itself not only as an imitation / translation of De Aetna (a didactic poem included in the Appendix Vergiliana), but also as an attempt to connect literary tradition, natural philosophy and religious knowledge: The purely scientific parts of the poem (on earthquakes and volcanism) are functioning to reveal the natural order of creation (the aspect of theodicy avant la lettre). The Vesuv-catastrophe is interpreted as God’s clear hint for mankind towards the ending of moral deprivation and civil war. The poet’s role as poeta vates resp. poeta theologus is thus to be the mediator / translator / interpreter between god and mankind, a mediation which actually takes the form of philological interpretation and commentary. The text of the 1633 print reflects this constellation by interweaving text and paratext (commentary) to a unique ensemble. With its particular textual arrangement and discoursive complexity, Vesuvius is symptomatic for premodern negotiations between natural sciences, religious knowledge, and literature.
28
Uvitsky, A. Yu. "A long herding trip. Amarsana Ulzytuev." Voprosy literatury, no. 2 (July 29, 2020): 115–30. http://dx.doi.org/10.31425/0042-8795-2020-2-115-130.
Full textAbstract:
Devoted to Amarsana Ulzytuev, one of the most fascinating contemporary poets, A. Uvitsky’s article examines his work in the contexts of modern Russian and the little researched Buryat poetry and looks at the results of his pet project – to establish anaphora as the regular accentual rhyme for Russian poetry. The author admits that Ulzytuev’s idea to introduce the regular anaphoric sound to Russian poetry, as detailed in his books Anaphoras [Anafory] (2013) and New Anaphoras [Novye anafory] (2016), is theoretically viable. But more than its ongoing implementation, he is interested in Ulzytuev’s creative evolution: the poet’s oeuvre is typified by a natural combination of two poetic cultures – one Russo-European and the other Buryat- Mongolian, according to P. Basinsky. In Uvitsky’s view, the archaic manner of the Buryat-Mongolian poetics, realized through the use of anaphora, among other things, is not inconsistent with the deep and sophisticated European poetics, with an epic meaning expanded and enhanced by the poetic sound championed by Ulzytuev.
29
Niżyńska, Joanna. "The Impossibility of Shrugging One's Shoulders: O'Harists, O'Hara, and Post-1989 Polish Poetry." Slavic Review 66, no. 3 (2007): 463–83. http://dx.doi.org/10.2307/20060297.
Full textAbstract:
In this article, Joanna Niżyńska explores the modes used by poets of the bruLion generation (whose debuts coincided with the end of communism) to import Frank O'Hara's poetics into Polish literature and the significance of their doing so. By employing Harold Bloom's concepts of the “anxiety of influence,” “kenosis,” and “daemonization,” Niżyńska analyzes the intergenerational impulses manifested in O'Harism in relation to the Romantic paradigm in Poland's poetic tradition. Niżyńska claims that in turning to O'Hara, such poets as Marcin Świetlicki, Jacek Podsiadło, and Miłosz Biedrzycki engaged in dialectically related modes of revisionary reading of both domestic and foreign traditions. O'Harism is interpreted as a sign of a multifaceted cultural morphogenesis that was simultaneously an act of compensation for Romantic “Polish complexes,” a self-exploration of a new poetic generation in the face of a new political and cultural reality, and a misreading of a foreign source.
30
Koirala, Saroj. "Linking Words with the World: The Language Poetry Mission." Tribhuvan University Journal 29, no. 1 (March 31, 2016): 175–90. http://dx.doi.org/10.3126/tuj.v29i1.25968.
Full textAbstract:
The poets associated with the L=A=N=G=U=A=G=E School have remarkably borrowed from the Pound-Olson tradition of political poetry and poetics. But, they have also experimented with newer methods and matters that deviate from the tradition. Such continuation and departure from the tradition of the socio-cultural oriented language poets has been investigated here. Their poetic tenets have been examined through the ideas formulated by the outstanding cultural critics; Adorno, Jameson, Bakhtin, Foucault, Lukács, and Benjamin. Based on the thorough examination it has been found out that besides many other socio-cultural demands the language poets want to connect the words of art the world people live. Such connection, as they perform, has been disturbed for long time.
31
Ma, Ming-Qian. "Asserting the Ineffable: Rhetorical Appropriation of ‘Poetic’ and the Contemporary Poetry Text." CounterText 3, no. 2 (August 2017): 144–61. http://dx.doi.org/10.3366/count.2017.0085.
Full textAbstract:
An elusive, trace-like entity, ‘poetic’ presents itself in the form of an intangible and yet indispensable relation, or relatedness, in the overall dynamics of information transformation. Paradoxical in nature and function, its ineffability forms the very condition of expressivity in poetry and poetics. ‘Poetic’, as such, also gains popularity and practicality in popular culture at large where and when it becomes articulated, tailored pragmatically to the specificities of any given activity. As an epochal phenomenon, this pragmatic rendition of ‘poetic’ takes the more pronounced form of rhetoric, which appropriates ‘poetic’, and which is resorted to by the contending smaller narratives in the postmodern world as their means for their respective identity formations and legitimations. In the context of the contemporary poetry scene, this rhetorical appropriation of ‘poetic’ manifests itself eloquently in the three areas of rhetorical situation, constitutive rhetoric, and rhetorical styles, which reveal the mechanisms of a soft interpellation that grants the contemporary poets their identity and legitimacy through their own performative confirmation.
32
Porter, D. A. "Navigating Sacred Languages: Paraphrasing the Psalms in Renaissance Scotland." Renaissance and Reformation 45, no. 2 (December 1, 2022): 83–104. http://dx.doi.org/10.33137/rr.v45i2.39759.
Full textAbstract:
Translations and paraphrases of the Biblical psalms were popular throughout early modern Europe. The Latin poetic paraphrase of Psalm 51 by George Buchanan is examined alongside the Scots-language translation of Psalm 2 by Alexander Montgomerie to illustrate some of the complexities of the Renaissance interplay between Latin and vernacular translation, poetics, confession, and politics. Both poets engage with contemporary debates over the meaning of the Biblical texts, and both display a high degree of poetic and rhetorical sophistication in transforming the psalms according to their own interpretative commitments. Each demonstrates close attention towards and care for correct interpretation, and each shows a high degree of freedom in adapting and recreating the polysemous meanings of the original while also applying new meanings to serve their own liturgical, spiritual, and poetic purposes.
33
Doszhan, R. "SPIRITUAL UNITY OF ABAY KUNANBAYEV AND SHAKARIM KUDAYBERDIEV." ARTS ACADEMY 4, no. 4 (December 2022): 172–83. http://dx.doi.org/10.56032/2523-4684.2022.4.4.172.
Full textAbstract:
The article deals with the features of poetics of Abay and Shakarim, the contribution of poets to development of the Kazakh poetry, poetic features of their verses, poems and prosaic works. The beauty of their words and verses are connected with deep reflections about an essence of god, human and life. Both poets bring a huge contribution in creation of philosophical poetry. Shakarim’s outlook and his views are the logical continuation of Abay’s poetry. At the same time Kazakh poetical art is enriched with new forms, word combinations and song patterns. The versatile beauty of Kazakh poetry is exposed in their creative activity in full.
34
Tabor, Joanna. "Trapped in Silence. Vladas Šimkus – a Silent Modernizer of Lithuanian Poetry." Tekstualia 4, no. 71 (December 19, 2022): 189–97. http://dx.doi.org/10.5604/01.3001.0016.1995.
Full textAbstract:
The article introduces the fi gure of Vladas Šimkus (1936–2004), who had a great impact on the work of many poets of his time, although he himself remained in the shadows. He belongs to a prominent poetic generation, which also includes Vytautas Bložė, Marcelijus Martinaitis, Tomas Venclova, Judita Vaičiūnaitė, Jonas Juškaitis and Sigitas Geda, but he is mostly known as an outstanding translator and editor. Many great Lithuanian poets admit that Šimkus has infl uenced them, but he is a rather forgotten poet. One of the most important elements of Šimkus’s poetics is silence, the meanings and functions of which can be analyzed on several levels and in different contexts.
35
Gintsburg, Sarali. "It’s got some meaning but I am not sure…" Pragmatics and Cognition 24, no. 3 (December 31, 2017): 474–95. http://dx.doi.org/10.1075/pc.18017.gin.
Full textAbstract:
Abstract In this research I aim to contribute to a better understanding of transitionality in poetic language by applying for the first time the hypotheses recently developed by pioneers in the emerging field of cognitive poetics to a living tradition. The benefits of working with a living tradition are tremendous: it is easy to establish the literacy level of the authors and the mode of recording of poetic text is also easy to elicit or, when necessary, to control. I chose a living poetic tradition originating from the Jbala (Morocco). Although it is not epic and local poets create only relatively short poetic texts, memorisation is also used; it has been demonstrated that oral improvisation and the use of memory are not mutually exclusive. This suggests that research on the living Jebli tradition holds promise for our understanding of oral poetry, and for revisiting the intriguing question of formulaic language.
36
Tsyhanok, Olha, and Valentyna Galagan. "RELIGIOUS POETRY IN THE POETICS TEACHING MANUAL FONS CASTALIUS [CASTALIAN SOURCE] (1685)." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 15(83) (November 24, 2022): 56–61. http://dx.doi.org/10.25264/2519-2558-2022-15(83)-56-61.
Full textAbstract:
The article analyzes nineteen religious verses in Kiev poetics teaching manual Fons Castalius [Castalian source] (1685). It is chronologically the first textbook of poetry, which exactly belongs to the Kyiv-Mohyla Academy and whose year of creating is not in doubt. Since the modern scientific description of the Ukrainian poetics teaching manuals not exist, the short description of the manuscript was made in the article. The poetics teaching manual consists of two roughly equal parts. The first one describes the general rhetorical information – on periods, amplification, epistles and chria. The religious poems are in the second part of the manual, that deals with the poetics proper, and illustrate first of all the small poetic forms. The spiritual poems constitute about a fifth part of all poetic examples. From the spiritual poetry, 16 verses are written in Latin and only three in Polish, mostly moral and didactic. The following thematic groups of religious poems are established: on God, Jesus Christ (5 verses); about the saints incl. the Virgin Mary (6); on the characters of Bible, the sacraments and religious attributes (5); the moral and didactic verses (3). The anonymous author of the Kiev poetics Fons Castalius (1685) has presented to the audience of his lectures the spiritual poetry on a variety of religious topics. Among the religious poems are works of the well-known poets and anonymous authors, popular works and the texts which are appearing for the first time. We find some of them in the later manuscripts of the Jesuit College in the Western Ukraine and the Kiev-Mohyla Academy.
37
Lupașcu-Doboș, Emanuel. "Despre Funcţionalitatea Poetico-Stilistică A Structurii Adversative În Câteva Poeme Ale Lui Lucian Blaga." Lucian Blaga Yearbook 22, no. 1-2 (October 1, 2021): 42–52. http://dx.doi.org/10.2478/clb-2021-0005.
Full textAbstract:
Abstract This paper starts from the theoretical support of some central figures in the field of study of Lucian Blaga’s works: Mircea Borcilă and Mircea Scarlat. The first outlook that this essay will focus on the linguist and poetician from Cluj, Mircea Borcilă, with his esteemed article from 1987 (Contribuţii la elaborarea unei tipologii a textelor poetice). The other perspective is that of Mircea Scarlat, from The History of Romanian Poetry (vol. III). In the articulation of Blaga’s poetics, the exegete finds important the adversative structure as strategies of establishing the poetic tension and polarization of the world newly created. Thus, the purpose of this essay is to emphasize / demonstrate the fact that the poetic finality of the creation of worlds motivates even the linguistic structures, and the poetic meaning is vertebrated by, but also beyond the linguistic “material”. These mechanisms of meaning articulation through and beyond language will be followed in the poems as “Flori de mac” (from the volume Paşii profetului), “Paradis în destrămare” (from the volume Laudă somnului) and “Isus și Magdalena” from the Lucian Blaga’s unpublished poems .
38
Kaczmarski, Paweł. "Adam Ważyk, the New Sentence and the question of entropy." Acta Universitatis Lodziensis. Folia Litteraria Polonica 40, no. 2 (August 27, 2018): 91–105. http://dx.doi.org/10.18778/1505-9057.40.04.
Full textAbstract:
In its first section, the article focuses on certain concepts belonging to Adam Ważyk’s theory of poetics. Specifically, I note the role of entropy in Ważyk’s thought on the form of the poem. Ważyk’s thinking of entropy served the poet to regulate his more general conception of the formal constitution of the poem. Although entropy seems to be an unavoidable process, the poet’s role and duty is to partly control it. For Ważyk, such partial containment of entropy is the condition of poetic communication.The second section of the article places the entropy-related tensions identified by Ważyk in the context of poetic debates of the 90’s between Fredric Jameson, a prominent Marxist critic, and the American poets identified as the LANGUAGE group.
39
Khodjakulov, Sirojiddin. "THE GRADUAL DEVELOPMENT OF THE GENRE OF TARKIBBAND (POETIC FORM WI TIC FORM WITH REPEA TH REPEATED REFRAIN) IN J TED REFRAIN) IN JADID LI ADID LITERATURE." Scientific Reports of Bukhara State University 4, no. 6 (December 29, 2020): 167–75. http://dx.doi.org/10.52297/2181-1466/2020/4/6/10.
Full textAbstract:
Background. This article describes the evolution of the genre of tarkibband (poetic form with repeated refrain) in the system of lyrical genres in the national enlightenment and jadid literature, the principles of evolution of this genre, its place in the general literary process, new principles, updating the theme and ideological content, examples in the works of jadid and enlightened poets, like Abdurauf Fitrat and Saidakhmad Siddiki Ajzi, the gradual development of the content of the genre tarkibband and the traditional and innovative features of this genre are studied in a monograph in comparative typological, analytical-comparative, descriptive and critical aspects. Methods. We have seen such a situation in the works of poets of the first half of the twentieth century, mainly in the example of Ajzi's poetry. Although the language, narrative style, style and style of the poem are traditional, apparently none of the poetic images, means of artistic expression and high-meaning expressions in both verses of this tarkibband deviate from the normative requirements of classical poetics.
40
Bharadwaj, S. "Dylan Thomas’s “Fern Hill”: The Poets’s Passion for Auden’s Greatness." International Journal of Applied Linguistics and English Literature 6, no. 6 (September 1, 2017): 174. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.174.
Full textAbstract:
The poem “Fern Hill” is interpreted as autobiographical and reminiscent of Dylan Thomas’s boyhood holidays. A reading of the figurative language of the poem, the process of playing with its tropes can be the basis of right interpretation independent of the poet’s life or an historical context. As the poem seeks to be persuasive and objective, it relies more on rhetorics suggesting the sufferings of the fallen poets of the thirties and the war poet of the forties owing to their wild love of the transcendental art of W.H.Auden’s Poems (1930) considered as touchstone of great poetry and a hope for self-advancement in life. However, it is the paradoxical poems of Thomas and his vicarious poetical character that have rehabilitated and revamped the depressed poets. “Fern Hill” reaffirms and reassures the continuation of the same sceptic poetic tradition and culture which Thomas has cherished in all the preceeding and the succeeding poems. What this paper, keeping the contemporary poets’s passion for Auden’s greatness and glory, their dreams and destinations as focal point, strives to convey is the liberating power of Thomas’s moral disinterestedness, his vicarious comic vision and his poetic process of life-in-death contrasted with the amoral aesthetic disinterestedness of Auden, his historic tradition and his poetic process of death-in-life.
41
Humeniuk, Viktor I. "Figurative World of Poem by Taras Shevchenko “A Meditation (Water Is Flowing to the Blue Sea…)” and the Peculiarities of its Recreation in Crimean Tatar Translation." Studia Litterarum 7, no. 3 (2022): 280–97. http://dx.doi.org/10.22455/2500-4247-2022-7-3-280-297.
Full textAbstract:
Crimean Tatar translations of Taras Shevchenko’s poetic compositions are most perfectly represented in Simferopol publications as “Saylama sheerler” [“The elected Works”] (1940) and “Far and Near – Uzaq ve yaqyn – Shevchenko” (1999). A substantial contribution to this sphere was done particularly by such modern poets as Isa Abduraman, Yunus Kandym, Shakir Selim. Ablyaziz Veliyey is also among them, being the author of the poetical interpretations of such Shevchenko’s lyrics as “Don’t marry the rich one,” “Mother Gave Birth to Me” and also “A meditation (Water Is Flowing to the Blue Sea…).” The last composition and the comparison of it with Crimean Tatar translation is the main object of studying in the suggested publication. Personality of the stranger, who endures the ordeals at foreign land and thinks about his misfortune, being at sea coast, is in the centre of the composition. Laconically impressive metaphorical-picturesque imagery is characteristic to the poetics of this work. Permanent association of water flowing with irreversible flying of time is connected here with the poetic thoughts about the difficulties of human’s destiny. Genre-stylistic, versification, image-composition and other peculiarities of the origin are conveyed appropriately in Crimean Tatar interpretation by A. Veliyev. Conveying these peculiarities, the translator absolutely in accordance to the poetics of the origin, tactfully and spectacularly appeals to the poetic means of folk song.
42
Kerimova, R. A. "The ethnic-cultural space of modern Karachay-Balkar poetry." Voprosy literatury, no. 4 (August 22, 2019): 247–59. http://dx.doi.org/10.31425/0042-8795-2019-4-247-259.
Full textAbstract:
The article is devoted to the problems of ethnic-cultural perceptions in contemporary Karachay-Balkar poetry. It defines criteria for shaping an ethnic and civic self-identity. The paper discusses how cultural globalization affects the ideology of the Karachay-Balkar people. In a detailed analysis of works by N. Bayramkulov and A. Bakkuev, two poets of a younger generation, the author argues that fundamental values and stereotypes take priority in the poetic mentality of younger artists. Closely examining the themes of the poets’ works – philosophy, religion, history, society and politics – the author specially describes the way each poet deals with the nation’s artistic memory. Another focus is on the analysis of poetics. It is suggested that the young poets’ creative method is found at convergence of realism and mythopoeia. Their poetry centers around the mythical images of stone, water, mountains, and ‘taulu’ (‘a man of the mountains’).
43
Finkelberg, Margalit. "Homer and Traditional Poetics." Trends in Classics 12, no. 1 (June 25, 2020): 5–15. http://dx.doi.org/10.1515/tc-2020-0002.
Full textAbstract:
AbstractAlthough Homer refers to the art of poetry in terms closely similar to those used by oral traditional poets interviewed by Parry and Lord, his own poems do not follow the poetics of a point-by-point narrative succession that they themselves proclaim. This is not yet to say that in ancient Greece there were no epic poems for which such traditional poetics would effectively account. The poems of the Epic Cycle, whose incompatibility with the narrative strategies of the Homeric epics was highlighted as early as Aristotle, are one such example. The fact that, although he repeatedly refers to the practice of traditional poetry, Homer is silent on the matter of his own poetic practice which differs markedly from it, raises the question of whether the Iliad and the Odyssey can be considered traditional poems in the proper sense of the word.
44
Lehmann, Olga V., and Svend Brinkmann. "Revisiting “The Art of Being Fragile”: Why cultural psychology needs literature and poetry." Culture & Psychology 26, no. 3 (July 9, 2019): 417–33. http://dx.doi.org/10.1177/1354067x19862183.
Full textAbstract:
Writers devote their lives to find words that faithfully resemble what is at the core of human experience and existence. Thus, psychologists interested in understanding human development in everyday life could turn toward writers and poets with humble curiosity. In this article, we illustrate how a narrative analysis of a work of art can be done, taking “ The Art of Being Fragile. How Leopardi can Save your Life” by the Italian writer and teacher Alessandro D’Avenia as a case. In addition, we reflect upon the mastery with which the author sheds light on aspects that theories in cultural psychology have tried to unveil. Such aspects are: (a) poetic activism: a revolution of the poetics of everyday life; (b) the poetics of human development; (c) the beauty within the fragile as a master; and (d) the intuition of the spirit as an invitation.
45
Severskaya, Olga I. "On the Pushkin text in the poetry of Perestroika." Slovo.ru: Baltic accent 11, no. 2 (2020): 80–95. http://dx.doi.org/10.5922/2225-5346-2020-2-7.
Full textAbstract:
This article is devoted to Perestroika poets referring to the Pushkin text as a ‘tuning fork’ in reconfiguring poetics. The study aims to show that, in this case, intertextual connection create a special text-within-a-text. The corpus, intertextual, and compositional methods are used to analyse Pushkin-invoking texts by Yuri Arabov, Vladimir Druk, Timur Kibirov, and other poets. It is concluded that these authors perceive Pushkin’s poetry as a lexicon whose units can be used for building countless cycles of poetic reflections on the world as well as on poetry and the role of the poet. The donor text is an interlinear gloss for the recipient text. The implicit ‘alien’ and the explicit ‘own’ words merge into a single text. Perestroika poets inherit from Pushkin polystylism, a propensity to parody when analysing cultural codes and precedent texts, and fundamental dialogicity. Particular attention is paid to variations on the theme of Pushkin's ‘Monument’ as well as the symbolism of his name, which turned into somewhat of a common noun used to refer to any poet. The predominance of allusions to quotes in references to Pushkin points to the desire of perestroika poets engage in an equal dialogue with the national genius. At the same time, the Pushkin text becomes for them the point at which the semantic perspective of both a concrete poetic utterance and poetry as a whole is refracted.
46
Jiong, Liu. "Catholic Predilections in the Poetics of Gerard Manley Hopkins and Seamus Heaney." Religion and the Arts 14, no. 3 (2010): 267–96. http://dx.doi.org/10.1163/156852910x494439.
Full textAbstract:
AbstractSeamus Heaney has reiterated the importance of Gerard Manley Hopkins in shaping his own poetic voice. This essay studies the way Hopkins’s and Heaney’s poetics are related to their Catholic formation. While their sacramental approaches to language and their ideas of grace and self-discipline result in similar linguistic and formal features in their poems, the two poets’ different understandings of the temporality of the world/Word also gives rise to the contrast between Hopkins’s poetic rendering of dynamic, variegated existence and Heaney’s vision of a realm of “verbless” purity. Based on an understanding of the world as everoccurring Incarnation, Hopkins’s poems often foreground a dialogic, transgressive element, trying to capture the vivifying principle of the Word, whereas Heaney’s anxiety to override the contingencies of time gradually lures him to a visionary space where time is momentarily suspended and actions frozen.
47
Kulnieks, Andrejs, and Kelly Young. "Ekphrastic Poetics: Fostering a Curriculum of Ecological Awareness Through Poetic Inquiry." in education 20, no. 2 (November 14, 2014): 78–89. http://dx.doi.org/10.37119/ojs2014.v20i2.199.
Full textAbstract:
In this article we outline the role of ekphrastic poetics in an ecological practice of poetic inquiry. Ekphrastic poetics, as a rhetorical device, involves one medium of art relating to another medium by unfolding its form and essence. Ultimately, our work involves a poetic response to an aesthetic form and it is through our ongoing collaborations that we are able to outline the importance of the poetic benefits of dwelling in natural places. We offer specific examples of how we engage in interpretive response activities that help to foster ecological habits of mind in teacher education. Keywords: arts-informed; ekphrastic poetics; collaboration; poetic inquiry; ecology; curriculum
48
Khudhur, Abbas Krimich. "La modernité baudelairienne et son impact sur la pensée et la poésie d'Ilyās Abu Šabaka." Al-Adab Journal 1, no. 138 (September 15, 2021): 1–20. http://dx.doi.org/10.31973/aj.v1i138.1145.
Full textAbstract:
This study reveals a clear and profound influence of Baudelaire's poetics, philosophy and thought on the literary production of the Lebanese poet and the avant-garde of modern Arabic poetry Ilyās Abu Šabaka (1903 - 1947). Abu Šabaka's poetic texts evoke part of what the read of Baudelaire's poetry, but he did not resort to the method of dialogue in his relations with the texts. It is due to the fact that the two poets have the same perception towards the universe and the life, based on two opposites: the hatred of the life on the one hand and the inclination and the passion for it until the ecstasy on the other hand. The study therefore deals with the question of influence and effect among poets, intellectual dualism, the presence of the absent text and cultural beauty.
49
Stougaard-Nielsen, Jakob. "Tidens rytmik." K&K - Kultur og Klasse 34, no. 102 (October 2, 2006): 108–28. http://dx.doi.org/10.7146/kok.v34i102.22319.
Full textAbstract:
Dante Alighieri, William Carlos Williams’ prosodi og Michel Serres Rhythm of TimeThe article discusses William Carlos Williams’s poetics and his particular conception of a modern prosody as expressed in the essay »Speech Rhythm« (1913) and as materialized in his experiments with a poetic form he himself termed »the variable foot« in »the triadic verse«. The article suggests that Williams’s poetics should be conceived as both an attempt to reinvigorate a typographically governed poetic language, his reaction to free verse, and as a larger figure for a poetic project which attempts to offer a poetic form to an unruly American idiom. Additionally, Williams’s new poetic measure is considered as an attempt to produce a poetic voice that could capture the rhythms and temporalities suggested by the modern age. Williams’s poetics present, then, a conflation of poetic scheme and trope, of prosody and anthropology, and are presented here as in tune with Ezra Pound, George Antheil, Albert Einstein and Michel Serres’ aesthetic and scientific abstractions of temporality. Williams’s poetic experiments offer a new measure for a modern »time«.
50
Knežević, Sanja. "The Intertextual Relationship between Federico García Lorca and Modern Croatian Poetry." Athens Journal of Philology 9, no. 2 (May 25, 2022): 117–34. http://dx.doi.org/10.30958/ajp.9-2-1.
Full textAbstract:
The paper will analyze the intertextual and quotation relationship between the cult Spanish poet, Federico García Lorca, and poets Jure Kaštelan, Drago Ivanišević and Vesna Parun, who marked the beginning of a completely new path of Croatian poetry in the second half of the 20th century. Their poetic opuses introduced a specific Lorcan poetics of surrealism into Croatian poetry, merging it with the Croatian tradition of Mediterraneanism (thematization of Mediterranean landscape images and symbols). At the stylistic level, the impact on versification (rhythm), colored language, metaphoricity, and pictoriality will be analyzed. Keywords: modern Croatian poetry, Federico García Lorca, Drago Ivanišević, Jure Kaštelan, Vesna Parun