Artículos de revistas sobre el tema "Poetic Pilgrimage"
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Alatas, Ismail Fajrie. "The Poetics of Pilgrimage: Assembling Contemporary Indonesian Pilgrimage to Ḥaḍramawt, Yemen". Comparative Studies in Society and History 58, n.º 3 (julio de 2016): 607–35. http://dx.doi.org/10.1017/s0010417516000293.
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AbstractThis article investigates the socio-discursive processes that have enabled the emergence and maintenance of pilgrimage practice by examining the rising popularity of the Ḥaḍramawt valley of southern Yemen as a pilgrimage destination for Indonesian Muslims. Pilgrimage to Ḥaḍramawt mainly revolves around visiting the tombs of Bā ʿAlawī (a group of Ḥaḍramīs who claim direct descent from the Prophet Muḥammad) Sufi saints and scholars scattered around the valley. Moving away from ritual analysis, I examine the roles of various actors involved in the production and consumption of pilgrimage. I analyze pilgrimage as a poetic project that frames travel as a transformative process. As a project, pilgrimage can be described as poetic because it hinges on the construction of multiple chronotopes that are juxtaposed, compared, contrasted, and assembled into meaningful alignments. The actors discussed are involved in producing chronotopes of Ḥaḍramawt as a spiritually idealized place, which are made to resonate with mass-mediated chronotopes of idealized Islam circulating among Indonesian Muslims, and contrasted with chronotopes of the modern world. Framed by such a poetic mediation, pilgrims comprehend their actual travel to Ḥaḍramawt as a cross-chronotopic movement that they believe transforms their own selves. The article observes the various mechanisms of attraction and seduction at work in pilgrimage practice, while demonstrating the structural similarities between pilgrimage and other forms of tourism.
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서진영. "Pilgrimage imagination in the poetic space of Kim Jongsam". Journal of Humanities, Seoul National University ll, n.º 68 (diciembre de 2012): 225–52. http://dx.doi.org/10.17326/jhsnu..68.201212.225.
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Sandy, Mark. "‘I Have Thought / Too Long and Darkly’: Writing and Reading Modes of Being in Byron". Byron Journal 48, n.º 2 (1 de diciembre de 2020): 133–44. http://dx.doi.org/10.3828/bj.2020.19.
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Byron’s treatment of subjective modes of being are characterised by a poetic mobility that permits competing and contradictory perspectives of the self to coalesce. Starting with Michael O’Neill’s sense of fixity and fluidity as a marker of Byronic identity, this article examines Byron’s darker poetics of madness that permit a glimpse into the destructive and transformative elements of selfhood. In Childe Harold’s Pilgrimage and Beppo, Venice emerges as the imaginative site of Byron’s self-aware artistry and psychodrama of self. Elsewhere Byron’s poetics of selfhood are read as inextricably bound to deliberate self-conscious acts of writing and reading that both dread and delight in the fictionality of self, memory, and history.1
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Barton, Anna. "Byron, Barrett Browning and the Organization of Light". Romanticism 22, n.º 3 (octubre de 2016): 289–98. http://dx.doi.org/10.3366/rom.2016.0290.
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Feminist readings of Casa Guidi Windows frequently invoke Canto IV of Childe Harold's Pilgrimage as a significant intertext for Barrett Browning, identifying in Barrett's Italy a direct retort to Byron's representation of the Italian nation as a languishing female body, which returns to it the potential agency inherent in the republican body politic. But Barrett's Italy not only challenges Byron's account of Italy as the feminine victim of masculine history, it also negotiates the obliterating glare of Byronic light. Responding to recent interpretations of the poem's windows as apertures that compromise the division between public masculine and private feminine space, this article explores the ways Casa Guidi, both the poem and the home that it describes, represent a liberal architectonics that is as concerned with resisting as it is with celebrating the subliming forces of indifferent nature and international politics. One of the ways in which that resistance is performed is via the poet's negotiation of Italian light, natural, divine and artistic, a negotiation through which Barrett describes a post-Romantic feminine poetics that realigns poetic form and the domestic, and suggests both as spaces through which light may break.
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Kim, Joey S. "Byron’s Cosmopolitan “East”". Essays in Romanticism 27, n.º 2 (1 de octubre de 2020): 167–85. http://dx.doi.org/10.3828/eir.2020.27.2.6.
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This essay examines the first four of Lord Byron’s Eastern Tales, crafted in the immediate success of Childe Harold’s Pilgrimage. I argue that these tales constitute an example of Byron’s cosmopolitanism forged directly by his early-career aesthetic and Orientalist inventions. I challenge any fixed notion of Byron’s identifying traits of cosmopolitanism and trace his creation of a textualized and simulated “East.” This “East” is depicted in terms of Byron’s competing personal, aesthetic, and cultural impulses. These impulses culminate in his fourth tale, Lara, and the myth of the cosmopolitan figure for which Byron’s heroic subjectivity became known. By expanding the poet’s subjectivity beyond clear cultural and geographical borders, these tales also raise the question of literary scale and the limits and boundaries of poetic form and content—how to adequately represent the individual poetic subject during an era of shifting global and cosmopolitan relations.
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Sandy, Mark. "“The Colossal Fabric’s Form”: Remodelling Memory, History, and Forgetting in Byron’s Poetic Recollections of Ruins". Articles, n.º 51 (31 de octubre de 2008): 0. http://dx.doi.org/10.7202/019258ar.
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Abstract This essay reads Byron’s personal and historical reflections in Manfred and Childe Harold’s Pilgrimage through Nietzsche’s meditations on memory and forgetting in Untimely Meditations. These poetic recollections are explored as moments of wilful erasure. Central to Nietzsche’s thoughts “On the Use and Disadvantages of History for Life” is how single moments are forgotten only to be unwillingly recalled at some future present historical moment. Byron’s desire to forget biography and history, paradoxically, produces a capacity to remember. Byron’s meditations on historical ruins become his own imaginative reflections on both the impulse to, and impossibility of, recovering historical and personal origins or securing an authorial posthumous reputation.
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Ruscica, Giovanni. "From China to the World: The main media pilgrimages of Sun Wukong and Son Gokū". Mutual Images Journal, n.º 10 (20 de diciembre de 2021): 21–50. http://dx.doi.org/10.32926/2021.10.rus.china.
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The ‘Journey to the West’, also translated as the’ Pilgrimage to the West’, is one of the masterpieces of ancient Chinese literature. Published anonymously by the putative author Wu Cheng'en in the late 16th century, the story traces in broad outline the journey taken by the monk Tripitaka in the year 629 a.D. to India to acquire Buddhist scriptures, and it is the result of reworking antecedent works, such as ‘Poetic notes on the pilgrimage of Tripitaka of the Great Tang to acquire the Sutras’ and ‘‹Journey to the West› Opera’. In this fiction, the writer moves away from the authenticity of the traditional pilgrimage: here the monk is escorted by sinful-followers (i.e., a dragon-horse, a pig, a demon, and a monkey) capable of removing malevolent beings throughout the journey. Sun Wukong is the wild and skillful monkey that ascends to Buddhity, becoming a ‘Victorious Fighting Buddha’ at the end of the literary work. Later on, the Chinese work of fiction was used as a source of inspiration for the creation of Dragon Ball, a Japanese fantasy & martial arts manga. Published in 1984 as a manga and then adapted into an anime, Dragon Ball sketchily follows the Chinese work of fiction. After coming across Bulma, young Son Gokū decides to escort the girl in her quest to collect seven magic dragon spheres. The series’ success allowed the manga’s author, Akira Toriyama, to continue the story arc and launch a new series in 2015. Since 1986, several videogames with a monkey character have entered the market. The purpose of this article is to highlight the main affinities between Sun Wukong and his Japanese counterpart Son Gokū first, and then attempt to explain how the monkey character has become a world-famous symbol, and contextualise it into the phenomenon of ‘worldwide pilgrimage’.
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Miro, Dr Baidaa Muhyi Al-Din. "Hajjajiyah Narrative Phrase in Diwan (In the Mirror of the Letter) by the Poet Adib Kamal Al-Din". Alustath Journal for Human and Social Sciences 60, n.º 4 (20 de diciembre de 2021): 123–42. http://dx.doi.org/10.36473/ujhss.v60i4.1816.
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Perhaps in the research, we are trying hard to study the argumentative narrative phrase in the poetic image, and to show the extent of the effectiveness of the pilgrims in narration, due to the absence of addressing this axis in most pilgrimage studies, which is its ability to prove that the poetic discourse possesses an argumentative characteristic that distinguishes it from the rest of the literary races by entering the world of the recipient and the influence In it and his conviction of the usefulness of his message while adopting the condensation, suggestion and symbolism, formative elements codify the dimensions of the poetic discourse, and it is not far from our minds that the Hajjaji approach has emerged in the form of complex and stable persuasion mechanisms on the level of linguistics or contemporary rhetoric, but we decided to support our research with new persuasion mechanisms that would start From the fact that literary discourse, especially poetry, is a dialogue discourse in which voices overlap and multiply by the heated conflicts that afflict the product of the discourse, so the field of pilgrims is dialogue and discourse where the faces of its use appear, and the methods of its operation are evident . As poetry comes out of the circle of lyricism into the space of narration / saying and from the aesthetic formation of the singular or the sentence refers to the ability of the poetic text to interrogate its product and to convey insights and ideas that are subjective and trans-subjective.
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Τσούπρου, Σταυρούλα. "Rilke, Παλαμάς, Σαχτούρης, Αθανασιάδης: ένα σημείο συνάντησης / Rilke, Sachtouris, Palamas, Athanasiades: a point of convergence". Σύγκριση 25 (16 de mayo de 2016): 99. http://dx.doi.org/10.12681/comparison.95.
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With the date 28.1.1924, the translation of the first nine verses from the “Book of Pilgrimage” is entered in the Appendix of Xanatonismene Mousike [Retoned Music], that is the collection of translations by Kostis Palamas, as these were included in his Complete Works. The “Book of Pilgrimage” is the second of the three parts of Rainer Maria Rilke’s Stundenbuch (which was translated into Greek as “Horologion” by Aris Diktaios, but is more widely known as “Book of Hours” and is referred to as such in Palamas’s translation. This translation of the characteristic excerpt from the poetic oeuvre of the “romantic” Rilke, as Palamas considered him, was destined – and not without reason – to be the most popular, even though several translations have followed. Except that, as we shall see, the perception of the specific verses as referring to the love affair between a man and a woman, a perception-interpretation that has prevailed widely, does not correspond (exactly) to the “reality” of Rilke’s poem. The two intertexts, to which we shall refer in the present article, seem to presuppose a corresponding interpretation, at least broadly speaking. So, examined here is the intertextual contact of the aforesaid poetic passage-translation from Rilke’s Stundenbuch, on the one hand, with the poem “The night of the forgotten woman” from the collection the Forgotten Woman (1945) by Miltos Sachtouris (who spoke often with love and respect about the influence of Rilke’s work on his own), and on the other, with a prose passage from the novel The Throne Room, by Tasos Athanasiadis (whose rich textual-intellectual contact with Rilke’s oeuvre has also been pointed out), which has characteristically been defined as a “modern Aesop’s fable”.
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Brissos-Lino, José. "O menino que mudou o olhar de Severino de Jesus". Revista Épicas E4, n.º 2021 (31 de marzo de 2021): 51–58. http://dx.doi.org/10.47044/2527-080x.2021vne4.5158.
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In this article, we discuss the migratory movement of retreatants from northeastern Brazil in the 20th century, represented in poetic form by João Cabral de Melo Neto, which appears symbolized in the metaphor of travel as a representation of human life. Severino de Jesus' pilgrimage takes place in an atmosphere of darkness, with a very strong culture of death persisting as a backdrop until the moment when life breaks out, unexpectedly, thus changing the entire psychological scenario of the retiree. It is this sudden event that the author invokes indirectly, in this Christmas literary piece, as a parallel with the outbreak of Jesus Christ in human history, as a light in the midst of darkness, capable of triggering an attitude of hope.
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Dominguez, Mário, Fernando Faria Paulino y Bruno Mendes Silva. "Between the Sacred and the Profane in the S. João d'Arga's Festivities". International Journal of Creative Interfaces and Computer Graphics 5, n.º 1 (enero de 2014): 1–20. http://dx.doi.org/10.4018/ijcicg.2014010101.
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This paper describes the concept, creative process and development decisions regarding an interactive art installation that materializes a point of view on the conflict between the notions of ‘sacred' and ‘profane' in a particular Portuguese religious festival. The initiative, besides constituting an experiment on the usage of a physical pendulum as control method, aimed to combine three main domains: digital art (in particular generative art), documentary value and game-like challenge. Each user undertakes a personal experience as interaction occurs with a poetic symbolic simulation of the real pilgrimage. As the user intervenes indirectly in the main struggle, the profane and sacred pilgrims, in the shape of digital autonomous agents, uncover a generated art piece that is both a product of the artist vision and the inevitable result of the users conscious and unconscious decisions.
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Cooley, Steven D. "Applying the Vagueness of Language: Poetic Strategies and Campmeeting Piety in the Mid-Nineteenth Century". Church History 63, n.º 4 (diciembre de 1994): 570–86. http://dx.doi.org/10.2307/3167631.
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Methodist studies of the last four decades have insisted that Methodism be seen as a distinctive intellectual tradition with its own integrity. These studies have corrected the excesses of an earlier experiential interpretation. Although some may still characterize Wesley's Christianity as “almost totally devoid of intellectual content,” the subjects of Wesley, of Methodism, and of the American Holiness Movement can now no longer be reduced to merely an unreflective warm-hearted piety. Current studies have especially highlighted several distinct Wesleyan theological developments. These include the displacement of election and predestination by a religious assurance from the witness of the spirit, the tension between salvation by holy living and salvation by faith alone, an emphasis on vital Christian experience in theological reflection, and especially the development of a Protestant understanding of Christian perfection or holiness. As Henry Rack states, Wesley “softened the hard edges of Calvinism” with an Arminian accent and moved the center of Protestantism so that justification became “the door into the pilgrimage of holiness” rather than the Lutheran cradle or the Calvinist promise. Wesley's prominence in Jaroslav Pelikan's history of Christian doctrine indicates the growing acceptance of this Methodist intellectual history.
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Karam, Savo. "The Political Dimension of Byron’s “An Ode to the Framers of the Frame Bill”". International Letters of Social and Humanistic Sciences 41 (septiembre de 2014): 157–64. http://dx.doi.org/10.18052/www.scipress.com/ilshs.41.157.
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Byron‘s major poems, such as Childe Harold’s Pilgrimage, Don Juan, and others, are unmistakably flavored with political satire. It is therefore puzzling that a number of literary critics, with the exception of Malcolm Kelsall, Michael Foot, and Tom Mole, have avoided commenting in any significant manner on the political dimension of Byron‘s ―An Ode to the Framers of the Frame Bill,‖ a poem which is emphatically responsible for identifying him as a vibrant, political poet. In his ode, Byron demonstrates his capacity to fuse his political notions with a poetic sensitivity extending beyond rhyming verses. In this respect, the purpose of this paper is to position Byron‘s ode in its appropriate historical and literary frame, to examine its political affiliations, and to highlight the role Byron plays in displaying a synthesis between politics and poetics, a role cautiously avoided by other Romantic poets. Malcolm Kelsall claims in Byron’s Politics that Byron‘s poetry had essentially made no substantial political impact (50). Similarly, Michael Foot in The Politics of Paradise contends that Byron‘s political fervor ―existed independently of his poetry‖ (Qtd. in Coe para. 9). I differ with both and tend to agree with Tom Mole‘s assessment that Byron‘s ―An Ode to the Framers of the Frame Bill‖ is principally responsible for exhibiting him as a poet of an unmistakable political disposition.
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Svanberg, Ingvar, Inger Lövkrona, Arne Bugge Amundsen, Anders Gustavsson, Christina Sandberg, Catarina Harjunen, Susanne Österlund-Pötzsch et al. "Book Reviews". Arv 79 (1 de diciembre de 2023): 161–95. http://dx.doi.org/10.61897/arv.v79i.23107.
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Reviews of: Ravens and Humans in Iceland Sigurður Ægisson: Hrafninn: þjóðin, sagan, þjóðtrúin. Bókaútgáfan Hólar, Reykjavík 2022. 424 pp. Ill. Belief in an Animated World Folktro. En besjälad värld. Kurt Almqvist & Lotta Gröning (eds.). Bokförlaget Stolpe. Axel och Margaret Ax:son Johnsons stiftelse för allmännyttiga ändamål, Stockholm 2021. 230 pp. Ill. Heritage and Religion in Christiansfeld Crossroads of Heritage and Religion. Legacy and Sustainability of World Heritage Site Moravian Christiansfeld. Tine Damsholt, Marie Riegels Melchior, Christina Petterson & Tine Reeh (eds.). Berghahn, New York & Oxford 2022. 237 pp. Ill. Stories about Crises and Catastrophes, Past, Present and Future Katastrophen, Fluten, Weltenbrände. Erzählungen von Krisen und Chancen vom Mittelalter bis heute. Susanne Dinkl, Michaela Fenske, Joachim Hamm & Felix Linzner (eds.). Königshausen & Neumann, Würzburg 2023. 284 pp. Ill. The History of Death as an Idea Dödens idéhistoria. Karin Dirke, Andreas Hellerstedt & Martin Wiklund (eds.). Appell Förlag, Stockholm 2022. 334 pp. Ill. Magic Users in Ostrobothnia Karolina Kouvola: Cunning Folk As Other. Vernacular Beliefs about Magic Users in Premodern Swedish-speaking Ostrobothnian Rural Community. University of Helsinki, Helsinki 2023. 102 pp. Ill. Diss. Landscapes of Pilgrimage in Norway Hannah Kristine Bjørke Lunde: Pilgrimage Matters. Administrative and Semiotic Landscapes of Contemporary Pilgrimage Realisations in Norway. Uni- versity of Oslo 2022. 380 pp. Ill. Diss. Female Legend Tellers Júlíana Þóra Magnúsdottir: In Their Own Voices. A Reconstruction of the Legend Traditions of Icelandic Women in the Late Nineteenth and Early Twentieth Centuries. School of Sociology, Anthropology and Folkloristics, University of Iceland, Reykjavik 2023. 301 pp. Ill. Diss. Saint Brigit as a Celtic Goddess Séamas Ó Catháin: The Festival of Brigit. Celtic Goddess and Holy Woman. Phaeton Publishing, Dublin 2023. 274 pp. Ill. A New Edition of the Poetic Edda Edward Pettit: The Poetic Edda. A Dual- Language Edition. Open Book Publishers, Cambridge 2023. xvi + 878 pp. Recordings of Folk Music in Sweden Märta Ramsten: Framför mikrofonen och bakom. En personlig återblick på Svenskt visarkivs verksamhet med inspelningar av folkliga musiktraditioner. Skrifter utgivna av Svenskt visarkiv 52. Gidlunds förlag, Möklinta 2022. Ill. 238 pp. A New Edition of Tirén’s Sámi Music Karl Tirén: Den samiska folkmusiken. Utgiven av Gunnar Ternhag. Kungl. Gustav Adolfs Akademien, Kungl. Skytteanska Samfundet, Svenskt Visarkiv/ Musikverket 2023. 336 pp. Ill. Challenged Authorities Vernacular Knowledge. Contesting Authority, Expressing Beliefs. Ülo Valk & Marion Bowman (eds.). Equinox, Sheffield & Bristol 2022. 423 pp. Ice from Different Angles Is – på olika vis. Nils Erik Villstrand & Kasper Westerlund (eds.). Meddelanden från Sjöhistoriska institutet vid Åbo Akademi 37. Forum navales skriftserie 84. Åbo 2022. 172 pp. Ill. Swedish Belief Tradition in a Nutshell Tora Wall: Folktrons väsen. Encyklopedi. Bokförlaget Stolpe, Stockholm 2021. 255 pp. Ill.
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Shubnikova-Guseva, Natalia I. "S.A. Yesenin’s “To Sister Shura” as a Lyrical and Philosophical Poetic Cycle". Studia Litterarum 8, n.º 4 (2023): 162–81. http://dx.doi.org/10.22455/2500-4247-2023-8-4-162-181.
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The article is devoted to the complex analysis of the poems “To Sister Shura” by S.A. Esenin (1925), and shows that the ideological and artistic unity, the genre of the dedication message, common characters, historical and literary and author’s context, through images, motifs and metrical basis characterize them as the last completed lyrical and philosophical cycle of the poet. The information presented for the first time from an unsent letter from S.A. Tolstoy-Esenina to M.A. and N.S. Voloshin in November 1925 and a comparative analysis of manuscripts and printed sources, as well as the dramatic circumstances of the poet’s life at that time, significantly complement the creative history of the poems, the real and historical-literary context of the cycle. The article shows that the author’s will in the order of the arrangement of poems was manifested in the texts sent to the newspaper “Baku Worker” (publication did not take place) and put in a typeset copy of the “Collection of Poems.” Built on the principle of genre cyclization, indicated in the dedication, poems “To Sister Shura” develop the idea of the unity of life-path, ancestral roots and national historical memory. The final stanza of each poem serves as a philosophical generalization, and the final one sums up the cycle as a whole. The multi-valued symbolic image of a passerby, dating back to diverse folklore-mythological, biblical and literary sources containing a dialectical idea of a person’s spiritual path, about communion with eternity and the universe, is a complex metaphor, synthesizes the meanings of the concepts, such as path, world, eternity, pilgrimage, homeland.
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Pavlović, Tomislav M. "Rupert Brooke’s Neo-Paganism". Issues in Ethnology and Anthropology 10, n.º 2 (28 de febrero de 2016): 487. http://dx.doi.org/10.21301/eap.v10i2.10.
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Rupert Brooke (1887-1915) embodies the myth of the Great War but after his sudden death his war poems tended to be disapproved of. His pre war Georgian lines are also dismissed on account of their effete pestoralism and alleged escapism. It seemed as if both the critics and the audience simply failed to understand the subtext of his poems that reveals a magnificent spiritual pilgrimage undertaken by a poet in the age of anxiety. In search of the calm point of his tumultuous universe Brook varies different symbolic patterns and groups of symbols thus disclosing the lasting change of his poetic sensibility that range from purely pagan denial of urban values and the unrestrained blasphemy up to the true Christian piety. Our analysis affirms him the true modernist poet, a cosmopolitan mind, always apt to accumulate new experiences and it is certain that his work will be seen in quite a new light in the decades to come.
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Zakharov, Vladimir. "“Death Itself May be Overcome…” (Thanatological Plot in “The Brothers Karamazov” by Dostoevsky)". Неизвестный Достоевский 9, n.º 4 (diciembre de 2022): 30–43. http://dx.doi.org/10.15393/j10.art.2022.6361.
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The article reveals how the writer’s personal drama was reflected in his novel “The Brothers Karamazov.” The unexpected death of their three-year-old son on May 16, 1878 was a tragic shock for the Dostoevskys. The causes of his death have not yet been clarified: there is no critical analysis of documentary sources, no diagnosis has been made, the described symptoms (fever, diarrhea, vomiting) may be related to several childhood diseases, family legends about the disease are unreliable. Dostoevsky’s pilgrimage to the Optina Hermitage had a personal reason along with his creative interest in the plot of the new novel. The writer sought to say goodbye to the earthly life of baby Alexey on the fortieth day of his death at Optina, but he was late. During the trip, Dostoevsky had an important conversation with Vladimir Solovyov, in which the writer revealed the idea of his future novel: the Church “as a positive social ideal.” After Dostoevsky’s pilgrimage to the Optina Hermitage, his novel took final shape. The thanatological motifs in the work include scenes in the monastery, Ivan Karamazov’s “collection” of facts, the death of elder Zosima, the illness and death of his brother Markel, Ilyusha Snegirev, and other heroes. These motifs play a key role in forming the poetic idea of the novel. The thanatological theme of the novel has Easter significance. Dostoevsky wrote a novel in which he not merely describe an event, he articulated the meaning of being: in the person of Alexey Fyodorovich Karamazov, he resurrected his son in the name and prototype of the deceased Alexei Fyodorovich Dostoevsky. With every proclamation and glorification of the hero, Dostoevsky proclaimed the immortality of his son.
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Esaulov, Ivan. "KAMENNOOSTROVSKY CYCLE OF ALEXANDER PUSHKIN AS EASTER TEXT: MIMESIS, PARAPHRASIS, CATHARSIS. ARTICLE 2". Проблемы исторической поэтики 19, n.º 2 (mayo de 2021): 56–80. http://dx.doi.org/10.15393/j9.art.2021.9602.
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The article is the second part of a dilogy devoted to the interpretation of Pushkin’s Kamennoostrovsky cycle. Pushkin's last cycle is a kind of testament of the poet. Essentially, as already noted in scientific literature, this “testament” has not yet been adequately read or understood. The first part of the work presented my reading of this “testament,” while the second article proposes the completion of the work based on a new understanding of “I have erected a monument not made by hands,” the last ode in the Kamennoostrovsky cycle. The catharsis that the lyrical hero of Pushkin already experienced in the very first work of the cycle, “trembling joyfully in the raptures of emotion,” can also be experienced by the reader as he goes through the trials of the Passion Week before Easter. This can happen if the reader, enriched with spiritual experience, consistently overcomes his own temptations on the path to liberation from the old (sinful) part of himself, together with the author of the Kamennoostrovsky cycle. This would be a true catharsis for the reader, following the author of the cycle, a kind of poetic mimesis of Easter Sunday, conveyed in this case as a paraphrastic “overcoming” of the Horatian (classical) attitude by Pushkin’s rootedness in the Russian spiritual tradition. This kind of pilgrimage becomes possible for the reader if Pushkin's cycle is considered in the larger context of Russian Christian culture. In cases when the dominant values of this culture are improper for the reader and the researcher, or their significance for understanding Pushkin’s poetics is ignored or underestimated, one can hardly count on an adequate understanding of the poet’s artistic world.
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Sasso, Eleonora. "‘[T]his world is now thy pilgrimage’: William Michael Rossetti's Cognitive Maps of France and Italy". Victoriographies 8, n.º 1 (marzo de 2018): 84–99. http://dx.doi.org/10.3366/vic.2018.0296.
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This paper takes as its starting point the conceptual metaphor ‘life is a journey’ as defined by Lakoff and Johnson (1980) in order to advance a new reading of William Michael Rossetti's Democratic Sonnets (1907). These political verses may be defined as cognitive-semantic poems, which attest to the centrality of travel in the creation of literary and artistic meaning. Rossetti's Democratic Sonnets is not only a political manifesto against tyranny and oppression, promoting the struggle for liberalism and democracy as embodied by historical figures such as Napoleon, Mazzini, Cavour, and Garibaldi; but it also reproduces Rossetti's real and imagined journeys throughout Europe in the late nineteenth century. This essay examines these references in light of the issues they raise, especially the poet as a traveller and the journey metaphor in poetry. But its central purpose is to re-read Democratic Sonnets as a cognitive map of Rossetti's mental picture of France and Italy. A cognitive map, first theorised by Edward Tolman in the 1940s, is a very personal representation of the environment that we all experience, serving to navigate unfamiliar territory, give direction, and recall information. In terms of cognitive linguistics, Rossetti is a figure whose path is determined by French and Italian landmarks (Paris, the island of St. Helena, the Alps, the Venice Lagoon, Mount Vesuvius, and so forth), which function as reference points for orientation and are tied to the historical events of the Italian Risorgimento. Through his sonnets, Rossetti attempts to build into his work the kind of poetic revolution and sense of history which may only be achieved through encounters with other cultures.
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Podlubnova, Yulia S. "Reception of History in the Poem of D. Tumanny (N. N. Panov) The House in Sverdlovsk (1926)". Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, n.º 3 (2023): 9–22. http://dx.doi.org/10.15826/izv2.2023.25.3.039.
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This article examines the poem The House in Sverdlovsk (1926) by the futurist presentist and constructivist Dir Tumanny (pseudonym of Nikolai Nikolayevich Panov) as a fact of reception of the death of the Russian Emperor Nicholas Romanov and his family in the summer of 1918 in Ekaterinburg. Also, the author of the article considers the poem as a complex artistic statement reflecting and scaling the sense of history inherent both in the hero of the poem and the lyrical epic narrator and the author himself. In the space of the “Romanov text”, D. Tumanny’s poem is a unique precedent starting from the death of the tsar and his family but focusing not so much on it as a historical fact only but on the present modeled according to the Komfut ideals as a combination of the technocratic utopia of futurism and the social utopia of socialism and endowed with historical significance. However, the true content of The House in Sverdlovsk is the author’s dialogue with the powerful artistic tradition. Characteristic of the lyrical epic poem of Pushkin’s time and a completely outdated Byronic hero makes a pilgrimage to the Ipatiev House and is immediately replaced by pictures of Sverdlovsk being built (which becomes another hero of the poem). The features of a novella are combined with the optics of a travelogue essay, and Pushkin’s abundant intertext (the epigraph, allusions, and specific stylistic devices including the usage of the octave and referring to The House in Kolomna, Eugene Onegin, The Stone Guest, and The Fountain of Bakhchisarai) is only the upper layer of a deeper poetic adherence to Pushkin’s tradition. It is the playful focus of the author of the poem who presented the pilgrimage as an anecdote that reduces the reception of a historical event and in some way deprives it of historical status and even more so than the ideological guidelines of Soviet historiography which D. Tumanny undoubtedly adopted.
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Ciobotaru, Anca Doina. "Margareta Niculescu – A Portrait throughout a Century". Theatrical Colloquia 8, n.º 2 (1 de diciembre de 2018): 219–31. http://dx.doi.org/10.2478/tco-2018-0017.
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Abstract In the last century, Romanian puppet theatre has not only received, but it has also given to the world – which I would personally correct. Perhaps: “it has given to the world innovative, poetic performances that have brought about a new aesthetic vibe.” If you skim through World Encyclopaedia of Puppetry Arts (first edition published in French, under the title Encyclopédie mondiale des arts de la marionette, and second edition published in English, under the aforementioned titled, available online at: https://wepa.unima.org/en/), you will find more information on Romanian puppet theatre than you might expect. A complicated history that has been reshaped subjectively – as is the case with every history. And, given that Margareta Niculescu left this world on the 19th of August, 2018, I’ve decided to turn back to the pages 493 and 494 (from the first edition), as if going in a pilgrimage. For quite some time, I’ve been thinking of getting closer to her, all prejudices, myths and subjectivity aside; perhaps Matei Brunul 1 has also helped; do shadows make way for themselves/do they follow us? In any domain, at any time, in any place. What matters is that you want to go back into the light, to free yourself, to be able to remember.
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Fana Gebresenbet y Yonas Ashine. "Performing Guzo Adwa: Power, Politics and Contestations". Ethiopian Journal of the Social Sciences and Humanities 17, n.º 1 (3 de marzo de 2022): 71–100. http://dx.doi.org/10.4314/ejossah.v17i1.5.
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This paper documents a history and politics of memory project called Guzo Adwa. It highlights how, over the last eight years, Guzo Adwa emerged as a popular, performative commemoration of the battle of Adwa. Organised spontaneously by ambitious young men, who are passionate about history and adventure, culture and national politics, art and memory, Guzo Adwa emerged as a political performative, poetic and symbolic pilgrimage of the victory of Adwa. In its multiplicity, Guzo Adwa, which could be roughly interpreted as ‘Journey Adwa’, added to the already contested memory landscape pertaining to Adwa. The particularity of the project is that it has been organised neither as a mode of rule nor as an instrument of resistance. Moreover, the paper highlights how even this annual ritualized journey, as the memory project, embraced official and marginal political narratives, serving as a stage where varied economic interests and political issues surrounding national history were transpired. The paper is based on both primary and secondary sources. A total of ten formal interviews were conducted with key informants participating in Guzo Adwa in addition to informal discussions with others who have played some role in in the event , and other related memory projects. Newspaper archival research was conducted considering Addis Zemen reporting of Adwa commemoration as an ethnographic site. An attempt is made to attend events organised by the Guzo Adwa, especially the farewell ceremony of the eighth journey to Adwa. Finally, we try to locate the particular history of this memory project into national politics of memory and theoretical and conceptual debates in memory studies.
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Soltan Beyad, Maryam y Mahsa Vafa. "Transcending Self-Consciousness: Imagination, Unity and Self-Dissolution in the English Romantic and Sufis Epistemology". International Journal of Linguistics, Literature and Translation 3, n.º 8 (30 de agosto de 2021): 08–18. http://dx.doi.org/10.32996/ijllt.2021.4.8.2.
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English Romantic literature of the late eighteenth and early nineteenth centuries often recounts an individual life journey which depicts physical and spiritual pilgrimage and traverses both the inner and outer world to liberate the self and reach a revelatory moment of unification where the division between human mind and the external world is reconciled. For the Romantic poets this reconciliatory state cannot be achieved through rational investigation but via the power of imagination. In this regard, there is striking resemblance between the mystical and philosophical thought of Sufism and the idealistic thought of the English Romantic poets as they both strive for a sense of unification with the Divine or the Ultimate reality, and they both rely on imagination and intuitive perception to apprehend reality. Applying an analytical-comparative approach with specific reference to Northrop Frye’s anagogic theory (1957) which emphasizes literary commonalities regardless of direct influence or cultural or theological distinctions, this study endeavors to depict that certain Romantic poets’ longing for the reconciliation of subject and object dualism via imagination and its sublime product, poetic language, echoes the mystic’s pursuit of transcendental states of consciousness and unification with the divinely infinite. Through analysis of the concept of self-dissolution (fana) in Islamic mysticism and Sufi literature, particularly the poems of Jalal ad-Din Mohammad Balkhi (1207-1273) known in the West as Rumi, the outcome of this study reveals that the Romantics’ yearning for a state of reconciliation, which is prevalent in the major works of the Romantic poets such as William Blake (1757-1827), William Wordsworth (1770-1850), Samuel Taylor Coleridge (1772-1834), Percy Bysshe Shelley (1792-1822), and John Keats (1795-1821), corresponds to the mystic’s pursuit of unity or the Sufi’s concept of self-annihilation or fana.
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Федосеева, Т. В. "About Christian Aspects of S. A. Yesenin’s Ethnopoetics in the 1910s". Вестник Рязанского государственного университета имени С.А. Есенина, n.º 1(70) (17 de marzo de 2021): 103–16. http://dx.doi.org/10.37724/rsu.2021.70.1.011.
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В статье исследуется вопрос о поэтическом выражении православного сознания в лирике С. А. Есенина 1910-х годов. Анализ избранных произведений осуществляется с применением методологии и терминологии, актуальной для современного литературоведения этнопоэтики. Материал исследования включает текст теоретического трактата «Ключи Марии» как итоговый для данного периода и определяющий для творческого метода поэта. Рассматриваются случаи жанрового влияния народной духовной поэзии на формально-содержательную характерность произведений Есенина. Выявляются пути развития в лирике поэта народнопоэтических жанровых моделей предания, сказания, духовной песни. Устанавливается ментальный уровень поэтики, определенный категориями «дарения и нищелюбия», «веры в чудо». В образе лирического героя выделяются в качестве характерологических мотивы странничества, греха, покаяния. В пространственно-временной и сюжетно-мотивной характерности произведений исследуемого периода выделяется мистериальная поэтика. Из лирического комплекса 1918–1919 годов выделяется сюжет, соотносимый с мотивами умирания и Божественного претворения плоти. Автор статьи приходит к выводу о необходимости уточнения выраженного в творчестве Есенина 1910-х годов типа художественного сознания термином «народное православие». Результаты проведенного исследования указывают на возможности дальнейшего изучения творчества поэта в предложенном направлении. The article investigates the issue of poetic manifestations of Christian worldview in S. A. Yesenin’s poetry in the 1910s. The analysis of selected poems is performed by means of ethnopoetics relevant for modern literary studies. The author of the article investigates the theoretical treatise “Maria’s Keys” as a work characteristic of the aforementioned period and of the poet’s creative method. The article treats the influence of religious folk poetry on the content and form of Yesenin’s verse. It investigates the way folk tales, legends and spiritual songs influenced Yesenin’s poetry. The article shows that Yesenin’s poems abound in such concepts as generosity, benevolence to the poor, belief in the reality of miracles. The lyrical hero of Yesenin’s poems is described through the prism of such concepts as pilgrimage, sin, repentance. The spatial, temporal, and thematic characteristics of Yesenin’s poems of the aforementioned period are mystery-related. Yesenin’s poems of 1918–1919 abound in motifs of death and resurrection. The author of the article maintains that it is not only feasible but also necessary to further investigate the motifs of folk Christianity characteristic of Yesenin’s works of the 1910s.
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Visych, Oleksandra. "NATURAL AND CULTURAL LANDSCAPES IN THE CRIMEAN CREATIVE WORK OF MYKOLA CHERNYAVSKY". Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, n.º 17(85) (22 de junio de 2023): 257–61. http://dx.doi.org/10.25264/2519-2558-2023-17(85)-257-261.
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The article deals with the studying spatiality and the system of national spaces in Ukrainian literature. It focuses on the work of Mykola Chernyavsky, a representative of Ukrainian literary modernism, a victim of Stalinist totalitarianism. The main attention is paid to the understanding of the writer’s work, which was the result of his trip to the Crimea in the summer of 1927 for the sanatorium treatment. This trip is interpreted as an example of a modernistic pilgrimage, with its attraction to the discovery of a new space, which becomes a lever of self-discovery, and a means of self-identification. The non-fiction text of Mykola Chernyavsky, which was preserved in his diary entries, is analyzed for the first time. It is proven that the writer’s notebook became the protext of the author’s further artistic searches in poetry and prose. The Crimean routes of the author recorded in his documentary records, are traced. The main artistic toposes can be devided into three groups topos: natural (sea, mountains, vegetation), social (populations, sanatoriums), ethno-cultural. Despite the dominant imperial discourse in Crimea, which was preserved in the post-revolutionary period, the author discovers the world of the Crimean Tatars, finds areas of popularity of Ukrainian culture, reflects on its achievements and prospects on the Crimean Peninsula. The poetic cycle “Crimea” (1927-1928) by Mykola Chernyavsky testifies to the originality of the author’s artistic visions, his intensive use of toponyms, with the help of which he expresses the uniqueness of the Crimean space. In the novel “Under the Black Flag” (1928), the writer introduces the inner text – short story “Iphigenia in Taurida”, which becomes an artistic version of the writer’s diary, resorting to gender inversion: the female protagonist acts as an observer in it. The conclusions emphasize the cartographic originality of the writer’s Crimean work, the sacralization of the region's landscape, its utopian aura, which can cause catharsis in pilgrims. Arguments are given that Mykola Chernyavsky’s work is a worthy contribution to the literary geography of the modernist era, in particular, the richness of the author's marinist images is emphasized.
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Novikova, Olga. "Он жив. Новелла". Modernités Russes 8, n.º 1 (2009): 161–68. http://dx.doi.org/10.3406/modru.2009.1460.
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“When you swim against the current, do not wait for the support of it” - wrote Khlebnikov being a student. He swam against the current of the Silver Age, after his death his Word was in the contradiction with the Soviet system. And even now the futurist poet is swimming against the current, against the mainstream of contemporary culture. Khlebnikov’s poetry and his behaviour show what is Genious as such. Genious is not “a great talent”, it is not simple quantative concentration of giftidness. There is a qualitative difference between a big talent (Mayakovsky) and a genious (Khlebnikov). I use here the concept “izgib” (“the bend”) what means the natural paradoxality of the artistic personality and the artistic style. There is a lot of examples of Khlebnikov’s extraordinary behaviour. One of the most impressive was described in the memories of Yury Annenkov. At the dinner Khlebnikov took a sprat from the distant common dish and carried it to his own plate making a wet trace on the table-cloth. “Nehkoť trevozhiť” (“I didn’t want to disturb” ) -was his explanation of his stange action. Really he didn’t want to disturb -not only the guests who could bring the dish nearer to him but first of all the creative process which never stopped in his mind and his soul. The wet trace of the fish on the table-cloth can serve a symbol of artistic “bend”. In serious context we can follow this bend in the permanent Khlebnikov’s pilgrimage up to tragic death in the village of Santalovo in Novgorod region. It was a final of a bright cathartic tragedy. The “bed” has no end. It is a continious way to eternity. On the contrary Mayakovsky’s “straight” way ends as a suicide, as a self-destruction. Even in comparison with Akhmatova, Pasternak, Mandelshtam and Tsvetayeva Velimir Khlebnikov shows the more clear model of Genius, independent of any non-artistic values. Only prosaist Andrey Platonov is similar to him in this sense. “Velimir is sitting crossing his legs. He is alive” -this is a short poetic inscription of Daniil Khaims to the portrait of Khlebnikov. Khlebnikov is still alive. He is new and strange even for the majority of educated readers. This is a pledge of his immortality.
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Uirak Kim. "The Medieval Poetics of Pilgrimage and Multiple Voices". Medieval and Early Modern English Studies 15, n.º 2 (agosto de 2007): 289–305. http://dx.doi.org/10.17054/memes.2007.15.2.289.
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Kovelman, Arkady y Uri Gershowitz. "The Poetics of Talmudic Esotericism: The Metaphoric Meaning and Composition of Moed Qatan and Hagigah". Review of Rabbinic Judaism 17, n.º 2 (13 de agosto de 2014): 145–69. http://dx.doi.org/10.1163/15700704-12341266.
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This paper analyzes the metaphoric systems of Hagigah and Moed Qatan. We suggest that the notions of pleroma and kenosis, generally associated with Christian theology or Gnosticism, are the leitmotiv of Hagigah. God loves the emptiness of Israel. On the other hand, the emptiness prevents Israel from completing the eschatological pilgrimage. This pilgrimage (the Way) is the topic of Moed Qatan as well. The meeting of God and Israel (moed) is understood in two different ways. Either preparing the way for God is most important, or preparing the way for Israel is. While the New Testament favors the first understanding, the Talmud focuses on the second.
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Baraw, Charles. "Hawthorne, a Pilgrimage to Salem, and the Poetics of Literary Tourism". Canadian Review of American Studies 47, n.º 1 (abril de 2017): 76–111. http://dx.doi.org/10.3138/cras.2016.005.
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Andrews, Stuart. "Pilgrimage to Waterloo: Lake Poets and the Duke". Romanticism 23, n.º 1 (abril de 2017): 53–61. http://dx.doi.org/10.3366/rom.2017.0306.
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Southey's 2000-line poem, The Poet's Pilgrimage to Waterloo, was published two centuries ago, in 1816. It does not offer a narrative of the battle, but rather reflections on war – prompted by a visit to the battlefield. Yet in another sense, Coleridge, Southey and Wordsworth all made a pilgrimage to Waterloo in their changing assessment of Arthur Wellesley, first Duke of Wellington, starting with his involvement in Spain's Guerra de la Independencia – Britain's Peninsular War. Elsewhere I have addressed the Lake Poets’ enduring commitment to the libertarian cause of the Spanish and Portuguese peoples – a decade after all three had supposedly abandoned their youthful liberal principles. This article draws on the Lake Poets’ poetry, polemical prose and correspondence in order to trace their shifting judgments on the Duke from his part in the notorious Convention of Cintra (1808) to his victory at Waterloo seven years later.
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Mosaleva, Galina V. "Temple-related Poetics of Goncharov’s Meta-Novel". Two centuries of the Russian classics 3, n.º 3 (2021): 84–103. http://dx.doi.org/10.22455/2686-7494-2021-3-3-84-103.
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The article justifies the representation of Goncharov’s temple-related tetralogy, which includes “A Common Story”, “Oblomov”, “The Precipice” and “Frigate ‘Pallada’”. Temple-related and liturgic principles of the tetralogy are defined as the measure of its structural and conceptual integrity. Paths of heroes in the novels under discussion lie within the “temple-related model” and should be evaluated in line with the axiology of this model. The storyline associated with Alexander Aduev is considered as “vulgar travel”, “pseudo-pilgrimage” to Saint-Petersburg, the city which became “Russian Europe”. The novel “Frigate ‘Pallada’” focuses on the peculiar “narrative” status of the hero, and this focus allows to combine “inner” and “extra” storylines. The novel highlights certain changes in paths of hero who moves backward to “the great Motherland” instead of moving forward to “the progress”. Concerning the novel “Oblomov”, one can notice that this writing justifies the point associated with “dynamics” of the hero’s “interior life” who travels inside and reorients himself from the West to the East. The article considers “The Precipice” (“Obryv”) as Goncharov’s most “pedalogical” novel with its focus on “Russian brinks”. Boris Raisky ran the gamut from an amateur artist to the artist — “man of the soil”. The novel emphasizes the significance of territories of “provincial Russia” struggling to “heal misguided paths” and to eliminate “precipices” of Russian History.
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Saleh qızı Rüstəmova, İlhamə. "A new type of romantic hero of C.G. Byron’s poem “Childe Harold’s Pilgrimage”". SCIENTIFIC WORK 73, n.º 12 (23 de diciembre de 2021): 16–21. http://dx.doi.org/10.36719/2663-4619/73/16-21.
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“Çayld Haroldun ziyarətləri”, Lord Bayron tərəfindən dörd kantoda yazılmış avtobioqrafik əsərdir. I və II kantolar 1812-ci ildə, III kanto 1816-cı ildə, IV kanto isə 1818-ci ildə nəşr olundu. Bayron özünün poetik şöhrətini ilk iki kantonun nəşri ilə qazandı. Dünya ədəbiyyatında Çayld Harold romantik qəhrəmanın etalonudur. Gündəlik həyatdan bezmiş cazibədar gənc həyatın mənasını duymaq üçün naməlum ölkələrə üz tutur. Poema geniş şəkildə təqlid edildi və Bayronun təbii gözəllik səhnələrini düşünərkən həzin xəyallara dalan sərgərdan qəhrəmanının kultuna töhfə verdi. Onun avtobioqrafik subyektivliyi təkcə ədəbiyyata deyil, musiqi və rəssamlıq sənətinə də geniş təsirə malik oldu və Avropa romantizminin güclü tərkib hissəsinə çevrildi. Açar sözlər: romantizm, romantik qəhrəman,azadlıq, şöhrət, təqlid etmək
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Kaul, Mythili. ""Hamlet", "Macbeth", Anantanarayanan’s "The Silver Pilgrimage" and A Touch of Occidentalism". Multicultural Shakespeare: Translation, Appropriation and Performance 25, n.º 40 (14 de diciembre de 2022): 61–73. http://dx.doi.org/10.18778/2083-8530.25.05.
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The article focuses on an encounter with Shakespeare in an unusual place, a novel set in medieval India, where Shakespeare is viewed and assessed by an Indian audience, by Indian listeners, through principles of classical Indian art and thought. Such an encounter creates a sense of incongruity, an incongruity that is cultural, philosophical and aesthetic, but at the same time leads to startling perspectives and new and fresh insights. The novel does not privilege one culture over another but the listeners do and we have a brilliant piece of comic writing where the humour derives from the one-sidedness of their perceptions, their “occidentalism”, their easy assumption of the superiority of their belief system over the “other”. The Silver Pilgrimage thus provides not only a stimulating perspective on two Shakespearean tragedies from the point of view of Sanskrit poetics and Indian thought, but also a gentle expose of the limitations of this point of view, and the cultural chauvinism that lies behind it.
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Shestakova, E. Yu. "The image of the national landscape in the short novel “Pilgrimage” by Ivan Shmelev". Vestnik of North-Eastern Federal University 20, n.º 4 (1 de enero de 2024): 128–38. http://dx.doi.org/10.25587/2222-5404-2023-20-4-128-138.
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The purpose of the study is to examine the peculiarities of the artistic embodiment of the national landscape image in the short novel "Pilgrimage" by Ivan Sergeevich Shmelev, a writer of the first half of the 20th century. The relevance of the study is determined by the apparently growing interest of modern literary and scientific circles in the rich creative heritage of the writer, the desire to reveal the originality, uniqueness and singularity of his talent, the versatility of the artistic world. The research methods used were descriptive, interpretative and biographical. The results of the literary analysis show that the image of the national landscape presented in the "Pilgrimage" by I. S. Shmelev has a two-dimensional structure, combining realistic and ideal levels. This is explained by the peculiarity of children's view of the world, as the image of nature is given through the prism of the child protagonist’s point of view. The treatment of the theme of the native landscape is based on the motif of beauty, updated in the setting of the young hero's admiration for the uniqueness, charm and elegance of the surrounding world. The author's discourse, included in the text, brings to the narrative features of idealisation, associated with the motif of memories of a bygone childhood and a homeland lost in social cataclysms. The image of Russian nature in "Pilgrimage" develops the motifs of silence, peace, joy, joyful admiration of nature, wonder, fairy tale and spirituality. The leitmotifs in the poetics of the work are the landscape images of sun, light, dazzling brilliance, which converge with the motif of joy and the image of "golden" childhood. In "Pilgrimage", the dominant colour is the rose-gold, white and blue scale, which shades the idea of the sacredness of God's world and echoes nostalgic motifs. The symbolic images of Easter and the motif of Easter joy introduce the theme of eternal life, salvation and resurrection into the text.
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Vázquez, Miguel Ángel. "POETIC PILGRIMAGES: FROM BAGHDAD TO ANDALUCÍA, ABŪ TAMMĀM'S LĀ ANTA ANTA WA-LĀ AL-DIYĀRU DIYĀRU". Journal of Arabic Literature 34, n.º 1 (1 de abril de 2003): 122–37. http://dx.doi.org/10.1163/157006403764980596.
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Oberoi, Harjot. "Brotherhood of the Pure: The Poetics and Politics of Cultural Transgression". Modern Asian Studies 26, n.º 1 (febrero de 1992): 157–97. http://dx.doi.org/10.1017/s0026749x00015985.
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The spring month of Māgh heralds festivals, pilgrimages and popular rituals in the north Indian countryside. In 1872, the small village Bhaini, in Ludhiana district, was the scene of feverish activity. Participants in a millenarian community popularly known as Kukas had collected there in connection with the spring festivities on the 11 and 12 of January. They had, however, very little to celebrate. In the past four months nine of their numbers had been hanged by the colonial authorities on charges of attacking slaughter houses and killing butchers, others had been imprisoned, and many more were subjected to increasing surveillance and restrictions. British officials nervously shifted their views of the Kukas. Earlier seen as religious reformers within the Sikh tradition, they were now deemed to be political rebels. As those present felt heavily suspect in the eyes of the administration, the atmosphere at Bhaini must have been tense and unnerving.
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YAN, Hanjin. "Modernizing Classical Poetics and Cultural Traditions: Wu Mi's Enterprise of Rewriting George Gordon Byron". Modern Chinese Literature and Culture 35, n.º 2 (diciembre de 2023): 262–92. http://dx.doi.org/10.3366/mclc.2023.0037.
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This article examines how Wu Mi (1894–1978), a well-known conservative intellectual, pursued his modernization program by rewriting George Gordon Byron (1788–1824), the British Romantic poet enthusiastically embraced by the iconoclastic New Culturalists in Republican China (1911–1949). Through analysis of his enterprise of imitating, translating, and interpreting Byron, I argue that Wu Mi intended to counter the New Culturalists’ monopoly of Byron's reception in China and to affirm his own vision of modern Chinese poetry and culture informed by Irving Babbitt's (1865–1933) New Humanism. Wu Mi portrayed Byron as a self-righteous poet-exile comparable to classical Chinese poets, invoked Byron's writing of Childe Harold's Pilgrimage to invigorate classical Chinese poetics, exploited Byron's reflections on nature and history to vindicate China's cultural traditions, and appropriated his stanzas on Jean-Jacques Rousseau (1712–1778) to support Babbitt's neo-humanistic arguments against romanticism. Wu Mi's rewriting enterprise, this article contends, shows that the so-called conservatives could assert their imagination of modernity by citing a foreign authority claimed by the iconoclasts, and that romantic poetry was woven into a narrative to modernize classical Chinese poetics.
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Ghumashyan, Varduhi. "The Impact of Metaphor on G.G. Byron’s Linguopoetic Thinking". Armenian Folia Anglistika 16, n.º 1 (21) (15 de abril de 2020): 90–97. http://dx.doi.org/10.46991/afa/2020.16.1.090.
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The issue touched upon in this article refers to the extraordinary use of innumerable metaphors in one of the greatest works by George Gordon Byron – Childe Harold’s Pilgrimage. Among literary devices it is especially metaphor that is peculiar to Byron’s linguopoetic thinking. The linguostylistic and linguopoetic methods of analysis help to bring out metaphor as an important device for Byron. Through metaphors he portrays his heroes, their feelings and thoughts and makes the reader feel his powerful flight of imagination. The author does not convince the reader to make the resulting points, but he makes him/her indirectly judge the heroes and understand situations. Thus, Byron’s metaphors are the result of his linguopoetic thinking. They give a certain charm and musical perception through plain words and word-combinations, and serve as a bridge between physics and poetics across temporal and spatial scale.
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Pellò, Stefano. "The Black Stone and the City of Light: Devotional Cityscapes and the Poetics of “Idolatry” in Matan Lāl Āfarīn Persian Mas̱nawī on Vārāṇasī (1778–9)". Eurasian Studies 21, n.º 1 (2 de febrero de 2024): 31–55. http://dx.doi.org/10.1163/24685623-20230141.
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Abstract This paper explores a hitherto unstudied Persian masnawī in praise of the sacred city of Vāraṇāsī, the Kāšī-stut (a phonetically Persianized variant of kāśī stuti, “Hymn to Vārāṇasī”) composed in 1778–9 by a little known Kāyastha scribe from Allahabad, Matan Lāl Āfarīn. The text, is an original poetic transposition of the Hindu religious landscape of Vārāṇasī in Persian verse, conjuring classical and post-classical Persian poetic conventions on the non-Islamic sphere and Sanskrit models such as the Kāśīkhaṇḍa, the Kāśīrahasya or other māhātmyas, and containing an impressive amount of descriptions (sometimes very technical) of idols, temples, pilgrimages, devotees, ascetics, the Ganges and so on. In view of the extraordinary value of the document (from the historical as well as from the literary side) the main aim of the article is not only to discuss the complex socio-cultural entanglements of the treatment of “idolatry” by a late eighteenth-century Hindu poet of Persian, but also, at the same time, to present, as far as I know for the first time, an important Persian document on early modern Vārāṇasī hitherto completely ignored by scholars. The study of the text against the background of contemporary trends in Persian poetry, in South Asia as well as in Iran, will, moreover, provide us with a proper set of interpretative tools for reading what we should begin to call the Hindu Persian literature of the eighteenth century.
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Korshunova, Evgeniya A. "Khivinka by Sergey Durylin: the Poetics of Narration". Проблемы исторической поэтики 18, n.º 3 (julio de 2020): 205–20. http://dx.doi.org/10.15393/j9.art.2020.8102.
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<p><span lang="EN-US">The article analyzes the previously unexplored story of Sergey Durylin <em>Khivinka </em>(<em>the story of a Cossack woman</em>) (1924), written by the author in Chelyabinsk exile. The story is written in a narrative manner inherent in literature of the 1920s. Durylin, who is least oriented towards the Soviet everyday life, who is invisibly and silently arguing with the literary majority, creates an artistic image of a woman of the 19th century descending from common people, a Cossack woman, who was captured by the <em>Khivins</em>, based on historical facts recorded by N. K. Bukharin. The article takes into account the literary sources the author built his work on: <em>A Journey Beyond the Three Seas</em> by Afanasiy Nikitin and <em>The Enchanted Wanderer</em> by N. S. Leskov. The clearly expressed Easter archetype of “A Journey” of the story of Durylin outlines the vector of an axiological path of the heroes — the pilgrimage toward Easter, marked with their return to home. Using the poetics of a tale, the writer draws focus primarily toward a narrative manner of N. S. Leskov with its usual confessional character. On the basis of memoirs, it is stated in the article that the writer’s wife, Irina Alekseevna Komisarova-Durylina, to whom this story is dedicated, became the prototype of <em>Khivinka</em></span><span lang="EN-GB">.</span></p>
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Hamilakis, Yannis. "Museums of oblivion". Antiquity 85, n.º 328 (mayo de 2011): 625–29. http://dx.doi.org/10.1017/s0003598x00068010.
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The relationship between antiquity, archaeology and national imagination in Greece, the sacralisation of the Classical past, and the recasting of the Western Hellenism into an indigenous Hellenism have been extensively studied in the last 15 years or so (see e.g. Hamilakis 2007, 2009). In fact, Greece has proved a rich source of insights for other cases of nation-state heritage politics. The new Acropolis Museum project was bound to be shaped by the poetics of nationhood right from the start, given that its prime referent is the most sacred object of the Hellenic national imagination, the Acropolis of Athens. This site is at the same time, however, an object of veneration within the Western imagination (you only have to look at the UNESCO logo), a pilgrimage destination for millions of global tourists, with all its revenue implications, and an endlessly reproduced and modified global icon (in both senses of the word).
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Sobrer, Josep Miquel. "LA GRAN ENCISERA: THREE ODES TO BARCELONA, AND A FILM". Catalan Review 18, n.º 1-2 (1 de enero de 2004): 121–28. http://dx.doi.org/10.3828/catr.18.1-2.8.
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Three odes to Barcelona, written by Jacint Verdaguer, Joan Maragall, and “Pere Quart” [Joan Oliver] respectively, make clear the changing faces of the city. For Verdaguer, Barcelona is an expansive metropolis on its way to greatness. For Maragall, Barcelona, while rocked by conflict, remains the inescapable center and “great enchantress” of Catalan life. For Pere Quart, Barcelona is the locus of a sweeping revolution aimed at bringing about a new social order —a hope promptly shattered by the Spanish war of 1936-39. The three odes roughly correspond to three generations and offer a poetic history of the city. Skipping a generation and shifting from poetry to film, the article addresses Barcelona at the turn of the twentieth century as seen by Pedro Almodóvar in his 1998 Oscar-winning film, Todo sobre mi madre. In Almodóvar’s portrait, Barcelona is detached from its role as Catalan capital and becomes a globalized city for postmodern pilgrimages. As if to underscore this move, the celebrated technique known as trencadís employed by Gaudí and other modernists (and consisting of broken pieces of ceramic put together to form new ornamental compositions) serves as a symbolic backdrop to a number of characters who flock to the city to give new meaning to their fragmented selves.
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Pfander, Jana. "Interdisciplinarity of literary studies and natural sciences Ecology, synergetics and poetics of total dialogue in Andrei Bitovs novel The Monkey Link: Pilgrimage Novel". International Journal of Global Environmental Issues 1, n.º 1 (2021): 1. http://dx.doi.org/10.1504/ijgenvi.2021.10044154.
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Isachenko, Tatiana A. "“The Escape in the Desert” in Book Culture and Literature of Pre-Peter Russia". Проблемы исторической поэтики 27, n.º 1 (febrero de 2020): 56–72. http://dx.doi.org/10.15393/j9.art.2020.6822.
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<p> The motif of “the escape from paradise” has recently become one more time the subject of historical poetics. This motif is opposed to “the expulsion from paradise” accepted in Western literature. In the perception of scholars the motif of “the escape from paradise” in 19th century literature took a paradoxical form of “loneliness” (Dmitriev, Pushkin, Ostrovsky and Batyushkov) and then was designated as a “moving” model of a Russian man’s life who escapes from Paradise — a “homeostatic” society (L. N. Gumilev). The transformation of the motif from a “stable” model to a “moving” one led to formation of a new Russian character — a “homeless wanderer” mentioned by F. M. Dostoevsky in his “Pushkin Speech”. The article puts forward a thesis that under the influence of wandering a part of Russian society feel inclined for Old Russian forms of world outlook that incites person’s searches for life paradise in his own soul. This trend appears in the pilgrimage and theological literature of the 19th century. The transformation of the ratio between the “stable” and the “moving” towards the Old Russian ideal of wandering brings man to the saving paths of evangelical commandments. The theme of “escape in the desert” is closely related to the theme of “Mental Paradise”. In this regard, the key plot of the popular collection “Mental Paradise” popular in the 17th century and released in Wallay Iversky Monastery in 1658–1659 is considered. Based on the manuscripts the article shows how the motives of “Paradise” and “escape in the desert” having preceded the trends and having been developed in the 19th century leading to the prosperity of pilgrimage literature, are presented in literature of pre-Peter Russia.</p>
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Georgini, Sara. "John Quincy Adams at Prayer". Church History 82, n.º 3 (30 de agosto de 2013): 649–58. http://dx.doi.org/10.1017/s000964071300067x.
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At seventy-three years old, John Quincy Adams embarked on a winter lecture tour to share his views “On Faith” and drew on his “intercourse with the world” to describe the “many liberal minded and intelligent persons—almost persuaded to become Christians” whom he had met. So powerful was Adams's religious message that when his youngest son came across the manuscript years later, he simply docketed it: “Two sermons/JQA.” The speech, delivered from Boston to Salem and Hartford to Brooklyn—but never printed—laid out his decades of seeking and the formulation of Adams's own theology. Overall, Adams came to believe that man's unity of faith, hope, and charity could defeat earthly ills and clarify choices in the early republic's burgeoning religious marketplace. “Faith must have its bounds, and perhaps the most difficult and delicate question in morals is to define them clearly,” Adams said, praising the American government's nonintervention in forming official articles of faith. “But allow me to say that this unbounded freedom of religious faith, far from absolving any individual from the obligation of believing, does but impose it upon them, with a tenfold force.” This insight was especially true of Adams's own religious history. Therefore this essay offers a reintroduction to America's sixth president based on the diverse circles of prayer that he moved through, and the religious poetics that he created to narrate that pilgrimage. It ends with a glimpse of the curious afterlife that American religious culture assigned to him.
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Cervantes-Ortiz, Leopoldo. "Una Teología de la Alegría Humana: La Teología Liberadora, Lúdica y Poética de Rubem Alves". REFLEXUS - Revista Semestral de Teologia e Ciências das Religiões 8, n.º 12 (13 de mayo de 2015): 45. http://dx.doi.org/10.20890/reflexus.v8i12.237.
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Resumo: Ninguém imaginaria que o mesmo autor que em maio de 1968 escreveu uma tese tão densa e provocadora como Towards a theology of liberation: an exploration of the encounter between the languages of humanistic messianism and messianic humanism escreveria décadas mais tarde poesia, oração, mística e teologia. Em sua obra, Rubem Alves expressa a peregrinação que passou até alcançar o cume de um estilo dominado pela poesia e o aprofundamento completamente anti-dogmático que já havia anunciado, muito veladamente, em seus primeiros escritos. Antes de sua passagem por Princeton, “junto aos rios de Babilônia”, ele já havia esboçado uma interpretação teológica dos processos revolucionários que seriam publicados no seu país apenas no século XXI, 40 anos mais tarde. Além do lugar que ocupa no panorama teológico e intelectual desde sua juventude, Rubem Alves é também uma das grandes figuras da literatura brasileira contemporânea. Ele se tornaria alguém que chegou bastante tarde à poesia, mas muitos de seus ensaios, que reivindicam o corpo, a imaginação, o erótico e a magia, já abriam as portas para uma expressão inédita e insuspeitada para ele mesmo. A música da poesia e a literatura esperaram-no, até que, finalmente, o possuíram de corpo e alma. Palavras-chave: Rubem Alves. Teologia. Poesia. Estética. Abstract: Nobody could imagine that the same author who in May 1968 wrote a so dense and thought-provoking thesis as Towards a Theology of Liberation: The Exploration of the Encounter between the Languages of Humanistic Messianism and Messianic Humanism would write poetry, prayer, and mystical theology some decades later. In his work Rubem Alves expresses the pilgrimage he experienced until reaching the summit of a style dominated by poetry and a complete deepening into the anti-dogmatism that he had already announced very covertly in his early writings. Before Princeton, “along the rivers of Babylon” he had already outlined a theological interpretation of revolutionary processes that would be published in his country only in the XXI century, 40 years later. Besides the place he has occupied in the theological and intellectual scene since his youth, Rubem Alves is also one of the great figures of contemporary Brazilian literature. He would eventually become a late-blooming poet as he forayed into poetry late in life; however, many of his essays championing the body, imagination, eroticism and magic opened the doors to an expression that was unprecedented and unsuspected to him. The music of poetry and literature waited until they finally possessed his body and soul. Keywords: Rubem Alves. Theology. Poetry. Aesthetics.
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Greene, Darragh. "“Crist spak hymself ful brode in hooly writ”: Chaucer, Divine Speech, and the Silent Word". Chaucer Review 57, n.º 1 (1 de enero de 2022): 1–31. http://dx.doi.org/10.5325/chaucerrev.57.1.0001.
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ABSTRACT Chaucer eschews the representation of divine speech almost completely throughout his works until the Parson's Tale. In this article, I explore Chaucer's limitation of the locutionary range of his poetry to the silence of the Word. There are opportunities when divine speech might have been represented. The dream-visions, especially the House of Fame, playfully conjure the possibility that as somnia coelestia they may be forms of divine discourse. Yet, nothing is certain. This epistemic diffidence changes finally when divine speech imbues the Parson's prose anti-tale with salvific promise, as God speaks beyond the vagaries of fiction and fable. In sight of pilgrimage's end, the Parson's Tale affirms that if one hears and follows the sermo humilis of Christ's message, expressed “ful brode” in the humble vernacular, then the reward will be eternal beatific relationship to God. The Retraction implies that this, perhaps, is the poet's sincere religious position.
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Pieldner, Judit. "A Melancholy Journey through Landscapes of Transience". Acta Universitatis Sapientiae, Philologica 7, n.º 1 (1 de diciembre de 2015): 65–72. http://dx.doi.org/10.1515/ausp-2015-0036.
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Abstract Saturn is the planet of melancholy, about which Walter Benjamin writes: “I came into the world under the sign of Saturn - the star of the slowest revolution, the planet of detours and delays.” W. G. Sebald’s prose poetics seems to be driven by this motion, which is more than a simple state of being: it is a way of perceiving the world as well as a way of writing, perpetual transition, walk, halt, deviation from the road, getting lost and finding the way back. The paper reflects on W. G. Sebald’s The Rings of Saturn (Die Ringe des Saturn: Eine englische Wallfahrt, 1995], a unique literary achievement deeply embedded into the history of literature, culture and the arts, which can be best construed from the direction of “the order of melancholy.” On the pages of the book the reader can traverse, together with the Sebald-narrator, a route in East Anglia, with digressions in various directions of (culture) history. The journey in the concrete physical space turns into an inner journey, into a spiritual pilgrimage; the traversed locations become documents of destruction and transience. From the perspective of the order of melancholy places are determined by their relations, temporality and role in history rather than by their concrete geographic coordinates. The infinitely rich construction of the narrative creates a continuous passage between the local and the universal, the concrete locations of the journey and the scenes of world history, between the time of the journey and the (colonial] past, between East and West. The traversed historical, cultural and medial spaces displace the perception of human existence and result in the incommensurable aesthetic experience of the Sebaldian prose.
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Orlić, Milan. "Borislav Pekić’s New textuality in the light of Bakhtin's concept of the open text of the polyphonic novel". Dostoevsky Journal 16, n.º 1 (25 de abril de 2015): 92–107. http://dx.doi.org/10.1163/23752122-01601011.
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In this paper I analyze two of Pekić’s novels in the light of Bakhtin’s concept of the open text of the polyphonic novel which Pekić develops by means of a new Narrator Figure and a new poetics based on an encyclopedic embedded text structure. Among several literary techniques developed from the beginnings of Pekić’s writing, crucial importance belongs to what I call the Explicit Narrator Figure (for instance, in The Time of Miracles, 1965), who speaks in his own voice as interpreter of found texts, and the Implicit Narrator Figure, who adopts the literary and non-literary voices of (many) others, to whose diction and style he assimilates his own voice (for example, in Pilgrimage of Arsenije Njegovan, 1970). This new (postmodern) narrator figure, both explicit and implicit, acts as an interpreter of «found» texts. What connects these two types of Narrator Figures is the document and related Embedded Narration: both narrators thus deal with the pre-texts as well as texts-in-texts, levels and layers of texts, proto-texts and meta-texts – various types of Framed/Embedded Narratives. The Implicit Narrator Figure deals with Biblical witnessed texts and the Explicit Narrator Figure uses personal testamentary texts. In such a way, both Implicit and Explicit Narrator Figures become the researchers of different types of literary and non-literary documents. These complex inter-textual explorations of the “library” of culture are “encyclopedic” in magnitude and reveal, in combination with the new Narrator Figure’s status as Editor and Interpreter, a new type of narrative text, constituted in the encyclopedic open novel structure. Pekić thus introduces a new form of inter-textuality into Serbian literature, implicitly extending Bakhtin’s (and Dostoevsky’s) legacy by drawing on the Serbian national literary canon and the entire Western cultural “library”.
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Pfander, Jana. "Interdisciplinarity of literary studies and natural sciences Ecology, synergetics and poetics of total dialogue in Andrei Bitov's novel <i>The Monkey Link: A Pilgrimage Novel</i>". International Journal of Global Environmental Issues 20, n.º 2/3/4 (2021): 276. http://dx.doi.org/10.1504/ijgenvi.2021.121013.
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