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1
Linafelt, T. « Biblical love poetry (... and God) ». Journal of the American Academy of Religion 70, no 2 (1 juin 2002) : 323–45. http://dx.doi.org/10.1093/jaar/70.2.323.
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Dewi, Novita. « Finding God in All Things through Poetry ». Journal of Language and Literature 21, no 1 (16 mars 2021) : 190–97. http://dx.doi.org/10.24071/joll.v21i1.3145.
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Poetry is a language of devotion. It is the melody that resonates from one’s pure conscience. Being the most important and richest part of our spiritual practice, people read and write poems to help them gain understanding about themselves, each other, and the world around them. Examining world poetry, mainly from America, Indonesia, and Sri Lanka which tell about the presence of God, this article attempts to find out how God the Creator is present and represented, focusing as it does on the connection between poetry and spiritual exercises. Each of the seven poems under discussion is read by considering Ignatian Spirituality of which the core is “Finding God in All Things”. The selected poems show that God can indeed be found in three main spots. First, God resides in the universe. The presence of God in nature is a common theme shared by the poets discussed. Second, the speakers of the poems find God within themselves. They find God through discretion. Third, some of them find the face of God in that of other people because humans are created in His image. The poems open an awareness that God is present in the sufferings of others. In conclusion, poetry serves as both prayers and spiritual exercises that can improve people’s inner compassion and justice.
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Indrajeet Mishra. « Mapping Indianness : Niranjan Mohanty’s Poetry ». Creative Launcher 5, no 3 (30 août 2020) : 203–12. http://dx.doi.org/10.53032/tcl.2020.5.3.27.
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Niranjan Mohanty is a distinct and unique voice in Indian English poetry. His poetry is a milestone in propagation and popularization of indigenous cultural ethos and methods. He fuses together religiosity, modernity, contemporaneity and imagination. He has unflinching faith and devotion in Almighty. In his Prayers to Lord Jagannatha and Krishna he reminds of medieval devotional poetry. He represents God in different and unconventional manner. To him God is friend, foe, companion, animal etc. He is not reluctant in critiquing and exhibiting devotion to God simultaneously he surrenders himself entirely. Mohanty’s poetry is full of mystic journey. His poetic themes include the poet’s love for his dead father, the poet’s grief over the de-generation that sprouts on the name of modernity and development and deep faith in rituals and religion. He glorifies the incarnation of divinity in the human form and records the pangs, suffering, longing, desire and uncertainties in love like mortal beings. The mythical references, images and symbols affirm poet’s craving for God, culture and tradition.
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Slee, Nicola. « Getting God Through Poetry and Prayer ». Modern Believing 59, no 3 (juillet 2018) : 209–17. http://dx.doi.org/10.3828/mb.2018.16.
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Sesorova, A. « The myth of the angel in A. Polezhaev’s poetry ». Philology and Culture, no 2 (25 juin 2024) : 205–8. http://dx.doi.org/10.26907/2782-4756-2024-76-2-205-208.
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This article considers the myth of the angel in the poetry of A. Polezhaev, a representative of the socalled “God-fighting” romanticism. The image of an angel was quite frequent in the poetry of Russian romantics in the first half of the 19 th century, in particular, it was most traditionally and fully represented in the poetry of V. Zhukovsky who worked within the framework of Christian Romanticism. Polezhaev, on the other hand, comes to consider this image from a God–fighting position, and his image of an angel is artistically comprehended through the prism of the opposition “Beauty – Death”, which is not only typical, but also meaningful for Polezhaev’s poetry. The image of an angel acquires several incarnations in A. Polezhaev's poetry: it can be comprehended through the image of a beautiful beloved endowed with angelic beauty; Polezhaev also refers to the traditional image of an angel messenger of God, but embodies it differently, through the plot of fallen angels rejected by their creator. In addition, the features of the traditional image of an angel in Polezhaevsky poetry are given to a demon capable of bringing not destruction and death, but inspiration. Thus, we can say that the God-fighting motifs in his work manifest themselves atypically and in a peculiar way, the protagonist makes attempts to fight with God both through the image of an angel, including an inverted one, and through beauty.
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Ghosh, Subho. « Jayanta Mahapatra’s Poetry : A Mythic Mirage of Social Introspection on the Bedrock of Reality ». INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 07, no 11 (1 novembre 2023) : 1–11. http://dx.doi.org/10.55041/ijsrem27373.
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Jayanta Mahapatra’s impregnation of socio-cultural backdrops that he discerns in his locale fetches him face to face with history and myth when his “self” is connoted in the act of attention. The intimacies amid the self and reality - the reality that flees but comprises self and culture form the bedrock of Mahapatra’s poetry. To him, it is the investigation of myths and it is leashed with the world of art and sculpture. He keeps on his quest for a divine spirit and for charm in the relationship between man and man, and God and God, men and sculptured art. Mahapatra holds forth to have the condemnation that tradition is and continuance, it is entirety and one has to fathom the present in terms of the past and the past in terms of the present. There is a dense token of introspection in his poetry. The elementary poetry of Mahapatra is a satiric repercussion on past and current racial, religious, cultural, and societal life. The poet's attempt to extract meaning from his emotional and intellectual existence is often shown in Oriya culture. He exercises the Oriya life caught in the current of time as the impulsive millstone for his poetry. Keywords: Indian culture, social introspection, poetry, sensibility, self-exploration, discovery
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Sholihah, Husniatin, et Nensy Megawati Simanjuntak. « Existentialism in Extracurricular Poetry Creation : A Hermeneutic Analysis ». Journal of Language and Literature Studies 4, no 2 (20 juin 2024) : 432–44. http://dx.doi.org/10.36312/jolls.v4i2.1894.
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Poetry is a literary form that conveys the poet's emotions and thoughts through an imaginative and structured process. It is rich in emotion and distinct in its expression. Writing poetry involves channeling imagination into lines and stanzas, reflecting the poet's creative freedom and ownership. Within the framework of existentialism, poets exercise complete freedom in crafting their poetry without external influence. This study employs a qualitative approach using Hermeneutic analysis and data validation techniques, where data are validated through thorough reading to ascertain the meaning of each word and phrase. The data sources consist of seven poetry texts created by members of the extracurricular poetry group at MTs Miftahul Huda Palang Tuban. Data were collected in the form of words, phrases, and stanzas that depict existentialism, particularly individual freedom. The findings reveal five existential themes in the poetry: "me" (29%), "heart" (14%), "love" (14%), "friends" (29%), and "God" (14%). The terms "me" and "best friend" are the most prevalent, highlighting the themes of self-identity and interpersonal relationships as forms of existence. This study demonstrates that the poet's existence is manifested through the choice of words, with the dominant themes reflecting the poet's exploration of identity, relationships, and individual freedom.
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Priydarshi, Ashok Kumar. « Human and Divine in the Poetry of Walt Whitman ». Journal of Advanced Research in English and Education 6, no 04 (8 décembre 2021) : 1–4. http://dx.doi.org/10.24321/2456.4370.202106.
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Materialism and spiritualism are major themes of Whitman’s poetry. A man can be worldly-wise and yet spiritual. For Whitman, materialism and spiritualism can co-exist perfectly. So, according to Whitman, if people are desirous of getting worldly pleasure, it does not make them less connected with God. We cannot be less spiritualistic than those who worship God and offer prayers to Him. Spiritualism is that constant search, more inner than outer, that enables us to know what we are. Whitman looks upon each and everyone as spiritual. For him, it is the body that shows the way to the soul and the soul shows the way to God. We see a gradual shift of emphasis from the material to spiritual in the poetry of Walt Whitman.
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Priydarshi, Ashok Kumar. « Human and Divine in the Poetry of Walt Whitman ». Journal of Advanced Research in English and Education 6, no 04 (8 décembre 2021) : 1–4. http://dx.doi.org/10.24321/2456.4370.202106.
Texte intégralRésumé :
Materialism and spiritualism are major themes of Whitman’s poetry. A man can be worldly-wise and yet spiritual. For Whitman, materialism and spiritualism can co-exist perfectly. So, according to Whitman, if people are desirous of getting worldly pleasure, it does not make them less connected with God. We cannot be less spiritualistic than those who worship God and offer prayers to Him. Spiritualism is that constant search, more inner than outer, that enables us to know what we are. Whitman looks upon each and everyone as spiritual. For him, it is the body that shows the way to the soul and the soul shows the way to God. We see a gradual shift of emphasis from the material to spiritual in the poetry of Walt Whitman.
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Badri, Impon, Misra Nofrita et Hermawan Hermawan. « Analisis Citraan dalam Antologi Puisi Titip Pesan pada Tuhan Karya Lenggok Media Production Rokan Hulu ». LITERATUR : Jurnal Bahasa, Sastra dan Pengajaran 2, no 1 (12 décembre 2021) : 1–8. http://dx.doi.org/10.31539/literatur.v2i1.2865.
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The purpose of this study was to describe the imagery contained in the anthology of the poem Titip Message to God by Lenggok Media Production Rokan Hulu. This research method is a qualitative descriptive method. The results of this study were to find 179 images in the anthology of the poem Titip Message Pada God with Lenggok Media Production Rokan Hulu, namely 80 visual images, 45 auditory images, 15 olfactory images, 6 tasting images, 17 tactile images, and 16 motion images. In conclusion, in this poetry anthology visual imagery is more dominant because poetry is more poetry than dark poetry, so that poetry words tend to use denotative language to describe the objects they see and most of the poets adhere to naturalism by describing what is according to their vision.
Keywords: Imagery, Leggok, Poetry
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Gabriel, Onwu Uko. « The Indictment of God and the American Society in Countee Cullen’s Poetry ». International Journal of English and Comparative Literary Studies 2, no 4 (20 juillet 2021) : 75–89. http://dx.doi.org/10.47631/ijecls.v2i4.289.
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The concept that God is as unjust as the society is so eloquently portrayed in Countee Cullen’s poems “Yet Do I Marvel’’ and “Incident”. Cullen accuses God of being unjust by making him a poet. The renowned poet does not exonerate his American society from the indictment based on racial hostilities and insensitivity that seemed to have permeated the milieu. This paper addresses the questions of the indictment, racial intolerance and the significance of Cullen’s poetry to American literature. To achieve the objective of this study, the author adopts interpretive literary study and The Reader-Response approach to analyze the selected poems. The study reveals that Cullen’s poetry like other genres lives in timeless performance, is therapeutic, is a strong vehicle for the mobilization of people, and a tool for protest. The study concludes that Countee Cullen uses his poetry to indict God and American society. From the analysis of the selected poems, it is observed that poetry lives with people, is a weapon for change in any Nation and Cullen’s poetry addresses the contemporary needs of a society. His accusation of God and American society is a concern and seems relevant. What matter most is equality, justice and love for humanity? All these ingredients must emanate from the heart and transcend color for any society to attain oneness.
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Odendaal, B. J. « Is T.T. Cloete ’n Calvinistiese digter ? » Literator 18, no 2 (30 avril 1997) : 1–24. http://dx.doi.org/10.4102/lit.v18i2.538.
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Is T.T. Cloete a Calvinist poet?T.T. Cloete has had a strong influence on contemporary Afrikaans poetry, particularly as a religious poet with a fanerotic world view. Some critics have characterized him as a Calvinist poet, and the validity of such a description is discussed in this article. It is pointed out that Cloete's Biblical orientation as well as the importance given to the so-called general or creational revelation of God in his poetry, is typically Calvinist. The panentheistic trend in his view of the relation between God and cosmos, the aesthetic mysticism that distinguishes his experience of God and the consequent discomfort in his poems about the meaningful ness of death in the dispensation of God, are, however, indicated as motives deviating from a typically Calvinist world view. In these respects his views, as expressed in his poetry, show similarities with those of the Catholic tradition, even with those of the Eastern Christian church.
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Dewi, Novita. « Menemukan Tuhan dalam Segalanya : Analisis Spiritualitas Kristiani dalam Puisi ». Kurios 6, no 2 (2 novembre 2020) : 227. http://dx.doi.org/10.30995/kur.v6i2.189.
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As a language of devotion, poetry can help people gain peace and understanding about themselves, each other, and the world around them. This article explores a number of world poetry that tells about the presence of God. Based on the contemplative relationship between poetry and spirituality, the aim of this study is to examine how God the Creator is present and represented in poetry. Using the hermeneutic-interpretative method of analysis, the research data which include six poems from various countries were analyzed with the conceptual framework being (1) poetry as a prayer and (2) Ignatian Spirituality, i.e., a spiritual practice to affirm that God is present in our world and active in our lives. The reading of the selected poems shows that God can indeed be found in everything. First, God is present in the universe and everything living in it. Second, having gone through various struggles, the characters or speakers in the poems find God within themselves. Third, the face of God is visible in others because humans are created in His image. The conclusion is that studying God's presence in poetry can contribute to the narratives of one's spiritual journey.
Abstrak
Sebagai bahasa pengabdian, puisi dapat membantu orang memperoleh kedamaian dan pengertian tentang diri sendiri, sesamanya, dan dunia di sekitarnya. Artikel ini membahas sejumlah puisi lintas negara yang mengkisahkan kehadiran Tuhan. Bertumpu pada relasi yang berpatutan antara puisi dan spiritualitas, tujuan studi ini adalah meneliti bagaimana Sang Pencipta hadir dan direpresentasikan dalam puisi. Metode interpretasi hermeneutik dipakai untuk menganalisis data yang berupa enam puisi dari berbagai negara dengan kerangka pikir (1) puisi sebagai doa dan (2) Spiritualitas Ignasian, yaitu latihan rohani yang menegaskan bahwa Tuhan hadir di dunia dan aktif dalam kehidupan kita. Hasil pembacaan sejumlah puisi tersebut menunjukkan bahwa Tuhan sungguh dapat ditemukan dalam segalanya. Pertama, di alam raya dan segala isinya Tuhan hadir. Kedua, setelah melalui pelbagai pergumulan, tokoh atau pembicara dalam puisi menemukan Tuhan dalam dirinya sendiri. Ketiga, wajah Tuhan terlihat dalam diri sesama karena manusia diciptakan sesuai citraNya. Sebagai simpulan, kajian puisi tentang kehadiran Tuhan dapat menambah alur kisah perjalanan spiritual seseorang
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Koplowitz-Breier, Anat. « “Anbeten Will Ich Dich, Unverstandener!” : On the Poet-God Relationship in Hedwig Caspari’s Poetry ». Naharaim 12, no 1-2 (19 décembre 2018) : 135–51. http://dx.doi.org/10.1515/naha-2018-0007.
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Abstract Hartmut Vollmer (1993) and Barbara Wright (2005) argue that women Expressionist poets have been largely neglected and forgotten. The article seeks to make a modest contribution towards remedying this scholarly lacuna by examining Hedwig Caspari’s poetry, while focusing on the relationship between Poet and God as reflected in her poetry. Caspari (1882–1922) was a German-Jewish poet who lived and worked in Berlin. During her lifetime, she published two books—a play entitled Salomos Abfall (1920) and a volume of poetry entitled Elohim (1919). Like her play, most of her poetry deals with biblical themes. Caspari’s multifaceted relationship with God informs her poetry from the earliest to the latest poems. This article wishes to expose Caspari’s unique fe/male voice, showing her stance as a “prophet,” “lover,” and “Psalmist”, and attempts to explain why as a modernist poet she decided to write spiritual poetry.
15
Guibbory, Achsah. « Devotional Poetry and the Temple of God ». George Herbert Journal 37, no 1-2 (2013) : 99–116. http://dx.doi.org/10.1353/ghj.2013.0077.
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Mysovskikh, Lev Olegovich. « Existential and Religious Concepts of Fyodor Tyutchev's Poetry as Proof of the Existence of God ». Litera, no 7 (juillet 2022) : 102–10. http://dx.doi.org/10.25136/2409-8698.2022.7.38487.
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The philosophical nature of Tyutchev's poetry was noted by researchers of his work during the poet's lifetime. The study of Tyutchev's work makes it possible to trace the origin of a unique direction of philosophical thought in Russian poetry of the XIX century – religious existentialism. The research carried out within the framework of this article allowed us to trace the genesis of the original direction of religious existentialism in the poetry of F. Tyutchev, who interpreted Nature in his work in philosophical categories. In his poetic works, Tyutchev does not just depict the splendor of Nature, but shows his own idea of the essence of the universe and tries to solve the riddle of human existence through the knowledge of the secrets of Nature, which is presented as proof of the existence of God. Thus, Tyutchev's poetry of Nature is regarded as existential poetry, since it gives a person an answer to the question of the meaning of his existence. In Tyutchev's poetry, the tragedy of human existence correlates with a similar theme developed in the philosophical treatises of the founder of existentialism, S. Kierkegaard, and subsequently continued in the works of the German existential philosopher K. Jaspers. Kierkegaard imagined a gloomy reality where a person is doomed to exist, plunged into the abyss of despair. At the same time, the founder of existentialism offered man a way out of tragic existence through the process of self-improvement, that is, the formation of his own personality, and striving for God. However, the process of becoming a personality is also a path to the tragedy of being, as it leads to a violation of harmony between man and Nature. It is this existential problem, which is related to the borderline situation of Jaspers, that lies in the focus of Tyutchev's attention, who described in poetic form the relationship between man and Nature and showed the only possible way out of this situation through making an existential choice in favor of accepting faith in the true God.
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Mysovskikh, Lev Olegovich. « The formation of a unique paradigm of religious Existentialism in the poetry of Fyodor Tyutchev ». SENTENTIA. European Journal of Humanities and Social Sciences, no 4 (avril 2022) : 20–29. http://dx.doi.org/10.25136/1339-3057.2022.4.38468.
Texte intégralRésumé :
The philosophical nature of Tyutchev's poetry was noted by researchers of his work during the poet's lifetime. The study of Tyutchev's work makes it possible to trace the origin of a unique direction of philosophical thought in Russian poetry of the XIX century – religious existentialism. The research carried out within the framework of this article allowed us to trace the genesis of the original direction of religious existentialism in the poetry of F. Tyutchev, who interpreted Nature in his work in philosophical categories. In his poetic works, Tyutchev does not just depict the splendor of Nature, but shows his own idea of the essence of the universe and tries to solve the riddle of human existence through the knowledge of the secrets of Nature, which is presented as proof of the existence of God. Thus, Tyutchev's poetry of Nature is regarded as existential poetry, since it gives a person an answer to the question of the meaning of his existence. In Tyutchev's poetry, the tragedy of human existence correlates with a similar theme developed in the philosophical treatises of the founder of existentialism, S. Kierkegaard, and subsequently continued in the works of the German existential philosopher K. Jaspers. Kierkegaard imagined a gloomy reality where a person is doomed to exist, plunged into the abyss of despair. At the same time, the founder of existentialism offered man a way out of tragic existence through the process of self-improvement, that is, the formation of his own personality, and striving for God. However, the process of becoming a personality is also a path to the tragedy of being, as it leads to a violation of harmony between man and Nature. It is this existential problem, which is related to the borderline situation of Jaspers, that lies in the focus of Tyutchev's attention, who described in poetic form the relationship between man and Nature and showed the only possible way out of this situation through making an existential choice in favor of accepting faith in the true God.
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Espinosa Ruiz, Angela. « Вобраз Бога ў паэзіі Янкі Купалы і Антоніа Мачада ». Białorutenistyka Białostocka 15 (2023) : 83–94. http://dx.doi.org/10.15290/bb.2023.15.04.
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The image of God (or gods) and of the divine is one of the universal problems that poetry in particular and literature in general have considered central throughout history. Despite the predominance and relevance of the aforementioned topics, the question of God’s image in Belarusian poetry remains under‑‑researched; philologists like Jan Čykvin and Iryna Bahdanovič have undertaken the study of this matter, yet it continues to be largely unexplored from a comparative perspective. In this manner, the present article is an attempt to complement the research of its predecessors and to present a new perspective of the subject. The purpose of this work is to identify, study and compare the image(s) of the God and the divine in the poetic work of Yanka Kupala and Antonio Machado. Special attention is paid to the moral and philosophical attitude of the authors towards higher powers. Folk and literary influences on the formation of their interpretation of the divine and, above all, metaphors and symbols that build divine images in their poetry are studied. Thus, their tendencies towards symbolic landscape poetry, which unite both poets, are analyzed. As a result of this analysis, several points of convergence have been found in Yanka Kupala’s and Antonio Machado’s representation of God in poetry, particularly in their metaphors of landscape and natural elements, as well as their vision of God as a source of inspiration and strength. Our attention has also been drawn to certain differences.
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خلف الجبوري, حسن إسماعيل, et عبدالحميد عزام ترك جبر القيسي. « Courage in the Poetic Topics Initiated in Islam The Early Islamic Era as an Example ». JOURNAL OF LANGUAGE STUDIES 5, no 1 (23 janvier 2022) : 421–35. http://dx.doi.org/10.25130/jls.5.1.28.
Texte intégralRésumé :
Praise be to God, Lord of the worlds, fulfills his blessings,and rewards more, and peace and blessings be upon our master Muhammad, the illiterate Prophet, and his family and companions. Now, however, the initiation of Islamic poetry is a literary phenomenon whose topics derive from the facts that no one can obscure and deny, as it is more powerful than to obscure and appear to be denied, because the poets have drawn it from the reality in which they live, and the title of our research(intentionally for purposes) The poetry in the early Islamic era was represented in an introduction, five sections and a conclusion. The introduction deals with language and terminology, the first section is devoted tothe poetry of glorification of God, the second to the poetry of belief and call, the third deals with poetry of jihad and Islamic conquests,the forth deals with poetry of conversion into Islam and apology and the fifth is devoted to poetry of apostasy and regret. The conclusion gives a summary of the results of the study..
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Romana Jabeen Bukhari, Tahira Asgher et Sana Tahir. « God in the Mystic Poetry of Khawaja Ghulam Farid and American Transcendentalist Ralph Waldo Emerson ». Research Journal of Social Sciences and Economics Review (RJSSER) 2, no 1 (7 mars 2021) : 36–44. http://dx.doi.org/10.36902/rjsser-vol2-iss1-2021(36-44).
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The poetry of Khawaja Ghulam Farid has a world of meanings. Contemporaneously in the West, there was a parallel line of poets who were greatly influenced by Eastern thought and philosophy in their Transcendentalist poetry. Their poetry also contains ideas about the reality of God. Ralph Waldo Emerson is considered as ‘The Father of Transcendentalism'. The present study attempts to explore how far the poetic thought of Khawaja Farid is reflected in the transcendentalist poetry of Emerson who is the leading poet of this movement. The affinities between the mystic philosophy of the Unity of Being embraced by Khawaja Farid and Transcendentalist Monism have been traced and it has been explored how this philosophy places man about God. This comparative study highlights the philosophical and spiritual affinities between Khawaja Farid and Transcendentalist Emerson and points out the differences of thought as expressed through their respective poetry.
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Jakaitė, Dalia. « Prayer Poetry in the Conversations of Henrikas Nagys and Liūnė Sutema : From Despair to Salvation ». Colloquia 46 (30 décembre 2021) : 86–110. http://dx.doi.org/10.51554/coll.21.46.05.
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The aim of this article is to examine and compare the most noticeable semantic aspects of prayer poetry in the works of Henrikas Nagys and Liūnė Sutema. The classical religious (theological) thought and the modern approach to prayer are important for the concept of prayer. The poetic prayer is more characteristic of Liūnė Sutema than Nagys; this phenomenon leads to a new understanding of the encounter of the two poets in this poetic space. The figures of sister, brother and father, the poetically individual forms of the collective subject (“we”) in the poetry of Nagys and Liūnė Sutema express the significance of the community, which corresponds to the Christian tradition of prayer. The prayer community of both authors share the poetically strong drama of guilt and repentance, truth and error, fidelity and betrayal. The analysis of God as the addressee of prayer revealed a dialogic interpretation of the Bible and the relevance of traditional prayers in the poems of both poets. The wrath of God and its dualism, which takes on the form of antiprayer, and a radical doubt about God’s will is the dominant feature of Nagys’ poetry. God in Liūnė Sutema’s poetry is more personal and is characterized by a paradoxical preservation of tradition. One of the poetically strongest forms of prayer in Liūnė Sutema’s poetry is the variations of “thy will be done” prayer. It is also one of the most suggestive means of a dialogue with Nagys’ poetry.
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Petrovic, Predrag. « The poet speaks to god : Christian religiosity in modern Serbian poetry ». Prilozi za knjizevnost, jezik, istoriju i folklor, no 86 (2020) : 97–112. http://dx.doi.org/10.2298/pkjif2086097p.
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During the twentieth century Serbian poetry was in intensive dialogue with Christian religion, motives and symbols. In the first half of the century, the inspiration to the Christian religion is evident in the poetry of Jovan Ducic and Momcilo Nastasijevic. In the poetry of Momcilo Nastasijevic there are frequent motives from The Book of Revelation and the reference to Christian ethics. Jovan Ducic in the book Lirika (1943) gives a tragic and sublime vision of life, taking on numerous Christian motives. The renewal of the prayer tone in poetry after World War II will appear in Desanka Maksimovic?s collection Trazim pomilovanje (1964). The culmination of Christian religiosity in Serbian literature of the last century is found in the book Cetiri kanona (1996) by Ivan V. Lalic, in which the figure of the Virgin Mary is especially emphasized.
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Dr. Rasheed Amjad. « Rashid’s Concept of God ». Dareecha-e-Tahqeeq 1, no 1 (7 janvier 2020) : 1–14. http://dx.doi.org/10.58760/dareechaetahqeeq.v1i1.1.
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Like all important poets N.M.Rashid also arises question about relation between God, the mand and the universe, and pounders upon them. Every poet meditates on God on two grounds: first on personal and religious level and second on philosophical level. Being born in a Muslim family and religious civilization, Rashid's Religious sensibility and sentiments were like all common Muslims of his age. But being a poet he meditated this issue on philosophical level too. In this article Rashid's conception of God has been analyzed on both these levels, with special reference to his poetry.
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Sebola, Moffat. « Alienation in Ntshavheni Alfred Milubi’s poetry ». Tydskrif vir Letterkunde 60, no 2 (22 mai 2023) : 13–25. http://dx.doi.org/10.17159/tl.v60i2.13893.
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In this article, I analyse the thematization of alienation in the poetry of the Muvenḓa poet, playwright, and scholar Ntshavheni Alfred Milubi. Milubi ascribes people’s abandonment of moral values to their perpetual frustrations, herein described as alienation. Reference is made to the crumbling African traditional institutions, which, in the past, seemingly functioned as havens for the rehabilitation of alienated individuals in African communities. These institutions are shown to be triggering alienation in the modernising and globalising space, seemingly with no room for recuperation unless one heeds the poet’s clarion calls. I restrict my analysis of Milubi’s poetry only to social and cosmic alienation, guided by a fixed set of themes, namely, from society, a romantic lover, and God, respectively. The article represents the idea that African-language literatures provide insights into how the indigenes have grappled with the interface between tradition and modernity. The three forms of alienation as treated by Milubi serve as a representative sample of how Tshivenḓa poetry in particular and African-language literatures in general often register subaltern voices and the ways in which they inscribe their experiences to explain their relationship with God or god(s), society, and intimate partners, among others. This trifocal relationship is essential to the Vhavenḓa and other African communities because it reveals their concept of cosmology, community, and intimacy.
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Lake, Christina Bieber. « Tasting the Transcendent ». Journal of Interdisciplinary Studies 34, no 1 (2022) : 43–58. http://dx.doi.org/10.5840/jis2022341/23.
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Modern views of poetry tend to concord with Wallace Stevens’s insistence that “God and the imagination are one,” assuming that the only meaning there is in the natural world is that which the poet makes. But Denise Levertov held instead that the poet’s word is a response to the beauty of the world as given by God, and that the poet’s task is to invite the reader to resonate with that experience. Drawing on current research from neurocognitive poetics that indicates how readers experience beauty in language, this essay seeks to demonstrate how Levertov’s poem, “O Taste and See,” embodies an invitation for the reader to engage one’s senses in the discovery of God through the beauty of poetry and created being.
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Leigh, David J. « Images of God in Pre-Romantic English Poetry ». Ultimate Reality and Meaning 9, no 1 (mars 1986) : 37–55. http://dx.doi.org/10.3138/uram.9.1.37.
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KROPP-DAKUBU, M. E. « Kojo Laing’s Poetry and the Struggle for God ». Matatu 21-22, no 1 (26 avril 2000) : 235–41. http://dx.doi.org/10.1163/18757421-90000323.
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Abyad, Habil, Muassomah, Arina Haque, M. Ahalla Tsauro et Helmi Syaifuddin. « Exploring Spirituality of Sa‘dūn al-Majnūn’s Poetry : A Perspective of Ibn ‘Arabī’s Hermeneutics ». Al-Ma‘rifah 19, no 2 (26 novembre 2022) : 141–52. http://dx.doi.org/10.21009/almakrifah.19.02.02.
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Spirituality poetry generally contains elements of beauty and aesthetics, so it tends to display linguistics and literature. Sa‘dūn’s poetry has its uniqueness with spiritual content in it. Spirituality in Sa‘dūn’s poetry describes the close relationship between man and God, which is reflected in the form of criticism of society. Therefore, this study aims to determine the form of spirituality in Sa‘dūn’s poetry. This research method uses content analysis by using Ibn ‘Arabī’s hermeneutics approach in its interpretation. The results of this study indicate two things, namely: (1) essence of death in the first poem contains three important pieces of advice, namely life in this world, life in the afterlife, and prepare for death; and (2) essence of ma‘rifah contained in the second Sa‘dūn’s poetry shows Sa‘dūn’s closeness to God as evidenced by two things, namely zuhud and world prevents towards Allah. This study is important in expanding the study of Ibn ‘Arabi’s hermeneutics which is usually only used to interpret the inner meaning in the Qur’ān and ḥadīth. Hermeneutics can also be used in other literary works such as poetry, novels, short stories, etc.
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Smith, G. M. « Ambivalence in the Christian poetry of C.S. Lewis ». Literator 20, no 1 (26 avril 1999) : 15–30. http://dx.doi.org/10.4102/lit.v20i1.442.
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This article examines the ambivalence expressed in certain of the explicitly Christian poems written by C.S. Lewis. As a writer his primary claim to fame is his Christian apologetics, in spite of the fact that he is well thought of in literary circles and produced several scholarly works. In the light of his considered Christian convictions, one would expect his poetry to voice a strong faith and confidence in God However, somewhat ironically, certain of his poems reflect his struggles and doubts concerning faith in an intensely personal register. Nevertheless, in spite of his ambivalent feelings towards God, he retains the certainty that God is able to transcend his human frailty and difficulties. The problem of faith is relevant in our own time, and it therefore seems fitting that we should examine certain of C.S. Lewis's poems in commemoration of the centenary year of his birth.
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Dr Barkha Saxena. « Hindu Vision in the Poetry of Robert Browning ». Creative Launcher 4, no 2 (30 juin 2019) : 27–32. http://dx.doi.org/10.53032/tcl.2019.4.2.04.
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Robert Browning is a positive poet among the great poets of the Victorian age. He is an optimistic, moralist and religious instructor. He occupies a unique place in English Literature. He seeks optimism in any situation of life by preaching universality of soul and advocacy of God. In his poems, Religion holds a prominent place, and religious teachings get expression in a commendable manner. Religion is subject dear to Browning's heart, and several of his poems deal with the theme of religion Faith in God and immortality of the soul. Besides, staunch faith in godly ways and equally profound faith in the earnest endeavour are the salient features of Browning’s philosophy of life. His famous poem Rabbi Ben Ezra is an epitome of Browning’s philosophy. In many of his poems, we encounter the matching ideas of Vedas and Upanishads. He says that God is everywhere, and we need to seek Him. He is a believer in the immortality of the soul and life after death.
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Stefans, Brian Kim. « This Working Title Will Be Replaced : Charles Bernstein's Forever Forthcoming ». boundary 2 48, no 4 (1 novembre 2021) : 279–97. http://dx.doi.org/10.1215/01903659-9382314.
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Abstract Focusing on two key themes, or vectors, of Charles Bernstein's latest book of poetry, Topsy-Turvy, that of brokenness and the various references to “God” or religious belief, this review argues that there is a new metaphysical dimension in Bernstein's recent poetry that moves beyond his poetry's earlier emphases on the purely interpersonal and material nature of language and its uses. Through a discussion of Bernstein's concept of the never-attained “virtual” in his essay “Poetics of the Americas” and philosopher Gilles Deleuze's concept of the “virtual,” I argue that we can discern something like a “transcendental” aspect in Bernstein's poetry and philosophy, but not one that points to a God, a realm of ideals, or toward a telos, but something that exists now—a very real, but not yet actual, potential. As opposed to the merely “possible,” this potentiality allows for the truly novel to appear, either in poetry or the world itself.
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Jakaitė, Dalia. « Malda kaip žodis ir veiksmas Gražinos Cieškaitės, Skaistės Vilimaitės ir Lauros Sintijos Černiauskaitės poezijoje ». Vārds un tā pētīšanas aspekti : rakstu krājums = The Word : Aspects of Research : conference proceedings, no 26 (23 novembre 2022) : 58–67. http://dx.doi.org/10.37384/vtpa.2022.26.058.
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The object of the research is a poetic expression of prayer as a word (language, speech) and action (its inner and outer dimension) in the works of three authors of contemporary Lithuanian poetry. The article examines several poems by Gražina Cieškaitė (b. 1951), Skaistė Vilimaitė (b. 1972), and Laura Sintija Černiauskaitė (b. 1976). The choice of the object is determined by the poetry itself, its religious experience, as well as the modern concept of prayer based on the Christian tradition, and its literary and cultural relevance. The aim of the article is to investigate the poetic transformations of prayer in the works of the three authors, focusing on the interaction of action and word, the poetic expression of the language and actions of the subject of prayer, and the addressee (God). The search for the poetry of prayer is primarily empowered by the variations of the words “prayer”, “Mass”, “cantata” and others, allusions to the texts of the Gospel, the Psalm, and the litany. Being primarily a word (a conversation between God and man, a monologue or narrative of a subject of prayer), prayer is also an action. The significance of everyday ritual and aesthetic actions of humans and God is made possible both by direct allusions to prayer and by a conversation with God that is less defined but close to traditional religious experience. In response to the Christian tradition and the Lithuanian poetry that protects it, the subject of prayer is still often expressed in the name of the soul. This identity of a man and God makes it possible to express one of the most important intentions of prayer – the cognition of the mysteries of God. Love turns out to be one of the most important mysteries of God, experienced by the subject in both the language of the soul and the language of the body. All three poets are brought together by the meditation of the creation of the divine world in poetic prayer and the special place of aesthetic experience in this meditation. In this case, one of the most important horizons of the action of prayer is the ritual taking different forms and the world of transformations that represents it.
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G, Muthulakshmi. « Philosophical Thoughts of Bharathi ». International Research Journal of Tamil 4, S-11 (10 septembre 2022) : 128–32. http://dx.doi.org/10.34256/irjt224s1118.
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In the explanation of the universe, the five gods, the planets, man, and the soul, science and philosophy are mutually exclusive. From time to time, scholars, poets, and mystics have been explaining philosophy depending on their field of knowledge. Philosophy is always man's search object and as such is the theme of the poetry of poets. Mahakavi Bharathiyar was the source of innovation in poetry and revolution in society, as well as giving richness and impetus to the development of Tamil literature in the twentieth century. It is noteworthy here that the poet who was a revolutionary who gave rise to the concept of innovation is also a patron who praises nature and God. In the works of Bharathiyar, who sees nature as God and God as an expression of nature, philosophy is woven through the leaves. This article explains the philosophical ideas expressed in Bharathiyar's works in terms of nature, God, and man and also in terms of Siddhas' doctrine.
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Witt, William G. « George Herbert's Approach to God ». Theology Today 60, no 2 (juillet 2003) : 215–34. http://dx.doi.org/10.1177/004057360306000206.
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This article examines the way practices and doctrines formed the spirituality of the sixteenth-century Anglican priest George Herbert, as reflected in his poetry (The Temple) and prose (The Country Parson). The practices of virtuous living, Sunday worship, public and private prayer, hearing and proclaiming the Word, and partaking of sacraments combine to shape virtuous Christian character. The doctrines of God, creation, sin, Christ, and grace, as well as the problem of affliction, combined to form Herbert's faith.
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Odom, Glenn. « Before Us a Savage God : Self-Fashioning the Nation in Yorùbá Performance ». TDR/The Drama Review 55, no 2 (juin 2011) : 73–85. http://dx.doi.org/10.1162/dram_a_00071.
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The concept of identity is in a state of evolution in Yorùbá society, and this evolution works itself out in praise poetry. This poetry is performed in a variety of contexts, and each performance context contributes something distinctive to Yorùbá modernity.
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Armani, David, et Louise Gormley. « Persian Love Poetry ». American Journal of Islam and Society 25, no 1 (1 janvier 2008) : 136–38. http://dx.doi.org/10.35632/ajis.v25i1.1503.
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This little book is a beguiling collection of Persian love poems drawn fromboth classical and modern poetry, but united by the theme of love in its myriadinterpretations. Included are poems that explore the spiritual lovebetween humans and God, the magical love between lovers or spouses, theaffectionate love between family members and between friends, and eventhe patriotic love for one’s homeland. Each poem is accompanied with a preciousPersian chef d’oeuvre from the British Museum and, in particular, numerous illustrations of Persian miniatures. The editors come to this subjectwith vast expertise: Vesta Sarkhosh Curtis is curator of Islamic andIranian coins in the British Museum, and Sheila R. Canby is an assistantkeeper in the British Museum specializing in Islamic Iran. Both have publishedon Persian art, art history, archaeology, and myths, among other topics.Their aim is not to produce a well-researched and exhaustive collectionof Persian love poetry, but rather “to encourage readers to delve further intothe wealth of Persian literature” (p. 5). With its modest aim of capturing theinterest of novice western readers, theirs is a delightful book that charms itsway to success.As explained in the “Introduction,” Iranians and other Persian (Farsi)speakers treasure poetry not only because of the beauty of the poetic languageitself, but also because they derive joy and comfort from the poets’ perspectivetoward the world. The most famous Persian poets often have a mystical(Sufi) viewpoint toward life, whereby passion is a path to reach God and thetruth. Interwoven into the people’s social consciousness, poetry holds arevered place in Persian culture. A single verse from the best-known Persianpoems can capture an idea with elegant brevity. Iranians and other Persian(Farsi) speakers still recite poetry as a succinct and powerful way to expressa point, thought, or emotion. To explain how deeply embedded poetry is inthe Persian psyche, many oft-quoted proverbs draw much of their meaningand message from Persian poetry ...
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Slipushko, O. M., et A. O. Katyuzhynska. « THE SCIENTIFIC INTERPRETATION OF TARAS SHEVCHENKO’S POETRY BY V. SHEVCHUK ACCORDING TO THE BAROQUE EPOCH ». Shevchenko Studies, no 1(24) (2021) : 76–93. http://dx.doi.org/10.17721/2410-4094.2021.1(24).76-93.
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The purpose of the research is to analyze the influence of the Baroque epoch on the Taras Shevchenko’s poetry, to investigate the peculiarities of V. Shevchuk’s interpretation of the Baroque tradition, in particular the Baroque historiography, symbols and allegories, in the poetic heritage of the artist. The features of the scientific interpretation of Taras Shevchenko’s poetry by V. Shevchuk are analyzed. Particular attention is paid to the influences of the outlook and characteristic features of the Baroque epoch in the poetic heritage of the artist. The scientific views of the scientist on the existence of the Baroque traditions in the creativity of Taras Shevchenko are analyzed, Baroque ideas, motives and images are determined. The role and peculiarities of using Baroque historiography, biblical motives, symbols, allegories, represented in according to Baroque outlook, are substantiated. It was proved, that poet’s creativity is characterized by complexity and versatility, as evidenced by his active usage of meaningful symbols and allegories. In addition, it is determined, that in the poems of the period of exile such baroque motives, as insurmountable oppression, despair, tragedy of the author’s «I», appealed to the topic of death, pessimism, are represented. V. Shevchuk is sure, that the crisis of the spirit, the pessimistic motives, embodied by Taras Shevchenko in poetry, are caused by the deprivation of the living connection with Ukraine. Besides, Taras Shevchenko often refers to historical topics in his poems, in particular Ukrainian Baroque historiography. Therefore, Taras Shevchenko’s creativity is based on biblical motives and an appeal to God. V. Shevchuk thinks, that Taras Shevchenko’s poetry deals with the highest theme in the creation of a universal picture of the world: God and person, while God is a generalized concept and father of people. In conclusion, the literary achievements of the Baroque epoch have become one of the sources of Taras Shevchenko's creativity, influenced the formation of his outlook, and also found its own interpretation in the poet's heritage.
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Hryhorchuk, Yuliia. « IMAGES OF CHRIST AND THE VIRGIN MARY IN THE POETRY OF HRYHORII SKOVORODA AND WIRA WOWK ». Слово і Час, no 5 (28 octobre 2022) : 43–54. http://dx.doi.org/10.33608/0236-1477.2022.05.43-54.
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The paper analyzes the images of Jesus Christ and the Mother of God in the poetry by Hryhorii Skovoroda and Wira Wowk. Until now, this topic has not been the object of scholarly research although the creativity of writers has many common features: aphoristic style, philosophical mood, and biblical figurative elements. The purpose of the paper is to characterize the specifics of interpreting the images of Christ and the Mother of God in the authors’ poetry. The analysis is based on the collections “The Garden of Divine Songs” by H. Skovoroda and “The Rosary for Christ”, “The Rosary for the Mother of God” by Wira Wowk.
Peculiar in the reception of the figure of Christ in the poetry of both authors is its outer featurelessness and deep semantic content. H. Skovoroda used the concepts of ʻlifeʼ, ʻjoyʼ, ʻpure heartʼ and the biblical symbols of fire, stone, word, and grain; Wira Wowk preferred the symbols of word, light, heart, and ear of corn. Each author is characterized by the original interpretation of the biblical image of the Savior. He is embodied in the figures of a guest, an astronomer, a doctor hurt for human faults (poetry by H. Skovoroda) and a doctor, a heavenly gardener, a helmsman on Cheremosh (poetry by Wira Wowk).
The image of the Virgin in H. Skovoroda’s work is less pronounced than the image of Jesus and is revealed only in three poems, while Wira Wowk dedicated three separate collections to the Virgin Mary. There are different symbolic hypostases of the Mother of God in the poems by H. Skovoroda, which have been singled out. Wira Wowkʼs interpretation of this image is characterized by such features as iconographic specification, biblical dynamics of unfolding, and symbolic content (images of the Winged Mother of God, the Mother Princess, Lilia, Oranta). The image of Mother Mary is common to both authors (Mary, Mother of Jesus — in Skovoroda’s poems and Mother of humanity, the world, and Ukraine — in Wira Wowk’s ones).
Special attention has been paid to the biblical prototext in the poetic works by H. Skovoroda and Wira Wowk, important in the interpretation of the figures of Christ and the Mother of God, as well as to the moral and axiological depth of these images and their conceptual significance.
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M.G., Indian Institute of Technology, Kharagpur, India, Hari, et H. S. ,. Komalesha, Indian Institute of Technology, Kharagpur, India. « Sacred without God : <i>Bhakti</i> ; in the Poetry of Arun Kolatkar ». Asiatic : IIUM Journal of English Language and Literature 8, no 2 (15 décembre 2014) : 149–63. http://dx.doi.org/10.31436/asiatic.v8i2.494.
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Of all literary traditions that have silhouetted the contours of modern Indian Poetry, the tradition of Bhakti poetry stands out pre-eminently from the rest; it provides a creative template out of which modern Indian English Poetry stems forth. In fact, the subversive poetics of the saint poets that characterises Bhakti poetry becomes a ready tool in the hands of many anti-establishment movements of contemporary Indian literature to critique the established hegemonic structures of the society that prevent a free play of creativity. It is in this context that we can locate the significance of Arun Kolatkar's poetry. An extensive reading of contemporary Indian English Poetry reveals that no Indian English poet has internalised the sensibility of Bhakti tradition to the extent that Arun Kolatkar has in his works; such internalisation makes his poetry the most fascinating site to look for the contemporary manifestations of Bhakti. Hence, this paper attempts to explore the influence of Bhakti poetry on Arun Kolatkar, arguably the greatest Indian English poet, and seeks to delineate the way the spirit of Bhakti creeps into his poems while detailing the material world. Although Kolatkar is least interested in using poetry as a means to express the intense longing for a personal deity as the Bhakti poets did, his passionate devotion towards life matches the devotion of saints in its intensity. The paper, thus, attempts to bring out the quality of devotion that has an existence in Kolatkar's poetry without any concrete references to God and religion.
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Maiza, Suci, et Ansanul Rifki. « Nilai-Nilai Moral dalam Kumpulan Puisi “Senja Di Batas Kata” Karya Dimas Arika Miharja ». Jurnal Bahasa dan Sastra 10, no 2 (3 juillet 2022) : 159. http://dx.doi.org/10.24036/jbs.v10i2.116663.
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This study aimed to describe the moral values of poetry ”Senja di Batas Kata “by Dimas Arika Miharja. The Theory supporting use Nurgiantoro (2019) Pradopo (2005). The study used the qualitative approach with a descriptive method with content analysis. The data of this reseach are in the form of words, phrases, or sentence which are physcal and mental elements of poetry. These elements are used to find moral values in poetry. The research data was in the form of text which contained the moral values of the poetry ”Senja di Batas Kata” by Dimas Arika Miharja. The results showed that the supporting structures of the ”Senja di Batas Kata” poetry were existed, namely thephysical and mental structures. Based on the analysis of the physical and mental elements, it found that the moral values of poetry “Senja Di Batas Kata”by Dimas Arika were related to the personal character building, such as (1) dare to defend the truth, (2) be aware and careful to all events, (3) virtuous, Moral values related to social character building were (1) love each other, (2)advice each other and cooperate. There are three moral values of human relations with God, (1) faith, (2)worship and seeking God and (3)remembering death.
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Alazhari, Muhammad Riaz, et Muhammad Israr. « A Review of Cross-Referencing from Arabic Poetry in Tafsār Zād al Masīr by Ibn al Jawzī ». Journal of Islamic and Religious Studies 1, no 2 (1 juillet 2016) : 93–107. http://dx.doi.org/10.36476/jirs.1:2.12.2016.06.
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This paper describes that if we want to know about poetry we must understand that out of context we can never arrive at our destination. The Qur‘ān should be read and understood in totality of its message and spirit. Its verses are local and universal. Some verses are in local environments but leave universal and external message. The verses of Sūrah Yāsīn and Sūrah Najm related to poetry clearly exhibit the truth that God rejected the claim of the infidels who regarded the Qur‘ān as the book of poetry and Prophet Muhammad as a poet. It is an apt reply to the infidels that Qur‘ān is a message of God with a serious mission and motto. The Holy prophet used to ask people to recite the Holy poetry of Abu ║ālib. ╓assān bin thābit used to recite ‘Nāt’ in the presence of the Prophet. They enhanced the divine mission of the prophets through their facile pen and noble spirit. Hence in the light of above brief dissertation we can profess that Islam does not oppose poetry if it is written on didactic and divine lines.
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Karmakar, Goutam. « A Theological Study of Nissim Ezekiel’s Religious Outlook ». Asian Journal of Humanity, Art and Literature 2, no 2 (31 décembre 2015) : 71–76. http://dx.doi.org/10.18034/ajhal.v2i2.296.
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As the centuries passed by, the galaxy of Indian English Poetry become increasingly crowded. But the scenario was not like this during the early years. It is because only a few stars shine there, and Nissim Ezekiel is the pole star. His poetry contains so many aspects, themes, motives and symbols that sharpen and shape his poetic world. His poetry often shows irony, emotion, love, man-woman relationship, self- consciousness, a sense of discipline and self – criticism. He shows his concern for both modern and urban art and culture with the touch of Indian ethos and local colour. But as an Indian poet, he shows his thinking about God and religion in a vivid way. He also shows his changing view towards God and Indian theology in his poems. In this paper, I have tried to show Ezekiel’s religious outlook and aspects through some of his verses.
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Shomary, Sudirman. « Membaca Nilai Sufistik dalam Kumpulan Puisi Mencari Sebuah Masjid Editor Husnu Abadi dan Nopri Ahadi ». GERAM 10, no 1 (20 juin 2022) : 117–25. http://dx.doi.org/10.25299/geram.2022.vol10(1).9389.
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The anthology of poetry Looking for a Mosque, editors Husnu Abadi and Nopri Ahadi contains 24 titles of poems by well-known Indonesian authors. This work was published as material for a poetry reading competition in commemoration of Islamic Holidays. That is why this anthology of poetry contains many religious themes and Sufistic values. The problem studied is how are the Sufistic values contained in the anthology of the poem Looking for a Mosque? This study uses descriptive analysis and content analysis methods. The results of the study found Sufistic values related to the rituals or worship of Ramadan, Eid al-Fitr, mosques, and the Hajj. Poems about Ramadan worship were embroidered by poets in the poem Malam Qadar by Idrus Tintin, Night of a Thousand Months by Husnu Abadi. Furthermore, Sutardji Calzoum Bachri's Eid-ul-Fitr poem clearly explains about the worship of Ramadan and its night worship and almsgiving can lead one to become His pious servant. The Sufistic value of worship is to draw the servant closer to God, namely Allah SWT (hal taqarrub ilallah). In addition, there are also mystical values related to repenting to God and the low position of servants in front of God Almighty. This anthology of poetry contains maqam wara and maqam zuhud which means the servant's closeness to His Creator because of his special worship and his simple and sincere way of life.
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Kołosowski, Tadeusz. « Autobiograficzna refleksja Prudencjusza nad własnym życiem u progu starości ». Vox Patrum 56 (15 décembre 2011) : 321–26. http://dx.doi.org/10.31743/vp.4226.
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The author analyses the beginning of the poetic work of Prudentius (Praefatio) in whom the poet does the self-examination over his own previous life. The poet runs short his own past: the childhood, the beginning of rhetorical studies , errors of the youth, the lawyer’s career , finally the development of the public career. This are quick scenes from following stages of his life. The poet considers, how to live the period of the old age. One ought to talk with himself, to perform the dialogue with the own soul. The old age is the time which man should think about God. The poet wants to laud God with his own word, with her own poetry. Prudentius expresses the conviction that his poesy, lauds God with the day and by night, praises apostles and martyrs, fights with the idolatry and heresies and explains Catholic faith. Such poetry will assure him the salvation.
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Litvinova, Inna. « Peculiarities of the semantic representation of religious images in modern Ukrainian poetry (the period of the full- scale Russian invasion) ». 93, no 93 (22 décembre 2023) : 42–47. http://dx.doi.org/10.26565/2227-1864-2023-93-06.
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The article is devoted to the study of modern poetic texts regarding the interpretations and semantic content of religious images. Studying the implementation of one of the key language concepts based on the poetic speech material allows, on the one hand, to talk about the expressive capabilities of language as the main means of communication, and on the other hand, to investigate the specifics and changes in worldview orientations of representatives the modern generation of Ukrainians. The material for analysis was poetry posted on the pages of social networks during a difficult period for Ukrainians – the full-scale Russian invasion. The choice of language material is explained by the fact that poetry as a form of verbal art is capable of broadcasting the first quick reaction to events. The texts of different authors collectively provide a kind of the society’s emotional state projection, reflect a collective emotion. The ability to publicize poetic texts with the help of social networks and respond to them quickly endows modern poetry with a psychotherapeutic function. According to our observations, in the analyzed poetic texts, the most frequent religious image is God/Creator/Lord/Almighty. We note a number of traditional semantic interpretations of the image – faith, comfort, help, higher justice. The motif of disappointment, hopelessness, despair, which is realized in the image of an indifferent, blithe God, is typical for the poetry of a certain period. We also observe original interpretations, for example, God who sets out to fight for freedom and truth with weapons in his hands, or God who manifests himself in every Ukrainian – soldiers, volunteers, medics, power engeneer, etc. Interpretations of biblical stories are also interesting for analysis, for example, the story of the execution and resurrection of Christ is broadcast to modern Ukraine, which is currently suffering for the sins of humanity, but will surely be resurrected.
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Popielarz-Zajdel, Ewelina Maria. « Wędrowanie wśród wierszy – o poezji michalitki s. Dawidy Ryll ». Dydaktyka Polonistyczna 17, no 8 (2022) : 233–41. http://dx.doi.org/10.15584/dyd.pol.17.2022.19.
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Attempts to analyse and interpret some of the poems of michalitka, nun Davida Ryll. The poet, a nun, in her poems refers to the sacred. She writes about the reality that surrounds us, about suffering or doubts, but God is always the most important in her poetry. Poetry is therefore also a testimony to michalitka’s faith.
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P, Vinthiya Gowri. « Realism in the Poems of A.S.M. Muniandi ». International Research Journal of Tamil 4, S-7 (30 juillet 2022) : 324–34. http://dx.doi.org/10.34256/irjt22s752.
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Literature is a life experience. Modern Tamil poetry inspires the thought of writing freely. Tamil poetry is broadly divided into two types: classical (i.e., Marabu Kavithai) and modern (i.e., Puthu Kavithai). Modern poetry has freed itself from the shackles of grammar. It has a wide range of songs. The definitions of poetry are new. He realised that poetry of experience, the poetry of longing, the poetry of longing, the poetry of anger, poetry of hope, the poetry of wisdom, and Tamil poetry will come, and he knows life and sings in Tamil. He has written a wonderful poem saying that God and poetry are one. He has created poetry, understanding that in modern times, there is more falsehood and less truth in man. The poet has established through his poems that realism is the aesthetic of modern times. In the poem, the poet's imagination can realize the promise of the candidate. He emphasises that those who want to make a career in life should first know themselves. Prayer is the highest, but that alone does not make a man live. He says, "Charity is needed and gives importance to actions with humanity." In his new poem, thinking of Buddha, he has created the life of people in Kaliyuga as it is. Through poetry, he criticises the people who live as uncivilised people because of the TV craze. While voicing support for religious harmony and world peace, it highlights the violence happening in the country. The aim of the article is to attempt to express the feelings and the community, which is emphasised in Muniandi's poems. The uniqueness of the poet is that he not only praises the height of love but also sings about the other side of love.
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Rakhimzhanov, K. K., et D. I. Shalkybassov. « Names used to express term “God” in Kazakh Poetry ». Eurasian Journal of Religious studies 20, no 4 (2019) : 21–26. http://dx.doi.org/10.26577/ejrs-2019-4-r3.
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Clark, William Bedford, et Ronald Wallace. « God Be with the Clown : Humor in American Poetry. » American Literature 57, no 1 (mars 1985) : 146. http://dx.doi.org/10.2307/2926324.
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Bohdan, Svitlana. « Relationships with God in the Poetry of Mykola Vinhranovskyi ». NaUKMA Research Papers. Literary Studies 1 (26 décembre 2018) : 44–48. http://dx.doi.org/10.18523/2618-0537.2018.44-48.
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