Artykuły w czasopismach na temat „Heaven – poetry”
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Frost, Elisabeth. "Poetry: Under Heaven". Yale Review 88, nr 4 (październik 2000): 51. http://dx.doi.org/10.1111/0044-0124.00451.
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Pontani, Filippomaria. "Bronze Heaven in Archaic Greek Poetry". L'antiquité classique 80, nr 1 (2011): 157–62. http://dx.doi.org/10.3406/antiq.2011.3798.
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Pontani, Filippomaria. "Bronze Heaven in Archaic Greek Poetry". L'antiquité classique 80, nr 1 (2011): 157–62. http://dx.doi.org/10.3406/antiq.2011.4014.
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Papsheva, G. O., i O. N. Matveeva. "SYMBOLS OF HEAVEN OBJECTS IN MASTERPIECE BY N.S. GUMILEV: MOON’s SYMBOLS". Bulletin of Udmurt University. Series History and Philology 32, nr 5 (14.10.2022): 1072–78. http://dx.doi.org/10.35634/2412-9534-2022-32-5-1072-1078.
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In this article there are the main symbolical meanings of the moon in N. Gumilev's poetry as parts of ‘cosmism’ model. The main semantic groups are represented, similar and opposite meanings of the moon are compared, influence of the biographic facts on interpretation of national folklore is defined, individual and author's concept of lunar "Pale maiden" is proved, the especial importance of travelling as way of world’s researching is showed. The static data defining quantity of mentions of the moon in the poetry are interpreted. The hypothesis of further observations of heavenly bodies and other space object’s interpretation in N. Gumilev's masterpiece as an aspect of individual art model is represented.
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Pashtakova, T. N. "Heavenly-born characters in the published myths of Verbitsky: the words Tyanar and Tangara". Altaistics, nr 3 (5.10.2023): 43–50. http://dx.doi.org/10.25587/2782-6627-2023-3-43-50.
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This article discusses Altai myths with the mention of the name of the character Tyanar,published in the work “Altai aliens” by Vasily Verbitsky. However, in order to clarify the primordial characterof the Tyanar in the Altai myths, we find out the history of the recording of myths by Verbitsky, and analyzethe myths about celestial characters. For the same purpose, we find out other Altai mythological storiesabout the messengers of the heavenly world in the Altai cosmogony and compare them with the Yakut storiesin which the character Tanara is present. The article traces the cult of Heaven in the Sakha (Yakutia) in termsof comparative and shamanic ritual with the poetry of Altai, Khakassia, Tuva and Buryat. We analyzedsimilar terms for the concept of Heaven and destinations that symbolize the worship of heaven. The authorbelieves that the cult of Heaven in the Sakha (Yakut) kept the general typological features. It manifests itselfin ritual and ceremonial complex of Ysyakh festival. Sky personified Urduk Ajyylar ‘Supreme Deity’, onpresentation of the Yakuts, living in different layers of heaven.
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Dutbayeva, S. S. "Linguaculturological Features of the Images of the Celestial World in the Russian Poetry of the 1990’s". Bulletin of Kemerovo State University 21, nr 4 (31.12.2019): 1095–104. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1095-1104.
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Modern philology studies language at the junction of different directions, e.g. hermeneutics and cultural studies, cognitive linguistics and literary criticism, linguaculturology and textology, etc. As a rule, combined methods provide the most interesting results. The article describes the images of the sky / heaven in the Russian poetry of the late XX century, the period of Russian history known as “the dashing nineties”. Contemporary poets seemed to have a very peculiar perception of that period. Their vision of traditional mythological and cultural symbols differed from commonly accepted interpretations. They described Russia as a dead woman or as a man at a crossroads, while the sky was a lost paradise that retained the peace and tranquility that are not to be found on the earth any more. The gap between heaven and earth is shown by the chaos of birdcalls, machinery noise, and nuclear clouds. Heaven and earth are connected by the World Tree, which unites the macroand microcosm. Man seeks balance and harmony but cannot find them. In the 1990’s, mankind was repeating the stage it had passed in the early XX century, when cherry orchards gave place to railways, and the old world order was coming to an end. In such periods, people do not look at the sky for solace; they mind their own step and see heaven reflected in the rails. The poetry of the 1990’s is filled with deep symbolism. The present analysis revealed several image clusters of the sky: mythological, religious, culturological, philosophical (eschatological), scientific and technological, and folklore. These clusters are interconnected and complement each other.
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Abdurahmanova Saadat Khalid. "THE MOTIVE OF ASCETICISM IN EMILY DICKENSON’S POETRY". International Academy Journal Web of Scholar, nr 1(43) (31.01.2020): 7–12. http://dx.doi.org/10.31435/rsglobal_wos/31012020/6880.
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This paper is an attempt to analyze the poetry of Miss Emily Dickinson (1830-1886) contributed both American and World literature in order to reveal the extent of asceticism in it. Asceticism involves a deep, almost obsessive, concern with such problems as death, the life after death, the existence of the soul, immortality, the existence of God and heaven, the meaningless of life and etc. Her enthusiastic expressions of life in poems had influenced the development of poetry and became the source of inspiration for other poets and poetesses not only in last century but also in modern times. The paper clarifies the motives of spiritual asceticism, self-identity in Emily Dickenson’s poetry.
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Upreti, Soni, i Dr Vidya Shanker Sharma. "From Heaven Lake: Travelling Across Cultures by Vikram Seth". SMART MOVES JOURNAL IJELLH 8, nr 4 (28.04.2020): 310. http://dx.doi.org/10.24113/ijellh.v8i4.10550.
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Travelling across culture is an endeavour to spread knowledge about the visiting provinces, on the route of the China, Nepal and India to his readers. This research work focuses on the prominent novelist, poet, and nonfiction writer, Vikram Seth. He who has been known as a citizen of the world. He is a cultural traveller. The work of Vikram Seth is a large variety of encyclopaedic and traditional forms and the places of his poetry and prose moves across the world, making literary homes of distant lands and cultures.
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Wiyatmi, Wiyatmi. "MEMAHAMI MOTIF PERKAWINAN BIDADARI DENGAN LAKI-LAKI BUMI SEBAGAI SPIRIT FEMINISME DALAM FOLKLORE INDONESIA". Diksi 29, nr 1 (29.03.2021): 41–50. http://dx.doi.org/10.21831/diksi.v29i1.33108.
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(Title: The Poetry’s Potencies As Emotion Therapy Media in Society 5.0). This study aims to describe the function of poetry as a medium for emotional therapy in society 5.0. The data from this study are poetry texts written by students. Data were collected through test techniques (poetry writing) and non-tests (interviews, observations, and documentation). Based on the results of the study, it is said that aside from being a medium for brainstorming one's thoughts, feelings and experiences, poetry has the potential to become a medium for emotional therapy. Dictionaries, Enjambments, typography, and arrangement of lines can be said to represent the soul of the poet when angry, happy, in love, traumatized, experiencing sadness, and other emotions. The entire contents of the poem is a reflection of the emotions that the poet naturally experienced, saw, and felt in the packaging of words that were solid and full of meaning.Keywords: poetry, emotion therapy, therapy media, society 5.0(Title: Understanding The Motif of Midwifery With Earth Men as The Spirit of Feminism in the Indonesian Folklore). Folklore is one of the intellectual works that was born as an expression of the world view of the supporting community. One of the folklore motifs found in a number of ethnic groups in Indonesia is that which tells about the marriage between earth men and angels from heaven. Among these folklore are Jaka Tarub (Java), Putri Surga (Papua), Cerita Air Tukang (Maluku), Betawol (Miraculous North Kalimantan), Malim Deman and Puti Bungsu (Riau), Tomanurun (Toraja), and Si Lanang and Punai (South Kalimantan). This study tries to compare and understand the motif of marriage between men of the earth and deities by using the perspective of feminism. The results showed that the deities had higher positions and abilities than men of the earth who married him. This means that the upper world (heaven or heaven) the place of origin of the deities in social stratification is considered higher than the underworld, even though the two complement each other. The existence of the motif of marriage between men of the earth and desities found in a number of ethnic groups in Indonesia shows a high appreciation for the figure of the mother as an ancestor who inherited certain ethnicities, which is a manifestation of the spirit of feminism in a number of folklores in Indonesia.Keywords: deities, world above, world below, feminism
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Rubino, Carl A., i Deborah Boedeker. "Descent from Heaven: Images of Dew in Greek Poetry and Religion". Classical World 79, nr 6 (1986): 415. http://dx.doi.org/10.2307/4349949.
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Jasovic, Predrag. "Motives of heaven and hell in the poetry by Aleksa Santic". Godisnjak Pedagoskog fakulteta u Vranju, nr 7 (2016): 281–94. http://dx.doi.org/10.5937/gufv1607281j.
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Li, Xiaoshu, i Yuan Tan. "Moral Education and Heaven–Human Relationship in Jesuit Translations of Chinese Poetry (17th–18th Centuries)". Religions 15, nr 7 (29.06.2024): 798. http://dx.doi.org/10.3390/rel15070798.
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The 17th and 18th centuries were a period of extensive cultural interaction between China and the West, and also the beginning of Chinese poetry translation in the West. Jesuit missionaries were pioneers in introducing Chinese poetry to Europe. Influenced by the Confucian poetic thought of Siwuxie 思無邪 (no depraved thoughts) and Ricci’s accommodation strategy, the Jesuits translated poems from the Shangshu 尚書, the Shijing 詩經, and the Emperor Qianlong’s Imperial Odes on Shengjing 禦制盛京賦, as well as works by Fan Zhongyan 范仲淹, Du Fu 杜甫, Shao Yong 绍雍, and even the poems in the exhortations of the Ming and Qing dynasties into European languages. These poems predominantly dealt with themes of moral education, the image of virtuous monarchs, and the Chinese concept of the Heaven–human relationship. Through intentional omissions and rewriting, the Jesuits incorporated their religious and political views into the Chinese poetry. Their translated works not only enriched European knowledge of Chinese culture but also demonstrated the complexity of Chinese–Western cultural exchange.
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Watkins, Calvert. "The Golden Bowl: Thoughts on the New Sappho and its Asianic Background". Classical Antiquity 26, nr 2 (1.10.2007): 305–24. http://dx.doi.org/10.1525/ca.2007.26.2.305.
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Abstract The paper explores the relation between a set of poetic formulas in early Greek and Anatolian languages of the second and early first millennia having to do with the cosmography of the rising sun in macrocosm, and going up into bed in microcosm, with an eye to defending the reading and restoration έέρρωωιι δδέέππαασσ εειισσοομμββάάμμεενν(ααιι) in the editio princeps of the new Sappho. The Luvian word for ““sky, heaven,”” represented as a bowl in Hieroglyphic, is the likeliest source of the Greek word depas, Mycenean dipas, in the second millennium, together with the associative semantics of depas and ““heaven”” evidenced in Hittite and Luvian texts in the second millennium, and in early Greek poetry in the first.
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Kotin, Joshua. "Wallace Stevens's Point of View". PMLA/Publications of the Modern Language Association of America 130, nr 1 (styczeń 2015): 54–68. http://dx.doi.org/10.1632/pmla.2015.130.1.54.
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“The earth, for us, is flat and bare. / … Poetry // Exceeding music must take the place / Of empty heaven and its hymns… Such claims saturate Wallace Stevens's work: poetry, Stevens affirms and reaffirms, is a potential source of value in a secular world. This essay tracks his attempts to realize this potential—to write a poem that would satisfy his metaphysical need. His work is relentlessly self-critical and experimental, and over his career he develops extravagant (and ultimately hermetic) responses to a stubborn philosophical problem. My aim is to reframe critical approaches to a central topic in Stevens's poetry and to re-evaluate his relation to philosophy. In the process, I hope to suggest answers to more general questions: What is experimental poetry? How do poets think in verse? Why do poets write difficult poems? What makes a poem difficult in the first place?
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Joshi, Manish. "THE THEME OF DEATH IN THE POETRY OF EMILY DICKINSON". SCHOLARLY RESEARCH JOURNAL FOR INTERDISCIPLINARY STUDIES 9, nr 67 (1.11.2021): 15745–53. http://dx.doi.org/10.21922/srjis.v9i67.8223.
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The modest selection of Dickinson’s poems reveals that death is the predominating theme in her poetry and the approach she adopted while dealing with this painful subject is quite idiosyncratic. She was not prepared to accept the old conventional ideas about it. She wanted to know what happens after we die and this is why the subject of resurrection always intrigued her. Though she had heard about this subject from the pulpit, yet she was not ready to put her complete faith in the notion of immortality. Many poems of Emily Dickinson express her doubt about immortality. On the other hand we do have the poems in which she describes her deep faith in immortality. In fact doubt and faith go together in the poetry of Dickinson. We find the lines in her poetry which depict immortality as a “House of Supposition” and heaven as an “uncertain certainty”. She preferred the finite life on earth to the infinite life in heaven. But a time came when she started regarding death as ‘the gateway to immortality’ and she understood the fact that death liberates the human soul. The most important feature of the psyche of Emily Dickinson was that she did not regard death as a bugbear to frighten the humans, but for her it was the final end of the sad existence on this earth and she regarded tomb as a place of permanent rest.
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Kuchukova, Z. A. "Poetry of Zarina Kanukova: metaphysics and gender aspect". REPORTS ADYGE (CIRCASSIAN) INTERNATIONAL ACADEMY OF SCIENCES 21, nr 3 (2021): 61–81. http://dx.doi.org/10.47928/1726-9946-2021-21-3-61-81.
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Within the framework of anthropocentric literary criticism, the author examines the gendermarked lyrics by Zarina Kanukova, a member of the Writers’ Union of the Russian Federation, editor of the Goryanka newspaper. Research material – the collection «Cycle», as well as the latest works posted in specialized electronic journals. The situation of the neo-romantic dual world determines the gender status of the Kanukov heroine, who plays the role of a translator of socially approved values from «heaven» to «earth», from generation to generation. The gender style of the poetess is characterized by the use of secret writing, symbols, paraphrases, as well as intertextual appeal to like-minded women in world culture.
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Pham, Damon Duc. ""The Great Starlit Vault of Heaven": Walt Whitman's Treatment of Death through Astronomy". IU Journal of Undergraduate Research 3, nr 1 (5.09.2017): 36–41. http://dx.doi.org/10.14434/iujur.v3i1.23319.
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Death, or more accurately the defiance of death, is a recurring theme in Walt Whitman’s poetry. It is also an elusive one: though he consistently asserts humankind’s immortality, Whitman never arrives at a final treatment of death, instead allowing both his disposition toward death and the basis for his beliefs to be continually informed by his experiences. In this paper, I seek to better understand the metamorphosis of Whitman’s faith in immortality by exploring his use of astronomical imagery. He repeatedly calls upon stars, planets, and the night sky when discussing death, and his use of these motifs varies considerably throughout his career. To observe how the overlap between death and astronomy changes over time, I analyze poetry from three editions of Leaves of Grass: the first (1855), the edition published after the Civil War (1867), and the last (1891-1892). In doing so, I show that while Whitman initially found validation for immortality through external sublimity, this validation eventually collapses upon itself, leading him to discover an even more intense (yet still indefinite) proof within his own, internal poetic intuition.
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Ward, Frances. "David Jasper, Heaven in Ordinary: Poetry and Religion in a Secular Age". Theology 123, nr 2 (marzec 2020): 149–51. http://dx.doi.org/10.1177/0040571x19894860m.
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Boemler, Anne, i Bryan Brazeau. "Tears in Heaven: Tracing the Contours of a Pan-European Transconfessional Genre". Humanities 11, nr 1 (23.12.2021): 4. http://dx.doi.org/10.3390/h11010004.
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This article explores the genesis, proliferation, and readership of an understudied genre of religious poetry in early modern Europe. The weeping poem—a devotional literary genre combining elements of epic narrative and Petrarchan lyric that focused specifically on the religious grief of biblical figures—swept across Europe in the forty years around the turn of the seventeenth century. Although this genre was instigated by the Italian Luigi Tansillo’s 1560 Le Lagrime di San Pietro and has often been read as exhibiting a distinctively Counter-Reformation spirituality, our survey of weeping poems uncovers the surprising reach of this genre across multiple languages and even into Protestant England. The range and popularity of this specific kind of weeping poetry across early modern national, linguistic, and confessional lines shows how this constellation of texts transmitted a new form of devotional affect founded on imaginative identification with weeping biblical narrators. In other words, these poems demonstrate how interiority, rather than factional political or theological difference, could be the basis for new emotional communities of worship. Moreover, the relative obscurity of this genre to scholars prompts new questions around the viability of continuing to explore early modern European literary traditions from the perspective of nationalist/linguistic/confessional frameworks.
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Dryden, Edgar A. "John Marr and Other Sailors: Poetry as Private Utterance". Nineteenth-Century Literature 52, nr 3 (1.12.1997): 326–49. http://dx.doi.org/10.2307/2933998.
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John Marr and Other Sailors (1888) movingly figures Melville's sense of his own situation as an aging poet alienated from his social, political, and literary milieu. By may of a close reading of the individual poems, I show that poetry for Melville is a private, self-directed, and ironic art, one whose primary activity is an ironic elicitation of subversive latent meanings. In the face of the "vague reserve of heaven" and the "apathy of nature," and working with a deep distrust of public performance and the printed page, Melville as poet at once exposes and stubbornly, if privately and obscurely, celebrates the nature of the literary as such.
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Warnek, Peter. "Fire from Heaven in Elemental Tragedy: From Hölderlin’s Death of Empedocles to Nietzsche’s Dying Socrates". Research in Phenomenology 44, nr 2 (31.07.2014): 212–39. http://dx.doi.org/10.1163/15691640-12341286.
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The paper considers the legacy of Empedocles as it bears upon the difficulty confronted by Hölderlin in his Death of Empedocles: how are we to understand Hölderlin’s failure to complete this ‘mourning play’ despite his continued and repeated efforts? This difficulty is elaborated through a reading of Hölderlin’s own understanding of “elemental tragedy” as it is presented and developed in the three dense so-called Homburg essays on tragedy. It is evident that the understanding of tragedy that emerges here entails a dramatic poetry that would break with the prevailing tradition and its determination of poetry according to a mimetic operation. Aristotle’s own account of Empedocles and his apparent refusal to consider Empedocles as a poet is considered alongside other ancient accounts of Empedoclean poetry, notably those provided by Plutarch, Diogenes Laertius, and Lucretius. In this context, Nietzsche’s account of the end of tragedy through his interpretation of another philosophical death, that of Socrates, is introduced as a counterpoint to help elucidate the difficulties faced by Hölderlin. This Nietzschean account of ‘the image of the dying Socrates’ also proves to be related to Nietzsche’s own brief but provocative statements concerning what is eclipsed with the loss of Empedoclean tragic philosophy and emergence of Socratism. The paper concludes by returning to Hölderlin’s letters to Böhlendorff as these letters make thematic an ‘elemental’ difference in the impossible recovery of the tragic in our time.
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Farland, Maria Magdalena. ""That Tritest/Brightest Truth": Emily Dickinson's Anti-Sentimentality". Nineteenth-Century Literature 53, nr 3 (1.12.1998): 364–89. http://dx.doi.org/10.2307/2903044.
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While the cultural importance of sentimental fiction has been well documented by critics such as Jane Tompkins and Claudia Tate, the nature and function of sentimental poetry has remained largely unexplored. This essay offers a corrective to this critical tendency by reading major poems by Emily Dickinson in terms of the contemporary sentimental fictions of death and immortality to which they are indebted. Against those critics who have emphasized Dickinson's embrace of sentimentality's domestication of death, the essay argues that her poems contest and even negate the fictions of immortality made available by popular authors such as Elizabeth Stuart Phelps and Ik Marvel. Dickinson's poems employ certain distinctive generic conventions of sentimentality's conduct of death-the passage from life to immortality, the posthumous reunion, the equation of heaven and home. But where sentimental fictions employ familiar scenes of earth and home to represent the less-familiar prospect of heaven and immortality, Dickinson's poems remove hometown places and persons from heaven's scene; where sentimental fictions domesticate death, her poems detach and strip it bare. The characteristic features of her poetry-scenelessness and temporal transcendence-are thus the mark neither of Dickinson's incipient modernism nor of the lyric voice's isolation from society or history, but rather of Dickinson's deliberate departure from a historically specific mode of representing immortality.
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Jack, Alison. "Heaven in Ordinary: Poetry and Religion in a Secular Age. By David Jasper". Literature and Theology 34, nr 2 (27.06.2019): 248–50. http://dx.doi.org/10.1093/litthe/frz016.
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Ballesteros, Bernardo. "ON GILGAMESH AND HOMER: ISHTAR, APHRODITE AND THE MEANING OF A PARALLEL". Classical Quarterly 71, nr 1 (maj 2021): 1–21. http://dx.doi.org/10.1017/s0009838821000513.
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AbstractThis article reconsiders the similarities between Aphrodite's ascent to Olympus and Ishtar's ascent to heaven in Iliad Book 5 and the Standard Babylonian Gilgamesh Tablet VI respectively. The widely accepted hypothesis of an Iliadic reception of the Mesopotamian poem is questioned, and the consonance explained as part of a vast stream of tradition encompassing ancient Near Eastern and early Greek narrative poetry. Compositional and conceptual patterns common to the two scenes are first analyzed in a broader early Greek context, and then across further Sumerian, Akkadian, Ugaritic and Hurro-Hittite sources. The shared compositional techniques at work in Mesopotamia and the Eastern Mediterranean can be seen as a function of the largely performative nature of narrative poetry. This contributes to explaining literary transmission within the Near East and onto Greece.
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REN, YU-NAN. "A Study on Kim In-hoo’s ｢the 28th number of ‘Eoam Japyeong｣during the period of Jeomam Village in Sunchang". Korean Language and Literature 122 (30.11.2022): 257–86. http://dx.doi.org/10.21793/koreall.2022.122.257.
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After the death of the race, Haseo Kim In-hoo left his government post at the age of 36 and returned to his hometown after a short five-year retirement life, concentrating on his studies and fostering younger students. Social politics at that time caused great disappointment to Kim In-hoo, but he did not stay there and worked in literature at Sunchang Jeomam Village to fulfill his bigger dream. Hunmongjae is a lecture space built by Haseo Kim In-hoo in 1548 to train his juniors after entering Jeomam Village with his family. For Haseo, this place was as meaningful as Pilamseowon Confucian Academy in Jangseong, but unfortunately, there are very few records of Hunmongjae. In this article, based on the rare records, we examined how Kim In-hoo built Hunmongjae in Sunchang and conducted lectures, and analyzed several poems that correspond to three of the 28 works of Eoam Japyeong. Kim In-hoo understood filial piety as the foundation of humanity, and said that filial piety toward parents in human life is the most desperate of the ethics set by heaven. After Kim In-hoo stepped down from his government post, he tried to support his parents by serving them in nature. While he was serving as a government official, he expressed his gratitude to heaven for the health of his parents in his hometown through poetry. The love of nature has become a disease beyond appreciation to Kim In-hoo. The disease of attachment to nature was naturally expressed in poetry. While the body was actually suffering from the disease, it was unable to shake off the mind of natural prostitution, so it was expressed in poetry that it was only looking forward to getting better. For Kim In-hoo, the disease that misses nature was also a cure for overcoming the disease of the body. After Kim In-hoo returned to his hometown, he attached his heart to nature and imitated his feelings into plum blossoms to reveal his pure heart and portray a fairy tale in nature. It was recognized that cultivating and singing plum blossoms in nature is a way to cultivate the mind and body, and it was intended to form a poetic image of natural objects. This is the characteristic element of Kim In-hoo's work, which he sang while living a leisurely life away from nature. As a representative poet of Honam Poetry, Kim In-hoo created natural poems such as “Sosaewon 48 Young” and “Myeonangjeong 30 Young.” In particular, “Eoam Japyeong,” which reveals his life as it is in nature awareness, and “Chilgye 10yeong,” show the extraordinary and high artistry of poetry writing. In Jeomam Village, Kim In-hoo tried to enjoy the customs of nature by learning the logic of heaven in nature, away from the many party disputes that had made him difficult. Kim In-hoo's achievements in various literary works in Jeomam Village show this aspect well.
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Aleksandrova, Rozalia. "HEAVEN ROOT IN THE SOIL OF LIGHT – WORDS ABOUT POETRY BOOK HUMUS BY PETER KRAEVSKI". Knowledge International Journal 28, nr 7 (10.12.2018): 2355–60. http://dx.doi.org/10.35120/kij28072355r.
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The field of living immateriality of words. Fertilized by the heart and imagination of the poet Peter Kraevski. The poems that look like birds and trees at the same time. So unachievable and at the same time understandable, but only at first glance. Looking at the dense context, you want to go straight to them along the steep paths of the soul. "Hummus." A book that is deeply related to the living images of the author's incarnations - soil, humus, grass, girl, poetry, Whitman, seasons, nature, the old man, the eternal state, the ossus, the room, the bug, the nightingale, the wind …Humus - according to the Bulgarian Dictionary, this is the richest organic ingredient in the soil, which determines its fertility. Ie. it is this ingredient without which Life would not be so real. The Humus poetic book is that ingredient in modern Bulgarian poetry that gives life to the words in the ruined humus soil of the Word. It gathers in the wreath the fruits of the author's inspiration, ennobles them and plants them in the closest to the Creator plan - the perfect ground of Love and Creation.
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Aleksandrova, Rozalia. "HEAVEN ROOT IN THE SOIL OF LIGHT – WORDS ABOUT POETRY BOOK HUMUS BY PETER KRAEVSKI". Knowledge International Journal 28, nr 7 (10.12.2018): 2355–60. http://dx.doi.org/10.35120/kij29082355r.
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The field of living immateriality of words. Fertilized by the heart and imagination of the poet Peter Kraevski. The poems that look like birds and trees at the same time. So unachievable and at the same time understandable, but only at first glance. Looking at the dense context, you want to go straight to them along the steep paths of the soul. "Hummus." A book that is deeply related to the living images of the author's incarnations - soil, humus, grass, girl, poetry, Whitman, seasons, nature, the old man, the eternal state, the ossus, the room, the bug, the nightingale, the wind …Humus - according to the Bulgarian Dictionary, this is the richest organic ingredient in the soil, which determines its fertility. Ie. it is this ingredient without which Life would not be so real. The Humus poetic book is that ingredient in modern Bulgarian poetry that gives life to the words in the ruined humus soil of the Word. It gathers in the wreath the fruits of the author's inspiration, ennobles them and plants them in the closest to the Creator plan - the perfect ground of Love and Creation.
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Setijawan, Wawan, i Andik Yulianto. "WAJAH “RYONEN” DALAM PUISI “BIARA” KARYA A. MUTTAQIN". Jurnal Pena Indonesia 3, nr 1 (19.05.2017): 84. http://dx.doi.org/10.26740/jpi.v3n1.p84-99.
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Poetry literature is a form of work that brings the imaginative and contemplative minds and feelings of the poet. Poetry represents the writer's thoughts and feelings expressed through the power of language language formed the physical structure and inner writers through a particular language. It is the power of language that mediates communication between poets as writers and poetry readers. Again, the nature of the poetry language does tend to be symbolic with certain symbols so that it makes the poetry have different sensations and sensations from other literary works such as short stories and novels. Often even a poet uses a game of symbolism not with words but also with numbers and other forms such as certain images or graphics to attract readers. One of the interesting poems for the branches of meaning related to other stories in the rest of the world is the poem A. Muttaqin. This poet is mengulik Ryonen's face in a particular image that will be revealed in this short article. Apparently, there is an acknowledgment on Ryonen's statement, which was later also acquired by A. Muttaqin. The behavior of a disciple with his teacher travels on an interesting journey to be understood by A. Muttaqin's poem. There are layers of pain experienced by Ryonen from the first visit, second, third, to sixth. On the seventh visit, there is a symbolization that indicates that Ryonen has reached the seventh hell, to finally arrive at the first tier of heaven. It means that "happiness" (even if he wants to accept it) has and will always smother her. The 7th and 14th stanzas can tell the story above. The meaning is strong enough implied is a kind of obsession that has always been a marker that humans are always haunted by a variety of pleasures both physical and spiritual even up in the world there. The pleasures, ranging from the rough to the subtle, the low to the high, have been depicted in the seventh and seventh-grade layers of heaven representing the seven levels of pleasure. It can be said that the world of the monastery is a heavenly world, because its atmospheric vibrations are very subtle. When a person enters a region of the sanctuary there is a certain happiness when someone is in a shopping place.
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Farquharson, Danine, Stephanie McKenzie i John Ennis. "Backyards of Heaven: An Anthology of Contemporary Poetry from Ireland and Newfoundland & Labrador". Canadian Journal of Irish Studies 29, nr 2 (2003): 80. http://dx.doi.org/10.2307/25515488.
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Andrea Henderson. "The "Gold Bar of Heaven": Framing Objectivity in D. G. Rossetti's Poetry and Painting". ELH 76, nr 4 (2009): 911–29. http://dx.doi.org/10.1353/elh.0.0063.
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Kulesza, Monika. "Biblical images of Heaven in the late poetry of Juliusz Słowacki. Some research remarks". Studia Koszalińsko-Kołobrzeskie 23 (2016): 165–80. http://dx.doi.org/10.18276/skk.2016.23-10.
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MO, Zhengyi. "The Comparison and Exploration of the Subject Difference between Lamentations and Lament of Capital Ying". International Journal of Sino-Western Studies 21 (9.12.2021): 91–99. http://dx.doi.org/10.37819/ijsws.21.143.
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Lamentations and lament of capital Ying are models of city lament in ancient Hebrew-and Chinese classical literary traditions respectively. A comparative study shows that there are significant subject difference between lamentations and lament of capital Ying . Lamentations is the collective works, and its compilation and inheritance function as emotional expression of sufferings of the past, present and future of the Jewish people, reflecting their infinite belief of transcendent God . In contrast, lament of capital Ying is the creation of Qu Yuan, and under the influence of the sage's commitment to the mandate of heaven by his individual virtue. The poetry expresses Qu Yuan’s personal grief through a special literary technique and its succession and experience in later generations are mainly individual. The subject difference of two poetry is a reflection of different development trajectories of the humans-transcendent relationship in Hebrew- and the Chinese civilizations of the Axial Age.
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Siahaan, Safnidar, i Novita Elisabeth Mbaru. "AN ANALYSIS OF IMAGERY IN THREE SELECTED POETRIES FROM COMPLETE POEMS OF ROBERT FROST". ANGLO-SAXON: Jurnal Ilmiah Program Studi Pendidikan Bahasa Inggris 13, nr 1 (1.08.2022): 14–28. http://dx.doi.org/10.33373/as.v13i1.4096.
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This research analyzes imagery in Robert Frost selected poetry. This research aimed to find out what are the types of imagery and how many imageries used by Robert Frost in selected poetry, they are “Lost in Heaven”, “Desert Places” and “Leaves compared with Flower” based on the theory of Sayuti (2010) for analyzing the types of imagery. There are six types of imagery according to Sayuti namely visual imagery, auditory imagery, olfactory imagery, gustatory imagery, kinesthetic imagery, and tactile imagery. Then, the data were analyzed by using the qualitative descriptive method. This research found visual imagery, auditory imagery, kinesthetic imagery, and tactile imagery, which are presented in twenty- seven (27) data from three poems. The researcher found 27 data categorized into types of imagery, which consist of 13 visual images, 11 kinesthetic images, 2 auditory images, 1 tactile image. Robert Frost mostly uses visual imagery in selected poems.
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TORHOVETS, Yuliia. "PERCEPTION OF DEATH IN CONTEMPORARY ENGLISH POETRY". Ezikov Svyat volume 22 issue 1, ezs.swu.v22i1 (23.02.2024): 121–29. http://dx.doi.org/10.37708/ezs.swu.bg.v22i1.12.
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This research is a determined attempt to reveal the perception of DEATH in contemporary English poetry. It has been a focal point of lengthy discussions and numerous reflections, as DEATH is a universal experience that everybody regardless of nationality, gender and marital status, religious and political views will go through one day. All people are mortal by nature, but the idea of what happens after death to some extent depends on the culture or religion they belong to. Thus, the religious perception of DEATH as a stage of transformation that puts an end to earthly suffering and paves the way for an everlasting, abundant life in Heaven can be traced in modern English poetry. It helps people embrace their own mortality, make peace with the fluidity of time and inevitability of DEATH. Another finding shows that DEATH is often depicted as the end of the journey, the awareness of which, on the one hand, fills life with meaning and motivates people to act on their dreams, but on the other, causes deep regrets about missed opportunities and wasted time. There is no distinct fear of DEATH in the studied poetry, but rather the feeling of immense sadness over something the person hasn’t done or can’t change.
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Shemesh, Yael. "Punishment of the offending organ in biblical literature". Vetus Testamentum 55, nr 3 (2005): 343–65. http://dx.doi.org/10.1163/1568533054359869.
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AbstractOne aspect of the principle of "measure for measure" is considered—the idea that the offending organ is punished. This concept can be found in all the biblical genres: narrative, law, the prophetic literature, poetry, and the wisdom literature. The organs that are punished run almost the full length of the body, from head to toe. Sometimes the concept is invoked literally, sometimes only metaphorically. In most cases the punishment is heaven-sent; but there are no few incidents where human action is involved and even animals (twice). In every case, the principle serves a theological function, in that it corroborates the existence of reward and punishment in the world.
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Yang, Xiaoshan (楊曉山). "Dream, Memory, and Reflection: Transfigurations of Su Shi’s Qiuchi Rock in Song Poetry". Journal of Chinese Humanities 7, nr 3 (2.05.2022): 310–41. http://dx.doi.org/10.1163/23521341-12340119.
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Abstract The present study traces the changing meanings of Su Shi’s Qiuchi rock in Song poetry. As an aesthetic artifact, the rock may be gifted and exchanged through literati social interactions. At a more personal level, the rock reminds Su of a mysterious dream and symbolizes a place of retreat, described as his homeland in Shu, a Daoist grotto heaven, and a utopia that is superior to Peach Blossom Spring. The rock also serves as Su’s most faithful companion in the dark days of his exile to the far south. In the poems of Southern Song poets, who experienced the trauma of the fall of northern China to the Jurchens, the rock turns into a nostalgic object but also prompts acute reflections on petrophilia as a morally and philosophically problematic passion.
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Ashrafzade, Reza, i Shabnam Shafiey Lotfabadi. "Studying of Religious Common Themes in Seven Bodies of Nezamy and Eight Heavens of Amir Khusrau Dehlavi". Asian Social Science 12, nr 11 (13.10.2016): 46. http://dx.doi.org/10.5539/ass.v12n11p46.
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<p>Seven bodies of Nezamy is rich trove from symbols, attitudes and different themes that with studying of them, in addition to understanding of global character of Nezamy and his deep thoughts, can went to the beliefs and religious infrastructures of poet. Amir Khusrau Dehlavi as the largest imitator of Nezamy had a particular attitude towards all aspects of seven bodies singing eight heaven. Both poets in singing of common concepts, have placed poetry as a means to express their high ideas. This idea expresses social situation of the age of every poet and on the other hand, it expresses the governing religious, doctrinal, moral principles on that time. In the present article it has been tried that most religious themes are extracted that they are most imitated and adapted themes in terms of terms, combinatory and the rhymes in the two system; they amount the frequency of them is been determined in each system. Also, the most obvious evidences of example are mentioned that it indicates imitation and similar writing. It is obvious in this study that innovative aspects and innovations of Dehlavi in eight heaven are also taken into consideration.</p>
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Rois, Robert. "The Chreia in the Forrest". Review of European Studies 12, nr 1 (1.03.2020): 87. http://dx.doi.org/10.5539/res.v12n1p87.
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Interpretation of poetry becomes manageable when we find in the poets' background elements of early training which are revealed in their work. In the schools of the British Renaissance Aphothonius’ Progymnasmata was the preferred manual of classical rhetoric used to teach students how to write. The composition exercises in this manual of rhetoric were applied to the art of letter writing, since this was the most common means for communication at the time.
Among the various writing exercises from the Progymnasmata used in the grammar schools of the English Renaissance, the chreia predominates. We can see that the main thematic headings and subdivisions used in the epistolary lyric fit this particular format. John Donne introduced this innovation to English poetry. Ben Jonson perfected the technique, as we see in his book of poems, The Forrest. Several of his best known poems fit the chreia pattern. We close our study with a suggestion that To Heaven, one of the best known poems of the English Renaissance, can be interpreted as a letter addressed directly to God.
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Wright, Charles D. "An Old English formulaic system and its contexts in Cynewulf's poetry". Anglo-Saxon England 40 (grudzień 2011): 151–74. http://dx.doi.org/10.1017/s0263675111000081.
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AbstractA group of half-lines in Cynewulf's poetry that take the form þurh + demonstrative pronoun + adjective + gesceap/gesceaft constitutes a distinctively Cynewulfian realization of a more widespread formulaic system (x X gesceaft). Only Cynewulf substitutes (in two closely similar contexts) gesceap for gesceaft, and Cynewulf consistently uses both words to refer to a specific ‘created thing’ instead of to ‘creation’. Within the system as a whole, the specific referent of gesceaft in the sense ‘creation’ (heaven, or earth, or all of creation) is often clarified by deixis, specifically in the type of demonstrative pronoun that modifies the word. Cynewulf's choice of the distal pronoun þæt likewise indicates that the apparently ambiguous referents of gesceap/gesceaft in Juliana 273b and 728a and Elene 789a are heavenly or unearthly things, and analysis of context as well as Christian-Latin analogues supports a specific identification of the referent in each case. While availing himself of an existing formulaic system, then, Cynewulf was innovative in its metrical realization as well as in its semantic application.
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Foot, Sarah. "Plenty, Portents and Plague: Ecclesiastical Readings of the Natural World in Early Medieval Europe". Studies in Church History 46 (2010): 15–41. http://dx.doi.org/10.1017/s0424208400000474.
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Noli paterFather do not allow thunder and lightning,Lest we be shattered by its fear and its fire.We fear you, the terrible one, believing there is none like you.All songs praise you throughout the host of angels.Let the summits of heaven, too, praise you with roaming lightning,O most loving Jesus, O righteous King of Kings.(Thomas Owen Clancy and Gilbert Márkus,Iona: The Earliest Poetry of a Celtic Monastery, 85)Early medieval attitudes to the natural world were distinctly ambivalent. At one level the natural world represented the marvel of God’s creative power; filled with beauty, it supplied everything necessary for human existence, meriting praise, as in the hymn sung by the herdsman from Whitby, Cædmon:
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Abedi, Mahmoud. "From Earth to Heaven: The Appearance of the Beloved in Persian Poetry- from Farrokhi to Hafez". Journal of Literary Studies 1, nr 3 (1.10.2004): 101–26. http://dx.doi.org/10.52547/jls.1.3.101.
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Ward, Matthew. "Burns, Satan, and the Sin of Rhyme". Romanticism 28, nr 3 (październik 2022): 208–21. http://dx.doi.org/10.3366/rom.2022.0562.
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In this article I consider the ways that two of the chief influences on Burns’s creative life, the satanic and the sexual, are bedfellows and reveal Romantic ribaldry. Both sources of inspiration were discovered in his youth; both appear as mysterious, uncontrollable impulses that are not only depicted with humour but also suggest that, for Burns, comedy is drawn from and aligned with transgressive powers that are instinct with the making of poetry. Burns’s comic demonic is crucial to appreciating the distinctive character of his writing, but it also allows us to better appreciate the ways in which the ridiculous is aligned with the Romantic. Burns was no ‘Heaven-taught ploughman’ as we know. Though he played up to the image, he must have been tickled by it too, given how far from ‘heaven taught’ he liked to imagine his muses being. The laughter of Burns’s Satanism provides a vital contrast to the sublime, visionary company we have long associated with Romanticism. Encouraged by and combining the bawdier moments of Milton’s Paradise Lost with the supernaturalism of rural Scottish folklore, Burns’s comic demonic is something we would do well to take more seriously if not more solemnly as regards Romantic Satanism.
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KHACHIBABYAN, Mane. "Non-Verbal Communication and Cues in Armenian-American Literary Discourse". WISDOM 9, nr 2 (25.12.2017): 75–91. http://dx.doi.org/10.24234/wisdom.v9i2.192.
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Communication is foundation of life. Literature is a universal form of communication. Writers communicate beliefs, ideas, experiences, feelings and thoughts. Armenian-American literature is a huge source of communication. Armenian-American writers who migrated to the USA throughout various time periods bring unique storylines and techniques to literature. Nonverbal communication is known to be the more honest part of human communication. Understanding communication requires combined analysis of verbal and nonverbal communication. This research identifies features of nonverbal communication incorporated in literary texts. Nonverbal cues incorporated in literary texts are seemingly minor yet vital features which sometimes are left out of the readers’ attention.
The following literary works were chosen for the research: Peter Balakian’s Black Dog of Fate (1997, memoir), Micheline Aharonian Marcom’s Three Apples Fell from Heaven (2001, fiction). The chosen samples include writings which have not been widely analysed especially from communication theory aspects. The main analysis method utilized was close reading of the texts. Further, research can be done to analyse poetry collections to identify whether nonverbal cues are as significantly used in poetry as they are used in stories and novels.
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Parker, Sarah Jeanne S. "Vernacular Cosmologies: Models of the Universe in Old English Literature". Early Science and Medicine 26, nr 1 (21.05.2021): 55–76. http://dx.doi.org/10.1163/15733823-02610002.
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Abstract This article describes a tradition of early medieval cosmological thought in the prose and poetry of the Old English corpus. This Old English cosmology uses a small set of cosmological building blocks and a relatively limited vocabulary to describe and explore a variety of structural models of the Universe. In these texts – which include but are not limited to the Old English Prose Boethius, Ælfric’s De temporibus Anni, the Old English Phoenix, and The Order of the World – each structural model relies on a combination of terms for heaven, the firmament, and a cosmic-scale ocean and seafloor. These models, each distinct, appear to fall into two loose categories which may represent two schools of thought in vernacular cosmology.
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Barolini, Teodolinda. "Dante and Cecco d’Ascoli on Love and Compulsion: The Epistle to Cino, Io sono stato, the Third Heaven". Romanic Review 112, nr 1 (1.05.2021): 39–61. http://dx.doi.org/10.1215/00358118-8901795.
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Abstract Arguing that Dante ultimately views compulsion in the erotic sphere as part and parcel of compulsion in the properly philosophical sphere, aka determinism, this article traces Dante’s variable thinking on this core issue as he veers from a moralistic view in the Vita Nuova to a more “scientific” view in the third epistle and again to a moralistic view in the Commedia (whose circle of lust boasts, in the wind that buffets the lustful, an example of compulsion borrowed from Nicomachean Ethics 3.1). The philosopher and astrologer Cecco d’Ascoli is a contemporary witness to the philosophical importance of these issues: in his philosophical poem Acerba, Cecco attacks Dante’s love poetry for harboring deterministic belief.
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Ortiz García, José A. "La poètica de la mort en la poesia catalana dels segles XVII i XVIII". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (6.12.2017): 171. http://dx.doi.org/10.7203/scripta.10.11080.
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Resum: L’objectiu d’aquest estudi és proposar una visió sobre el tòpic de la mort en la poesia catalana pels segles XVII i XVIII. El punt central és la projecció pública de les composicions poètiques, tot apropant-nos a la literatura des d’un punt de vista cultural per presentar certs aspectes d’un tema clau en l’art barroc: el final de la vida. La primera part del text introdueix dos dels escriptors del barroc català, Francesc Fontanella i Agustí Eura. La segona secció recerca l’ús de la poesia catalana en les exèquies reials al voltant de la figura del monarca hispànic Carles II. Un cop presentades públicament les poesies en 1701, les edicions impreses són les que ens permeten una lectura contemporània. Publicacions d’altres gèneres poètics són la darrera part de l’article. Els Desenganys de l’Apocalipsi és una coneguda obra barrejant poesia i imatges amb una vessant didàctica per explicar el purgatori, l’infern, la glòria i el paradís als fidels lectors. Paraules clau: mort, poesia, barroc, exèquies Abstract: The aim of this study is a global vision about the topic of death in Catalan poetry throughout the 17th and 18th centuries. Focusing on the public use of poetical compositions, we want to approach literature from a cultural point of view in order to present some aspects about a typical subject in baroque art: the end of life. The first part of the text introduces two main Catalan baroque writers, Francesc Fontanella and Agustí Eura. Moving to the second section, the paper researches the use of poetry in royal obsequies around the figure of the Spanish monarch Charles the Second. After the public presentation of the texts in 1701, the printed publication of them is how we can still read them. The printed copies for other kind of poetry creations is the last part of this article. Desenganys de l’Apocalipsi is a well-known text mixing poetry and images with a didactical purpose: to explain the Purgatory, the Hell, the Glory and the Heaven to faithful readers. Keywords: death, poetry, baroque, obsequies
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Aflisia, Noza, Badruzzaman M. Yunus, Izzuddin Musthafa i Yusuf Ali Shaleh Atho. "Atsar al-Qur’an al-Karim fi al-Lughah wa al-Syi’r wa al-Natsr: Dirasah al-Adab al-‘Araby fi ‘Ashr Shadr al-Islam". Arabiyatuna : Jurnal Bahasa Arab 6, nr 2 (4.11.2022): 483. http://dx.doi.org/10.29240/jba.v6i2.5168.
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This paper aims to analyze the impact of the Holy Qur'an on the Arabic language, poetry and prose during the early Islam period. The method used in this research is the descriptive analytical method, that is by describing the influence of the Qur'an on the Arabic language, poetry and prose during the period of early Islam. While the approach applied in this research is a historical one in which researchers search for dates related to the influence of the Qur’an on the Arabic language, poetry and prose in the early Islamic period. The results are that the impact of the Qur’an in the Arabic language is to preserve Arabic from loss and to make it a living and immortal language, and to derive many sciences from a gift, such as the science of readings, the science of interpretation, the reasons for revelation, the grammar, the parsing, the sciences of rhetoric, the science of jurisprudence and its origins, and the language has been provided with many vocabulary and meanings such as al-Furqan and polytheism. hypocrisy and so on. The Qur'an was greatly influenced by the language of poets and orators. There are even quotes from the Qur’an such as faith, hypocrisy, blasphemy, prayer, zakat, etc., and also from the contents of the Qur’an such as jihad, advocacy, fighting the opponents of Islam, the Day of Judgment, Heaven, Hell, and so on. The era of early Islam contains the texts of the Qur'an and Hadith. The Qur'an and Hadith in this time have more influence on the book in rhetoric and writing. The Holy Qur'an has had a great impact on the language, styles, and contents of literary production of poets, orators, and the contents of their literary production. Prose is taken from the Qur'an, not poetry.
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Mach, Anna. "Zabawa w piekło-niebo: własna twórczość Romana Kołakowskiego a jego przekłady The Tiger Lillies". Przekładaniec, nr 45 (14.04.2023): 56–75. http://dx.doi.org/10.4467/16891864pc.22.010.17171.
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Between Heaven and Hell: Roman Kołakowski’s Poetry and His Translations of The Tiger Lillies Songs of The Tiger Lillies, a “punk cabaret” group from London, entered the Polish- speaking culture mostly through the translations by Roman Kołakowski. Translation formed just one of many fields of artistic activity of Kołakowski, who was also a poet, a songwriter, a performer, and a theatre director. There exists, however, a striking contrast between the style of the Kołakowski’s own oeuvre and his translation choices. His poetry is mostly religious, patriotic, marked by a solemn tone and elevated register, while The Tiger Lillies delight in ridicule, irony, and perversion, mocking religion in an almost blasphemous way. The paper is an attempt at analysing this contrast and searching for its assumed sources. The target texts are found to be marked by significant semantic and stylistic modifications when compared to the original songs. Amplification of religious tropes and of negative views on modern society is identified as the main form of the translator’s interventions. Based on the comparison of Kołakowski’s translations with his own poetry, it is posited that their ostensible discrepancy may be explained by perceiving the translations as a subsidiary field of artistic expression, where the translator pursues his interests in grimmer aspects of morality and society, expressing them in a form that would not be coherent with his own poetry. Consequently, Kołakowski’s translations of The Tiger Lillies’ songs are considered appropriations in a sense that the translational choices are directed by the translator’s own interests, ideological stance, and sensibilities, rather than by any attempted equivalence with the source texts. It is to be hoped that the paper will form an in itation to further investigations of translational agency in the field of song translation.
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Tychinina, Alyona. "Hryhoriy Skovoroda’s Idea of Related Work in the Poetry of the Modernist Association “Muzaget”". Pitannâ lìteraturoznavstva, nr 106 (30.12.2022): 25–40. http://dx.doi.org/10.31861/pytlit2022.106.025.
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Hryhoriy Skovoroda’s idea of the immanent existence (1722–1794) about related work in Ukrainian modernists poetry, in particular representatives of the artistic group “Muzaget” (1919) is considered as the main methodological prism that conceptualize related work of Panna, outlined with the support of V. Gorsky, L. Ushkalov, and D. Chyzhevsky. The article describes the history of creation and specifics of Kyiv post-revolutionary group of symbolists “Muzaget” activities. The literary and artistic almanac with a similar name was analyzed, where each member of the collective presented his “related” art form: poetry, prose, criticism, painting and, at the same time, recorded the affinity of individual and social (national) principles. Based on the analysis of Mykhailo Zhuk, Dmytro Zahul, Volodymyr Kobylyansky, Klym Polishchuk, Oleksa Slisarenko, Mykola Tereshchenko, Pavlo Tychyna, Pavlo Fylypovych, and Volodymyr Yaroshenko poetry, conceptual dominants have been singled out, which in general realize the creative and collective affinity of “Muzaget poetry”. The symbolism of poetic images-archetypes is outlined: God, Christ, joy, star, flower, wind, path, poet’s soul, singing, music, and dream. The functioning of antitheses and parallelisms is emphasized: the flow of human life / the impermanence of nature, life / death, earth / hell / heaven, good / evil, day / night, asceticism / holiness / sinfulness, Christ / Satan, loneliness / crowd. The polyphonic musical imagery and musicality of the poem are analyzed by using tropes, phonetic and syntactic means. It is concluded that poetic innovation, truthful exhibition of creativity and individuality, accentuation of affinity between talent and character, productive interaction of friends in popular creative collectives in the conditions and under the influence of complex historical events and ideological dilemmas of the 20-30s of the 20th century, led some Musagetists to glorious recognition, and others to the tragic consequences of the Red Renaissance.
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Zvonska, Lesia. "THE POETIC SPACE OF THE WORK OF DIOGENES LAERTIUS "LIVES AND THOUGHTS OF EMINENT PHILOSOPHERS"". Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, nr 35 (2024): 18–25. http://dx.doi.org/10.17721/1728-2659.2024.35.03.
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The article examines the poetic component in the discourse of the work of Diogenes Laertius "Life and Thoughts of Famous Philosophers" in the aspect of ancient biography and doxography and in correlation with the cultural and historical realities of ancient Greek panegyrics and invective. The stylistic features of epigrammatic poetry about philosophers are characterized: apotheosis, heroization and glorification or, on the contrary, satire, invective and parody. Panegyristics is embodied in the form of deification, ascension to heaven to the Olympians, invective - in ridiculing human flaws and the shortcomings of philosophers and discrediting their teachings. In the studied epigrams, philosophers, along with prominent historical figures and winners of all-Greek competitions, became objects of public worship for the first time. The poetic works of the philosophers themselves (Solon, Xenophanes, Parmenides, Empedocles, Epicharmus, Plato, Arkesilaus, Cratetus, Bion) are also analyzed. , quotations by various philosophers of ancient Greek poetry, their paraphrases and parodies of famous poets. The poetic discourse is described, presented both in the diachrony of the authors involved by Diogenes, starting from Homer and ending with late Hellenistic epigrammatists (more than 250 poems by 32 well-known and little-known authors), and in their genre diversity (epic, lyric, elegy, tragedy, comedy, canticles, oracles , epigram, epitaph, dialogue-diatribe). The metric schemes of poetic works, both quoted by Diogenes and the author's original poetry (dactylic hexameter, pentameter, logaeds, in particular, Archebulian measure, meliamb, prokeleusmatic, holiamb) are indicated; the source base of poetic works used by Diogenes is indicated, from ancient and Byzantine collections (Palatine Anthology, Planudеa Anthology) to scholarly editions of ancient Greek poetry. The rhetorical devices of the panegyric and much more often mocking epigrams of Diogenes himself, of which there are 52 works, are considered.