Artykuły w czasopismach: „Mysticism and poetry”

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Haqqulov, Ibrohim. "MYSTICISM AND POETRY OF MAKHTUMQULI." Theoretical & Applied Science 88, nr 08 (30.08.2020): 83–86. http://dx.doi.org/10.15863/tas.2020.08.88.20.

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., Mudita. "Mysticism in Indian English poetry". RESEARCH HUB International Multidisciplinary Research Journal 7, nr 10 (5.10.2020): 1–2. http://dx.doi.org/10.53573/rhimrj.2020.v07i10.001.

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Birns, Nicholas. "Christian Mysticism and Australian Poetry". Journal of Australian Studies 38, nr 2 (3.04.2014): 246–47. http://dx.doi.org/10.1080/14443058.2014.904720.

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Azarova, N. M. "ADVENTURES OF THE SOUL: TRANSMISSION OF THE SYSTEM OF MYSTICAL POETRY IN THE LANGUAGE OF VENIAMIN BLAZHENNY". VESTNIK IKBFU PHILOLOGY PEDAGOGY AND PSYCHOLOGY, nr 1 (2023): 50–60. http://dx.doi.org/10.5922/pikbfu-2023-1-5.

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The poetry of Veniamin Blazhenny (the Blessed) can be seen as a vivid example of the translation of the typological properties of the language of mysticism in late 20th century poetry. The artistic nature of the work of the Blessed during this time did not receive a fundamental analysis. The soul, a key concept of Blazhenny’s poetry, reveals undoubted similarities with the conceptualization of the soul and the idea of metempsychosis in Jewish and Judeo-Christian mysticism. This study focuses on grammatical elements, and in particular the system of pronouns and negative poetics, the way the subject is constructed and the strategy of anti-discursiveness. The key word and concept of Blazhenny’s poetry is the Soul which reveals an undoubted similarity with the conceptualization of the soul and the idea of metempsychosis in Jewish and Jewish-Christian mysticism.

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Park,Ryung. "Mysticism and Imagination in Wordsworth’s Poetry". New Korean Journal of English Lnaguage & Literature 56, nr 4 (listopad 2014): 37–57. http://dx.doi.org/10.25151/nkje.2014.56.4.003.

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Li, Kunyuan, Ruoyu Li, Manxi Liu, Xinwen Liu i Bingxin Xie. "A Mysticism Approach to Yeats Byzantium". Communications in Humanities Research 4, nr 1 (17.05.2023): 438–44. http://dx.doi.org/10.54254/2753-7064/4/20220657.

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William Butler Yeats is the most famous poet in the history of modern Irish literature. He is called the greatest poet of our time by T.S Eliot. He was awarded the Nobel Prize for Literature in 1925. He has a strong interest in mysticism and has made unremitting exploration of it throughout his life. Mysticism is an important source of Yeatss life creation. From the early collection of Irish folklore and mythology to the formation of the later mysterious system, Yeats constructed his own set of mythological systems. Yeats mysticism is particularly evident in his poem Byzantium. His poems are full of mystery due to the combination of Irish folk mythology, Swedish mysticism philosophy, Judaism and Christian doctrine, Indian Buddhist thought, ancient Greek and ancient Egyptian mythology and other factors. Among them, his poems are famous for the symbol of Oriental mysticism. This paper makes a detailed interpretation of Byzantine and then implements the analysis of this masterpiece in each section. Based on this analysis, this paper focuses on the interpretation of mysticism in poetry and its impact in order to achieve a better understanding of the mysticism embodied in poetry and provide a valuable reference for future research on related issues.

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Vijay, Aparna. "Mystic Philosophy and Spiritual Consciousness: A Study on Sri Aurobindo’s Select Poems". SMART MOVES JOURNAL IJELLH 8, nr 1 (28.01.2020): 10. http://dx.doi.org/10.24113/ijellh.v8i1.10359.

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Mysticism is a broad term which expresses an area of concern rather than a specific set of beliefs. It is concerned with the nature of the ultimate reality. Mysticism can be a vague, ill-defined, religious and spiritual belief. This paper aims to explain Sri Aurobindo’s poems “The Meditations of Mandavya”, “Nirvana” and “Transformation” on the concept of spiritual consciousness and how the spirit of joy is attained. It focuses on how the poet attains the ideal of adwaita or non-duality. He also brings out the idea of “Absolute” where he drives home the meaning of spiritual unity of all beings in the universe. He is of the view that the world and our own individual existence break all the personal and egoistic limits and become one with our Earth. Mysticism is usually defined as a spiritual discipline used to make contact with the Divine. Mysticism is not an unexamined phenomenon, but one should be able to see its relevance to the human situation too. It proves the individual’s capacity to rise above the conditional factors of nature, nurture and history, to achieve a third force which might change the core and outline of collective life. The readers have themselves fallen into a trance while reading all of the mystical works. In order to understand the real feeling that a mystic poetry creates, the reader initially has to understand the really what mysticism really is. Only then one gets the accurate meaning and feeling of what a mystic poetry clearly says. There is always depth and meaningfulness in such a poetry. Then it can be stated that the reader has attained that sublime state which a poet usually wishes from his readers. It is not easy to attain that state. It requires real and thorough knowledge of mysticism. The mystical and philosophical beauty has been put forth by all the poets through their poetry.

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Kaczor-Scheitler, Katarzyna. "O wpływie spuścizny Świętej Teresy z Ávili na piśmiennictwo i kulturę polskiego baroku". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 21 (23.12.2021): 48–74. http://dx.doi.org/10.24917/20811853.21.3.

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The subject of this article is to discuss the penetration of influences of Spanish mysticism, in particular, the works of Saint Teresa of Ávila, on the literature and culture of the Polish Baroque. The intercultural influence of Spanish mysticism on Polish artists is reflected in the translations of the writings of Saint Teresa of Ávila. The considerations focus on the influence of the mysticism of Saint Teresa on mystical autobiographies and anonymous poetry of Carmelite nuns from Krakow from the 17th and 18th centuries. The reflection also covers the centres of the veneration of the saint in Poland, in services and prayer books, and her popularisation through art. Mystical influences are also visible in the poetry of the 17th and 18th centuries, including poetry by Kasper Twardowski, Sebastian Grabowiecki, Stanisław Grochowski, Mikołaj Mieleszko, Zbigniew Morsztyn, Maciej Kazimierz Sarbiewski, Elżbieta Drużbacka, and Konstancja Benisławska. The Polish-Spanish ties situate the research issues undertaken in a comparative context, without which the studies on post-Tridentine spirituality would not have produced real achievements.

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Ansari, Amirali, i Hossein Jahantigh. "Evokers of the Divine Message: Mysticism of American Transcendentalism in Emerson’s “Nature” and the Mystic Thought in Rumi’s Masnavi". Theory and Practice in Language Studies 9, nr 11 (1.11.2019): 1442. http://dx.doi.org/10.17507/tpls.0911.10.

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Mysticism, religion and mankind’s relationship with an all-absolute deity has been a prominent part of the human experience throughout history. Poets such as Emerson and Rumi were similarly concerned with this question in creating their works. Although Rumi’s thought stems from the Quran and Emerson’s manifestation of Nature takes roots in the ancient eastern philosophies such as Buddhism, their works seem to share some explicit characteristics. Rumi (1207-1273) lived most of his life in Konya and Khorasan and Emerson (1803-1882) lived in America, but their immense geographic and temporal distances did not surpass their analogous attitudes as mystics. The biggest and the most obvious affinity between these mystic thoughts is believing in Monism as a spiritual practice. Although Emerson read and was influenced by classical Persian poetry of Hafiz and Sa’di, there is no evidence suggesting that he was familiar with Rumi’s poetry. Moreover, thematic analogies between Rumi’s Masnavi and Emerson’s essay on Nature result in a shared ideology which includes themes varying from monism, kashf or unveiling, attitudes towards language and the uninitiated. These concepts, observed in both works, point us toward the realization of universal features of mysticism.

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Harahap, Khoirul Amru. "Hamzah Al-Fansuri: A Figure of Malay-Indonesian Philosophical Mysticism and Sufi Literature". International Conference of Moslem Society 2 (23.04.2018): 33–42. http://dx.doi.org/10.24090/icms.2018.1847.

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This paper discusses Hamzah al-Fansuri and his mysticsm philosophical thought and his sufi literature. His mysticism philosopical thought was very controversial that it raises debates in in his era. One of the hardest figure that attack his mysticism philosophical thought was Nuruddin ar-Raniri. This sunni’s mysticism figure considered al-Fansuri a deviate mysticism, zindiq and mulhid (heathen). Mysticism concept he practiced was the concept of wahdah al-wujud or known as wujudiyah concept, which is mostly affected by Ibnu ‘Arabi. Al-Fansuri’s Wujudiyah concept is a concept stating that wujud (existency) is essentially one, even though it seems a lot. All things that are seen a lot by the sense organ, actually just appearance of a form of existency, Allah. However, al-Fansuri separated it between intrinsic form and inherent form. Inherent form is actually nothing, it can be fana’ at every time, and it does not exist without an essential being. Even though he practiced wujudiyah concept, he is strongly refused ittihad concept (the united of the sufi with God) and hulul concept (God put a place from the body of someone). Meanwhile, his sufi literature has 6 characteristics: 1. He used authorship markers. 2. He quoted a lot of verses of Quran, hadith, and Arabic words. 3. He put his name and nick name in the end of his poetry ties. 4. He used imageries and metaphorical symbolic. 5. He was clever in joining diction with rhythm in a balanced way. 6. He was clever in joining metaphysics sense, logical and sufi aesthetic in his poems.

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Khosravi, Goltaj David, Roohollah Reesi Sistani, Raihanah M.M. i Ravichandran Vengadasamy. "Eco-Mysticism in Pablo Neruda’s Selected Poetry". 3L The Southeast Asian Journal of English Language Studies 28, nr 3 (29.09.2022): 262–81. http://dx.doi.org/10.17576/3l-2022-2803-17.

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Cornwell, J. "The neuroscience of love, mysticism and poetry". Brain 132, nr 11 (8.09.2009): 3187–90. http://dx.doi.org/10.1093/brain/awp180.

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Byung-Eun Lee. "The Triad of Mysticism in Crashaw’s Poetry". Journal of Medieval and Early Modern English Studies 23, nr 1 (maj 2013): 91–104. http://dx.doi.org/10.17054/jmemes.2013.23.1.91.

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Bocken, Inigo. "Mystik als Tat? Philosophie und Spiritualität bei Maurice Blondel". Interdisciplinary Journal for Religion and Transformation in Contemporary Society 5, nr 1 (18.12.2019): 76–97. http://dx.doi.org/10.30965/23642807-00501005.

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Abstract Mysticism as Act. Philosophy and Spirituality in Maurice Blondel Mysticism plays a crucial role at the background of Maurice Blondel’s ‘philosophy of action’ (1893). In the years after his main work, his interest for mysticism increases. The discussion about the role of mysticism is even the battlefield of his debate with Jacques Maritain (1882–1973), who criticizes Blondel of allowing in his philosophy a direct contact with the Divine. Maritain does not accuse Blondel of ‘modernism’, but is very close to it. In order to explain his understanding of mysticism, the article outlines the intensive cooperation between Blondel and Henri Bremond (1865–1933). Blondel was of main influence for Bremond’s text on poetry and prayer in which mysticism plays an important role. At the end of the article the role of this discussion on mysticism and philosophy for Blondel’s social philosophy has been elaborated.

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Cook, Hamilton. "Beyond “Love Mysticism”". Journal of Sufi Studies 6, nr 1 (6.07.2017): 47–81. http://dx.doi.org/10.1163/22105956-12341295.

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In this article, I present and analyze what I call Yūnus Emre’s Sufi Theology of Selfhood conveyed in his Dīwān. In contrast to current one-dimensional approaches to Yūnus’ Sufi theology as “love mysticism,” on the basis of my research into what I call Yūnus’ Sufi Theology of Selfhood, I argue that Yūnus’ Sufism is multidimensional. Hence, it is deserving of a more broad-minded methodology. In part 1, I present a summary of Yūnus’ life and times, and offer a generic analysis of his poetry. To contextualize my study of selections from Yūnus’ Dīwān, I present a brief overview of the historical development of what I call a Sufi Theology of Selfhood in part 2. In part 3 of the article, I translate and scrutinize selections of Yūnus’ poems that I maintain best reflect his Sufi Theology of Selfhood from ontological-cosmological, epistemological, and experiential points of view.

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Fidouh, Abdelkader. "An Icon of Mysticism in Modern Arabic Poetry". SEMAT 1, nr 1 (1.05.2013): 69–115. http://dx.doi.org/10.12785/semat/010106.

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Williams, Rowan. "Aquinas on Prayer: the Bible, mysticism and poetry". International journal for the Study of the Christian Church 13, nr 4 (listopad 2013): 342–43. http://dx.doi.org/10.1080/1474225x.2013.874118.

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Muradova, Shafa. "The symbol of Grief in Azerbaijan mysticism poetry". Filologiya məsələləri Journal of Philological Issues, nr 2 (2024): 465. http://dx.doi.org/10.62837/2024.2.465.

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Tuori, Riikka. "Renewal and Tradition in Devout Hebrew Poetry. The Case of the Early Modern Karaites in Poland-Lithuania". Zutot 16, nr 1 (14.03.2019): 31–42. http://dx.doi.org/10.1163/18750214-12161006.

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Abstract The article discusses the manifestations of religious renewal in devout Karaite Hebrew poetry written in Poland-Lithuania in the early modern period. While this type of Hebrew poetry is entrenched in tradition and derivative in nature, certain innovative elements appear both in the wordings and in the performance of Karaite Hebrew poetry during the early modern period. Alluding, for example, to new Sabbath rituals, the poems reflect the influence of popular mysticism on Karaite ideology. Hebrew poetry also indicates slight changes in the societal status of Karaite women as well as an increase in the use of the vernacular.

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Goczał, Ewa. "Odnajdując „wspólny język ognia”: Jerzy Ficowski wobec mistycyzmu żydowskiego (prolegomena)". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (11.12.2017): 121–33. http://dx.doi.org/10.24917/20811853.16.9.

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Finding the “common language of fire”: Jerzy Ficowski on Jewish mysticism (prolegomena) This article is an attempt to outline the relationship between the work of Jerzy Ficowski and the Jewish mystical thought that was brought in this paper to a kabbalistic element – a synthesis of components considered basic for two great currents of the non-orthodox Judaism: Kabbalah and Hasidism. At the level of content they consist of the motifs of the Book, Word and Letter, Angels and Light, the messianic topos of the Just, cosmogonic and eschatological myths, as well as specific, non-linear recognition of time – which are strongly present in the poetry of the author of the Regions of the Great Heresy. At the level of structure there are noticeable the emanation model and the duality of language and imagination, of matter and spirituality – diametrically different elements, yet gravitating toward the ultimate unity. The text, containing references to translation and “Schulzian” output of Jerzy Ficowski, is focused on his poetry and is an introduction to its aspectual monograph.Key words: contemporary Polish poetry; Jerzy Ficowski; Jewish mysticism; Kabbalah; Hasidism;

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Anoosheh, Seyed Mohammad, i Mahsa Khalili Jahromi. "A Mystical Reading of Ḥāfiẓ’s Translation by Robert Bly and Leonard Lewisohn". Theory and Practice in Language Studies 10, nr 2 (1.02.2020): 230. http://dx.doi.org/10.17507/tpls.1002.12.

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Robert Bly and Leonard Lewisohn are among the latest translators of Ḥāfiẓ who have selectively translated thirty ghazals of Ḥāfiẓ into English. A close investigation of their translation reveals how they have manipulated the original texts to a great extent which results in having merely a mystical interpretation of Ḥāfiẓ’s multi-layered poems. However, due to the literary form of Ḥāfiẓ’s poetry which is ghazal, it can be in praise of different issues such as nature, youth, beloved, loveliness, etc.; in Bly and Lewisohn’s translation, most of them have been ascribed to divinity. In other words, by means of translation, they have rendered their own worldview along with their personal reading of Ḥāfiẓ’s poetry. The authors argue that Bly and Lewisohn’s translation renders a mystical reading of Ḥāfiẓ’s poetry and presents him as a moral preacher whose poetry is saturated with mysticism and Sufism. Being highly against the American society’s materialism, by introducing Ḥāfiẓ as a mystic and insisting on mystical and spiritual interpretation of his poetry they intend to survive their society from corruption and cater to the moral and spiritual needs of the target culture. Since American literature compared to Persian literature, lacks some repertoire related to mysticism thus Lewisohn and Bly, by means of translation try to provide their culture with a sort of nourishment in order to contribute to the amendment of the society.

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Kazmi, Faleeha Zehra, Farzana Riaz i Syeda Hira Gilani. "Sufism and Mysticism in Aurangzeb Alamgir's Era". Global Social Sciences Review IV, nr II (30.06.2019): 378–83. http://dx.doi.org/10.31703/gssr.2019(iv-ii).49.

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Mysticism is defined as a search of God, Spiritual truth and ultimate reality. It is a practice of religious ideologies, myths, ethics and ecstasies. The Christian mysticism is the practise or theory which is within Christianity. The Jewish mysticism is theosophical, meditative and practical. A school of practice that emphasizes the search for Allah is defined as Islamic mysticism. It is believed that the earliest figure of Sufism is Prophet Muhammad (PBUH). Different Sufis and their writings have played an important role in guidance and counselling of people and peaceful co-existence in the society. Mughal era was an important period regarding Sufism in the subcontinent. The Mughal kings were devotees of different Sufi orders and promoted Sufism and Sufi literature. It is said that Aurangzeb Alamgir was against Sufism, but a lot of Mystic prose and poetic work can be seen during Aurangzeb Alamgir's era. In this article, we will discuss Mystic Poetry and Prose of Aurangzeb's period.

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Renard, John, Amin Banani, Richard Hovannisian i Georges Sabbagh. "Poetry and Mysticism in Islam: The Heritage of Rūmī". Journal of the American Oriental Society 117, nr 1 (styczeń 1997): 185. http://dx.doi.org/10.2307/605651.

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Chodkiewicz, Michel, A. Banani, R. Hovannisian, G. Sabagh, William C. Chittick i Ibn al-'Arabi. "Poetry and Mysticism in Islam, the Heritage of Rumi". Studia Islamica, nr 82 (1995): 166. http://dx.doi.org/10.2307/1595597.

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Sharma, Amiya Bhushan. "Agents of Uncertainty: Mysticism, Scepticism, Buddhism, Art and Poetry". European Legacy 20, nr 6 (4.06.2015): 683–84. http://dx.doi.org/10.1080/10848770.2015.1046695.

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Labrie, Ross. "Sexuality and Mysticism in the Poetry of William Everson". Christianity & Literature 44, nr 1 (grudzień 1994): 29–42. http://dx.doi.org/10.1177/014833319404400103.

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Choudhary, Satyartha Prakash. "Concepts of mysticism of the poetry of William Blake". International Journal of Research in English 4, nr 2 (1.07.2022): 21–23. http://dx.doi.org/10.33545/26648717.2022.v4.i2a.62.

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Hemad, Atyaf Abdel-Rezzaq, i Hamdi Hameed Al-Douri. "Mystical Experience in Emily Dickinson's Later Poems". JOURNAL OF LANGUAGE STUDIES 5, nr 2 (8.10.2023): 367–81. http://dx.doi.org/10.25130/jls.5.2.21.

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This paper is mainly concerned with mystical experience in Emily Dickinson's later poems (composed between 1864 and 1886) to show the poet's spiritual growth and her attitude to the love of the Divine. It aims at analyzing and interpreting the poetry of Emily Dickinson from a mystical point of view. Most of Dickinson's poems trace themes like death, love and spiritual ecstasy. It proposes that Mysticism is some kind of spiritual practice of the soul that got weary of the material world; it is a religion of love of the Divine

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Jones, Christa. "Sufi Mysticism and Dreams in Nabil Ayouch’s Ali Zaoua, Prince of the Streets". Jeunesse: Young People, Texts, Cultures 5, nr 2 (grudzień 2013): 80–95. http://dx.doi.org/10.3138/jeunesse.5.2.80.

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This article examines the poetics of childhood in Moroccan filmmaker Nabil Ayouch’s Ali Zaoua, Prince of the Streets, focusing on dream culture, sea travel, and elements of Sufi mysticism. In Ali Zaoua, symbols such as eyes, a compass, Twin Towers, sea travel, and an imaginary island with two suns visualize an Islamic dream culture. Ayouch presents the cruelty of life on the streets marked by violence, filth, and concrete, yet the film celebrates a dream culture by focusing on fantasy, images of a spiritual voyage, poetry, and Sufi mysticism, which eclipse the harsh, socially realistic portrayal of the lives of homeless children.

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Odendaal, B. J. "Via alruin en seks tot God: die eiesoortige mistiek in die poësie van T.T. Cloete". Literator 14, nr 2 (3.05.1993): 1–24. http://dx.doi.org/10.4102/lit.v14i2.697.

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In this article the researcher contends that T.T. Cloete, one of the most prominent contemporary Afrikaans religious poets, does not only periodically give expression to the mystical experience in his poetry (as Bosman [1989] would have it), but that the whole body of his poetic work is characterized by a distinctive mysticism. This mysticism, averse from the Catholic, ascetically inspired mystical tradition, is to be seen as a continuation and further development of the Protestant tradition with its greater emphasis on the earthly, general revelation of God, and is distinguished by its strong aesthetic basis and its lively topicality.

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Ayres, Miriam. "The Mystique of Writing: Mysticism and the Poetic Theory of Paul Valéry". Hawliyat 12 (19.11.2018): 19–34. http://dx.doi.org/10.31377/haw.v12i0.215.

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In his famous Cahiers, the literary crusader Paul Valéry collected thoughts on literature, culture and himself, wrote in an aphoristic style and in an antago- nistic tone reminiscent of Nietzsche, disavowed philosophers and philosophical writing, mocked French literary tradition and extravagantly praised the poetry of Stéphane Mallarmé and the music of Richard Wagner. Dissatisfied with the course of his own poetry, he renounced it for twenty-one years, a period often referred to by his critical readers as the «Great Silence». He never stopped wri- ting, however, and although his ideas on poetry are far from transparent, he appa- rently never had doubts about what literary art should be. He ultimately became obsessed with what he called the essential musical components of poetry, and he thought of the poem as language reduced to perfection. In Analects he writes: «I have an innate horror of the vague; I cannot like what is not clear to me» (1970, ")2). Because he glorifies the poetic process and points to the rigor of writing, he narrates his own «conversion» to poetry and characterizes the task of the poet in a quasi-missionary tone, as if describing a spiritual calling: My intent was never to be a poet... But I have at times chosen to act as if I was one and as good a one as possible, bringing to bear all the attention and all the powers of combination and analysis at my command, so as to penetrate into a poetic state at its purest, without remaining there: as a proof, as a means, as an exercise, as a sacrifice to certain divinities. (qtd. in Grubbs 84; emphasis added)

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Westerink, Herman. "Henri Bremond and the Religious Experience in Context". Interdisciplinary Journal for Religion and Transformation in Contemporary Society 5, nr 1 (18.12.2019): 33–51. http://dx.doi.org/10.30965/23642807-00501003.

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Abstract This article focuses on some psychological aspects of Henri Bremond’s work, notably the development of a psychologie de la foi, the research into the sentiment réligieux and his reflections on the relation between what is traditionally called fides qua and fides quae. It is argued that in the center of the writings of Bremond, who is working in the context of the modernist movement and the rediscovery of the Catholic spiritual and mystical traditions in the modern era, one can detect a deep concern about the relation between religious (spiritual) experience and the official church teachings and institutions, and more specifically the relation between reflective thought and conscious reasoning on the one hand and ‘implicit’ spontaneous understanding and reasoning on the other hand. Also, in his writings one finds a fundamental discussion on the relation between mysticism and asceticism, and mysticism and poetry. Through the collection of material (mystics and their writings) and the elaboration of fundamental thematics, Bremond has become an important and also influential author. This article addresses this issue in particular in a short inquiry into the influence of Bremond on the work of Michel de Certeau.

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Brooker, Jewel Spears. "T. S. Eliot in Ecstasy: Feeling, Reason, Mysticism". Christianity & Literature 70, nr 1 (marzec 2021): 22–27. http://dx.doi.org/10.1353/chy.2021.0001.

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Abstract: On January 2, 2020, Princeton University opened to the public 1,131 previously unseen letters from T. S. Eliot to Emily Hale, whom he had known when he was a student at Harvard. In this correspondence, which stretches from 1930 to 1956, Eliot removes his mask and freely discusses his feelings about life, love, poetry, politics, and religion. This paper discusses a major spiritual pattern found in the letters.

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Nagar, Fazal Wali. "Mystical and artistic innovations in Rahman Baba's poems". Sprin Multidisciplinary Journal in Pashto, Persian & English 2, nr 2 (6.04.2024): 1–6. http://dx.doi.org/10.55559/smjppe.v2i2.278.

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Mysticism and artistry are the strongest and best features of notable Pashto poet Abdul Rahman Babas' poetry. Even if there is little known about Abdul Rahman Baba's life and his poetry serves as an internal testament that allows at least some of his mystical approach's events to be identified, researchers have not been able to fully investigate him. Rahman Baba's worldview, impression, and mystical and poetic observations about the major social movements of his day may undoubtedly be attributed to the technical and spiritual aspects of his poetry, which may have inspired him throughout his life. Abdul Rahman Baba's work to address this issue has been acknowledged in this article.

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Fuad, Khairul, Lalu Agus Satriawan, Mashuri Mashuri, Syamsul Ma'arif i Harapandi Harapandi. "IBN ARABI'S CREATIVE IMAGINATION IN ODHY POETRY OF SUFISM FIGURES IN HIS ANTHOLOGY RAHASIA SANG GURU SUFI". Jurnal Ilmiah Islam Futura 23, nr 2 (20.09.2023): 360. http://dx.doi.org/10.22373/jiif.v23i2.15291.

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This research aims to analyze the Sufism figure in Odhy poetry anthology Rahasia Sang Guru Sufi through Ibn Arabi's creative imagination. The Sufism figure has an important role in the Sufism discourse, and creative imagination is related to literary discourse. Ibn Arabi’s creative imagination combined indicated Ibn Arabi himself and his imagination. Ibn Arabi’s thought is compatible with the literature and applied as a theoretical approach to mystical literature, namely the work of Odhy, the Sufism figure poetry. Those terms denote part and relate to Sufism studies, especially a murshid (guru) to guide the spiritual guidance through stations until the peak. Those path finders indicate the creative imagination that Odhy used in his poetry collection; at the same time, the literature has related to that imagination. This research reveals the mutual connection between literature and Islamic mysticism based on imagination. This figure is a person who wrote down his role in the discourse and history of Sufism. The data on Sufism figures are collected through the descriptive method from the primary source of those anthologies. Besides, the historical approach explains his poetries in those anthologies. This research found the Sufism figures as a thought in Islamic Mysticism in history through Ibn Arabi’s creative imagination and an image resource in literature.

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Suroso, Eko, Sumarlam, Muhammad Rohmadi i Sumarwati. "Mystical Implicature of Javanese Mantras: From Lingual to Transcendental?" Theory and Practice in Language Studies 13, nr 9 (1.09.2023): 2384–91. http://dx.doi.org/10.17507/tpls.1309.26.

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Up to this point, no research has been conducted on the mysticism found in the mantra of Kidung Rumeksa ing Wengi (referred to as KRW). This study focuses primarily on Javanese Mysticism, employing qualitative research methods as guidelines. The primary data utilized in this study is the spell text, while hermeneutic techniques are employed for analysis. The findings reveal that KRW, through the symbolism of its mantra language, embodies the implicit aspects of Islamic Mysticism within Javanese philosophy. The structure of KRW demonstrates influences from Javanese poetry, specifically tembang macapat, while mystical symbolism draws upon the analogy of birds. The essence of mysticism pertains to sufiyah inclinations such as desire, anger, mutmainah, and lawwamah. The most profound aspect of controlling desire revolves around the perspective on the life of the Kiblat Papat Lima Pancer. The content of KRW holds relevance as it serves as an Islamic religious mantra for conversion. A subtle strategy that combines language symbolism and cultural convention is deemed more acceptable than proselytizing through violence. A significant implication of this research is that mantra literature stands as an essential medium for embracing transcendental values. KRW is an inclusive and collaborative platform that unites linguistics, mysticism, sociology, culture, and philosophy, all converging toward the enhancement of theological studies.

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Seyed-Gohrab, Asghar. "Khomeini the Poet Mystic". Die Welt des Islams 51, nr 3-4 (2011): 438–58. http://dx.doi.org/10.1163/157006011x603550.

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AbstractAyatollah Khomeini (1902-1989), the founder of the Islamic Republic of Iran, is commonly known in the West for his political reading of Islam. Especially his death-sentence against the British-Indian writer Salman Rushdie, in 1989, strengthened his image as a fundamentalist. Khomeini as a hermit and mystic poet who composed poetry about selfless love, wine and mystic union is, for the western public, contradictio in terminis. Yet mysticism and poetry are two essential aspects of his personality, usually overshadowed by his outspoken political views.

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Motzkin, Gabriel. "In the Honour of Tristram Engelhardt, Jr.: On the Sources of the Narrative Self". Conatus 3, nr 2 (31.12.2018): 73. http://dx.doi.org/10.12681/conatus.19282.

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Modern philosophy is based on the presupposition of the certainty of the ego’s experience. Both Descartes and Kant assume this certitude as the basis for certain knowledge. Here the argument is developed that this ego has its sources not only in Scholastic philosophy, but also in the narrative of the emotional self as developed by both the troubadours and the medieval mystics. This narrative self has three moments: salvation, self-irony, and nostalgia. While salvation is rooted in the Christian tradition, self-irony and nostalgia are first addressed in twelfth-century troubadour poetry in Occitania. Their integration into a narrative self was developed in late medieval mysticism, and reached its fullest articulation in St. Teresa of Avila, whom Descartes read.

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Maliszewski, Karol. ""Żeby wierszowi chodziło o życie". Liryka Bogusława Kierca". DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, nr 26 (1.09.2019): 204–19. http://dx.doi.org/10.5604/01.3001.0012.9867.

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The author of this article analyzes the poetry of Bogusław Kierc, a poet from Wrocław, pointing to the separateness and originality of this artist. Originality is revealed in risky and bold themes and a form that is a combination of something avant-garde with something very traditional. The language used by the poet, concerning ultimate and mystical problems, captivates with harmonious, musical finesse. Pictures in this poetry are seen, heard and experienced. The hero of these poems sees in his somatic and erotic experiences the source of potential mysticism, the possibility of approaching transcendence.

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Maliszewski, Karol. ""So that finally it is all about life in poetry". Lyrics by Bogusław Kierc". DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, nr 26 (1.09.2019): 204–19. http://dx.doi.org/10.5604/01.3001.0012.9887.

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The author of this article analyzes the poetry of Bogusław Kierc, a poet from Wrocław, pointing to the separateness and originality of this artist. Originality is revealed in risky and bold themes and a form that is a combination of something avant-garde with something very traditional. The language used by the poet, concerning ultimate and mystical problems, captivates with harmonious, musical finesse. Pictures in this poetry are seen, heard and experienced. The hero of these poems sees in his somatic and erotic experiences the source of potential mysticism, the possibility of approaching transcendence.

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Nafi', Jamal Subhi, Randa Hashem Abu Hilal i Farah Rasheed Jayousi. "Mysticism in the Poetry of Emily Dickinson: A Theological Interpretation". Epiphany 11, nr 1 (10.01.2019): 95. http://dx.doi.org/10.21533/epiphany.v11i1.282.

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Falikov, Boris Z. "MAGIC AND MYSTICISM OF DANIIL KHARMS". Studia Religiosa Rossica: Russian Journal of Religion, nr 2 (2022): 45–56. http://dx.doi.org/10.28995/2658-4158-2022-2-45-56.

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The Oberiut poet Daniil Kharms (1905–1942) created his own version of the occult-oriental synthesis in the manner that the Austrian writer Gustav Meyrink (1868–1932), and not only him, practiced. The occult worldview makes it possible to include in such a synthesis any religion from Buddhism to Orthodoxy, uniting them according to the principle of magical effectiveness. The difference between the syntheses of Meyrink and Harms was that the former alternated between Buddhist and occult initiations during the fin de sciecle era, when they were in great vogue. And the latter did that ten or twenty years later in Soviet Russia, where such things were persecuted by an atheistic state. Another important difference was that Meyrink acted as a missionary in his works, but did it indirectly, while Kharms tried to directly transform the world, relying on the alleged magical power of avant-garde poetry.

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AL-MAADIDY, Sawsan Saeb. "POETRY IN THE SEVENTH CENTURY AH". RIMAK International Journal of Humanities and Social Sciences 04, nr 04 (1.07.2022): 567–81. http://dx.doi.org/10.47832/2717-8293.18.36.

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This research comes to deny the saying that Arabic poetry in the seventh century AH had weakened or apathy, especially since this time period was fraught with serious political events that led to the fall of the Abbasid state, and to accompany this fall was many dangers on the aspects of social, political and literary life in the Arab world. Thus, we find that there is a revival for many poetic purposes, including asceticism, mysticism, describing nature in cities and others, in addition to this, prominent poets appeared in this regard, including Al-Busairi, Ibn Al-Farid, Shams Din Al-Kufi and others who enriched the literary life in their collections and the hunt for their poetry.

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Stenclik, Eric. "Christian Tears; Pagan Smiles: Hart Crane’s “Lachrymae Christi”". Religion and the Arts 18, nr 3 (2014): 349–72. http://dx.doi.org/10.1163/15685292-01803003.

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When American poet Hart Crane declares in a letter, “I felt the two worlds. And at once,” he speaks bluntly of the governing tension of his poetry: the knocking of Harold Hart Crane’s finite language against the hard, transparent ceiling beyond which he senses the divine. Crane’s first collection, White Buildings, often shows signs of visionary frustration. But in “Lachrymae Christi,” the most difficult poem in White Buildings, Crane’s vision dilates to immense possibilities of union between the material and the spirit worlds, between what is time-bound and what is timeless. This poem, both its poetic effect and its spiritual purpose, can be most sympathetically read as mystical. Because the tonal movement toward rapture in “Lachrymae Christi” resonates against the poetry and theology of Renaissance mystics such as St. John of the Cross, we can situate the poem in the context of ancient patterns of western mysticism in order to reclaim what has long been seen as an opaque and elusive poem. “Lachrymae Christi” rewards this reading of its mystical poetics with line after line of quivering wordplay, startlingly fresh religious allusion, and subtle thematic polyphony as it interweaves Christian and pagan traditions of regeneration.

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Paracha, Shahab Ahmad, Muhammad Arif i Ibad Ullah. "Islamic Mysticism and it's Elements in the Poetry of Abdur Rahman Baba". Global Language Review VII, nr II (30.06.2022): 124–35. http://dx.doi.org/10.31703/glr.2022(vii-ii).11.

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Abdur Rahman Baba, a Pashto Poet, has not been discussed in international literature, very little. The aim of this study is to look deep into the poetry of Abdur Rahman Baba, to find out Islamic Mystical elements like love and subjugation towards Allah, devotion towards Prophet Muhammad, the last messenger, then love, care and concern for humanity. Few characteristics and thoughts from the philosophy of a well-known Islamic Mystic and scholar Maulana Rumi have been used to give a theoretical structure to this paper. These three points were tried to extend from his poetry. The verses were selected and examined through lenses of Islamic Mysticism and the way they are embedded in his poetry.By the end of this research paper, the readers will come to know about the Sufi poet Abdur Rahman Baba and his contribution to the local literature

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Pisarenko, Alena Yur'evna. ""The Black Man" by Sergei Yesenin: Motive-figurative Constants and Artistic Genealogy (Mystical Aspect)". Litera, nr 10 (październik 2022): 62–71. http://dx.doi.org/10.25136/2409-8698.2022.10.39046.

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The article is devoted to the analysis of the last poem by the bright representative of the Silver Age of Russian poetry Sergey Yesenin. The poem "The Black Man" is not only and not so much the poet's confession before his death, but the result of the poet's work, the logical, albeit tragic, completion of his artistic and life searches. The article examines the key images and motifs of the Yesenin poem in trans-literary and trans-cultural aspects, including references to medieval mysticism, mediated by the Russian literary tradition of the XIX-early XX century. The reception of mystical experience in the artistic world of Yesenin takes place through a rethinking of the traditions of Orthodox spirituality, the European Christian worldview and the romantic picture of the world.

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Prodan (book author), Sarah Rolfe, i James M. Saslow (review author). "Michelangelo’s Christian Mysticism: Spirituality, Poetry, and Art in Sixteenth-Century Italy". Renaissance and Reformation 38, nr 1 (13.06.2015): 191–94. http://dx.doi.org/10.33137/rr.v38i1.22805.

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León, Denise. "Another Way To Be: Poetry and Mysticism in Severo Sarduy’s Work". Anclajes 23, nr 2 (1.05.2019): 57–75. http://dx.doi.org/10.19137/anclajes-2019-2324.

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Fuad, Khairul. "Simbolisme Puisi Sufistik Odhy’s Simbolism Of Islamic Mysticism Poetry Of Odhy’s". ATAVISME 23, nr 1 (30.06.2020): 75–88. http://dx.doi.org/10.24257/atavisme.v23i1.622.75-88.

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Penelitian ini bertujuan mengetahui simbolisme pada puisi sufistik sastrawan Kalimantan Barat, Odhys, di dalam antologi berjudul Rahasia Sang Guru Sufi. Sufisme terkait dengan hubungan mistik dengan Tuhan maka simbol psikologi dipilih untuk menggambarkan keadaan dan situasi hubungan tersebut. Terkait juga dengan perjalanan atau pendakian dari alam rendah ke alam tinggi maka simbol kosmologi dan ontologi dipilih untuk menggambarkan rangkaian pendakian sampai ke puncak alam tinggi. Kedua simbol tersebut menjadi bahasan, sebagai terapan lain dari terapan selama ini yang tertuju kepada sebuah tanda. Metode yang digunakan adalah deskripsi dengan teori simbolisme untuk membangkitkan pengalaman hubungan mistik yang dilewati melalui pendakaian menuju Tuhan dalam puisi-puisi Odhys. Hasil penelitian menunjukan bahwa langkah-langkah harus ditempuh untuk memperoleh pengalaman mistik dengan Tuhan, yaitu langkah penyucian jiwa (tazkiyah al-nafs) sampai langkah membuka hijab (mukasyafah). Kemudian, langkah-langkah tersebut melalui pendakian dari alam nasut, alam malakut, dan alam jabarut untuk sampai kepada Tuhan. Penelitian ini menjadi bagian dari sumbangsih perjalanan perkembangan sufistik di Kalimantan Barat melalui sastra dan menambah khazanah sastra sufistik melalui kajian.[Simbolism of Odhys Islamic Mysticism Poetry (Study of Poetry Antology Rahasia Sang Guru Sufi)] This research aims to identify the symbolism of West Borneo writers mystical Islamic poetries, Odhys, in his anthology Rahasia Sang Guru Sufi. Sufism relates to mystical relation with God, and thus symbol of psychology is selected to describe the state and situation of those relation. Beside that, it also relates to journey or ascension from lower state to higher state; therefore, symbols of cosmology and ontology are selected to describe ascension succession to the peak of higher state. Both symbols become the discussion of the research as another application among existing applications usually aimed to a sign. Method used is description with simbolism theory to revivify the experience of mystical relation through ascension to God in Odhyss poetries. From the analysis, it was found that the steps needed to achieve mystical experience with God include the self purification (tazkiyyat al-nafs) until the step of veil removal (mukasyafah). Then, those steps go through the ascension journey from nasut state, malakut state, and jabarut state to get to God. These research will become a contribution to the sufism development in West Borneo through literature and increase the sufism literature heritage through study.Keywords: sufism poetry; simbolism of psychology; symbol of cosmology-ontology; West Borneo

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Harding, Rachel Elizabeth. "Authority, History, and Everyday Mysticism in the Poetry of Lucille Clifton". Meridians 12, nr 1 (1.03.2014): 36–57. http://dx.doi.org/10.2979/meridians.12.1.36.

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