Artykuły w czasopismach na temat „Sentimental poetry”
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Özdemir, Erinç. "Charlotte Smith’s Poetry as Sentimental Discourse". Studies in Romanticism 50, nr 3 (2011): 437–73. http://dx.doi.org/10.1353/srm.2011.0012.
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MAK, SU YIN. "SCHUBERT AS SCHILLER’S SENTIMENTAL POET". Eighteenth Century Music 4, nr 2 (wrzesień 2007): 251–63. http://dx.doi.org/10.1017/s1478570607000930.
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ABSTRACTSchubert’s lifelong interest in literature, his close friendships with poets and his preference for lyric poetry in his prolific song settings suggest that his compositional language may be shaped as much by a literary imagination as by musical concerns. This article argues for a close correspondence between Schubert’s late instrumental style and Friedrich Schiller’s conception of the elegiac. In ‘On Naïve and Sentimental Poetry’ Schiller describes the sentimental poet as having to contend with two conflicting objects, the ideal and actuality, and to represent their opposition either satirically or elegiacally: whereas satire rails against the imperfections of present reality, elegy expresses longing for an ideal that is lost and unattainable. Paradoxically, however, the poet’s longing must take place in a flawed present; the elegiac thus projects not only a disjunction between divided worlds, but also a cyclic temporality in which memory and desire, past and future, are both entwined with the immediacy of present experience. In both Schiller and Schubert, this paradoxical temporal sensibility is often represented by patterns of returning, repetition and circularity. A close reading of Schubert’s Moment musical in A flat major, d780/2, illustrates how Schiller’s conception of the elegiac might be put into analytical practice.
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Hilliard, K. F. "'Nänie': Critical Reflections on the Sentimental in Poetry". Publications of the English Goethe Society 75, nr 1 (marzec 2006): 3–13. http://dx.doi.org/10.1179/174962806x99586.
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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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Berzeviczy, Klára, i Gyula Pályi. "Willehalm—Genealogical Dimension of Sponsoring Poetry". Genealogy 7, nr 4 (25.09.2023): 71. http://dx.doi.org/10.3390/genealogy7040071.
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The medieval respect towards progenitors induced not only sentimental feelings but also practical steps, such as sponsoring works of art. In the present study, the family connections of Landgrave Hermann I of Thuringia to the Carolingians and to (Saint) Guillaume/Guilhem d’Orange, from the family of the Counts of Autun, have been explored. The possibility of the role of these kinships as a “driving force” behind initiating and sponsoring the epos Willehalm of Wolfram von Eschenbach has been analyzed.
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Haralson, Eric L. "Mars in Petticoats: Longfellow and Sentimental Masculinity". Nineteenth-Century Literature 51, nr 3 (1.12.1996): 327–55. http://dx.doi.org/10.2307/2934014.
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From "A Psalm of Life" and "The Village Blacksmith" to Evangeline and The Song of Hiawatha, Longfellow provided middle-class Americans with models of self-comportment and means for coping with the anxieties and stresses of a commercial society on the move. Mixing tones of melancholy and patient resolution, the poetry served to attenuate polarized gender roles and, especially, to authorize a sentimental or domestic style of masculinity in opposition to more aggresive, competitive, business-oriented modes of "manliness." Though this body of verse employs martial imagery and masculinist terms in order to evoke the tenor of mind and will required by an increasingly complex socioeconomic environment, Longfellow converts these images and terms to elaborate a "feminized" ideal of personal and social behavior: sublimative, spiritualized, quietly persistent. The figure of Evangeline crosses gender lines to instruct both men and women how to bear up under the burden of American "modernity," while that of Hiawatha blends gender traits to embody a soft-but-still-manly masculinity, with implications for both heterosexual and homosocial relations. The efficacy and the very premises of Longfellow's cultural service, which secured his enormous popularity in the antebellum period, were called into question with the advent of realist antisentimentalism, and the poet's work suffered permanent devaluation under the canons of the modernist taste.
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LaPorte, Charles. "ATHEIST PROPHECY: MATHILDE BLIND, CONSTANCE NADEN, AND THE VICTORIAN POETESS". Victorian Literature and Culture 34, nr 2 (25.08.2006): 427–41. http://dx.doi.org/10.1017/s1060150306051254.
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Scholars of nineteenth-century women's poetry often recount that the sentimental piety – indeed, the quasi-religiosity – of the Victorian “poetess” disappears from women's poetry in the mordant irony of thefin de siècle.Virginia Blain, for instance, has recently identified Mathilde Blind and Constance Naden as representatives of “the new breed of post-Darwinian atheists” that comes to replace an earlier, implicitly Christian feminine tradition associated with Elizabeth Barrett Browning (Blain 332). On a related note, I have recently proposed that George Eliot'sLegend of Jubalcollections (1874, 1878) present a rather late instance of this poetess tradition (LaPorte 159–61). In what follows, I would like to argue thatfin-de-siècleiconoclasts such as Blind and Naden actually work hard to reclaim and redeem some of the prominent religious elements of the mid-century poetess tradition, and that Eliot's unusual combination of sentimental piety and religious skepticism gives them a particularly useful model for doing so.
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Kilcup, Karen L. "Feeling American in the Poetic Republic". Nineteenth-Century Literature 70, nr 3 (1.12.2015): 299–335. http://dx.doi.org/10.1525/ncl.2015.70.3.299.
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Karen L. Kilcup, “Feeling American in the Poetic Republic” (pp. 299–335) Recent scholarship concerning nineteenth-century American poetry has challenged petrified attitudes that depict it as almost exclusively sentimental, unoriginal, and meritless. Yet, absent a historicized conceptual framework for assessing the considerable achievements of these poets, we still undervalue and oversimplify their work. Poetry reviews published between 1820 and 1840 show how properly calibrated emotion shaped readers’ tastes and identities, individual and national, in what I call the poetic republic: a country in which nearly everyone read, wrote, or heard verse. Critics’ appraisals intimate their anxious investment in creating authentic American poetry. Given British contentions that Americans were uncivilized, this anxiety coalesced around several related questions: How should writers approach the subject of Indians? What affective stances should poets assume? Was sentimental discourse, especially on Native Americans, inherently “savage”? This essay illuminates the period’s genre norms, concurrently questioning two current critical conventions. Demonstrating how poetry—including its producers and its publics—participated energetically in American nation-building, the essay complicates Benedict Anderson’s assumption that newspapers and novels singularly shaped national self-concepts. It also establishes how sentimentalism was attacked much earlier than today’s scholarship asserts. Simultaneously accommodating and disciplining wilderness (whether formulated as untamed nature and its wild inhabitants, or as uncontrolled, feminized sentimentality), reviewers collectively endorsed dispassionate, elevated nature poetry—often inhabited by Native Americans—as prototypically American, while they disparaged affective excess that they typically gendered as feminine. These verse norms strongly impacted the reception and reputations of the period’s two principal poets, William Cullen Bryant and Lydia Sigourney.
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Lee, Changmin. "The Sentimental Tendency of Kim Yeong-Rang’s Elegiac Type Poetry". Journal of Korean Studies 79 (31.12.2021): 99–136. http://dx.doi.org/10.17790/kors.2021.12.79.99.
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Ivanitskiy, A. "ONCE AGAIN ON SENTIMENTAL AND CLASSICAL IN POETRY OF KARAMZIN". Bulletin of the Moskow State Regional University, nr 4 (2015): 109–18. http://dx.doi.org/10.18384/2310-7278-2015-4-109-118.
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Zimina, Evgeniia, i Mariana Sargsyan. "Politics, Poetry, People: an Overview of Contemporary Poetry Trends in the British Literary Landscape". Armenian Folia Anglistika 15, nr 1 (19) (15.04.2019): 113–29. http://dx.doi.org/10.46991/afa/2019.15.1.113.
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The article deals primarily with the poetic discourse surrounding the 2014 Scottish Independence Referendum and the post-referendum developments in the UK. The political processes of the recent years have been unprecedented in terms of the public resonance, which was by and large due to the active involvement of the social media. By examining the language and rhetoric strategies used in poems we become aware of the message behind them, of the political ideologies they are based on and of the means employed to address the public. It is argued that poetry, whether traditional or digital, sentimental or furious, played and still continues to play a significant role in shaping debate over mega political processes in the UK and in affecting people’s opinion.
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Jafarova, Ismat. "Sentimentalism in english literature: a brief analysis of the genre and its representatives". InterConf, nr 29(139) (20.01.2023): 87–94. http://dx.doi.org/10.51582/interconf.19-20.01.2023.008.
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The article analyzes the works of some representatives of English sentimentalism. The purpose of this study is to highlight the sentimental basis of this genre, as well as awareness of its aesthetic significance in the artistic structure of works. The analysis of novels reveals in them the features characteristic of sentimentalism: the predominance of natural feeling over reason, the motives of admiring nature, the sublime and the beautiful, the worship of art and sentimental poetry, which determined the character of the novel. This study and its results can be used for further analysis and study of sentimentalism and to create a more complete panorama of the creativity of its representatives.
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Korzhova, Inessa. "Sentimental Grotesque in the Poetry of B. Okudzhava: on the 100th Anniversary of the Writer". Stephanos Peer reviewed multilanguage scientific journal 65, nr 3 (31.05.2024): 7–14. http://dx.doi.org/10.24249/2309-9917-2024-65-3-7-14.
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The article examines the basic features of B. Okudzhava’s poetics, called sentimental grotesque. It shows that his figurative and lexical structure stems from the opposition of high and low: “man – God”, “household – sacred”, “insect man”. A stable means of creating grotesque images, in addition to the collision of different layers of vocabulary, is the environment of “high” images with household details, the most important of which is worn clothes, often named with the help of diminutives. The poems in which some leitmotivs of Okudzhava’s poetry first appeared are established. The conclusion done,that the sentimental grotesque is a feature of building an image of the world in Okudzhava lyrics of the second half of the 1950s and 1960s.
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Constantine, Mary-Ann, i Rhys Kaminski-Jones. ""Excuse the Spelling Which is Probably Wrong": Wordsworth and Tourism's Welsh Languages". Studies in Romanticism 63, nr 2 (czerwiec 2024): 117–41. http://dx.doi.org/10.1353/srm.2024.a931778.
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Abstract: This essay places poetry from Wordsworth's Welsh tours within the wider context of Romantic tourism's encounter with the Welsh language. Welsh played a key part in Romantic-period tour literature: anxiety and prejudice were characteristic of this contact zone, but it also inspired supra-linguistic communion and a co-created 'tourist Welsh.' Similar themes abound in Wordsworth's poetry, from the sentimental communication of "Simon Lee," to the topographical lacunae and ersatz-Welsh experiments of later Welsh-set sonnets. Wordsworth's 'Welsh' was sometimes a hindrance, an annoyance, or a silence—but despite admitting his grasp of the language was "probably wrong," it catalyzed his Romanticization of Wales.
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Boucher, Geoff. "The Lyric Poetry of the Authoritarian Personality: Reading “America First!”". arcadia 59, nr 1 (1.06.2024): 1–22. http://dx.doi.org/10.1515/arcadia-2024-2004.
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Abstract Right-wing authoritarians in America today know that they need poetry for cultural legitimation but cannot seem to produce anything contemporary that would perform that function in intellectual life. Into this breach step Milo Yiannopoulos and Michele Malkin, with their “America First!” reading list, which includes, among other things, a fair bit of poetry. This article reads the poetry selection of the list in the context of its other recommendations, before turning to the sentimental nativist and neomedievalist Romanticism that emerges from this logic. A glance at the poetry of neo-Nazi hate website Stormfront indicates that the demotic and insular tenor demanded by the authoritarian personality today is difficult to reconcile with any plausible concept of intellectual life. The poetic efforts of less explicitly fascist poetry magazines, such as Atop the Cliffs and Rifts in Stone, confirm this by struggling to break free from the anti-intellectual Romanticism demanded by the cultural logic of right-wing authoritarianism today. Rather than recalling the line from Schlageter about culture, though, the essay concludes by remembering that authoritarianism’s relationship to high-powered assault weapons is anything but metaphorical, and that neo-Nazi verse is the lyric poetry of mass murder.
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زاده, جواد سعدون. "Nazik's poetry in the balance of social criticism". Kufa Journal of Arts 1, nr 34 (25.02.2018): 127–48. http://dx.doi.org/10.36317/kaj/2017/v1.i34.5964.
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Many contemporary poets have been interested in explaining social issues, and this was evident in their poems. Among these poets, Nazik Al-Malaikah, the contemporary Iraqi poet, (The Lover of the Night and the Consort of Pain), where she touched on showing reality in society and made many achievements in the field of social criticism in general. Most of her poems are about estimation of alienation and nostalgia, political and social issues, sentimental poetry, human beings, life and death, life, the pursuit of happiness, and lofty ideals. In the field of social criticism, the poetess dealt with the issue of women's liberation, the concept of freedom, the writer's relationship with societies, and other topics, and she presented important books
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Samoilova, Iryna. "Lesya Ukrainka’s language creation in the reception of researchers of the Ukrainian diaspora of early XX century". Culture of the Word, nr 93 (2020): 150–62. http://dx.doi.org/10.37919/0201-419x-2020.93.11.
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The article provides an overview of the creative path of Lesya Ukrainka in the reception of researchers of the Ukrainian diaspora R. Zadesnyansky and L. Biletsky. Writers consider the legacy of Lesya Ukrainka in terms of the socio-political sentiments of the time, what influence they had on the creativity of the poet. The special attention of R. Zadesnyansky and L. Beletsky to the early works of the poetess is noted, their attitude to the critical reviews of other researchers on the early works of Lesya Ukrainka is highlighted. Lesia Ukrainka, even in her youth, was imbued with the ideas of socialism, the sentimental, democratic views of her contemporaries, including her uncle M. Drahomanov, on peace and life. According to the words of the writer, the language of the poem “Русалка” reflects the sentimental coloring inherent in the old teachers of Lesya Ukrainka. The evolution of her ideological positions is indicated – from romantic sentimental motives in the first works to the ideas of the national struggle that sound in the works of the next stages. Emphasized on the singling out of poetry “У чорную хмару зібралася туга моя” by both writers as a turning point in the work of the poetess. They also consider the poem “Віла-посестра” to be one of the best works about form, style, language. R. Zadesnianskyi emphasizes that Lesia Ukrainka knew the Ukrainian folk and literary language perfectly. In the poem, she skillfully used the style of Serbian thoughts, Serbian beliefs, customs to express her own ideas and views. Researchers consider Lesya Ukrainka a phenomenon in Ukrainian literature. She brought Ukrainian literature into the vastness of world literature.
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Louis, Margot K. "Enlarging the Heart: L. E. L.'s “The Improvisatrice,” Hemans's “Properzia Rossi,” and Barrett Browning's Aurora Leigh". Victorian Literature and Culture 26, nr 1 (1998): 1–17. http://dx.doi.org/10.1017/s1060150300002242.
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Elizabeth barrett browning's relation to her female predecessors was complex, conflicted, and rewarding. In Aurora Leigh we see both the heroine and her creator grow from poets who attempt to prove themselves in traditionally masculine terms, into poets who engage with a feminine tradition of sentimental verse which they resist and criticize but nevertheless find of essential value. Only by viewing the poem against the backdrop of the sentimental tradition can we fully appreciate Barrett Browning's challenge to the cult of privacy and the doctrine of separate spheres, her dual emphasis on poetry as at once a job requiring doggedness and a vocation requiring wide social and religious vision, and, finally, her sense of the connection between herself and her female predecessors. Such poets as Felicia Hemans and L. E. L. (Letitia Elizabeth Landon) stand in a relation to Barrett Browning which resembles the unsentimental aunt's relation to Aurora in Book 1 of Aurora Leigh: there is more conflict than sympathy in the relationship; the older woman represents a version of femininity which the younger must at all costs resist; and yet the older woman leaves the younger a legacy which is both narrow and enabling, an essential basis for the young poet's future achievement.
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Stott, Gregory. "Poetic Justice". Ontario History 105, nr 2 (30.07.2018): 160–82. http://dx.doi.org/10.7202/1050732ar.
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Beginning in 1855 Lambton County merchant, postmaster, poet, Orangeman and moderate conservative Robert McBride (1811-1895) saw himself as a victim of a conspiracy launched by scheming Reform-minded politicians and their cronies. In books of poetry, particularly his hefty Poems Sentimental & Satirical On Many Subjects Connected with Canada, and drawing on his own experiences, he outlined the malfeasance of the judiciary, the ‘land jobbing’ class, and others associated with the Reform movement in Canada West who, he claimed, were undermining and corrupting the British foundations of the province. McBride’s poetry and other contemporary documentation about his legal travails help us understand the complex connections that existed among colonial administrators at the local level in Canada West in the 1850s.
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Strashnov, S. L. "Twice lived youth of Yaroslav Smelyakov". Voprosy literatury, nr 5 (9.11.2019): 158–86. http://dx.doi.org/10.31425/0042-8795-2019-5-158-186.
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The article discusses the interaction of Y. Smelyakov’s (1913–1972) poetry with mass consciousness and describes the major events of the poet’s biography. Milestones on his literary path have been reconstructed, as has his evolution from a carefree lyrical hero into a confident author. The analysis of Smelyakov’s poetry is supplemented with numerous references to everyday Soviet realia. Especially detailed are descriptions of his debut poems, but the author also takes into account the latest interpretation of the poet’s youthful years in the early 1930s. The context of 1920s–1970s Soviet literature is a pivotal element of the analysis. In particular, the author suggests mutual affinity of Smelyakov’s works with the genre of popular sentimental songs, the works of proletarian poets, and the Sixtiers’ poetry. The article recalls the polemics around Smelyakov’s work, especially in the years before the war in 1941 and in the post-Soviet era. Soviet critics often reproached Smelyakov for excessive lyricism, attention to mundane details, and sentimentalism.
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Abidin, Zaenal, i Dedi Koswara. "Sajak Sunda Periode 1949-1962 (Kajian Struktural dan Sosiologi Sastra)". LOKABASA 11, nr 1 (3.06.2020): 92–101. http://dx.doi.org/10.17509/jlb.v11i1.25202.
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Sundanese poetry of the period 1949-1962 was influenced by social events at that time, often the problems conveyed in poetry were irony, open, open, serious, satirical, and sentimental. Therefore, the aim of the research is to describe (1) the tone of the author, and (2) the fact of humanity that is reflected in his poems. This research is a qualitative research using analytic descriptive method. The technique of collecting data uses the study of documentation and contemporary author interviews. Poetry data was chosen 25 poems from 40 poems collected based on the year of publication, theme, and the poetry of the poem. The results of the study are based on the themes of the 1949-1962 Period poetry, namely (1) love for the motherland, (2) love for fellow human beings, (3) humanity, (4) mobs, (5) philosophical reflections, and (6) death. The tone analyzed in poetry includes formal attitudes in 11 poems, intimate attitudes in 11 poems, and arrogant attitudes in 3 poems. The conclusion of this study is the Sunda poem Period 1949-1962 raised about (1) love in the land of water / land Sunda, (2) love for fellow human beings, (3) humanity, philosophical contemplation, (3) hordes, (5) philosophical reflections, and (6) death. AbstrakSajak Sunda periode 1949-1962 dipengaruhi oleh kejadian sosial pada masa itu, seringkali masalah yang disampaikan dalam sajak yaitu ironi, terbuka, terbuka, serius, satir, dan sentimental. Oleh karena itu, tujuan dari penelitian adalah mendeskripsikan (1) tone/nada pengarang, dan (2) fakta kemanusiaan yang tergambar dalam sajak-sajaknya. Penelitian ini termasuk penelitian kualitatif yang menggunakan metode deskriptif analitik. Teknik mengumpulkan data menggunakan studi dokumentasi dan wawancara pengarang sezaman. Data sajak dipilih 25 sajak dari 40 sajak yang dikumpulkan berdasarkan pada tahun terbit, tema, dan titimangsa sajak. Hasil penelitian berdasarkan tema sajak Periode 1949-1962 yaitu (1) cinta tanah air, (2) cinta sesama manusa, (3) kemanusiaan, (4) gerombolan, (5) renungan falsafah, dan (6) kematian. Tone/nada yang dianalisis dalam sajak mecakup dalam sikap formal dalam 11 sajak, sikap intim dalam 11 sajak, dan sikap angkuh dalam 3 sajak. Kesimpulan dari penelitian ini adalah sajak Sunda Periode 1949-1962 mengangkat tentang (1) rasa cinta pada tanh air/tanah Sunda, (2) rasa cinta pada sesama manusia, (3) kemanusiaan, renungan falsafah, (3) Gerombolan, (5) renungan falsafah, dan (6) kematian.
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Jitrik, Noé. "Lirismo-narratividad. Reflexiones a partir del poema “Colloque sentimental” de Paul Verlaine". Acta poética 43, nr 2 (17.07.2022): 147–52. http://dx.doi.org/10.19130/iifl.ap.2022.2.178x270s8.
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This essay explores the thin boundaries of genres in Paul Verlaine’s poem “Colloque sentimental”, where the theatrical, the lyrical, and the narrative coexist. Of these three terms, the lyrical is the most elusive, which beyond its musical substratum, would be related to the expressive side, the accent placed on the poetic subject, the extreme subjectivation and the tendency to self-representation, the varied world of explicit feelings, a singular atmosphere, something similar to a “soft” world, traversed by the exaltation of the “other”, and all the expressive consequences that these considerations have in poetry.
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Alsabt, Abdulrahman. "The Sentimental Poetry in the Kingdom of Bahrain: Its Aspects and Artistic Characteristics". Journal of Human and Administrative Sciences, nr 29 (1.12.2022): 01–25. http://dx.doi.org/10.56760/jtnr8131.
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يسعى هذا البحث الموسوم بـ: "الشعر الوجداني في مملكة البحرين: مظاهره وخصائصه الفنية" إلى بيان أبرز مظاهر الشعر الوجداني الموضوعية في مملكة البحرين، وتتمثل في: المرأة والحب، وعلاقة الشاعر بالطبيعة، والإحساس بالغربة، والشعور بالحزن والألم. بالإضافة إلى دراسة بعض الخصائص الفنية المتمثلة في: الصورة الشعرية، والإيقاع الموسيقي، وظاهرة الهمس. وقد جاءت مظاهره المتعلقة بالموضوع متنوعة، وإن طغى جانب الحديث عن المرأة والطبيعة على الموضوعات الأخرى، كما أنَّ الصورة ارتكزت على الجانب الاستعاري أكثر من غيره، أما الإيقاع الموسيقي فكان متنوعًا بين الخارجي والداخلي وجاء منسجمًا مع بعض، وكانت لغة الشعر – غالبًا - هامسة هادئة في هذا الاتجاه؛ نتيجةً لطبيعة الشاعر البحريني وأخلاقه الهادئة، ولطبيعة الموضوعات التي تطرق لها الشعراء.
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Zeng, Xiaoxin. "Paradoxes in Wordsworth’s Tintern Abbey: Sense, Nature, Reality". BCP Social Sciences & Humanities 20 (18.10.2022): 287–92. http://dx.doi.org/10.54691/bcpssh.v20i.2331.
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There are always arguments about the unadorned language and the nature in Wordsworth’s poems. Some consider it as a sentimental approach to escape from the reality, while others are on the contrary. This article is going to check how the language was used, and in what aspect Wordsworth chose to depict the nature to find relationship between human and nature, as well as the society. By examining the paradoxes in the poetry, the article will explore how Wordsworth made innovation at his time, which added a new angle to perceive the world.
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Silva, Cleonice Nascimento da. "Gilka Machado e Florbela Espanca: uma poética do donjuanismo feminino". Revista do Centro de Estudos Portugueses 22, nr 31 (31.12.2002): 211. http://dx.doi.org/10.17851/2359-0076.22.31.211-225.
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<p>Este trabalho tem como objetivo apresentar como está representada a imagem feminina em alguns poemas selecionados da obra de Florbela Espanca e Gilka Machado. As marcas de sensualidade e o natural rompimento com a tradicional visão do amor no discurso feminino, atuam como características predominantes do universo poético dessas poetisas. Tais características explicitam o processo de individuação feminina que reflete em seu discurso libertário e irreverente uma espécie de <em>donjuanismo </em>feminino. Nosso propósito é focalizar a construção desse processo de individuação feminina que, se por vezes mostra uma sensibilidade exacerbada por fortes impulsos eróticos, por outras, revela toda a angustiante experiência sentimental nas quais as poetisas extravasam as lutas que travam dentro de si entre tendências e sentimentos opostos. Acreditando que a trajetória e a representação da imagem feminina no discurso poético florbeliano e gilkiano refletem uma proposta pioneira de valores transgressores da sociedade burguesa cristã, o estudo mostra o perfil da mulher na obra de Florbela Espanca e de Gilka Machado.</p> <p>This written work aims to show how Florbela Espanca and Gilka Machado have represented the feminine image in some selected pieces of their poetry oeuvre. Sensuality traits and natural rupture with the traditional point of view about love affection within feminine discourse act as predominant features into the authors’ poetic universe. Such features expound the women individualization process which express through authors’ setting-free and non-obeying discourse a kind of feminine donjuanism. It is intend here to spot the building of this feminine individualization process. sometimes this building process exposes a sensibility exaggerated by strong erotic impulses, and in others times that process reveals the very sentimental anghuishening experience through which both poets set free their inner struggles involving oppostie tendencies and feelings. This study draws a woman’s profile inside Floberla Espanca and Gilka Machado’s poetry by taking for granted that the feminine image trajectory and representation within authors’ poetic discourse expresses a pioneer proposal of breaking-rules values of christian burgeois society.</p>
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Rifkind, Candida. "Too Close to Home: Middlebrow Anti-Modernism and the Sentimental Poetry of Edna Jaques". Journal of Canadian Studies 39, nr 1 (listopad 2004): 90–114. http://dx.doi.org/10.3138/jcs.39.1.90.
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Rifkind, Candida. "Too Close to Home: Middlebrow Anti-Modernism and the Sentimental Poetry of Edna Jaques". Journal of Canadian Studies 39, nr 1 (2005): 90–114. http://dx.doi.org/10.1353/jcs.2006.0011.
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Wise, Benjamin E. "On Naïve and Sentimental Poetry: Nostalgia, Sex, and the Souths of William Alexander Percy". Southern Cultures 14, nr 1 (2008): 54–79. http://dx.doi.org/10.1353/scu.2008.0006.
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Серегина, М. А. "The Sentimentalism of W. Godwin’s Early Novels". Вестник Рязанского государственного университета имени С.А. Есенина, nr 1(70) (17.03.2021): 117–27. http://dx.doi.org/10.37724/rsu.2021.70.1.012.
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В статье рассматриваются ранние малоизученные романы английского писателя, журналиста и философа Уильяма Годвина «Деймон и Делия», «Имоджен» и «Итальянские письма». Цель данного исследования — выделение их сентиментальной основы, осознание ее эстетической значимости в художественной структуре произведений. Анализ ранних романов позволяет выделить в них характерные для сентиментализма особенности: преобладание естественного чувства над разумом, мотивы любования природой, возвышенным и прекрасным, восхищение искусством и сентиментальной поэзией, определившие характер героев и специфику сюжетно-мотивного комплекса. У. Годвин активно обращается к сентименталистской стилистике, используя как традиционные, так и оригинальные художественно-выразительные средства, которые основываются на контрасте как главном способе воздействия на читателя. Автор статьи приходит к выводу, что на раннем этапе творчества писателя происходит становление стиля и особого способа художественного выражения его философских и политических идей, тем самым опровергается широко распространенное мнение о том, что ранние романы У. Годвина не содержат каких-либо важных для его философии идей. Кроме того, анализируемые романы исходя из их жанрово-стилевой специфики можно отнести к типично сентиментальным произведениям. Данное исследование и его результаты могут быть использованы для дальнейшего анализа и изучения раннего творчества У. Годвина и для создания более полной панорамы его работ. The article treats an English writer, journalist and philosopher William Godwin’s previously underinvestigated novels “Damon and Delia”, “Imogen”, and “Italian Letters”. The aim of the research is to explore the sentimental aspects lying at the basis of the novels and to assess their aesthetic value. The analysis of W. Godwin’s early works enables one to trace in them some features characteristic of sentimental novels, such as prevalence of sentiment over common sense, fascination with nature, admiration for exquisite beauty, appreciation of art and sentimental poetry. All these characteristics account for the choice of personages and narrative devices. W. Godwin’s works abound with sentimentalism. The writer employs both traditional and unique stylistic devices, whose essence lies in contrast as the main means of affecting the reader. The author of the article concludes that W. Godwin’s early works bear witness to the evolution of W. Godwin’s writing style and to his search of literary devices which enable him to express his philosophical and political ideas. Therefore, the author of the article underlines that, contrary to widespread opinion, W. Godwin’s early works are not devoid of philosophical ideas. The author maintains that, judging by their genre characteristics, the analyzed novels can be classified as sentimental ones. The research can be used for further analysis of W. Godwin’s early novels and for the creation of a wider panorama of his works.
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Gómez, Miguel. "Del drama a la poesía y viceversa. La piedra oscura de Alberto Conejero como muestra de transmisión generacional de valores humanos". Acotaciones. Revista de Investigación y Creación Teatral 1, nr 50 (28.06.2023): 239–60. http://dx.doi.org/10.32621/acotaciones.2023.50.08.
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This article deals with deepening the link between the po-etry of Federico García Lorca and the dramatic literature of La piedra os-cura by Alberto Conejero. The theatrical piece is inspired by the existing documentation on the young Rafael Rodriguez Rapún, with whom the poet had a sentimental relationship, which resulted in the writing of the so-called Sonetos del amor oscuro. Alberto Conejero tries to reconstruct, from García Lorca's poetry, their hypothetical relationship, which is also part at the same time of the dramatic event. At the same time, the text defends human values against homophobia from the importance of the generational transmission of literary texts as a patrimonial legacy of culture and improvement of society.
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Guest, Kristen. "The Sentimental Policeman: Poetry and Social Mobility in the Police Review and Parade Gossip". Victorian Poetry 50, nr 1 (2012): 91–106. http://dx.doi.org/10.1353/vp.2012.0000.
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Shamma, Hussam. "A Deconstructionist View of Sylvia Plath’s “Lady Lazarus” and Robert Frost's “Design”". International Journal of Management and Humanities 9, nr 9 (30.05.2023): 7–14. http://dx.doi.org/10.35940/ijmh.i1605.059923.
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Deconstructionism, which entails carefully examining a text and underscoring its inconsistencies, ambiguities, and paradoxes, is employed in this paper to evaluate Sylvia Plath and Robert Frost’s poetry. Deconstructionists examine how a text opposes or challenges its own meaning rather than trying to come about a single, conclusive interpretation. They might look at how a text challenges prevailing idea, reveals the limitations of language or undermines the conventional distinctions between gender, race, and class. They could examine how the poem’s themes are distorted or contradicted, as well as how it highlights the limitations of conventional binary oppositions like male/female, self/other, and nature/culture. The poetry of Sylvia Plath is frequently recognized for its great emotional depth and its examination of serious subject matters like loneliness, death, and mental illness. Plath frequently uses intricate metaphors and symbols in her poems, as well as startling and vivid imagery. For instance, “Lady Lazarus” is recognized as one of Plath’s most known pieces and a haunting exploration of the themes of death, rebirth, and identity. On the other hand, Robert Frost is renowned for his bucolic and frequently sentimental images of rural life in New England. His poetry is known for its use of straightforward, simple language and often examines themes like nature, interpersonal relationships, and the passage of time. For instance, the poem “Design” prompts critical reflection on the nature of our existence and our place within such a complex universe.
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Harrington, Emily. "The Expiration of Commitments in Adelaide Procter's “Homeward Bound”". Victorian Literature and Culture 48, nr 2 (2020): 435–44. http://dx.doi.org/10.1017/s1060150320000042.
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It has been a long time since the poetry of Adelaide Anne Procter, a favorite of Queen Victoria, captured much interest from readers of poetry, whether they be anthology aficionados, scholars, or students. Now considered a minor poet of the period, she was nevertheless a quintessential poet activist of her day, raising money for and working with the Providence Row Night Refuge, editing and contributing to the English Women's Journal alongside the Langham Place Feminists and the Society for the Employment of Women. She published volumes of her own poems, one of which ran to as many as nineteen editions between 1858 and 1881, and her work was featured regularly in Charles Dickens's periodical Household Words. Her legacy stands as a powerful testimony to the way ideas and tastes change over time. Full of angels, Christmases, quietly suffering children, and pious nuns (she converted to Catholicism in 1851), her poetry is often dismissed as sentimental and clichéd. A glance at her forms reveals many straightforward tetrameters with expected alternating, end-stopped rhymes, an easiness that seems to ally form and content. If Adorno had ever taken the time to read her poetry, he probably would have hated it, not just for its Catholic faith and its frequent focus on sin and redemption, but for its attempt “to work at the level of fundamental attitudes,” typical of committed art. Consider these lines from her frequently anthologized “Homeless,” which asks readers to recognize that their society takes better care of animals, criminals, and commodities than of the homeless poor: For each man knows the market valueOf silk or woolen or cotton…But in counting the riches of EnglandI think our Poor are forgotten.
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Gogo, Iorwuese. "Book Review: Bula, A. (2020). Poetry as Throne for Sentimental Reticulation: A Review of Andrew Bula's Turns of Thoughts. Abuja: Old Press". Journal of Critical Studies in Language and Literature 2, nr 6 (6.09.2021): 35–39. http://dx.doi.org/10.46809/jcsll.v2i6.114.
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This review article is a critical inspection of Andrew Bula's collection of poems, Turns of Thoughts (2020). As such, critical searchlights are thrown on poems as “Turns of Thoughts”, “Who Knows”, “Keeping Vigil”, “Love to Love”, “Wall Gecko”, “Far Out to the Woods”, “King on Fours in the Wilds”, “Trekking Home on a Windy Night”, ‘Presence and Space”, “Neighbour, Let’s Hate Hatred”, "Much Minuses & Little Pluses", "To Illumine our Rich, Fine World". In investigating these pieces, the aim really is to uncover the message and artistry of Bula's poetry. There are, of course, other pieces in the anthology that are simply mentioned in this review, without depth analyses. In such circumstances, the tendency is to liken them to other piece(s) or, quite simply, to take a cursory view of them. And then there is a showcasing of dominant literary devices as found in the poems as Rhetorical Questions, Paradox, Simile, Metaphor, Personification, Allusion, and Code Mixing. In the end, it is made out that Bula’s poetry is one of emotional elation and it reveals high moral awareness of, and gratitude to, important members of the public who have positively impacted society. Likewise, it is discovered that the poems also explore nature, love, and philosophical themes, while employing literary devices such as have already been mentioned.
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BERMES, Iryna, i Khrystyna PELEKH. "VOCAL SHASHKEVYCHIANA OF BOHDAN-YURIY YANIVSKYI (FOR THE 180TH ANNIVERSARY OF THE DEATH OF MARKIYAN SHASHKEVYCH)". Fine Art and Culture Studies, nr 3 (4.09.2023): 11–17. http://dx.doi.org/10.32782/facs-2023-3-2.
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The article is devoted to the research of the works of Markiyan Shashkevych (1811−1843) – «a true poet with great talent» (Wozniak, 1911, p. 22), whose images and poetics he drew from Ukrainian folk songs. Ukrainian composer Bohdan-Yuriy Yanivskyі (1941−2005), did not miss her attention, creating two vocal masterpieces on the texts of romance. The purpose of the article is to reveal the peculiarities of reading of Markiyan Shashkevychʹs poetry in Bohdan-Yuriy Yanivskyiʹs vocal artefacts, to describe the means of musical expressiveness, their importance in creating an artistic image. Methodology of the research consists in application of musicology approach for implementation of musical and theoretical analysis of vocal works by Bohdan-Yuriy Yanivskyiʹs based on the poems by Markiyan Shashkevych. Scientific novelty. For the first time, two vocal compositions accompanied by a piano («To my darling», «Thought» («The moon dashed in the clear sky…»), the necessity of their introduction into the concert practice, their role in the composerʹs creative heritage are emphasized. Conclusions. Bohdan-Yuriy Yanivskyi has comprehended Markiyan Shashkevychʹs poetry very creatively, interpreting it in a specific way, deepening the meaning, organically combining folk (kolomyjkaʹs) and romance elements with harmonic and rhythmic expressive means of light pop music. The artist brought some naive, sentimental verses of «Galician riser» to the contemporary listener. Vocal Shashkevychiana of Bohdan-Yuriy Yanivskyi takes a worthy place within the artist's compositions. It extends the coordinates of the chamber vocal creativity to words by Markiyan Shashkevych not only in the Ukrainian but also in the Slavic musical scope, confirms a deep understanding of poetry, its subtle composing reading embodied in the musical text.
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Wutsdorff, Irina. "Utopische Potenziale des Idyllischen in der Narration: Ivan Gončarovs Oblomovka und Jan Nerudas Kleinseite". arcadia 55, nr 1 (5.06.2020): 44–63. http://dx.doi.org/10.1515/arcadia-2020-0007.
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AbstractThe relationship between the idyll and narration has a paradoxical nature: In its state of complete harmony, the idyll is beyond any change or development. In terms of narration, however, this poses a fundamental difficulty. This was a problem already recognized in Schiller’s reflections on the idyll in the context of the philosophy of history, expounded in his essay On Naïve and Sentimental Poetry (Über naive und sentimentale Dichtung). By depicting a golden age, i. e., a state that can only ever be appreciated in retrospect, the idyll, according to Schiller, inspires, above all, the pursuit of such a state of harmony in the present. In identification of the idyllic consciousness, representation can only take the form of endangerment by external threats, and in certain cases, the successful overcoming of these threats. Conversely, it is only possible to show the idyll as a state not yet realized, still to be pursued from a perspective outside of the idyllic consciousness. Consequently, the device of a distant, masterful narrator is instrumental to the nuanced depiction of both Prague’s Lesser Quarter (Malá Strana or Kleinseite) in Jan Neruda’s eponymous tales and the Oblomovka country estate in Ivan Gončarov’s novel Oblomov. In both instances, the narrative allows for a critique of the premature realization of pseudo-idyll. Furthermore, the idyll is put into perspective so that beyond signifying loss, its potential to inspire visions of the future is summoned.
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Denney, Peter. ""Unpleasant, tho' Arcadian Spots": Plebeian Poetry, Polite Culture, and the Sentimental Economy of the Landscape Park". Criticism 47, nr 4 (2007): 493–514. http://dx.doi.org/10.1353/crt.2007.0008.
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Metelyova, Olesya A. "Forming the phenomenon of the "country estate text" of Russian literature in the poetry of Vasily Maykov and his contemporaries". Vestnik of Kostroma State University, nr 4 (2018): 83–87. http://dx.doi.org/10.34216/1998-0817-2019-25-4-83-87.
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The study is devoted to the complex analysis of Vasily Maikov’s "Ode to Count Zakhar Tchernyshov...". This work can be considered one of the key poems in the process of forming the country estate poetry in Russian literature. Vasily Maykov’s poem is regarded as a literary dialogue with the works of his contemporaries – Aleksey Rzhevskiy and Mikhail Kheraskov. Vasily Maykov continues to develop motifs of peace, the golden age, the search for spiritual harmony in his "country estate" ode. The work widely represents the Masonic motifs of moral work on oneself and the sentimental motif of comprehending the world with heart rather than mind. The poet was one of the first to introduce material context into his poems, correlated with the realities of a particular country estate and the life of his contemporaries, which is connected with the leading tendency of the literature of the last third of the 18th century.
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Miller, Michael F. ""Stop Asking for Life to Be a Poem": On Cybernetic Instrumentality". New Literary History 54, nr 2 (marzec 2023): 1263–70. http://dx.doi.org/10.1353/nlh.2023.a907172.
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Abstract: The "sentimental" narrator of Hari Kunzru's Red Pill is starting to feel like a self-described "waster."1 Away on fellowship in Berlin at the interdisciplinary Deuter Center for Social and Cultural Research, our writer-in-residence narrator ingests the eponymous capsule and "wakes up" to the obsolescence of literary humanism, a historical "period that was drawing to a close" ( RP 46).2 Instead of using the time afforded by the fellowship to work on his grant winning project––notunironically titled "The Lyric I," and which aims to achieve poetic transcendence through a better understanding of "the construction of the self in lyric poetry" ( RP 15)––the narrator whiles away his days on violent police procedurals and social media doom-scrolling.3 "I was like a miser, fretting about his emotional hoard," he confesses: "I frequently found myself hunched over my laptop, my eyes welling with tears … If the world changed, would I be able to protect my family?" ( RP 6-7). Alternating between sentimental musings and apocalyptic fantasies, he slides into a "mad" state of internet-fueled paranoia and begins to see signs and symbols of "red pill" and Alt-Right ideology everywhere he looks ( RP 280). The "sleepy-eyed cartoon frog" on a stranger's tee shirt slyly signals right-wing in-group belonging, while the OK sign made by the right hand of Carl Spitzweg's "Poor Poet" is reinterpreted as an allusion to contemporary fascist iconography, a cryptic communication from the not-so distant past ( RP 27; 9-10).
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Watkins, Holly. "The Floral Poetics of Schumann's Blumenstück, Op. 19". 19th-Century Music 36, nr 1 (2012): 24–45. http://dx.doi.org/10.1525/ncm.2012.36.1.024.
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Abstract Robert Schumann's Blumenstück, op. 19, a short piano piece dating from 1839, is generally not included among the composer's more poetically inspired or formally adventurous pieces. Thanks in part to Schumann's own disparaging remarks about the piece, Blumenstück, like the stylistically similar Arabeske, op. 18, has been viewed as a fairly straightforward effort to appeal to amateur consumers—especially women consumers—of domestic piano music. Rather than recuperate Schumann's piece through a revelation of its structural achievements, this article links the piece's mixed aesthetic status to the similar standing of flowers (and the genre of flower painting to which Schumann's title alludes) in early-nineteenth-century German culture. Emblematic of women and the expression of conventional sentiments, flowers nonetheless constituted a remarkably evocative symbol in Romantic literature. Sentimental and Romantic discourses of the flower converged in the trope of Blumensprache (the language of flowers), an idea that found expression in both popular manuals cataloguing the meanings of flowers and the more esoteric environments of Schumann's criticism, E. T. A. Hoffmann's tales, and Heinrich Heine's poetry. In each of these venues, flowers served as imaginary conduits joining mundane and transcendent realms. Drawing on the work of Friedrich Kittler, I argue that Schumann's Blumenstück, with its conflicting imperatives of pleasure and instruction, congenial melody and motivic intertwining, conflates aesthetic and reception-based categories in a related manner and, as a result, undermines traditional means of generic classification.
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Mashao, Elizabeth Thadeus. "The Cutting Age Literature, from Romanticism to Victorian Age: A Study on Victor Hugo and Alfred Tennyson". Indonesian Journal of English Language Studies (IJELS) 4, nr 1 (29.10.2018): 31–38. http://dx.doi.org/10.24071/ijels.v4i1.1632.
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This study compares the features of poetry works of Victor Hugo from the Romantic Movement to those of Alfred Lord Tennyson from the Victorian Age of literature who lived in cutting age of the two periods of literature. These two ages experienced great expansion of industrial and agricultural revolutions, expansion of British as a super power nation with many colonies and the French revolution which to a great extent influenced the writings of these authors. Romanticism style of portraying themes of imagination, natural beauty and individual emotions over reasoning and sense of intellect influenced the poets of the age of Victorian literature though they still addressed the problems of the Victorian age. Both poets composed short and long poems, used description and sentimental styles, used nature metaphorically to create imagery and describe the emotions of appreciating beauty of the nature and reflecting peoples struggle in different situations of life.Key words: Literature of the Romantic period, literature of the Victorian Age, Victor Hugo,Alfred Tennyson.
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Sidorowicz-Mulak, Dorota. "Księgozbiór Magdaleny Morskiej (1762-1847) w Bibliotece Ossolineum". Z Badań nad Książką i Księgozbiorami Historycznymi 12 (24.12.2018): 123–50. http://dx.doi.org/10.33077/uw.25448730.zbkh.2018.5.
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Magdalena Morska, the owner of the Zarzecze residence, where she created a sentimental-romantic park and garden was a Polish aristocrat and keen organizer of cultural life in Galicia province of Poland. She donated a collection of 358 titles of books and periodicals in 1228 volumes to the Ossolineum Library in 1847. They were mostly books in French published between 1785-1835. In the article an overview of this collection is given. The collection consists mostly of belles-lettres, historical and political works. Also books on geography, especially itinerary accounts are vastly represented, as well as philosophy, including leading authors of European Enlightenment, books on art, poetry, drama, works on botanic and gardening. In Morska’s library there were also volumes of typically women’s literature of the period: romances, moralizing literature, educational books, language dictionaries and grammar manuals. In spite of a substantial book collection of count Morska, there was no separate library room in the Zarzecze palace.
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Sinn, Elizabeth. "Xin Xi Guxiang: A Study of Regional Associations as a Bonding Mechanism in the Chinese Diaspora. The Hong Kong Experience". Modern Asian Studies 31, nr 2 (maj 1997): 375–97. http://dx.doi.org/10.1017/s0026749x00014347.
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The Chinese migrant's strong sense of attachment to theguxiang(native place) is well recognized, and literature on overseas Chinese generally proceeds on this assumption. There is, however, little discussion on the mechanisms which have bonded the migrant to the native place, either by helping him express his longing and concern for it, or by reminding him of his obligations as a native son. Family ties, ownership of land and business connections as well as pure sentimental attachment, so poignant in centuries of Chinese poetry, naturally make migrants feel concerned for its well-being and eager for its news. Overseas Chinese in most cases continue to communicate with the native place on an individual basis, for there are levels of activities where the scale and complexity are such that only organizational efforts would suffice. At the same time, an easily identifiable institution enables those at home to contact and rally more effectively its migrant fellow-regionals, when the need for spiritual or material help arises.
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Li, Kwen-Yin. "The Reception of Chopin – the Poet of the Piano – and his Music in Taiwan. An initial assessment, based on a questionnaire for choir singers". Chopin Review, nr 3 (27.04.2023): 112–39. http://dx.doi.org/10.56693/cr.123.
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Although the popularity of Chopin and his music in East Asia is a well-known phenomenon, we know quite little about how exactly Asian people understand and listen to Chopin’s music. This article aims to show the general situation of the reception of Chopin and his music in Taiwan by examining three different aspects. Presented in the first part are the results of a questionnaire about Taiwanese choir singers’ impressions of Chopin and his music and their experience of listening to excerpts of four different compositions by the composer, while the second part deals with the cultural image of Chopin in Taiwanese books, textbooks and film. The results suggest that the designation ‘poet of the piano’ plays an integral role in Chopin reception in Taiwan. In order to understand how Taiwanese people’s understanding of beauty in poetry can affect their understanding of Chopin’s music, an aesthetic category called yijing, frequently used in literary and art criticism in Taiwan, is introduced in the last part of the article. It seems that the epithet ‘poet of the piano’ encourages Taiwanese people to understand Chopin’s works according to yijing (by seeing imaginary scenes and feeling the expression, they experience the deeper beauty and meaning of the music) and to associate them with poetry representative of that aesthetic category. Moreover, the Taiwanese tend to perceive Chopin’s music as lyrical and sentimental and to consider such qualities as characteristic of his oeuvre.
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Repina, Anastasija S. "Folk Adaptation of the Sentimental Romance by M. V. Zubova “I`m Going to the Desert". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 181–89. http://dx.doi.org/10.37816/2073-9567-2023-68-181-189.
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The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.
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Çetin, H. "Investigation on Moral Understanding and Religious Motives in Karacaoğlan's Poems". Turkology 4, nr 102 (15.10.2020): 91–104. http://dx.doi.org/10.47526/2020/2664-3162.006.
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The Turkish oral tradition has lived in the memory of the people for generations. This cultural memory has been brought up to day by means of bards and minstrels who convey the feelings and thoughts of the people with their own way of expression. One of the important names in this oral tradition is Karacaoğlan. In his poems, love, longing, depictions of nature have taken place in the heart of the people with the impressiveness of his poetry and voice. Their poems were sung by the people and some of their poems were sung. Karacaoğlan, known as a love poet, has influential poems which show both mysticism and religious features behind these poems. Looking at these poems, we can see that spiritual sentimental poems are loved by the people as well as the strength of the language. In this work, we will examine how Karacaoğlan reflects his understanding of morality and religious motifs in his poems and the function and role of oral culture in terms of the period in which these reflections lived.
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Radu, Mirela. "Blending between occultism and scientism in Vasile Voiculescu’s short stories". Romanian Journal of Military Medicine 121, nr 1 (1.04.2018): 30–35. http://dx.doi.org/10.55453/rjmm.2018.121.1.5.
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Vasile Voiculescu (1884-1963), besides being a well-known writer, was also a prominent, much respected physician who practiced between the two world wars. He attended the courses of the Faculty of Letters and Philosophy in Bucharest for a year (1902-1903), but gave up on them in order to attend the Faculty of Medicine. The literary debut took place in 1912 in the journal Convorbiri literare. He published the first volume of lyrical poems in 1916 and in 1918 he was granted the Academy Award for lyrical volume From the Aurochs Country and other poems. In 1935 he became a member of the Academy of Sciences of Romania and in 1941 he received the National Poetry Prize. The following volumes of poems are: Ripeness (1921), Poems with Angels (1927), Destiny (1933), Ascent (1937), Gleams (1939). His work also includes a short story: The Demiurge (1943). Shakespeare's last imaginative sonnets in Vasile Voiculescu’s translation (1964), and the novel Zahei-The blind (1966), Sentimental Gymnastics (1972) are published posthumously. The present article is aimed at revealing the world of Voiculescu’s short stories.
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Wypustek, Andrzej. "Laughing in the Face of Death: a Survey of Unconventional Hellenistic and Greek-Roman Funerary Verse-Inscriptions". Klio 103, nr 1 (1.06.2021): 160–87. http://dx.doi.org/10.1515/klio-2020-0305.
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Summary Starting from late Classical-early Hellenistic age a series of witty, lighthearted and irreverent funerary verse-inscriptions aiming to produce some effect of amusement or laughter appeared on a number of monuments, reaching their apogee during Greek-Roman era. Most of them originated in Asia Minor and Rome. Some earliest examples were related to widespread hedonistic exhortations on tombs. Their later ramifications, consisting of ironical or playful expressions, amusing puns and instances of black humour, were written in a more satirical vein, except with inscriptions dedicated for animals that were rife with sentimental motifs. Remarkably diverse as they were, such verse-inscriptions cannot be defined in terms of a distinctly separate, continuous tradition, but they shared some common features. Lacking – for the most part – conventional and formulaic elements, they struck us as heavily individualised, which sets them apart from the mainstream tradition of funerary poetry. This in turn might shed some light on social standing or/and mentality of individuals who opted for such expressive ways of remembering the dead.
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Lydon, Jane. "Pity, Love or Justice? Seeing 1830s Australian Colonial Violence". Emotions: History, Culture, Society 1, nr 2 (22.03.2017): 109–30. http://dx.doi.org/10.1163/2208522x-00102007.
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During the 1830s, humanitarian concern for the plight of the British Empire’s Indigenous peoples reached its height, coinciding with colonists’ rapid encroachment upon Indigenous land in New South Wales. Increasing frontier violence culminated in the shocking Myall Creek Massacre of June 1838, prompting heated debates regarding the treatment of Australian Aboriginal people. Humanitarians and colonists deployed intensely emotive strategies seeking to direct compassion towards their very different objects via newspapers, the pulpit, prose, poetry and imagery. The landmark sermon delivered in late 1838 by Sydney Baptist minister John Saunders argued for Indigenous rights and the recognition of Aboriginal humanity, drawing a distinction between ‘pity’ and ‘justice’ that anticipated more recent debates regarding empathy. Saunders’s argument contrasts with sentimental antislavery strategies which rendered black people passive beneficiaries of white benevolence, demonstrating that despite scholarly critique which emphasises the limits of empathy, we must not assume empathy has static or homogeneous meanings and political effects in specific circumstances and times. While empathy may be complicit with injustice, conversely a lack of sympathy for other peoples’ suffering may license racism, misogyny and oppression.
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Novikov, Vladimir. "Хлебников и современная русская поэзия". Modernités Russes 8, nr 1 (2009): 291–305. http://dx.doi.org/10.3406/modru.2009.1472.
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There is no Russian poet of nowadays who hasn’t his own attitude to Khlebnikov. The interaction with Khlebnikov’s world is necessary for the creative self-determination and self-identification. Vladimir Vysotsky in the days of his youth was delighted with the verse “Rus’, ty vs ’a -potseluy na moroze” (“Russia, you all are like a kiss in the frost”), and later he inherited this poetical openness and sentimental hyperbolas in his own songs. On the contrary Aleksandr Kushner said about Khlebnikov : «For me this play with word without real lyricism seems to be boring and gives me nothing”. And it shows not only his personal taste but also his refusing of the Khlebnikov’s cosmic epics from the point of view of post-acmeictic lyrical system. Mikhail Victorovich Panov (1920-2001) was a deep investigator of the Khlebnikov’s poetical system and in the same time original poet. His poems were published at first in 1998. As a real follower of Khlebnikov he combined complexity and simplicity, vers libre and classical verse, “zaum” and semantic transparency. He has written a poetical cycle “Starry Sky” where he gives the “Khlebnikov-centic” picture of Russian poetry. Gennadiy Nikolayevich Aigi (1934-2006) has turned Russian poetry to the new system of the verse. His word is free from the literary associations and remembers the whole spectrum of potential meanings. Like Khlebnikov he has created the cosmic language. Viktor Aleksandrovich Sosnora (b.1936) shows the example of maximally individual poetical speech. In his system all the words are involved in paronimic connections. These three poets are real Khlebnikovians as personalities. They are independent and completely immersed in their intimate dialogue with Word. Many poets now sincerely adore Khlebnikov and pretend to continue his line, but their quest for the new forms is not natural enough. To be Khlebnikovian today means not to search but to find. And certainly there is nothing common between Khlebnikov and such marginal versificators like Limonov and Prigov. The concept of “graphomaniac” (A.Zholkovsky) applied to Khlebnikov is a misrepresentation of his real position in the history of the Russian poetry. The latent competition of acmeistic and futuristic traditions continues up to the present situation. The potential regeneration of Russian poetry is connected with the wide perspective outlined by Khlebnikov.