Artykuły w czasopismach na temat „Space and time – Poetry”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Space and time – Poetry.
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych artykułów w czasopismach naukowych na temat „Space and time – Poetry”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj artykuły w czasopismach z różnych dziedzin i twórz odpowiednie bibliografie.
1
Motornyy, О. "TIME AND SPACE IN IVAN WERNISCH’S POETRY". Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, nr 36 (2020): 198–209. http://dx.doi.org/10.17721/2075-437x.2020.36.16.
Pełny tekst źródłaStreszczenie:
The article examines the poetic world of the modern Czech prose writer, poet, translator from several European languages, a participant in the Prague Spring, whose works have not been printed for a long time and were banned, author of poetry collections “Kam letí nebe” (1961), “Zimohrádek” (1965), “Loutky” (1970), “Doupě latinářů” (1992), “Blbecká poezie” (2002), “Penthesilea” (2019), Ivan Wernisch. The writer has a great creative legacy that dates back to the sixties of the last century. During this long time, he managed to publish about thirty poetry books. Surrealism, interweaving of temporal and spatial indicators, interweaving of poetic and prosaic forms, rich poetic world are typical features of I. Wernisch’s poetry. The article explores the spatio-temporal relations of the Ivan Wernisch’s poetic world, the features of the image of the lyrical hero. Some poetry by Ivan Wernisch was used over time as lyrics of songs by Czech rock bands. The Ivan Wernisch’s son Michal Wernisch (also known as Ewald Murrer) followed his father’s footsteps and today is also known as a poet.
2
Arunlal, K., i C. Sunitha Srinivas. "All in the space of a poem: Spatial logics in poetry". Journal of European Studies 47, nr 3 (7.08.2017): 249–58. http://dx.doi.org/10.1177/0047244117713159.
Pełny tekst źródłaStreszczenie:
One of the oldest cultural practices of human societies, poetry, simultaneously responded and contributed to the evolution of human sense of spaces. Before print culture became ubiquitous, poetry was a time-art: all classic poetic techniques and devices were meant to hold a piece of verse permanently in a person’s memory, and by extension, in a community’s living history. However, contemporary poetry has little use for the chronologic dimension of poetry. The correlation of spatialized poetry with the new proliferation of ideas regarding space can be explored in multiple angles. The way space is looked at has changed in all art forms due to certain contingencies of modern history. This paper is a mapping of these alterations in the spatial turn of poetry, and a further application of ideas of space in understanding contemporary poetry.
3
Kudryakova, Tatiana V. "Childhood time and literary space in the Gennadiy Aygi’s poetry". Neophilology, nr 23 (2020): 566–72. http://dx.doi.org/10.20310/2587-6953-2020-6-23-566-572.
Pełny tekst źródłaStreszczenie:
Certain features of spatial images representation in the Gennadiy Aygi’s poetry which are often related to the time and images of childhood are highlighted. The natural topoi of the forest, field, etc., including the place of an individual plant, the child’s body as a place and the mortal places are analyzed. It is concluded that childhood images are able to set a positive interpretation vector of the natural space or create a semantic contrast in the context of anthropogenic mortal spaces. The plant topoi endowed with the traits of childishness and the child’s body topoi are considered from the position of the general cultural “divine child” archetype. At the same time, according to our opinion, plant images can be correlated with national and mythological images of the poet’s native culture, and hyperbolization of the child’s body, which is presented as a limitless, comprehensive space, is an individually poetic realization of the grotesque body’s image.
4
Zwolska-Płusa, Katarzyna. "Sacrum’s time and space themes in Ludmiła Marjańska’s poetry". Irydion. Literatura - Teatr - Kultura 1 (2015): 55–66. http://dx.doi.org/10.16926/i.2015.01.04.
Pełny tekst źródła
5
Stout, John C. "The Year in Poetry 2017: Mapping Time and Space". French Review 92, nr 1 (2018): 29–43. http://dx.doi.org/10.1353/tfr.2018.0103.
Pełny tekst źródła
6
Lewisohn, Leonard. "Metaphysical Time in Rūmī’s Mathnawī: Sufi Terminology of Metaphysical Time". Mawlana Rumi Review 9, nr 1-2 (3.01.2020): 19–51. http://dx.doi.org/10.1163/25898566-00901004.
Pełny tekst źródłaStreszczenie:
AbstractThis article explores the idea of Metaphysical Time in the poetry of Jalāl al-Dīn Rūmī against more general understandings of time and temporality in Sufi thought and Persian poetry. Various attitudes toward serial time and the subjective experience of past, present, and future are reflected in the poetry of not only Rūmī, but also ʽUmar Khayyām and Ḥāfiẓ. The philosophical approaches toward human temporality discussed here include sentient carpe diem, spiritual carpe diem, and pursuit of the Metaphysical Moment, or Time’s Currency (naqd-i waqt). To understand this, we must examine Rūmī’s understanding of the notion of the Sufi as ‘the son of time’ (Ibn al-waqt), along with the concomitant or related ideas in Rūmī’s poetry of ‘the Father of Time’ (abū ‘l-waqt) and ‘the Brethren of Time’ (ikhwān al-waqt), and the Prophet’s Hadith, ‘I have a time with God….’. The article elaborates on some remarkable homologies between the concepts of time and the ‘Industrious Man’ in the poetry of Mawlānā Rūmī and William Blake, and how the attraction of divine love pulls the lover out of Time into the realm of Eternity, and how love subverts rational categories of time and space, which become illusory and vanish in the mystical experience of unity. Aldous Huxley’s distinction between the Philosophers of Time and the Philosophers of Eternity is also explored in relation to Rūmī’s thinking.
7
Avotiņa, Laura. "MYTHICAL TIME AND SPACE IN THE POETRY OF ULDIS BĒRZIŅŠ". Via Latgalica, nr 1 (31.12.2008): 118. http://dx.doi.org/10.17770/latg2008.1.1602.
Pełny tekst źródłaStreszczenie:
One article describes the writings of Uldis Bērziņš, one of the most prominent Latvian poets and translators (and also a dissident) who made his debut in the 1960s. It focuses on the aspect of time and space. The 20th century is a time of re-evaluation of values and of a search for new ways of self-expression. Entrenched mythical notions experience transformation and renaissance. Hystorical myths as a source of instigation for Latvian literature (also in folklore) reach their climax in the 1920-40s and 1960-80s, i.e. in a period when problems of ethnic identity were emphasized more than ever. Uldis Bērziņš in his poetry successfully blends trends of modernism (and some of postmodernism) with mythical reality. He thereby refreshes the message of Latvian life, as well as reinforces particular trends common for whole humankind, which the author accomplishes with the help of cultural signs densely introduced into the texts. The objective of the paper is therefore to identify and emphasize dominant details of mythical time and space in the following anthologies by the Uldis Bērziņš: „Piemineklis kazai” („A Goat’s Monument”, 1980), „Poētisms baltkrievs” („The Poetism Belarussian”, 1984), „Nenotikuši atentāti” („Assassinations which never took place”, 1990), „Laiks” („Time”, together with Juris Kronbergs, 1994) and „Nozagti velosipēdi” („Stolen bicycles”, 1999). For the more detailed description of the peculiarities of the author’s works and for understanding the connection between the linguistic elements and the ethnical specifics of thinking, it was decided to use methods which are new to Latvian literary theory and are not so commonly referred to. Namely, a philological method was used for the in-depth text analysis (Николина 2007), and a linguo-culturological one for researching the connection of language and culture (Хороленко 2006). Speaking about U. Bērziņš’ notion of mythical time and space, it is referred to as an „eternal now” situation, which also includes details of historical and psychological time and space. However, mythical time and space is dominant: texts of the poems contain a very dense layer of mythologems (Odin, Odysseus, Thor), images (trees, mountains, wheels) and mythical concepts. This layer very often merges with the layers of folklore and religion which are introduced into the texts by means of stylization and reminiscences or allusions. The paper is organized according to the three dominant features of myths in the texts of Uldis Bērziņš – dichotomy, cyclicity, and syncretism. These are revealed with the help of particularly rich micro details and cultural signs and the transformation of folklore motives. Dichotomy as a disclosure of two aspects of one whole is carried out in the artistic space within the oppositions here and there, on the top and on the bottom, center and periphery, or insider and alien. These are characterized by symbolic notions of a mountain or a bridge, images of Riga and the Daugava, as well as the introduction of a mediator (a goat, bird or a ghost), which reach over the borders of time and space. Thereby the poet emphasizes fundamental ontological aspects which are concentrated in the semantic meanings of the notions of time, eternity and lifetime. In turn, by means of linguistic elements (not only semes, but also syntactical structure and pragmatic elements) Uldis Bērziņš pays attention to the multifunctionality and uniqueness of a language, and is trying to reach the level of a parent language. Within these dichotomies, the images, motives and signs also actualize a historic time and space. Thereby, a background for the disclosure of subtextual layers is organized, and simultaneously a point of view for several artistic chronotopes is expressed, which is interpreted as a symbiotic process in the poetry of Uldis Bērziņš. The search of oneself in the context of eternity is expressed with the help of the cyclicity principle. This is at the same time a tool for the illustration of different time spaces, which creates a synthesized model of an artistic world with a polyphony of linguistic elements. The cyclicity indicators in the poetry of Uldis Bērziņš are the images of a wheel, mill, and ball, as well as the interaction of the change of cycles of nature and human life. Special attention is paid to the points of intersection of time, thereby marking the Latvian year and the course of human life. In addition, the acknowledgment that the cycle is never-ending and repetitive, makes us look for interconnections with the philosophy of existentialism and a possible fulfillment of the meaning of life. Syncretism, on the contrary, as a combination of several different traditions, allows Uldis Bērziņš to emphasize features of cultural, linguistic and ethnic identity. In the united whole, i.e. in the interpretations of a sign, motive, image or myth, there is an accumulation of a few notions that create a peculiar effect of surrealism in a poetic text. For Bērziņš, syncretism is discovered in an image of a city, a sound, personal names (Peteris, Juris), religious characters (Jesus Christ, Krishna), and myths of the creation of the world. To find features of syncretism in a text, a reader does not only have to have some knowledge of mythology, religion, or culturology, but also needs associative thinking, since the poet often plays with phonemes and facts by linking them in rhythmically symbolic combinations. To sum up Uldis Bērziņš’ notions of mythical time and space, it can be concluded that the poet successfully uses the means of language, its meanings, its peculiar functions and associative nets in order to create a synthesized model of the mythical, historical, and psychological time space. This requires additional attention from a reader, because each poem is a subtextually dense discloser of a cultural heritage and an indicator of the search of oneself.
8
Mykhailova, Olena. "FLORISTIC SYMBOLICS OF LINA KOSTENKO POETRY". Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, nr 29 (2021): 21–23. http://dx.doi.org/10.17721/1728-2659.2021.29.5.
Pełny tekst źródłaStreszczenie:
The article considers floristic vocabulary of Lina Kostenko poetry in the linguocultulorogical aspect; mythological semantics and symbolic of floristic names were determined in the poetry collection "Three hundred verses"; the link between symbolic meaning of flowers with totemic beliefs, between chthonic semantics of vegetation, solar myths were studied, peculiar traits of poetic arrangement were analyzed. Conclusions were drawn on the original poetic model of the mythic space that unites the worlds of heavens and the earth, rich in floristic images, enrooted in ancient totemic beliefs. The harmonic synergy of a man and the nature envisages the author's interpretation of universal floristic symbols in the limits of paradigm "flowers" – "myth" – "poet", wherein the flowers acquire symbolic meaning of the eternity of life born in the cosmogony depths of mythological archaic. In the poetry of Lina Kostenko an amazing unification of the internal world of a man with the realities of the world of nature takes place, the natural elements turn into cosmogony forces that create the renewed mythical space, wherein the flowers are the symbols of time, live signs of times of year, and the color symbolizes life milestones of the poetess herself. Archaic mythological symbolic as an integral part of poetic text obtains a new meaning due to which an ancient past unites with modern times, floristic names are transformed into universal poetic symbols, disclose figurative world of poetry. The origins of floristic symbolic are enrooted into vegetation totemism, when the people respected different types of flowers and animals as prime ancestors, bestowed them with magic traits, chthonic semantics, considered them amulets and used separate types of plants as medicines or bloodless sacrifices in the gods' cults. A particular type of solar-floristic metaphor can be considered as a revelation of totemism, built on the grounds of metonymy, the majority of "floristic" lexemes, used by Lina Kostenko, stand as names for typical Ukrainian decorative plants, but the author's poetic arrangement makes every floristic composition of the poetess unparalleled.
9
Masing-Delic, Irene, Sonia Ketchian, Anna Akhmatova, Elisabeth von Erdmann-Pandzic i Anna A. Achmatova. "The Poetry of Anna Akhmatova: A Conquest of Time and Space". Russian Review 48, nr 2 (kwiecień 1989): 220. http://dx.doi.org/10.2307/130354.
Pełny tekst źródła
10
Hricková, Mária, i Simona Klimková. "The verbalization of grief in David Grossman’s Falling Out of Time". Ars Aeterna 11, nr 2 (1.12.2019): 41–54. http://dx.doi.org/10.2478/aa-2019-0009.
Pełny tekst źródłaStreszczenie:
Abstract David Grossman’s experimental text Falling Out of Time (2011) examines the theme of the death of a child and parents’ attempts to understand and cope with the loss. In order to represent and articulate the sense of unbearable pain and grief, Grossman employs several strategies and techniques related to both content and form which allow for a perspective that is both artistically engaging and sensitive. One of the obvious formal features of the text is his use of poetry, which seemingly represents the most natural means to express the raw emotions and pain of his characters. The paper seeks to examine Grossman’s techniques that help him verbalize the grieving experience of his characters while focusing on his use of poetic language. It seems that the capacity of poetry to rely on meaningful silences and a multilayered interpretive potential enables one to create a healing space which facilitates the process of reconciliation.
11
Acim, Rachid. "THE UNTRANSLATABILITY OF SHAKESPEARE’S POETRY ON LOVE". Vertimo studijos 10, nr 10 (18.01.2018): 45. http://dx.doi.org/10.15388/vertstud.2017.10.11276.
Pełny tekst źródłaStreszczenie:
Translating Shakespeare’s poetry has been one of the most arduous questions that has pained many translators, researchers and academics worldwide. As this poetry involves many rhetorical devices, alternating between the use of keen imagery and intertextuality, it not only lends itself to ambiguity but also to untranslatability; moreover, the use of figures of speech such as similes, synecdoche and metaphors accord this poetry a discursive power that does not recede despite the evolution of the English language and the death of the poet many centuries ago. And while this poetry addresses a whole galaxy of themes, it projects Shakespeare himself as a cosmopolitan figure not limited to time or even space. The present study seeks to assess and evaluate the translation solutions given as concerns Shakespeare’s poetry on the theme of “love”. To achieve this aim, I suggest employing a contrastive analysis between the English and Arabic poetic text, with a view to exploring whether or not the core of this poetry has been preserved. My assumption is that the stylistic aspects and aesthetic properties of the original poetic text are lost due to the intentional or unintentional intervention of the translator.
12
Mahyudi, Johan, Djoko Saryono, Wahyudi Siswanto i Yuni Pratiwi. "Construction of Visual Features of Indonesian Digital Poetry". International Journal of Linguistics, Literature and Culture 3, nr 5 (3.09.2017): 1. http://dx.doi.org/10.21744/ijllc.v3i5.526.
Pełny tekst źródłaStreszczenie:
In short time, Indonesian digital poetry attracts its audience through a series of visualization features of the digital art. This research uses a short segment analysis on Indonesian videography digital poetry to demonstrate the existence of visual conglomeration practices through the creation of objects, features, a feature of space, measuring distance in feature space, and dimension reduction. These five approaches are proposed by Manovich (2014) in grouping millions of visual artworks based on simple criteria. Of the three common objects are found, Indonesian animators, prefer individuals and texts as the main impression. The movement features are found in cinematic poetry and its rely depend on kinetic texts. Meanwhile, non-movement features can be found in the form of human imitation or part of them, portraits, silhouettes, and comics. Indonesian digital poetry of space features in form of textual space is prioritizing on the kinetics text, the space of time is prioritizing the presentation of objects association of words are spoken, the neutral space is prioritizing the use of computer technology application. The grouping of visual art composition is based on two criteria: the technique of creating and artistic impressions. The dimensional reducing is prominently practiced by Afrizal Malna.
13
Stuart-Smith, Sue. "Time in Literature". Group Analysis 36, nr 2 (czerwiec 2003): 218–22. http://dx.doi.org/10.1177/0533316403036002006.
Pełny tekst źródłaStreszczenie:
The subject of Time is one of the great themes of Literature. It is intrinsic to so many aspects of what it is to be human - the transience of beauty, loss and mourning, the importance of memory, hopes for the future and the nature of the creative act itself. Within a short space of time, it can only be possible to touch on some aspects of its representation in Western literature and for the most part I will focus on poetry.
14
Reilly, Rosemary C. "Entanglements Across Time-Space: An Ekphrastic Poetic Response to "Craft, Relational Aesthetics and Ethics of Care" by Belinda MacGill". Art/Research International: A Transdisciplinary Journal 4, nr 1 (27.02.2019): 436–38. http://dx.doi.org/10.18432/ari29458.
Pełny tekst źródłaStreszczenie:
Following the protocol set out by Fetaui Iosefo (2019, this issue), I sought Belinda’s permission to write an ekphrastic poetic response to her art assemblages since, as Iosefo frames it, “if there was no ethical consent and processing … we would be no different from the colonizers” – just one more shell in my bucket. Like Fetaui, I too am responding to more than just the visuals. The essence of Belinda’s work calls me to the past and allows me to come to a different and broader understanding of my childhood experience, while also functioning as a creative trigger – hallmarks of ekphrastic poetry (Faulkner, 2009). It is only after I received Belinda’s enthusiastic response that I submitted this poetic response.
15
Березина, А., i A. Berezina. "The Socio-Political Aspect in Iranian Women’s Poetry (on the Example of Forough Farrokhzad Lyrics)". Scientific Research and Development. Modern Communication Studies 7, nr 5 (25.09.2018): 22–27. http://dx.doi.org/10.12737/article_5b9f9cec4b3aa7.27440906.
Pełny tekst źródłaStreszczenie:
The most important aspect in the study of a literary text as a form of sociocultural communication is the identification of its social orientation, the ability to generate ideas and influence their active functioning in the social space. The article deals with the socio-political aspect of the Forough Farrokhzad lyrics. She was the brightest representative of the new style in Persian poetry known as «she’r-e now» («new poetry»). The tools of feminist literary criticism were used as methodological basis of the work. During the study, all the poetic material of Forough Farrokhzad was analyzed, and some of the presented poetic passages were translated to Russian for the first time by the author of this article.
16
김윤정. "The Study of space time in the poetry of Seo Jung Ju". EOMUNYEONGU 61, nr ll (wrzesień 2009): 343–68. http://dx.doi.org/10.17297/rsll.2009.61..014.
Pełny tekst źródła
17
Zhu, Ying, i Quynh Nhu Le. "Body, Time, and Space: Poetry as Choreography in Southeast Asian American Literature". Dance Chronicle 39, nr 1 (2.01.2016): 77–95. http://dx.doi.org/10.1080/01472526.2016.1135511.
Pełny tekst źródła
18
Strokal, Oleksandr. "THE ORIGINS OF OLEKSII DOVHIY’S POETIC SPACE". Studia Linguistica, nr 16 (2020): 115–28. http://dx.doi.org/10.17721/studling2020.16.115-128.
Pełny tekst źródłaStreszczenie:
The article analyzes the nature of linguistic explication of the ideas of Oleksii Dovhiy’s lyrical hero about the features of the universe and the organization of the universe. The author deals with such issues of general theoretical significance as the concept and linguistic worldview. During the research it was found out that Oleksii Dovhiy’s poetry combines the revelation of a son who prides himself on the glory of generations, paternal and grandfather’s moral principles, confession of a fighter for the Fatherland, a manuscript of the medium, to whom all the secrets of the universe are revealed. The language of his poetry reflects the representation of his lyric hero about the three-component world, which consists of the upper, middle and lower tiers. His lyric hero is aware of the HIGHER WORLD as a world of the divine, a world of eternal truths and laws, a world of angels and pure poetry. The main images that fill this world are the images of sun, sky, bird and wind. One of the central concepts that actualize the locus of the MIDDLE WORLD (or world of the earth) in Oleksii Dovhiy’s poetic universe is the image-concept of the LAND. This image is an expression of such lexical and semantic variants of the land tokens as ‘the native land (Ukraine)ʼ and ‘the upper layer of the earth’s crust; soil that is cultivated and used for growing plantsʼ. THE UNDERGROUND WORLD is updated by entering the words «field» and «shadow» in the text. As research has shown, the image of the road in Oleksii Dovhiy’s poetic space is one of the central ones, since, firstly, the verbalizers of this image often act as components that make up the macro-image of the MIDDLE WORLD, and secondly, the image is combined different time shades in the horizontal spatial plane of the author’s world plane. THE UNDERGROUND WORLD is represented in most cases by tokens that are associated with other spatial tiers. However, by entering into the text, such units as «shadow» and «field» acquire contextually predetermined semantic nuances that associatively associate with the lower tier.
19
STARSHOVA, Oksana. "“At the crossroads of space and time”: the space of new-york in Vasyl Makhno’s poetry". Humanities science current issues 3, nr 39 (2021): 120–27. http://dx.doi.org/10.24919/2308-4863/39-3-19.
Pełny tekst źródła
20
Tracy, Dale. "Veterans’ self-expression in poetry". Journal of Military, Veteran and Family Health 7, nr 1 (1.02.2021): 108–12. http://dx.doi.org/10.3138/jmvfh-2020-0005.
Pełny tekst źródłaStreszczenie:
LAY SUMMARY Research shows that Veterans benefit from writing poetry for therapeutic purposes. This article suggests the need for future research that considers the effects of the artistic choices that Veterans make when using poetry to engage their experiences. The author focuses on one Veteran’s poem about what it means to write poetry as a Veteran. Brian Turner’s “Here, Bullet” comes from his poetry collection about his time as an American infantry team leader in Iraq. This poem centres on a solider whose body is in danger in a conflict setting. The poem becomes an alternative space to his body, a space in which he can work with his experiences. Treating Veterans’ poetry as art can help people working with Veterans in therapeutic settings learn more about what value Veterans find in reading and writing poetry.
21
Kuduma, Anda. "Lokālais un globālais Guntas Šnipkes dzejā". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, nr 25 (4.03.2020): 143–51. http://dx.doi.org/10.37384/aplkp.2020.25.143.
Pełny tekst źródłaStreszczenie:
The article deals with the representation and interaction of the local and global elements in Liepāja poet and professional architect Gunta Šnipke’s poetry writing. The research aims to establish and evaluate the importance of local and global aspects in Šnipke’s poetry creation process by determining the conceptually characteristic ways in the formation of poetic expression. The article particularly emphasizes the phenomenon of memory which reveals the dimension of time in Šnipke’s poetry space, allows to speak not only of the individual but also of the cultural memory by precise emphasis of concrete geographic places, topographic details (showing both the local and global scale) which have directed the author to an observation. The phenomenon of memory reveals the dimension of time and illuminates several levels of individual and collective memory – historical, cultural, autobiographical, feminine. The theoretical and methodological basis of the research includes the viewpoints of feminism theoreticians (Rosi Braidotti, Virginia Woolf and others) on the aspects of mental nomadism in the perspective of gender studies, as well as several aspects of the cultural memory research (works by Aleida Assmann, Marija Semjonova and others). The local and global issues have been researched mostly in Šnipke’s newest poetry collection “Ceļi” (‘Roads’, 2018) concurrently demonstrating the broader context and development process of the poet’s creative activity since the publishing of the first two poetry collections – “…Bērns ienāca…” (‘…A Child Came in…’, 1995), “...Un jūra” (‘…And the Sea”, 2008). The dominant of Šnipke’s poetic expression is a powerful impulse of thought which allows the creation of broader contexts concerning the current events and phenomena, thus expanding the boundaries of experience established by the strict form. The poet’s strong intellect is in a certain confrontation with an equally strong emotional experience. Šnipke’s poetry is characterised not only by the natural union of the intellectual and emotional elements in one poem but also by a successful amalgamation of various important levels – geographical, cultural and historical, social and personal, autobiographical. This feature is soundly used in creating the artistic concept of the poetry collection “Ceļi”. The collection was highly praised by professionals and awarded by several significant literary prizes. Šnipke’s poetry coincides with the current tendencies in the contemporary Latvian poetry process both in content and form; the poetic thought is mostly expressed in expanded and associatively dense syntactic structures. Šnipke’s poetry complies with the feminine poetry tendency to record the history of one’s own family within significant historic events pouring the individual experiences into layers of collective experience. Personal and seemingly insignificant becomes of global importance joining the space of common European memory, the distant and foreign phenomena are made closer and more understandable. In the longer forms, a woman and the feminine language become the main narrators of the past.
22
Jakaitė, Dalia. "The Unfading Eros of Love in the Latest Poetry by Kornelijus Platelis". Literatūra 61, nr 1 (20.12.2019): 90–109. http://dx.doi.org/10.15388/litera.2019.1.5.
Pełny tekst źródłaStreszczenie:
The object of this article is the eros of love in the latest poetry by K. Platelis: books Palimpsestai (2004) and Įtrūkusios mėnesienos (2018). Theoretical-methodological scope – phenomenology; the main references – M. Merleau-Ponty and E. Levinas. The phenomenology, reflecting eros subjectivity, corporeality, time and space, allows for more actualization and understanding of the phenomenon of the eros of love. It suggests new categories through which individual and subjective poetic meanings come through. Love and its eros is one of the dominants in works of poets of K. Platelis’ generation. This phenomenon, related not only to the experiences of love, but also to the experiences of death, encompassing not only individuals, but also things, in works of this author gets into the complex cultural, historical, mythological context, grows out of this context and gives it a distinct poetic form. The hunger of eros (eros as a hunger), set up at the beginning of the article, and its analysis allow a better understanding of the otherness of mythopoetic transformations typical to K. Platelis’ poetry, as well as the dynamics of the eros of love and death, the interaction of eros of different times, reality and its simulation, the connection between passion and the world of things. Time, as one of the most important phenomena in the eros world, makes it possible to feel the particular dynamics of eros, a certain rhythm based on contradictions and ambiguities, and refers to the dynamics of the roles of different subjects in the eros situation. One of the main phenomena in the latest poetry is the middle aged eros, characterized by the autoironic rehabilitation of eros. Poems of Platelis have a distinctly erotic space. From the wide spectrum of the spatial eros imagination, it is worth highlighting its cultural aspect. It is necessary for identifying intersubjective relations, emotional and material experiences of eros. The eros, arising from the subjective observation of space and its objects, is characterized by the tension of a real and simulated world, metaphysical and concrete physical reality.
23
Amato, Andy. "A Daring Hospitality:Towards a Poetics of Time". KronoScope 10, nr 1-2 (2010): 49–63. http://dx.doi.org/10.1163/156852410x561844.
Pełny tekst źródłaStreszczenie:
AbstractThe aim of this paper is to approach an understanding of time through the concept of “poetic time,” and to do so by exploring the connections between theorizing, creativity, and ethics. Poetic time, in this sense, is a subjective phenomenon that we experience in our moment-to-moment acceptance of our ethical relationship to others. This acceptance is enacted by the decision to share our own allotment of time—our finite amount of time—with others, and others with us. This sharing of time finds and simultaneously creates spaces of mutuality and moments of poetry; it reveals and constructs worlds of mutuality.
24
Mulahi, S., E. N. Eltsova i S. M. Pinaev. "Topos of Egypt in Poetry of Silver Age". Nauchnyi dialog, nr 5 (28.05.2021): 237–55. http://dx.doi.org/10.24224/2227-1295-2021-5-237-255.
Pełny tekst źródłaStreszczenie:
The specificity of the development of the geographical and cultural space of Egypt in the poetry of the Silver Age at the time when the “Russian” poetic Egypt was born as a system of leitmotifs, imagestopos and a specific lexicon is described. It is noted that in modern literary criticism, in comprehending the geopoetics of a regional text, works devoted to the European continent, in particular, geopoetic regional models of Russian literature, have been most fully investigated. The relevance of the study is seen in the need to comprehend and analyze the geopoetics of Egypt and, more broadly, Africa as a sacred geocultural space. The textual fragments of poetic works by K. Balmont, V. Bryusov, I. Bunin, N. Gumilyov, V. Khlebnikov, representing stable geospatial images and symbols of Egypt, are analyzed. The authors come to the conclusion that the poetry of the Silver Age combines geocultural images and symbols with mythological motives, which gives the topos of Egypt a geosophical meaning. The analyzed material made it possible to show the generalized artistic structure of the geopoetic representation of Egypt in the poetics of the Silver Age and to highlight the spatial geocultural dominants: the Nile, Africa, the desert, the Sphinx, Egyptian heroes as images-topos, the Arab East.
25
Li, Yang. "Flute archetypes of sounds in Chinese Tang era poetry". Музикознавча думка Дніпропетровщини, nr 18 (13.11.2020): 93–104. http://dx.doi.org/10.33287/222020.
Pełny tekst źródłaStreszczenie:
Tang epoch trains (618–907) – an important source of judgments about expressive possibilities and sound archetypes of the Chinese flute, preserved in the music of the Celestial Empire composers of the XX – XXI centuries. The purpose of this investigation is to establish sound archetypes of the flute in the Chinese poetry of the Tang epoch. The methods of investigation are historical, semantic, genre and comparative approaches. The scientific novelty of the study is to introduce the concept of «flute poetry» of the Tang era into the musicology context, to establish its characteristic properties (spiritualization of the desolate time space with a magic melody, the reflection of the state of the soul of a lonely hero, the presence of the image of the listener-poet, connection with the elements of the wind, the nocturonal semantics of the natural landscape, signs of the palace style, the embodiment in the sounds of the flute - the mediator between the earthly and celestial worlds – philosophical ideas), the formation of the thesaurus of flute affects (moaning, sadness, sadness, state of waiting, experiencing loneliness). The samples of «flute poetry» by Li Bo, Du Fu, Wang Wei, Zhao Gu are considered. The image of the jade flute from Li Bo's poem symbolizes the priceless in human life. In Li Bo's poem about the Qiang Maiden, the flute music takes on the meaning of a leitmotif that accompanies the drama of love and separation. In Du Fu's work, the limits of earthly time and space contrast with the boundless celestial chronotope associated with the flute's sound image. In Wang Wei's poetry, the flute's crying accompanies the suffering of an abandoned woman and finds a response in the soul of a lonely traveler. Zhao Gu's poem includes the names of mythical flute artists Huan Tzu and Ma Rong, contributing to the sacralization of time and space in the work. Conclusions. In «flute poetry» of the Tang era, there are typical features of a common creative method inherent to the masters of the word «golden age»: the sound image of the flute is inscribed in a common artistic continuum based on the reflection of the poet's surrounding nature in a lyrical-philosophical landscape.
26
Bilchenko, E. "POETRY, PHILOSOPHY, TECHNOLOGY IN THE LIGHT OF CULTUROLOGY: DIALOGUE STRATEGY". EurasianUnionScientists 4, nr 3(84) (15.04.2021): 26–33. http://dx.doi.org/10.31618/esu.2413-9335.2021.4.84.1292.
Pełny tekst źródłaStreszczenie:
In the article, on the interdisciplinary methodological basis of the classical semiotics of culture and cultural comparative studies, supplemented by the developments of Lacanism and post-Lacanian psychoanalysis of the Ljubljana school, information aesthetics and tranzaesthetics, critical theory, French structuralism and poststructuralism, a strategy of dialogue between poetry and philosophy as the phenomena of traditional Logos in postmoderism is developed. ... The main problem of the modern poetic word is the loss of ontological adequations and spiritual implications by the text as a result of the inclusion of artistic creativity in the cyberspace of global digital multicultural capitalism. A comparative analysis of the projects of globalism and anti-globalism has demonstrated the priority of commercial culture as a prestigious social model for the formation of the poet's symbolic capital and network promotion. The orientation of the free market towards the sponsor's occupation of poetic creativity increasingly deprives poetry of the semantic invariants of authentic civilizational memory, which is eroded by trends in branding, advertising, and image, and is transformed into a souvenir, simulacrum, ersatz, and trademark. The only guarantor of the actualization of the basic cultural meanings of poetry is traditionalism, but its often grotesque, ultra-conservative and nostalgic character is not able to maintain the competitiveness of the tradition, its attractiveness for the younger generation and vivid personal subjectivity. A harmonious balance between traditionalism and postmodernism in poetry is possible if new technologies are used as forms of presentation and means of promoting the classical poetic tradition in the modern world, while maintaining the primacy of the goal for poetry, in relation to which the “creativity” of managerial entrepreneurship is a secondary means. We regard poetry as a point of semiotic intersection of a static sign in space (syntagma) and dynamic meaning in time (paradigm). Inside this point, in the zero phoneme, the author resides, regaining integrity, continuity, essence and selfhood instead of gaping, alienation and lack due to the correct correlation of the ontological goals of poetry and its ontic cases. Poetry in this context is a kind of a formula for the harmony of the metonymy of the real-symbolic language of culture and the metaphor of its ideal imaginary meanings. To find harmony between tradition and innovation, metaphysics and dialectics, synchronicity and diachrony, the gene code of culture and a historically labile cultural image is capable of culturology as a science based on philosophy (ontology and axiology), philology (hermeneutics and journalism), social sciences.
27
Favaro, Alice. "Desiertos de amor (2018) by Raúl Zurita: between poetry, image and voice". Caracol, nr 21 (25.06.2021): 272–92. http://dx.doi.org/10.11606/issn.2317-9651.i21p272-292.
Pełny tekst źródłaStreszczenie:
After a brief contextualization of the author's biography, I present the volume Desierto de amor (2018) by Raúl Zurita, realized with González y Los Asistentes (music) and Massimo Giacon (comic), as a significant example of a hybrid literary product that mixes poems, music and comics. The transmedial and trimodal work uses different media that merge each other. The poem, a migrant text halfway between slam poetry and poetry in music, alternates and superimposes itself on music and poetry comix. Reflecting on the potentialities of transmediality and intersemiotic translation, I analyze how transcoding into other languages brings added value to the poetic text because it creates an intertextual dialogue that produces a new reception mechanism. The visual and auditory reading takes place in a different space and time, with new expressive modalities and ways of reaching the addressee.
28
Lewis, Simon. "“This Land South Africa”: Rewriting Time and Space in Postapartheid Poetry and Property". Environment and Planning A: Economy and Space 33, nr 12 (grudzień 2001): 2095–108. http://dx.doi.org/10.1068/a33186.
Pełny tekst źródłaStreszczenie:
The widespread concern in recent South African poetry with landscape and the question of what place the poet occupies in that landscape arises less as a response to the turn of the millennium than to the historical end of formal apartheid, but nonetheless marks an epochal shift in sensibility. Whereas much poetry of the 1980s evoked a sense of extreme dislocation in recent time and local space (marked by references to a precarious present of forced removal and migrancy, and unspecified, unsettled futures), some significant recent work has been marked by a desire to relocate the human presence in South Africa in terms of geological time and continental space. This generalization needs to be qualified by reference to racial and political positioning within South Africa, and in this paper I distinguish between the work of committed white writers such as ex-political-prisoner Jeremy Cronin (now Secretary of the South African Communist Party) and Barry Feinberg (now curator of the Mayibuye Centre), and the work of black writers such as Don Mattera, Seitlhamo Motsapi, Lesego Rampolokeng, and Daniel P Kunene. The regrounding of the human presence in South Africa by white writers such as Cronin and Feinberg attempts a radical remapping of South African cultural identity in utopianly unraced terms, while the reclamation of continental African and local South African place names by black writers such as Mattera, Motsapi, Rampolokeng, and Kunene draws attention to the material reality of a postapartheid heterotopia in which South Africa's postmodern landscape is being divided up and sold off in ways that combine a very old-fashioned rhetoric of class and space with a new/old racial coding.
29
Khomyakov, Sergey A. "«Shortening The Parting» By Veniamin Borisov: Metamorphoses оf Time And Space". Proceedings of Southern Federal University. Philology 2020, nr 4 (25.12.2020): 158–68. http://dx.doi.org/10.18522/1995-0640-2020-4-158-168.
Pełny tekst źródłaStreszczenie:
The article examines the specificity of the artistic time and space of V. Borisov’s poetry «Shortening the parting» (2018). The purpose of the study is to identify the features of the spatio-temporal organization and semantics of the frame elements. During the research, textological and hermeneutic methods were implied. The book’s architectonics is based on the opposition of spatial and temporal forms. Such a construction is directly related to the semantics of poetry and the formation of a certain picture of the world of Borisov, whose lyrical character overcomes loneliness. The name of each poem is not only a reference to a specific source, but also a «key» important for understanding the underlying meaning (an indication of a fact or event). Seven color illustrations introduced into the collection make it possible to combine two types of art, and the poet to make his poems «visible» and create a chronicle of the main events. Contrasting in the collection near and far (city and village), closed and open (room and street) spaces, both in texts and in illustrations, V. Borisov focuses on the feelings the protagonist experiences when he is forced to gradually overcome loneliness. The season depicted in the figures is summer, the semantics and images of which appear throughout the collection and which is often contrasted with winter paintings. The main topos, where events unfold, appears to be Moscow as a city that “absorbed” the features of Dostoevsky’s Petersburg. The space of the capital appears as an alien to the lyrical character, who is forced to «wade through traffic, advertising, movie trailers.» Physical or cyclical time is either stated specifically («today»), or is present in allegorical images with accompanying motives. The effect of «slowed down» time can be achieved not only by the lack of indication of dates, but also by attachment to generally accepted or national events. Various spatial and temporal forms are presented in the book of poems «Shortening the Parting» by V. Borisov, which testifies to the complex organization of the collection and the author’s intention.
30
Kulakovsky, Mikhail N. "Parentheses in A. Belyi's poetry and prose". Verhnevolzhski Philological Bulletin 1, nr 24 (2021): 87–94. http://dx.doi.org/10.20323/2499-9679-2021-1-24-87-94.
Pełny tekst źródłaStreszczenie:
The article examines peculiarities of the use of parentheses in A. Belyi's lyrics and prose. The author describes the main aspects of analysing parentheses in modern linguistics: description of their functional features, their link with the main body of the statement, parentheses as text forming means, time and space organization of the text, realization of the author's irony, means of conveying evaluative information, ways of comparing, metatextual comment, informative actualization, means of creating a dialogue in a fiction text, usage parentheses in particular genres. This study identifies the most characteristic functions of parentheses in A. Belyi's texts, the connection of parentheses with different textual levels and their role in the overall structure of the literary text. Both the most typical and unique functions of parentheses in A. Belyi's works are described in detail. The main functional features of parentheses are defined in terms of space and time organization of the text and the interaction of various informative and subjective speech plans of the text. The article outlines the main aspects of language game within the framework of parentheses, as well as the means of interaction between the parentheses and the main context, presented in the poetry and prose of A. Belyi. The analysis suggests that the most typical functions of the parentheses in A. Belyi's works are detailed portrayal of the character, switching space and time registers, making comparisons, clarification, and conveying emotional and evaluative information.
31
WHITLEY, EDWARD. "Whitman's Occasional Nationalism: "A Broadway Pageant" and the Space of Public Poetry". Nineteenth-Century Literature 60, nr 4 (1.03.2006): 451–80. http://dx.doi.org/10.1525/ncl.2006.60.4.451.
Pełny tekst źródłaStreszczenie:
Despite the attention given to New York City as a source of the poetic imagery and democratic energy in Walt Whitman's poetry, the space of mid-century New York has never fully been explicated as a site of convergence for Whitman's conflicting allegiances to a local working-class urban subculture, the global community, and the United States itself. The reason for this critical lacuna stems in part from a tendency to focus on Whitman's private lyrics rather than on the type of poetry that is necessarily connected with a specific geographic space-namely, public occasional verse. In "A Broadway Pageant" (1860), the only occasional poem that Whitman wrote after publishing the first edition of Leaves of Grass in 1855 and before the outbreak of the Civil War, New York City is presented as a site where city workers and international merchants converge during a moment of national celebration. Originally published in the New York Times to commemorate a parade held for the Meiji Japanese ambassadors who had come to Manhattan in 1860 to ratify a trade agreement with the United States,"A Broadway Pageant" demonstrates how the requirements of occasional poetry allow Whitman to articulate the local and global framework within which his otherwise nationalist poetics operates.
32
김민수. "The Time-Space Consciousness of Yi-Sang's Poetry and Its Relations to the Virtual Space of Contemporary Design". Korean Poetics Studies ll, nr 26 (grudzień 2009): 7–37. http://dx.doi.org/10.15705/kopoet..26.200912.001.
Pełny tekst źródła
33
Maslova, Anna G. "Poetics of time and space in the works of Yermil Kostrov". Vestnik of Kostroma State University, nr 3 (2019): 62–66. http://dx.doi.org/10.34216/1998-0817-2019-25-3-62-66.
Pełny tekst źródłaStreszczenie:
The article discusses the spatial-temporal organisation of Yermil Kostrov’s works, identifies features that reflect the evolution of his work. The author of the article analyses Yermil Kostrov’s odes and epistles since these genres were the most stable in the system of classicism. Analysis of artistic time and space in Yermil Kostrov’s poetry reveals the evolution of his work in the context of the literary process of the transitional era of the last third of the 18th century. In works devoted to congenial contemporaries – Alexande rSuvorov and Gavrila Derzhavin, the poet refuses the "finished" rhetorical word and refers to the expression of individual-personal experiences. His odes and epistles voice specific features of the personality or the creative discoveries of the addressees of the works, reflect autobiographical facts. This corresponds to the general trend in the literary process of the transitional era of the last third of the 18th century.
34
Hill, Glen. "Poetic measures of architecture: Martin Heidegger’s ‘…Poetically Man Dwells…’". Architectural Research Quarterly 18, nr 2 (czerwiec 2014): 145–54. http://dx.doi.org/10.1017/s1359135514000451.
Pełny tekst źródłaStreszczenie:
Martin Heidegger begins his lecture ‘… Poetically Man Dwells …’ by denying poetry is a marginal practice whose imaginings are ‘mere fancies and illusions’. ‘[T]he poetic’, he states, is not ‘merely an ornament and bonus added on to dwelling’. On the contrary, Heidegger boldly claims that poetry is the source of all human dwelling on earth: ‘[…] poetry first causes dwelling to be dwelling. Poetry is what really lets us dwell.’The connective tissue of Heidegger's argument in ‘… Poetically Man Dwells …’ is the concept of ‘measure’. In the English translation of the lecture, permutations of the term ‘measure’ (Maß/messen) appear a remarkable ninety-four times, not including dozens more uses of its synonyms: ‘dimension’, ‘span’, ‘meter’ and ‘gauge’. What seems surprising, given that the set-up of the lecture revolves around poetry and measure, is that the commonest understanding of measure related to poetry – poetic measure itself – is not discussed thematically by Heidegger. Rather, Heidegger's incessant word play produces meanings that include ‘measuring against’ in the sense of comparing to a standard, ‘measuring up’ a space by ‘stepping-out’ (durchmessen), ‘measuring out’ in the sense of dividing-up or apportioning (das Zu-Gemessene), ‘being measured’ in the sense of having propriety, ‘taking measures’ (die Maß-Nahme) in response to a situation, and ‘measuring between’ as a distance or span. These meanings are of course related to common poetic measure, and might even be claimed to be its ground.
35
Markov, Aleksandr V. "Complex ekphrasis in Russian poetry: basics of theory and one case". Vestnik of Kostroma State University, nr 2 (2019): 91–97. http://dx.doi.org/10.34216/1998-0817-2019-25-2-91-97.
Pełny tekst źródłaStreszczenie:
Along with a simple ekphrasis, a description of a separate work, we would like to single out a complex ekphrasis, a description of the whole museum hall or museum collection. Such a description implies an intense experience of space and is possible primarily in descriptive lyrics with intense drama. In the complex ekphrasis, one can see the infl uence not only of tastes, but also of artistic criticism ideas of the time. It is proved that the poem "The Escape to Egypt" by Nikolay Zabolotsky (1955) is a complex ekphrasis, which arose under the indirect infl uence of Charles Pierre Baudelaire’s poetry and Alexandre Benois’s artistic criticism, describing the effects of one of the Hermitage halls. The infl uence of the plots presented in this hall of the Hermitage on poetic decisions could also be traced in later poetry.
36
이강하. "Characteristics of Time-Space for Text and Contactual Writing -Comparative Study of Yi Yuk-sa's Poetry and Yoon Dong-ju’s Poetry-". Urimalgeul: The Korean Language and Literature 78, nr ll (wrzesień 2018): 213–38. http://dx.doi.org/10.18628/urimal.78..201809.213.
Pełny tekst źródła
37
Panarin, S. A. "A LONE VOICE OF FLAUTINO OR BIASSED NOTES ON THE POETRY OF IRINA KADOCHNIKOVA". Bulletin of Udmurt University. Series History and Philology 29, nr 3 (25.06.2019): 205–516. http://dx.doi.org/10.35634/2412-9534-2019-29-3-505-516.
Pełny tekst źródłaStreszczenie:
Irina Kadochnikova is a young poet from the city of Izhevsk. To date, she issued two poetic collections. What distinguishes her poetry is a complete sincerity, and what dominates it is a genre of lyric poem. Irina's poems divide into philosophical, paysage or love lyrics but all divisions irrespective, her personal poetic universe is largely overshadowed with a thought that looks - almost without exception - as inwardly brought out one. Not infrequently, it is a kind of philosophical comprehension of space and a wish for to be lost in its extension or thinking about actual being, alternative being and probable images of the latter, etc. Yet the focal point of the Irina’s lyrics is solitude. She considers loneliness as the only true way to self-knowledge. Solitude appears to be for Irina more precious good than love. Indeed, love occupies a rather modest corner within her poetry; in a few love poems love is actually identified with liberty deprivation. At the same time, thanks to her honesty to herself as well as absence of any intentional self-posture in front of readers the stronger apology for solitude in her poems the more discernible become the tragic tunes of so wanted solitude. As to the means of expression characteristic for the Irina’s poetry, their trajectory is clear - from moderate sophistication of her poetic language in her earlier poems towards both growing originality and generous simplicity in those pieces of poetry that appeared later. Also, throughout her creative way Kadochnikova has been very successful in using the metaphor; sometimes she transfigures the whole poem into expressive metaphor. There are just thanks to these characteristics that the Kadochnikova’s poetry gained sound of minor flute flautino in its perception by the author of the article.
38
Lepri, Chiara. "Avant-garde and Experimentalisms in Poetry for Children from Rodari to the Present Day: a Travel between Authors and Works". Rivista di Storia dell’Educazione 7, nr 2 (2.12.2020): 61–74. http://dx.doi.org/10.36253/rse-9654.
Pełny tekst źródłaStreszczenie:
In 1985 Franco Fortini wrote provocatively that poetry for children does not exist, arguing that it is alien to their ability to fully grasp its expressive significance. However, there had already been the experience of Gianni Rodari, from whose contribution the critical and historiographic reflection on an authorial (and quality) poetic word addressed to childhood cannot be ignored: he had placed linguistic game at the center of poetry for children, combining the lesson of French surrealism with the Italian futurist experience of Palazzeschi and he consciously placed himself along that modern poetic line that sees a flowering of great importance especially in the post-war period. It is a type of poetry that is enriched by the contribution of a playful and divergent dimension and that knows how to speak the language of children: the rhythm, the assonance, the rhyme, but also the associative procedures grafted through the surrealist techniques naturally meet the child animus and at the same time open to an articulated, plural dimension, rich in ethical and political tension. Along this trajectory of linguistic experimentalism masterfully inaugurated by Rodari, the contribution intends to identify the paths of other authors in the proposal of a poetry aimed at children that is innovative and valid on a content and formal level: the reference is to Roberto Piumini and Pietro Formentini in particular, who have recognized, in poetry for children and young people, a vast and welcoming space for exploration and expressive freedom, but also, more recently, to the refined research of poetesses such as Chiara Carminati and Silvia Vecchini, whose poetic production is constantly embellished by a reflective work of undoubted charm and of notable interest for the investigation on a literary, aesthetic, educational level.
39
Porol, Polina V. "The image of a dragon in the poetry of N. Gumilev: Chinese subtext". RUDN Journal of Studies in Literature and Journalism 24, nr 4 (15.12.2019): 691–703. http://dx.doi.org/10.22363/2312-9220-2019-24-4-691-703.
Pełny tekst źródłaStreszczenie:
The article discusses the image of a dragon in the poetry of N. Gumilev. New in the work is the hypothesis on the intertextuality of the poems by N. Gumilyov “The Poem of the Begining” and A. Tolstoyʼs “Dragon”. The Chinese subtext of the image of the dragon in the poetry of N. Gumilev is grounded. The relevance of the topic is due to the development of the study of the mutual perception of Russian and Chinese cultures in the space of a poetic text. At the same time, the problem of reception of the image of China in the poetry of the Silver Age remains not yet fully understood. The objectives of the study were to identify, describe and interpret the Chinese subtext of the image of the dragon in the poetry of N. Gumilev; consideration of the authorʼs reception; comparing the perception of the image of the dragon in the culture of Russia and China. The results of the study showed: the frequency of the image of the dragon in the poetry of N. Gumilyov, the poet’s use of this image as originally Chinese; the relationship of the description of the image of the dragon in the works of N. Gumilyov and A. Tolstoy; the poet’s appeal to Chinese mythology and hieroglyphic writing. The author’s reasoning and conclusions are based on critical research, a comparison of two cultures. An analysis of the poetic works of N. Gumilev was carried out in a semantic aspect using the method of text parallels. The study of the image of the dragon in the poetry of N. Gumilev allows to approach the worldview of the culture of the Silver Age on one more side.
40
Beresin, Neil. "A Chaplain’s Notebook: Poetry as Spiritual Nourishment". Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 74, nr 1 (marzec 2020): 61–67. http://dx.doi.org/10.1177/1542305019897558.
Pełny tekst źródłaStreszczenie:
In the fall of 2017 as a chaplain intern working in a hospital setting, I started reading poems to patients and families with the hope that language could offer a buffer to suffering, a meditative space to slow down time and hear the comforting sound of language. This article contains stories of the power of poetry to nourish, nurture and connect with individuals facing darkness, doubt and vulnerability.
41
Рязанцева, Тетяна. "Discourse of war in Oleksa Stefanovych’s poetry". Слово і Час, nr 1 (20.02.2020): 29–39. http://dx.doi.org/10.33608/0236-1477.2020.01.29-39.
Pełny tekst źródłaStreszczenie:
The is article focuses on the military topics and poetics in the patriotic and religious poetry of Oleksa Stefanovych (1899—1970), one of the most interesting Ukrainian diaspora writers. The question of his personal war experience remains open, but the topic of war and the struggle for independence is an important element of his poetry. The e material for analysis is taken from his Apocalyptic cycle “The World’s End” (“Kinetssvitnie”) inspired by the events of the WWII, from his patriotic poems dedicated to the heroes of Kruty and Oleh Olzhych, and from the fragments of his unfinished poetic works on the tragic events of Bazar (“Do Bazaru”) and Brody (“Do Brodiv”). Based on Aleida Assman’s descriptions concerning the peculiarities of memory representations in literature, the author demonstrates the main points of Stefanovych’s creative strategy. It is focused on the sacralization and mythologization of real places, figures, and events connected with the struggle for Ukrainian statehood in the early 20th century and the participation of Ukrainians in the events of the WWII.
Stefanovych sacralizes space and time by putting the real tragedies of Ukrainian history into the Apocalyptic context and interweaving the motifs of martyrdom and heroism. In his poetic universe the sites of historical events become the places of worship, memory or trauma tightly connected with the paradoxical experience of military defeat that turned to be the moral victory. The typical stylistic traits of Stefanovych’s poetry are defined as the balance between the high symbolism and accuracy of naturalistic details, the extreme level of dramatic tension and exact moral accents.
42
Helin, Jenny, Matilda Dahl i Pierre Guillet De Monthoux. "Caravan Poetry: An Inquiry on Four Wheels". Qualitative Inquiry 26, nr 6 (23.04.2019): 633–38. http://dx.doi.org/10.1177/1077800419843949.
Pełny tekst źródłaStreszczenie:
How can we create possibilities for a generative moment between the research participants and ourselves? In a study about (day)dreaming, we searched for ways of doing our research in which we could meet and jointly explore the becoming of life and important matters through our experiences of dreaming. Inspired by Gaston Bachelard’s phenomenology of dreaming and in particular his book The Poetics of Space, in which he emphasized the importance of small, intimate spaces for poetic moments to occur, we decided to buy a small countryside caravan. Through this inquiry into a new spatiotemporality for our research encounters, we experienced how the caravan offers a rupture from the mundane ongoingness enabling us to reconnect to the moment, the place, each other, and ourselves. This rupture awakens the verticality of time allowing us to be looking anew and making novel connections. What may be seen as self-evident, but it was not for us, is the recognition that in developing research practices for studying dreaming, we had to first start dreaming ourselves.
43
Ferrere, Alexandre. "Creative Environments: The Geo-Poetics of Allen Ginsberg". Humanities 9, nr 3 (1.09.2020): 101. http://dx.doi.org/10.3390/h9030101.
Pełny tekst źródłaStreszczenie:
As was the case for other writers from the Beat Generation, geography is more than simply a setting for Allen Ginsberg’s work, as his poetry also bears the imprint of the influence of the landscapes through which he traveled in his mind and poetic practice. In the 1950s, the same decade which saw the composition of Ginsberg’s Howl, Guy Debord and his followers developed the concept of “psychogeography” and “dérive” to analyze the influence of landscapes on one’s mind. The Debordian concept of psychogeography implies then that an objective world can have unknown and subjective consequences. Inspired by Debord’s theories and through the analysis of key poems, this paper argues that a psychogeographical focus can shed new light on ecocritical studies of Ginsberg’s poetry. It can indeed unveil the complex construction of the poet’s own space-time poetics, from hauntological aspects to his specific composition process.
44
Kwon, Hyuck-Woong. "Poetic Subject and Situation - The Prospect of Space and Time in Rel ation to the Subject and Object of Poetry -". Studies of Korean Literature 69 (31.01.2021): 361–89. http://dx.doi.org/10.20864/skl.2021.1.69.361.
Pełny tekst źródła
45
Bałdyga, Katarzyna. "Obserwacja i trwanie – O liryczności wierszy ks. Janusza St. Pasierba". Colloquia Litteraria 16, nr 1 (19.11.2014): 39. http://dx.doi.org/10.21697/cl.2014.1.03.
Pełny tekst źródłaStreszczenie:
Observation and endurance: on lyricism in Fr. Janusz St. Pasierb’s poemsLimiting Fr. Janusz Stanisław Pasierb’s poetry exclusively to references to the Bible and the salvation history restricts understanding of the phenomenon of his poetry. Noticing the dialogicality of the speaking subject allows for grasping the most relevant in his poetry – experience accessible to the senses is moved to a higher level. The poet accurately and with minute precision notes down what is available to the senses; also, being aware of entanglement in time and space of human experience, he incorporates into his poetry a small surplus – he rips the experience from the horizontally oriented world and immerses it in transcendent reality. Observation and endurance are pillars of thinking about lyricism; Pasierb’s poems show how the prospect of eternity consolidates the value of a single experience.
46
Detelic, Mirjana. "The place of the symbolic city in construction of national imagery: A case of Balkan folklore - two models of epic city". Balcanica, nr 35 (2004): 171–84. http://dx.doi.org/10.2298/balc0535171d.
Pełny tekst źródłaStreszczenie:
This article is based on folklore studies of oral epic tradition in the Serb-Croat (or, depending on territory, Croat-Serbian) language which was common to the majority of former Yugoslavia population (in fact, all but Slovenes and Macedonians). The corpus of 1200 oral epic songs were chosen among other folklore genres because of their strong ideological position which made them the only form of oral literature where town appears as a human habitation clearly defined in time and space. In all other forms of traditional culture, the urban space is imagined and represented either as a miraculous or elfin place (as in fairy-tales, ritual poetry, short literary forms, et al), or as a notion with a name but without a content (as in etiological and other legends). In contrast, the epic poetry builds the image of urban space.
47
Nicholls, Peter. "The river of time: time-space, history, and language in avant-garde, modernist, and contemporary Russian and Anglo-American poetry". Textual Practice 32, nr 4 (12.03.2018): 727–29. http://dx.doi.org/10.1080/0950236x.2018.1447425.
Pełny tekst źródła
48
Aburqayeq, Ghassan. "Nature as a Motif in Arabic Andalusian Poetry and English Romanticism". Journal of Critical Studies in Language and Literature 1, nr 2 (1.07.2020): 52–61. http://dx.doi.org/10.46809/jcsll.v1i2.12.
Pełny tekst źródłaStreszczenie:
This paper examines some tenets in the Andalusian and Romantic poetry and shows how poets such as Ibrahim Ibn Khafāja (1058-1138) and William Wordsworth (1770 –1850) used nature as a motif in their poetry. Relying on a historical approach, this paper links smaller features such as themes and literary devices in the Andalusian and Romantic poetry with larger features, including genre, traditions, and cultural system. I argue that the emphasis on both the larger and smaller features of poetry creates what Franco Moretti calls “distant reading.” Comparing and contrasting Ibn Khafāja’s “the Mountain” and Wordsworth’s “the Daffodils,” for instance, introduces nature as a recurrent theme in both Andalusian and Romantic literary traditions, reinforcing Johann Wolfgang Goethe’s description of poetry as a common possession of humanity” (Goethe 229). In addition to that, comparing the images and themes in both the Andalusian and Romantic poetry not only shows internally linked meanings, but it creates what Cesar Domínguez, et al, call “a space for polyglottism, multidisciplinarity, scholarly collaboration” (75). Reading these works and movements closely and distantly serves as a cross-cultural dialogue between the Arabic and English poetic conventions. While Ibn Khafāja and Wordsworth lived in different places and times, wrote in different languages, and did not have the same socio-political circumstances, their poems show the richness and multiplicity of the historical experience of world literature.
49
Strojan, Marjan. "'Nine times the space' : from translator's notes to Milton's Paradise lost". Acta Neophilologica 30 (1.12.1997): 59–66. http://dx.doi.org/10.4312/an.30.0.59-66.
Pełny tekst źródłaStreszczenie:
Understanding the original meaning in the original context forms the basis of any translation. Translating poetry, however, requires an understanding which goes some way beyond the formal requirements of intelligent reading and informed interpretation. There are mental processes in any reading which are not easy to define in cognitive terms. Reading poetry, however, is by definition an aesthetic process, having a lot in common with our listening of music or looking at a work of art, where our cognitive functions are trained to be neither the exclusive interpreter of the subject nor the supreme selector of thought. Now, there are perhaps passages in Lacan or Nietzsche or Marx which can be enjoyed in synaesthetic terms as well as there are lines and sometimes whole paragraphs in Paradise Lost where little or no visual or musical perceptions are required beyond those usually· attached to any piece of theological meandering. But our perception of them is predetermined by the specific difference, inherent in the text, which relates not only to the difference of style, but also to the difference in our reading of them.
50
Strojan, Marjan. "'Nine times the space' : from translator's notes to Milton's Paradise lost". Acta Neophilologica 30 (1.12.1997): 59–66. http://dx.doi.org/10.4312/an.30.1.59-66.
Pełny tekst źródłaStreszczenie:
Understanding the original meaning in the original context forms the basis of any translation. Translating poetry, however, requires an understanding which goes some way beyond the formal requirements of intelligent reading and informed interpretation. There are mental processes in any reading which are not easy to define in cognitive terms. Reading poetry, however, is by definition an aesthetic process, having a lot in common with our listening of music or looking at a work of art, where our cognitive functions are trained to be neither the exclusive interpreter of the subject nor the supreme selector of thought. Now, there are perhaps passages in Lacan or Nietzsche or Marx which can be enjoyed in synaesthetic terms as well as there are lines and sometimes whole paragraphs in Paradise Lost where little or no visual or musical perceptions are required beyond those usually· attached to any piece of theological meandering. But our perception of them is predetermined by the specific difference, inherent in the text, which relates not only to the difference of style, but also to the difference in our reading of them.