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Статті в журналах з теми "Third mind poetics"
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Greensmith, Emma. "WHEN HOMER QUOTES CALLIMACHUS: ALLUSIVE POETICS IN THE PROEM OF THEPOSTHOMERICA." Classical Quarterly 68, no. 1 (March 19, 2018): 257–74. http://dx.doi.org/10.1017/s0009838818000058.
Повний текст джерелаАнотація:
In Book 12 of Quintus Smyrnaeus’Posthomerica(c. third centuryc.e.), the epic poet prepares to list the heroes who entered the Wooden Horse before the sack of Troy. Before he begins, he breaks off to ask for help (Quint. Smyrn. 12.306–13):τούς μοι νῦν καθ᾽ ἕκαστον ἀνειρομένῳ σάφα Μοῦσαιἔσπεθ᾽, ὅσοι κατέβησαν ἔσω πολυχανδέος ἵππου·ὑμεῖς γὰρ πᾶσάν μοι ἐνὶ φρεσὶ θήκατ᾽ ἀοιδήν,πρίν μοι <ἔτ᾽> ἀμφὶ παρειὰ κατασκίδνασθαι ἴουλον,Σμύρνης ἐν δαπέδοισι περικλυτὰ μῆλα νέμοντι 310τρὶς τόσον Ἑρμοῦ ἄπωθεν, ὅσον βοόωντος ἀκοῦσαι,Ἀρτέμιδος περὶ νηὸν Ἐλευθερίῳ ἐνὶ κήπῳ,οὔρεΐ τ’ οὔτε λίην χθαμαλῷ οὔθ᾽ ὑψόθι πολλῷ.Muses, I ask you to tell me precisely, one by one, the names of all who went inside the cavernous horse. For you were the ones who filled my mind with all song even before down was spread across my cheeks, when I was tending my renowned sheep in the land of Smyrna, three times as far as the shouting distance from the Hermus, near Artemis’ temple in the garden of Liberty, on a hill that is neither excessively high nor too low.
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Sundukova, Kseniya A. "Mnemonic narrative method in the trilogy by Agota Kristof (“The Notebook”, “The Proof”, “The Third Lie”)." Semiotic studies 3, no. 1 (April 25, 2023): 55–63. http://dx.doi.org/10.18287/2782-2966-2023-3-1-55-63.
Повний текст джерелаАнотація:
The article analyzes three novels by the Hungarian-Swiss writer Agota Kristof through the poetics of memory. The trilogy is dedicated to the representation of the consciousness of the person whose life is destroyed by a series of historical cataclysms. Every novel presents a slightly different version of Lucas and Сlaus brothers life, their memories of the past traumatic events. In the hero's memories, the reality is distorted to such an extent that the very existence of the twin brother from the first novel is called into question. At the artistic level, the possibility of reconstructing the true course of events is constantly problematized. In this regard, the trilogy can be considered from the point of view of implementing the mnemonic narrative method in it - a special narrative method, which involves the creation of a novel hero character, whose inner life is turned to the past. This method is based on a conscious creative approach to description of the retracing mind and an approach to reflection about the process and description methods.
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Lāms, Ojārs. "EASTERN LATVIA IN THE GEOSPATIAL POETICS OF NATIONAL ROMATICISTS." Via Latgalica, no. 10 (November 30, 2017): 37. http://dx.doi.org/10.17770/latg2017.10.2766.
Повний текст джерелаАнотація:
The collected efforts of the national romanticists mark a longing for one’s own path within the Latvian cultural landscape, and emphasise the use and understanding of geography and space. The goal of this study is to ascertain – whether and how the created geo-spatiality of the national romanticists stands within the context of Eastern Latvia, which was administratively separated from the rest of the ethnographically collective territories, being a constitutive part of the Vitebsk Governorate. The organic tethering of separated regions was already torn in the 17th century, when Eastern Latvia remained under the control of Poland after the conquering of the collapsed remains of Livonia. Catholicism, idiosyncratic agricultural traditions, unprecedented development of language and writing – the peculiarities discerning Eastern Latvia from the coastal territories are justifiably multifarious. However, one must as well keep in mind the underlying similarities of east and west with the forming of the Latvian nation in the 19th century. The main topic of this paper is the geospatial poetics of the national romanticism, though for the sake of a broader historical context and understanding, it is prefaced by a chapter of “An Account of Associative Preconceptions and Histories of Eastern Latvia in Context of Baltic Provinces”, paying attention to the specific vernacular with which the Latvian landscape is described during the 19th century and closer inspection still to the administrative border between the Baltic provinces and the Governorate of Vitebsk, which holds the Eastern Latvian territories. In the second chapter – “Vitebsk-Latvian Identity from the Viewpoint of Latvian Nationalist Ideological Leaders” – reviews the pre-existing notions which are found in the writings of Krišjānis Valdemārs and Atis Kronvalds and reveals on the one hand a deep vocation of the destiny of the Vitebsk Latvians, though on the other – a somewhat simplified overview. The third chapter directly examines how these preconceived and associative ideas were produced in the many periodicals and publications by the various Latvian communities of the Baltic provinces. The most significant textual sources are travel notes, in which the spatial differences and also visually distinctive features in agricultural tradition are emphasized. The fourth chapter looks at the collectively written works of the national romanticists within the aspects of geospatial imagery, bringing out three levels – the motifs of rivers and lakes, motifs of mountains, alleys and fields, as well as the motif of ancient historical locations, which all together make the illusory mythos of Latvia, within which Eastern Latvia resides. Nevertheless, the geospatial contours of Latvia are only complete with the addition of Eastern Latvia’s local identity – Latgale – which colours the collective Latvian borders with unique geospatial impressions (imagery).
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Sulyma, Vira. "On Issue of Literary, Religious and Philosophical Context of One Poetic Work by Kyrylo Tranquilion Stavrovetskyi." Слово і Час, no. 6 (June 21, 2019): 74–84. http://dx.doi.org/10.33608/0236-1477.2019.06.74-84.
Повний текст джерелаАнотація:
The paper deals with the work by Kyrylo Tranquilion Stavrovetskyi “Praise of Triple Wisdom Witnessed in This Age”, included in the collection “The Precious Pearl” (Chernihiv, 1646). The name and composition as well as baroque poetics and rhetoric of the analyzed work refl ect certain aspects of medieval Trinitarian doctrine and elements of Renaissance humanism, inherent in the views of the author. Stavrovetskyi highly appreciates the weight of poetry and philosophy in the spiritual life of man, while giving preference to theology. The wisdom that comes from the Son of God is important for him, as well as the wisdom that comes from the gifts of the Holy Spirit, that is, the special knowledge given to the prophets, the apostles and the pious theologians. The third wisdom is an innate human faculty of thinking, creative work, directing others and philosophical refl ection, associated with the first person of the Holy Trinity, with God the Creator. The philosophical context is realized from the standpoint of high theological mind. The outline of the historical-literary and religious-philosophical context opens the way for deeper understanding of stylistic tools and the author’s semantic codes. The rhetorical approach of the author of “Praise…” focuses on the monological (with the elements of dramatization) and emotionally intense appeal to the Wisdom of God. Stavrovetskyi shows some contrasting aspects of world perception. The reader may fi nd here some mystical sentiments and profound theological knowledge realized in the poetic forms, as well as quite traditional ideas of the divine origin of man. At the same time the author focuses on some critical views on people and society.
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Shalimova, Nadezhda S. "‘A frightening, scary book about children…’: the Poetics of the Novel ‘The Little Friend’ by D. Tartt." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 134–43. http://dx.doi.org/10.17072/2073-6681-2022-4-134-143.
Повний текст джерелаАнотація:
The article is devoted to comprehensive research on the novel The Little Friend by D. Tartt. It investigates the narrative features and genre characteristics of the literary work. The immanent method was used in research to study the narrative model: the symbolic meaning of the title, the specifics of the settings and plot structure, means of characterization, the theme of racial inequality, intertextuality, and photographic ekphrasis in the novel. The contextual method allowed us to identify the features of the ‘southern noir’ in the novel, as well as to consider the traditional and innovative manifestations of the characteristics of young adult literature. The theme of growing up in the novel is associated with traditional motives of loss, experiencing death, illness, mental pain, disappointment, and self-attainment. The Little Friend is third-person narration, this is the only work by D. Tartt where it is used, opposite to the retrospective confessional narration of the novels The Secret History and The Goldfinch. The story is told by the omniscient author who enters the mind of his character. It gives the writer the possibility to focus not only on the inner world of the main characters but also to present the historical and cultural background, as well as to create expressive psychological portraits of the minor characters and their families. The tone of the novel is quite conversational; the narrator is very exact in describing the characters and places. The paper concludes that the novel simultaneously contains the features of young adult fiction – the theme of growing up through overcoming trials (loneliness, loss, fighting the evil / awareness of the illusory nature of ideas about it), and the characteristics of the literature of the American South, the contexts of which play a crucial role for D. Tartt as a writer and a person.
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Ghosh, Ranjan. "Desiring-Material." Minnesota review 2021, no. 97 (November 1, 2021): 53–76. http://dx.doi.org/10.1215/00265667-9335814.
Повний текст джерелаАнотація:
This article tries to develop a complicated relationship between the material-plastic, the desire principle, and its affective dimensions. It explores how plastic “touches” us multi-sensorially through its materiality and materialization. As ready-made, found, waste, abandoned, and obscure objects, plastic triggers and challenges the imagination and builds a variety of aesthetic affordances. It constructs and inheres in a desire-principle where the material goes beyond consumerism, cultural habituality, economic viability, the eco-catastrophic mandate, and spectrality into the (im)pure realm of art and imagination. This demonstrates how the plasticity of plastic and the plasticity of an artistic mind come into a compelling and convulsive interplay. This works through three sections. First, the “collectorial desire” where the artists in question emerge as collectors of plastic objects and construct a deeply invested negotiation with material and aesthetic-affective desire; second, the “ghosting desire” where all plastic artists are shown to have an epiphanous and analytic relationship with plastic objects as they make their way into art forms having a past life to themselves, ghostly in their objecthood and object presence; third, the “connective desire” where plastic becomes the “plastic subject” and initiates manifold becomings through instances like the plastiglomerates, the plastic-rock that expands the human-nonhuman affective arc of transmedial existence. Invested in art-interpretation and poetics of materiality, the article brings home a fresh realm of plastic-art with plastic-desire.
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Kostova-Panayotova, Magdalena. "The Russian Futuristic Experiment: the Language of the Poetic Resistance." Scientific knowledge - autonomy, dependence, resistance 29, no. 2 (May 30, 2020): 261–72. http://dx.doi.org/10.37708/bf.swu.v29i2.18.
Повний текст джерелаАнотація:
The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.
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Hussein, Ali Assi. "The Use of The Mask in Yeats’s Poetry." JOURNAL OF LANGUAGE STUDIES 8, no. 4 (April 30, 2024): 142–57. http://dx.doi.org/10.25130/lang.8.4.8.
Повний текст джерелаАнотація:
This paper aims to identify the use of the mask in Yeats's poetry shedding light on three poems written in the period (1910-1933). The researcher uses the literary analysis methodology to achieve the objective of the paper. The paper consists of three sections; the first gives an introduction and summarizes the poetic changes through the poet’s life, especially the social and political effects upon his psychology and literary works. The second discusses the use of the mask or anti-self-technique in the latest poems of Yeats and summons up the mask and some historical views about it. The third section concludes several points including that the mask technique is a part of the poet’s life due to his psychological state of mind and how it affects his matured poetic life.
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Reiss, Timothy J. "Kamau Brathwaite, a Memoir." Small Axe: A Caribbean Journal of Criticism 26, no. 1 (March 1, 2022): 111–23. http://dx.doi.org/10.1215/07990537-9724121.
Повний текст джерелаАнотація:
This essay tracks Kamau Brathwaite’s life, his poetic and critical writing, and his travails and thinking, from youth and early career—in Barbados, England, Ghana, and the Caribbean, but mainly from his arrival at New York University in 1991—through his retirement in 2013 and return to Barbados, up to his death in 2020. It especially follows Kamau from his low “time of salt” of the late 1980s in Jamaica through the stunning critical and poetic burgeoning from the 1990s on, with such works as Barabajan Poems; the two-volume MR; the prize-winning Born to Slow Horses; and Elegguas and his unpublished third poetry trilogy, Missa Solemnis, Rwanda Poems, and Dead Man Witness, commemorating and trying to rise beyond what he called his “cultural lynching.” The essay looks at Brathwaite’s online/print Sycorax voice and the politico-philosophico-cultural concept of tidalectics that he developed over these years to create an ongoing Caribbean-based decolonizing of mind, spirit, and material life.
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Kuryanova, Valeriya V. "Myth of L.N. Tolstoy in the creative mind of M.A. Voloshin." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2021): 68–75. http://dx.doi.org/10.20339/phs.3-21.068.
Повний текст джерелаАнотація:
The article, based on the material of M.A. Voloshin’s work, examines the elements of Tolstoy’s myth. The biographical myth of L.N. Tolstoy, which has been actively developing for a century and a half until today, but at the beginning of the 20th century, when Tolstoy’s departure from his own home became popular, it became especially relevant. The structure of the Tolstoy’s myth is analyzed, the mythologies associated with it (mythologized constant representations) created and reproduced by M.A. Voloshin in accordance with his own poetic worldview, personal attitude to the work and personality of L.N. Tolstoy. In the light of the problem posed, the author examines the poet's books “The Burning Bush” and “The Ways of Cain”. Attention is focused on the originality of Tolstoy’s text in the creative heritage of Voloshin, based on the proximity of worldviews, the sacralization of the image of the great writer. The poet interprets Tolstoy's mythologem about non-resistance to evil by violence in a completely new way. In the attempts of the great artist to protect himself and others from evil, Voloshin sees the reason for his tragic departure from Yasnaya Polyana. The question is raised about the features of the perception of this myth in the culture and literature of the first third of the XX century.
Книги з теми "Third mind poetics"
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Goldschmidt, Nora, and Barbara Graziosi. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826477.003.0001.
Повний текст джерелаАнотація:
The Introduction sheds light on the reception of classical poetry by focusing on the materiality of the poets’ bodies and their tombs. It outlines four sets of issues, or commonplaces, that govern the organization of the entire volume. The first concerns the opposition between literature and material culture, the life of the mind vs the apprehensions of the body—which fails to acknowledge that poetry emerges from and is attended to by the mortal body. The second concerns the religious significance of the tomb and its location in a mythical landscape which is shaped, in part, by poetry. The third investigates the literary graveyard as a place where poets’ bodies and poetic corpora are collected. Finally, the alleged ‘tomb of Virgil’ provides a specific site where the major claims made in this volume can be most easily be tested.
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McInerney, Jeremy. Callimachus and the Poetics of the Diaspora. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198744771.003.0008.
Повний текст джерелаАнотація:
This chapter reads Callimachus as a poet of the Hellenistic diaspora. It argues not only that his poems reflect the experience of Greeks born outside Greece, for whom the cultural baggage of earlier centuries is a repository of myths and stories which can be manipulated and reshaped, but also that contemporary issues of patronage and Ptolemaic geopolitics influenced the poet’s treatment of older themes. Time and space are collapsed. Set against the tribulations of the Ptolemaic dynasty in the mid-third century, Callimachus’ Hymn to Artemis emerges not as a purely literary reworking of an earlier, Homeric genre, but as a pointed and deliberate commentary on contemporary politics. The personal, the political and the poetic intersect and reinforce each other.
Частини книг з теми "Third mind poetics"
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Key, Alexander M. "What are Neoplatonic Poetics? Allegory; Figure; Genre." In Faces of the Infinite, 131–47. British Academy, 2022. http://dx.doi.org/10.5871/bacad/9780197267257.003.0004.
Повний текст джерелаАнотація:
This chapter uses the space between Greek Neoplatonism and Arabic Neoplatonism to ask what Neoplatonism is and how Neoplatonism appears in literary criticism. Starting with Robert Lowell, al-Ḥallāj, and Robert Duncan, I argue that Neoplatonic poetics is a judgement, made in our twenty-first century moment, that certain allegories contain Neoplatonic cosmologies. I examine Arabic and Greek taxonomical (Menander Rhetor and al-Marghīnānī’s rhetorical figures) and hermeneutical (al-Rāghib and Avicenna’s exegeses) scholarship, and I suggest that poetics itself can be looked at with three categories in mind: allegory, figure, and genre. Exegesis of the Qur’an, exegesis of the Rhapsodies and Oracles, and al-Ḥallāj’s poetry all revealed Neoplatonic truths through allegory. But Classical Arabic poetics did not identify these dynamics, because genre pressures led critics to focus on technique rather than content. We are the only critics who track Neoplatonic cosmologies across third-century Platonists and eleventh-century Muslims.
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Wilkinson, Ben. "Not Your Name, Not Mine: The Eyes (1999)." In Don Paterson, 45–60. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800855373.003.0004.
Повний текст джерелаАнотація:
This chapter addresses Paterson’s third collection, a volume of loosely translated ‘versions’ after the Spanish of Antonio Machado. It argues that attempts to cultivate a more anonymous poetic voice are what define these ‘portrait’ poems. It shows how Paterson’s adoption of Machado’s ‘singerless song’ allows for a significant development in the stylistic and thematic texture of his poetry, incorporating both a greater emotional range and a more direct seriousness than his previous work. This is discussed in relation to the book’s central themes: the reconciliation of poetic thought and feeling, and intuitive understanding enabled by a spiritually-attuned poetry. The chapter draws on T. S. Eliot’s concept of the dissociation of sensibility, as well as briefly addressing the influence of the aphoristic writings of Antonio Porchia and Emil Cioran. Paterson’s versions are discussed alongside the closer fidelity of translations of Machado written by Robert Bly.
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Baraniuk, Carol. "Burns Biography, 1949–2019." In The Oxford Handbook of Robert Burns, 580–94. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780198846246.013.43.
Повний текст джерелаАнотація:
Abstract This chapter, the third on the development of Burns’s biography, will discuss the principal book-length studies of the poet's life from the mid-twentieth century until the second decade of the twenty-first, showing how his progress and development in both personal and public roles have been portrayed. The essay will demonstrate how representations of the poet altered as cultural, social, and political attitudes and values changed over time, and as eighteenth-century life and manners grew increasingly distant from the experience of audiences. It will show that many biographers have supplied fresh reinterpretations of earlier scholarship, and will identify some innovative recent approaches and research. The essay will indicate the evolution of different traditions in Burns biography in this period, and consider what progress has been made towards a definitive evaluation of the poet’s life.
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Lefkowitz, Mary R. "The Influential Fictions in the Scholia to Pindar’s Pythian 8." In First-Person Fictions: Pindar’s Poetic ‘I’, 72–88. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198146865.003.0002.
Повний текст джерелаАнотація:
Abstract The substance of ancient poetry, like the texts of the poems themselves, has reached us only through the mediation of many minds and hands. In particular, the Odes of Pindar have survived inextricably enmeshed in critical opinion, since they required interpretation to be understood even in antiquity, once they had been removed from the original provenance of their performance. In the third century BC the text was edited by Aristophanes of Byzantium, and an explanatory commentary was written by Aristarchus in Alexandria. Other scholars, like Aristarchus’ student Aristodemus, added interpretations; in the first century Didymus wrote a commentary, disputing Aristarchus’ interpretations on many points. Over the next centuries these scholars’ contributions were preserved, elaborated, and finally condensed and compiled into our present scholia to Pindar.
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McCabe, Susan. "Losing One’s Mind to Find It." In H. D. & Bryher, 259–69. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190621223.003.0020.
Повний текст джерелаАнотація:
H.D. began Sword Went Out to Sea, when she began solo contact with the dead airman, Dowding’s “boys” (the very material of the novel in process), and a fresh rejection from the Admiral, triggered H.D.’s breakdown at Lowndes. H.D. sent Bryher to “the Cave” (the basement), fearing a bomb was about to destroy St. Paul’s, starting the Third World War. H.D. projected her fears upon Bryher, left to arrange for her care, and her difficult transport from Lowndes. The couple’s hiatus in their communication was a first. Dr. Theodore Brunner insisted Bryher not write to the patient. Though H.D. was delusional and severely undernourished, Bryher recognized many of her symptoms as enlarged versions of usual habits, such as assigning metaphoric value to objects. Once recovering, H.D. did not remember how she ended up at the Kusnacht clinic in Zurich, where she was greeted by the couple’s friend, Dr. Schmideberg. Everyone there spoke German. Bryher wrote in spite of the doctor’s insistence not to. Once her connection with Bryher was reestablished and letters resumed, H.D. recovered, though she complained about her captivity and the shock treatments, though eventually she thought they, too, helped. Bryher sent tapestries from Lowndes and fresh colorful wool, encouraging H.D. to weave and to finish her essay on Renaissance poets to join the Claribel poems in By Avon River.
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Matore, Daniel. "Olson Among the Letterers." In The Graphics of Verse, 142–207. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192857217.003.0004.
Повний текст джерелаАнотація:
Abstract The third chapter is concerned with the seminal experiments of Charles Olson, a key transitional figure between early modernism and postwar poetry. The first section, ‘The New Ear, Breath Stops, and the Beats’, argues that the breath poetics of ‘Projective Verse’ for which Olson has become famous are supplanted by the labour of typography when he writes The Maximus Poems. In ‘“A full graphics-knowing man”: Black Mountain College and Ben Shahn’s Print Shop’, I argue that Olson conceives of mid-century America as mired in the advertising culture’s graphical malaise; with lithographer Ben Shahn, he envisages Black Mountain College as a centre of typographical resistance and re-education. Olson also becomes preoccupied with the poet’s interactions with the typographer and the printer. In ‘The Poet and the Typographer: Frances Motz Boldereff, David Jones, and the Labour of Verse’, I argue that this question of poetics comes to life in Olson’s relationship with the typographer Frances Motz Boldereff. Measuring space is figured as an art of verse, which is manifested in Olson’s drafting and compositional practices. Olson begins to conceive of typography as key to the work of poetry. His critique of discourse and Aristotelian logic convinces him that language needs to be spatialized, I argue in ‘“Metric then is mapping”: Olson, Prynne, and the Language of Space’. Through his correspondence with J. H. Prynne, Olson formulates the grammar of a spatial language. Typographical calculations, though, rather than the syntactical complexities formulated with Prynne, form the spatial language of The Maximus Poems. In the final section, ‘Literal, real realty: Typography, Topology and Property’, I claim that Olson’s later verse and essays rewrite poetics in metaphysical terms modelled after the philosophy of Alfred North Whitehead. I argue that territory and ownership is critiqued through the typography of Olson’s poetry. Experimental typography, I conclude, is how Olson attempts to offer a true map of the world, apprised of buried geology and history.
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Franklinos, T. E. "Trying to make up for lost time with dear friends in Ovid, Tristia 3." In Essays on Propertian and Ovidian Elegy, 182–209. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198908111.003.0010.
Повний текст джерелаАнотація:
Abstract This chapter treats the understudied third book of Ovid’s Tristia. It argues that the collection is carefully structured and considers how the poet uses the arrangement of poems and inter- and intratextual engagement to explore the expectations of friendship and relationship in 3.3–3.6, and to assert defiantly that his literary oeuvre will be known to posterity, even if he himself dies. Attention is paid to Ovid’s recapitulation of some of the concerns of his first book of exile poetry: his preoccupation with similar concerns points to the seeming inability of time to progress while the poet is in exile. This temporal stasis is thematised in Tristia 3, and may even point to the poet’s lack of progress with the Fasti (also known as his Tempora). This purported inability to keep versifying is reflected in the advice Ovid offers to his fellow poets in Tr. 3.4a, as he draws on his experiences in life and in writing and articulates, in Propertian and Lucretian terms, his warning that magna nomina should be avoided. That Ovid had his Fasti in mind as he penned Tristia 3 is made clear by the intertext with its treatment of the title of Augustus (Fast. 1.608–16) in the opening poem of the book (3.1.33–40), and in similarities between Tr. 3.2 and the Carmentalia in Fasti 1; it is possible too that, in revisiting the Fasti later in his exile, Ovid reworked these passages of his calendar in the light of parts of Tristia 3.
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O'Neill, Michael. "Shelley, Beddoes, Death, and Reputation." In Shelleyan Reimaginings and Influence, 225–36. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833697.003.0013.
Повний текст джерелаАнотація:
Chapter 13 explores the response of the poet and dramatist Thomas Lovell Beddoes to Shelley’s work. It suggests that Beddoes’s concern with imagery of death and resurrection derives from figurative patterns in Shelley and expresses a preoccupation with questions of poetic legacy and reputation. At times Beddoes brings to mind in his dealings with Shelley Harold Bloom’s theory of the anxiety of influence: Beddoes’s very readiness to suffer neglect may suggest an act of ‘kenosis’, that ‘ “undoing” and … “isolating” movement of the imagination’ which is the third of Bloom’s revisionary ratios. Elsewhere, Bloom writes that ‘Beddoes, in despair of his times and of himself, chose to waste his genius on a theme that baffled his own imagination’. But Beddoes, who helped with the publication of Shelley’s Posthumous Poems (1824), was engaged complexly and, the chapter argues, impressively in his writing with questions of reputation raised by Shelley’s legacy. More often than he yields to ‘despair’, Beddoes holds ghostly commune with the dead Shelley in ways that seek to pay tribute rather than express anxiety; he does so, as this chapter shows, by developing imaginative modes that are at once stylishly and grotesquely productive.
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Sutherlin, Erica C. "“I Come from a Dream Deferred”." In Building Womanist Coalitions, 208–9. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042423.003.0013.
Повний текст джерелаАнотація:
The author of the poem “I Come from a Dream Deferred” speaks unapologetically about the complex identity politics related to the herstory of “Third World” women in the United States. The poem’s theme resonates within the twists and turns of strategic movement for survival—not only in body, but mind and spirit as well. It is insightfully clear that the territorial background the poet’s narrator finds herself tied down to is filled with a politics of race, gender, class, and sexual identities violated by institutionalized and systemic power dynamics perpetuating a politics of inhumanity toward the “Other”—especially connected to the subjugation of the feminine. However, the narrator clearly comprehends what enabled her to survive that which she was not meant on earth to survive. According to her, it’s a “soul” matter determined by “the source [known as] the spirit,” the only “one, the god,” who possessed the power to [give] birth to the feminine.” The life-giver of the feminine that the narrator references here is the same inspirited one that Alice Walker references.
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López González, Luis F. "Disturbances of the Body and the Soul." In The Aesthetics of Melancholia, 113–37. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192859228.003.0006.
Повний текст джерелаАнотація:
Abstract This third part analyzes the condition of lovesickness, or amor hereos, a psychosomatic disease believed to affect predominantly aristocratic men who had a melancholic complexion or acquired one on account of their erotic illness. This condition received a lot of attention from medical professionals because it was believed to engender other melancholic diseases, including depression, madness, and if it went untreated, death. After the introduction of Avicenna’s Canon of Medicine, Constantine the African’s Viaticum, and Bernard of Gordon’s Lilium medicinae into European culture, lovesickness became a favorite topic in medical commentary and in literature. Representations of lovesick characters abound in early medieval aesthetic expression throughout Europe, including in Provençal lyrical poetry, Italian Dolce stil novo, Andalusian kharjas, and Galician-Portuguese various poetic genres. In King Alfonso’s Cantigas, amor hereos acquires new levels of meaning because the foremost effect of lovesickness was an overvaluation of the object of desire. Since most lovesick victims had previously been fervent devotees of the Virgin Mary, the overvaluation of the loved one usually represents a displacement of their devotion for Mary onto the beloved. In this context, therefore, amor hereos is a condition that has a direct effect on the body and the mind, as well as on the soul.