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Journal articles on the topic 'Autumn, poetry'
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Sohibova, Zarnigor Nusratilloevna. "THE SEASON OF AUTUMN AND THE MOTIVE OF PARTING IN THE WORKS OF NAVOIY." Scientific Reports of Bukhara State University 4, no. 4 (August 28, 2020): 213–18. http://dx.doi.org/10.52297/2181-1466/2020/4/4/11.
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The topic of seasons form typical literary system in Uzbek classical poetry. In particular, it is observed that the images of spring, autumn and winter in fardas, poems and gazels of the great thinker and poet Alisher Navoi acquired symbolic meanings in harmony with human life. The article analyzes the poet's poems dedicated to autumn and reveals their metaphorical meanings.
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Yeung, Jessica Siu-yin. "Burying Autumn: Poetry, Friendship, and Loss." Life Writing 16, no. 3 (October 3, 2017): 487–90. http://dx.doi.org/10.1080/14484528.2017.1383844.
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Nicki, Andrea. "Caterpillar; Autumn Leaves; Daffodils; Last Day." Canadian Journal of Disability Studies 8, no. 4 (July 1, 2019): 6–7. http://dx.doi.org/10.15353/cjds.v8i4.521.
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Clover, Joshua. "Autumn of the System: Poetry and Financial Capital." Journal of Narrative Theory 41, no. 1 (2011): 34–52. http://dx.doi.org/10.1353/jnt.2011.0090.
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Velkova-Gaydarzhieva, Antoniya. "Pory roku Petara Alipieva." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 7, 2017): 50–60. http://dx.doi.org/10.24917/20811853.16.4.
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The seasons of Peter Alipiev Peter Alipiev is a fine example of the poetic emblems of the 1960s. Man and nature translate and express themselves. The poetic world of P. Alipiev is unified, round, fundamental. The four seasons, each of them magical, concern a great number of his texts. Different aspects and transformations of life are captured through the use of various seasons. However, human nature is expressed in a wide spectre of emotional states and philosophical thought. The most important season for Alipievs sensitivity is autumn. Nature in P. Alipievs poetry is seen through human eyes. Pictures of nature express existential wisdom. This poetry is quiet and still. There is sorrow, but also thirst for life – of man and bird, of old man and grass, of child and bee.Key words: Petar Alipiev; poetry; sesons; Bulgarian literature;
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Yang, Binbin. "Burying Autumn: Poetry, Friendship, and Loss by Ying Hu." China Review International 21, no. 3 (2014): 277–80. http://dx.doi.org/10.1353/cri.2014.0030.
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Fadli, Zaki Ainul, and Najma Fairus Handoko. "Meaning's Comparison of Two Autumn Haiku Written by Masaoka Shiki and Takarai Kikaku." IZUMI 10, no. 2 (November 24, 2021): 380–88. http://dx.doi.org/10.14710/izumi.10.2.380-388.
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Every country has its own culture. Japan has a close culture of art, both modern and traditional. One of the Japanese arts in literature is poetry. Poetry in Japanese literature is called haiku. To find out the differences and similarities in the meanings contained in the autumn-themed haiku by Masaoka Shiki and Takarai Kikaku, the writer intends to analyze the comparison of the two-autumn haiku by Masaoka Shiki and Takarai Kikaku. Comparative analysis of meaning is studied using Ronald Barthes's semiotic study to find its meaning. The semiotic study used is Ronald Barthes's semiotics which uses two stages of study through denotation and connotation, then its relationship with myth or culture. The result of this research produces a comparison of the similarities and differences between Masaoka Shiki's autumn haiku and Takarai Kikaku's. The similarity of autumn haiku by Masaoka Shiki and Takarai Kikaku is the theme raised, namely the beauty of nature and the environment. While the difference between the autumn haiku by Masaoka Shiki and Takarai Kikaku is the philosophical meaning of the discussion, and in the background of time and atmosphere mentioned.
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Thomson, Heidi. "From Cloudy Trophies to Quiet Power: Keats’s Hyperions, the 1819 Odes, and Michael O’Neill’s Late Poetry." Romanticism 28, no. 2 (July 2022): 141–53. http://dx.doi.org/10.3366/rom.2022.0550.
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This essay reads Keats’s 1819 poetry alongside Michael O’Neill’s poems about his terminal illness. It focuses on Keats’s abandonment of Hyperion and The Fall of Hyperion in favour of ‘To Autumn’ through a juxtaposed reading of ‘cloudy trophies’ and ‘quiet power’. The Hyperion poems explore the collapse of the Poetical Character in the face of incurable, immortal suffering. While the spring odes, exemplified in a reading of ‘Ode on Melancholy’, attempt to balance the dynamic between a speaker and its poetic subject through apostrophe, the conclusions of the odes are self-cancelling. ‘To Autumn’ signals a breakthrough from curative to palliative poetics through the simultaneous celebration of life insisting on itself and the process of dying. The contrast between Guy’s Hospital and the Hospital of St Cross in Winchester underlines the shift in vision from incurable suffering to palliative, quiet power.
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Purwono, Prahoro Yudo. "Citraan pada Kumpulan Puisi Bertema Musim Gugur Karya Goethe." JURNAL Al-AZHAR INDONESIA SERI HUMANIORA 6, no. 2 (September 30, 2021): 107. http://dx.doi.org/10.36722/sh.v6i2.624.
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<p><strong>Imagery plays an important role in literary works, and poetry is no exception. In Goethe's poetry, the romantic era which tries to describe the beauty of nature as the main object is very strong. One of the natural beauties that are trying to be described and famous is autumn in Germany. This natural phenomenon is trying to be described through imagery, so readers need to understand the imagery in poetry to get a clear picture and understand the intent or message in the poem. This study aims to describe the meaning related to imagery and the types of imagery contained in Goethe's poems. The research method used is qualitative with the theory of Pradopo. The results showed that in the process of understanding the images or images contained in poetry, an understanding of the meaning contained in the poem as a whole was needed to get a clear picture. Meanwhile, based on the results of the analysis, found 4 types of imagery in Goethe's autumn-themed poetry, namely visual imagery, auditory imagery, tactile imagery, and motion imagery. The number of each image is 8 visual images, 2 auditory images, 2 tactile images, and 3 motion images.</strong></p><p><strong><strong><em>Keywords</em></strong>–</strong><em>Goethe, Imagery, Poetry</em><em>, Herbsgedichte</em></p>
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Wu, Shengqing. "Burying Autumn: Poetry, Friendship, and Loss, written by Hu Ying, 2016." Nan Nü 20, no. 2 (January 3, 2019): 332–35. http://dx.doi.org/10.1163/15685268-00202p12.
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Angelica Rieger. "Troubadours and Law: Legal Metaphors in the Autumn of Troubadour Poetry." Tenso 26, no. 1-2 (2011): 75–87. http://dx.doi.org/10.1353/ten.2011.0010.
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Seng, Anabela Fong Keng. "THREE MILLENNIA OF CHINESE POETRY." Revista Brasileira de Literatura Comparada 22, no. 41 (December 2020): 103–9. http://dx.doi.org/10.1590/2596-304x20202241afk.
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Abstract Poetry has a history of thousands of years in China and can be said to be the shining jewel in the crown of Chinese literature, occupying a major proportion in her history. Having originated from folk songs, the Chinese poetry has produced a large number of brilliant examples from the Western Zhou Dynasty (1046-771 BC) to the Chunqiu (Spring and Autumn) Period (770-476 BC). China has, since ancient times, maintained a tradition of education in poetry, which is used to educate the people and arouse their intelligence. Through the reading, studying and writing of poetry, it is possible to instruct and cultivate the character of young pupils, as well as to promote children’s creative thinking, logical dialectics and humanistic consciousness. In addition, reciting, learning and writing poetry has the ability to cultivate one’s temperament, allowing people of all social strata, professional occupation and age to cleanse and purify their minds. The realm of poetry has the same effect of calming the soul as religious belief. This article shows the highlights of three millennia of Chinese poetry to the readers or scholars whose native language is not Chinese.
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Chernova, A. E. "THE IMAGE OF AUTUMN IN THE EARLY LYRIC POETRY OF NIKOLAI RUBTSOV." Вестник Московского информационно-технологического университета - Московского архитектурно-строительного института, no. 1 (2022): 47–53. http://dx.doi.org/10.52470/2224669x_2022_1_47.
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Chernova, A. E. "THE IMAGE OF AUTUMN IN THE EARLY LYRIC POETRY OF NIKOLAI RUBTSOV." Вестник Московского информационно-технологического университета - Московского архитектурно-строительного института, no. 1 (2022): 47–53. http://dx.doi.org/10.52470/2224669x_2022_1_47.
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Young Jin Kim. "Research on the Jeong Hak - yeon’s poetry of Hui - yin - Focusing on the work Meeting people at an autumn day -." Korean Classical Poetry Studies 40, no. ll (May 2016): 205–35. http://dx.doi.org/10.32428/poetry.40..201605.205.
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Woldan, Alois. "Andere Stimmen – Protest gegen Krieg und Gewalt in der polnischen und ukrainischen Dichtung über den Ersten Weltkrieg." Przegląd Humanistyczny 63, no. 1 (464) (September 17, 2019): 7–25. http://dx.doi.org/10.5604/01.3001.0013.4970.
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Polish and Ukrainian poetry on World War I have much in common: they were written mainly by soldier-poets, young men fighting in the Polish Legions or the Ukrainian Sich Riflemen. This poetry is, first of all, a patriotic legitimation of the war as a way of regaining political independence. Heroism and suffering for the fatherland are dominating issues. Nevertheless, besides this pathetic gesture, we can find voices that point out the horror of war and question it at all. Such criticisms is expressed by certain motives, which appear in both the Legions’ and the Sich Riflemens’ poetry, like: fratricide, lists from soldiers to their families at home, devastation of nature and culture, autumn and death, as well as pacifist notions. These voices do not form any dominant discourse in the poetry on World War I, but they are not to be ignored, as they mark a common place in the Polish and Ukrainian literature at this time, which has not been researched until now.
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Snigireva, Tatyana A. "“The Autumn Book” of the Poet (Alexander Tvardovskiy. “Selected Lyrical Poetry of These Years”)." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 28, no. 3 (2022): 97–106. http://dx.doi.org/10.15826/izv1.2022.28.3.049.
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The definition of A. Tvardovskiy’s final lyrical anthology “Selected lyrical poetry of these years” as a philosophical and testamentary book allowed to metaphorically call it “The Autumn Book”. Starting with the first parting theme — parting with youth — all the last book published in the poet’s lifetime is transpierced with the feeling of last parting — parting with life, and, simultaneously, there are comprehension and crude summary. Autumn is the book’s time of nature, with all its impalpable marks and signs. Autumn is the poet’s personal time — for his own bitter and ironic acknowledgement, “age of retirement”. The most prominent tension and anxiety haunt the poet not when he thinks about forthcoming death, but when he contemplates his fate, his way of living this life — the life of public servant. The counterinitiative unity of the beauty acceptance, harmony of the nature, the original value of human’s life and simultaneous self-judging impacted the poetical fabric of A. Tvardovskiy’s latest book. In “Selected lyrical poetry of these years” controversially coexist elegiacal and invective intonations; common and obscene lexis with vernaculars and even vulgarisms; proper and allegorical meaning. Harmony and tension are connected in the poet’s consciousness. National ethic, proven by centuries, living naturally and authoritatively in A. Tvardovskiy’s spiritual world, removes him from the field of Soviet ethical novates to the space of eternal and essential notions, which strengthen the poetical world of his latest lyrical anthology. These notions are labelled naturally and nationally: home — family, fate — destiny, conscience — pain — duty, world — human — nature.
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Yen, Brandon C. "Poetry and Science: William Wordsworth and his Irish Friends William Rowan Hamilton and Francis Beaufort Edgeworth, c. 1829." Romanticism 26, no. 1 (April 2020): 89–101. http://dx.doi.org/10.3366/rom.2020.0450.
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Through hitherto neglected manuscripts at Trinity College Dublin, the Bodleian Library, and the Wordsworth Trust, this paper explores the relationship between William Wordsworth and his Irish friends William Rowan Hamilton and Francis Beaufort Edgeworth around 1829. It details the debates about poetry and science between Hamilton (Professor of Astronomy at Trinity College Dublin and Royal Astronomer of Ireland) and Edgeworth (the novelist Maria Edgeworth's half-brother), in which Wordsworth was embroiled when he visited Ireland in the autumn of 1829. By examining a variety of documents including letters, poems, lectures, and memoirs, a fragment of literary history may be restored and a clearer understanding may be reached of the tensions between poetry and science in Wordsworth's poetry, particularly in The Excursion, and of the Irish provenance of a memorable passage in ‘On the Power of Sound’.
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YILMAZ, Tuğba. "UZBEKISTAN AND NATIONAL IDENTITY IN THE POEMS OF HURSHID DEVRAN." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (November 15, 2022): 67–74. http://dx.doi.org/10.31567/ssd.793.
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Hurshid Devran was born on January 20, 1952 in Samarkand, Uzbekistan. H. Devran; he became one of the leading poets and writers of Uzbek Literature with his works written in epic, poetry, drama, theatre, story and translation. In the works he wrote in the field of poetry, homeland, nation, flag, language, independence, historical figures, poet, poetry, spring, autumn, nature etc. themes are often included. He frequently emphasized the historical, geographical and cultural characteristics of Uzbekistan in order to create national consciousness among the Uzbek people in his works on Uzbek Literature of the Independence Period. However, Kashgarli Mahmud, Alisher Nava’i, Zahiriddin Muhammed Babur, Musa Aybek, Maksud Shehzada, Mirtemir, Osman Nasir, Abdülhamid Süleyman Cholpan etc. He mainly gave place to historical and literary figures in his poems. In the study, the concepts of Uzbekistan and national identity that Hurshid Devran used in his poems about homeland, nation, language, flag and independence were evaluated. In addition, a detailed analysis of H. Devran’s poems in which he describes the cultural characteristics of the geography he lived in and historical cities was made. At the same time, the poet's works were analyzed in terms of literary theories and stylistic features. Based on this study, detailed information about the life of the artist and the structure of the society he lived in was obtained.
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Shibanov, Victor Leonidovich. "Haiku Form in Udmurt Poetry." Ethnic Culture 4, no. 3 (September 27, 2022): 45–50. http://dx.doi.org/10.31483/r-103316.
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Japanese forms of verse are beginning to occupy an important place in the Udmurt poetry of recent times. In the 1990s, the dialogue of cultures was directed mainly to the West. In the new millennium, the internal mechanisms of culture begin to actualize the classical East. There comes a time of worldview and understanding of what is happening, haiku is becoming one of the popular genres. The purpose of the study is to identify national features of the haiku genre in the Udmurt lyrics. The object of analysis is the poems of A. Leontiev, S. Matveev and Alexei Arzamazov, written in the form of a Japanese three-line poem. The method of analysis is comparative studies. The results of the study are as follows. Udmurt poets, writing in the form of haiku, strive to see the big world in a small detail, to show the eternal in a moment. The autumn landscape becomes attractive in that it conveys “light sadness” (sabi). Thus, the poets do not copy the Japanese canons, but bring a national flavor. The unexpectedness of the finale (koan) in Udmurt haiku is usually achieved by the fact that the poet passes from one spatial dimension to another.
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Shindin, S. G. "‘The beauties of those times...’. Osip Mandelstam and Olga Hildebrandt." Voprosy literatury, no. 5 (December 19, 2018): 166–91. http://dx.doi.org/10.31425/0042-8795-2018-5-166-191.
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The article by S. Shindin, a scholar of O. Mandelstam, focuses on the lyrical subject of Mandelstam’s poetry inspired by Olga Hildebrandt, better known by her stage name, Arbenina. By citing Hildebrandt-Arbenina’s reminiscences about Mandelstam, notes by their contemporaries, and the poems in question, the author builds a detailed account of their relationship, from the autumn of 1920, when they first met and Mandelstam became infatuated with Olga, who was in a relationship with Gumilyov at the time, until their later encounters, described by N. Mandelstam in her memoirs. In addition to an impressive score of facts about Mandelstam’s poetic development, the author provides numerous insights into the aesthetics of the Silver Age, which engendered, in Akhmatova’s words, the ‘marvellous’ lyrical verse by Mandelstam.
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Ali Wahas, Yazid Meftah. "Images of Nature in the Poetry of Abu Al-Qasim Al-Shabbi." SMART MOVES JOURNAL IJELLH 8, no. 11 (November 30, 2020): 65–77. http://dx.doi.org/10.24113/ijellh.v8i11.10834.
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The article proposes to explore the images of nature in the poetry of Abu Al-Qasim Al-Shabbi. Nature is an essential element that has played a significant part in Arabic Romantic poetry. Nature and Romanticism are synonyms with each other that we can not talk about Romanticism without talking about nature. Al-Shabbi took from it a refuge during hard times where he finds himself in dire need for lap away from the social injustice particularly when his country, Tunisia, was under the French colonialism. According to him, there is a spiritual unity and shared awareness between nature and a man. Al-Shabbi as an Arabic Romantic poet, nature has occupied a place and become an intellectual content in his poetry. He used different images of nature such as morning, evening, night, love and autumn to express his philosophy towards life and people.
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Khabibullina, Alsu Z. "Elegy and Elegy Mode of Artistry in the Poetry of Rob. Akhmetzyanov and I.A. Kushner." Polylinguality and Transcultural Practices 17, no. 3 (December 15, 2020): 363–74. http://dx.doi.org/10.22363/2618-897x-2020-17-3-363-374.
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The article is devoted to the examination of elegy features and elegy mode of artistry in Russian and Tatar poetry of 70-80s XX century. The actual basis of the research is formed by A. Kushners poems, modern Russian poet and Robert Akhmetzyanov, known Tatar lyric of the XX century. It is stated that elegy was not included in the circle of traditional Tatar poetry genres (wider - oriental), its genetic roots are bound with other forms like marsiya. The author comes to the conclusion, that poetic cycle Kozge elegiyalar (Autumn elegies) by Rob. Akhmetzyanov fully depicts the identity of Tatar artistic consciousness, its literary identity, reflecting in its ability to correlate its deep experiences with poem form and with its architectonic principles. The comparative analysis has shown that subjective and objective in Rob. Akhmetzyanovs elegies exist in a different, less expressive form of contradiction than in the Russian elegy tradition, which is marked by the connection of the Tatar poets artistic way of thinking with folk poetry. Particularly, in the lyrical cycle the author resorts to paired images, like ike alma (two apples), which also appear in the Tatar song. The research proved that Rob.Akhmetzyanovs creativity can be considered as catalyst of elegy in the national literature of the XX century: elegy form and its techniques contributed to the genre recognizability, more than that, elegy became the field of representation of the avant-garde spirit of the Tatar authors creativity. In the A.Kushners poetry elegy and idyllic interact in the same lyrical plot, thus transforming the stable features of the genres mentioned and their modality (Ukhodit leto (The summers leaving), Mne kazhetsya (It seems to me) etc.
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I.V., Nemchenko. "MARINE DIMENSION OF DMYTRO SHUPTA’S STANZAS COLLECTION “AUTUMN FACET”." South archive (philological sciences), no. 86 (June 29, 2021): 28–33. http://dx.doi.org/10.32999/ksu2663-2691/2021-86-4.
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Purpose. Many writers from various epochs and countries have been admirers and propagandists of marine literature. The article examines the marine motifs and images of the Ukrainian poet Dmуtro Shupta’s lyrics in the early 21st century. The purpose of the work is to analyze the marine space in his stanzas collection “Autumn facet”.Methods. The elements of the following methods are used in the research: aesthetic (allows analyzing each text as a phenomenon of literature and art), hermeneutic (ensures free and open interpretation of texts with the possibility for new explanations), biographic (helps to describe autobiographic features in the writer’s literary works), intermedial (systematization of various elements of marine, musical and artistic presence in the lyrics of the poet), comparative (provides wide possibilities for the coverage of interdependence between poetry, music and painting micro-images), intertextual (links between writer’s poems and folklore songs and literary tradition), textual analysis (for coverage of the main motifs of stanzas collection). The research is based on the general method of analysis, synthesis, observation, selection and systematization of the material.Results. The effect of a hero’s co-living with the environment depicted by the author, with the marine environment in particular, is characteristic of D. Shupta’s stanzas collection “Autumn facet”. The article finds out that the Ukrainian writer has delicate understanding of music and painting, and can embody it in his own marine texts, combining different artistic elements. He uses auditory, visual and tactile impressions. Marine motifs and images of the literary works of D. Shupta play an important role in the creation of the artistic image of the world by verbal means. Marine space in his interpretation is a symbol of the nature and the world of human passions and life difficulties, their creative sources and ruinous essence. Shupta’s marine works combine real and fairy plans, have characteristics of legends, tales and mysteries. Close relations between the writer’s marine poetry and Ukrainian folklore songs and literary traditions are traced in the article.Conclusions. D. Shupta’s stanzas collection «Autumn facet» is an original artistic work on the crossing of literary, musical and descriptive imagery. The author presents different variants of stanzas, proposes many marine motifs, images, attributes, his own vision of the sea in its power and beauty. The collection confirms that the poet appertains to the best representatives of the national and the world marine literature.Key words: motif, image, metaphor, symbol, poetry, music, painting. Мета. Морська тематика є однією з найулюбленіших у доробку багатьох митців різних часів і країн – шанувальників і пропагандистів літературної мариністики. У статті розглядаються морські мотиви та образи в творчості українського поета Дмитра Шупти початку ХХІ століття. Метою нашої статті є висвітлення особливостей художнього осмислення мариністично-го простору письменником у його збірці стансів «Осіння грань».Методи. У статті використано елементи таких методів: естетичного (забезпечує розгляд творів митця як літературно-мистецького феномену), герменевтичного (пропонується вільна інтерпретація текстів із можливістю подальших витлумачень), біографічного (простежуються риси автобіографізму в поезіях співця), інтермедіального (здійснюється систематизація різноманітних мариністичних, музичних, живописних елементів, наявних у текстах поета), компаративного (висвітлюються взаємозалежності та взаємовпливи між поетичними, музичними, живописними мікрообразами), інтертекстуального (звертається увага на зв’язки між віршами митця та українським фольклором і літературною традицією), текстуального аналізу (застосовується для окреслення провідних мотивів cтансової збірки). Дослідження засноване на загальнонауковій методиці аналізу, синтезу, спостереження, добору та систематизації матеріалу.Результати. Для ліричної збірки Дмитра Шупти «Осіння грань» характерним є ефект органічного вживання героя в зображуване автором середовище й це насамперед мариністичний світ. Цей нерозривний зв’язок український письменник, який тонко розуміє музику і живопис, уміє передавати через переплетіння елементів різних мистецьких стихій. Він майстерно використовує слухові, зорові враження. Морські мотиви та образи виконують важливу функцію у творенні автором художньої картини світу. Мариністичний простір у поета символізує й природну стихію, й амплітуду людських почуттів, і складний вир життя, і творче начало, і руйнівну сутність. У мариністичних замальовках збірки Д. Шупти поєднуються реальний і феєричний плани, дійсність переплітається з легендою, казкою, містичними уявленнями. У статті простежено зв’язки між віршами письменника-мариніста та українським фольклором і літературною традицією. Висновки. Збірка стансів Дмитра Шупти «Осіння грань» є самобутнім мистецьким витвором, що заснований на перехресті літературної, музичної та живописної образності. Варіюючи різні стансові форми, видозмінюючи найрізноманітніші мариністичні мотиви, образи, атрибутику, автор зумів передати своє власне бачення моря у всій його cилі та красі. Збірка потверджує належність митця до найяскравіших представників вітчизняної і світової літературної мариністики. Ключові слова: мотив, образ, метафора, символ, поезія, музика, живопис.
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Kilibarda, Vesna. "CRNOGORSKE PJESME U TOMAZEOVIM PJESMAMA ILIRSKIM MONTENEGRIN POEMS IN TOMMASEO’S ILLYRIAN POEMS." Folia linguistica et litteraria XII, no. 37 (October 30, 2021): 11–27. http://dx.doi.org/10.31902/fll.37.2021.2.
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This article discusses the circumstances in which Niccolò Tommaseo, an Italian writer of Dalmatian origin, included three poems from the Montenegrin literary periodical Grlica (1835-1839) in his collection of Italian translations of “Illyrian” folk poetry (Canti illirici, 1842), published in Venice. In this regard, the research pointed to the mediating role of the German romantic poet Heinrich Stieglitz, author of a travel book about Montenegro (Ein Besuch auf Montenegro, 1841). In the autumn of 1839, Stieglitz visited the Montenegrin Metropolitan and poet Peter II Petrović Njegoš in Cetinje, wherefrom he presumably brought copies of this first Montenegrin periodical to Venice. Also discussed is the possible influence that Tommasseo’s activities on collecting South Slavic folk poetry in Dalmatia had on the creation of the anthology of epic poems Serbian Mirror, which Njegoš composed after his first meeting with Tommaseo in January 1844.
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Juzelėnienė, Saulė, Viktorija Seredžiūtė, and Skirmantė Šarkauskienė. "Anthropomorphic Metaphors of time in Modern Lithuanian Poetry." Respectus Philologicus 22, no. 27 (October 25, 2012): 167–79. http://dx.doi.org/10.15388/respectus.2012.27.15345.
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Time is one of the most important categories related to human existence. Like all abstracts, the conceptualization of time is based on certain experience structures stored in our minds. Time studies in the Lithuanian language are not new—it has been analyzed in poetry, riddles and folk songs. This article aims to analyze the anthropomorphic metaphors used in contemporary Lithuanian poetry. The study material consists of samples collected from modern poetry collections.The study shows that time in Lithuanian poetry is conceptualized as a human being, having both physical and spiritual attributes, gender, and socialization. Therefore, all the anthropomorphic metaphors can be divided into a few categories: 1. Time and the Human Body, 2. Time and Movement/Action, 3. Time and Physiology, 4. Time and Gender, 5. Time and Emotion, 6. Time and Perception, 7. Time and Power, and 8. Time and Social Relations.The study reveals that time in modern Lithuanian poetry tends to have rather negative connotations. The negative connotations are mostly related to the category of Time and Emotions, and to metaphors of the Time and Power group. Negative connotations are associated with the dark periods of time: autumn, night, evening. There are only a few positive connotations; they are related to the Time and Emotion, Time and Power and some Time and Body metaphor groups. In modern Lithuanian poetry, certain signs of opposition, reflecting ambivalence in the perception of time, are displayed: time as a powerful or powerless person, time as a creator or a destroyer, time as a man or a woman, time as a stupid or smart person, time as an enjoying or melancholic person, time as a beggar or a ruler.
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Editorial Board. "This issue is dedicated to Luigi Balsamo." JLIS.it 14, no. 1 (December 19, 2022): I—II. http://dx.doi.org/10.36253/jlis.it-520.
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Luigi Balsamo was a librarian, a bibliographical superintendent, an AIB member, a professor of Bibliography, the editor of "La Bibliofilia", and an important international personality, especially in the Anglo-Saxon and Iberian area, author of numerous writings on public libraries and the history of books, including 'La bibliografia. Storia di una tradizione' (translated both in English and in Spanish). Less well known is his interest in poetry, which he cultivated from his youth. The liryc 'Autumn' is part of an unpublished collection, entirely private and hitherto jealously guarded within the family circle.
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Leadbetter, Gregory. "Poets in a Transnatural Landscape: Coleridge, Nature, Poetry." Romanticism 27, no. 1 (April 2021): 46–62. http://dx.doi.org/10.3366/rom.2021.0491.
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This essay addresses the nature of the experience of nature, as evoked, in particular, by Coleridge, and the relationship between that experience and the impulse to speak of it, especially in poetry. Always a fascinated observer of his own responsiveness, he wrote to Thomas Wedgwood in 1802 that ‘I never find myself alone within the embracement of rocks & hills, a traveller up an alpine road, but my spirit courses, drives, and eddies, like a Leaf in Autumn: a wild activity, of thoughts, imaginations, feelings, and impulses of motion, rises up from within me’. As in his verse, the rhythmic motility of these lines, so characteristic of his language, cannot bear a merely consequential correspondence to the contours of landscape: not everyone who moves through such territory writes like Coleridge. With reference to his poetry, criticism, notebooks and letters, this essay examines the more complex relation to landscape at work in Coleridge's language: the connection between the ineffable character of sensory experience and the effusion of utterance; the participatory character of Coleridge's engagement with the natural world; the irruptive, ecstatic and synaesthetic qualities of his writing with regard to landscape; and the paradoxical desire both to name and not to name, to know and unknow, imprinted in his poetry. In doing so, the essay contends for the presence in Coleridge's work of a psychotropic poetics related to the nature of his experience of the natural order, in which poetry has the potential to act as a maker of ‘nature’ – like the natural world itself, an educative stimulus to our epistemic, empathetic and creative powers – and as such, transnatural. Friedrich Schlegel made the suggestive remark that ‘one cannot really speak of poetry except in the language of poetry’, and the essay concludes with a poem of my own germane to its theme.
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Ivask, Ivar. "A Home in Language and Poetry: Travel Impressions from Estonia, Latvia, Lithuania, and Russia, Autumn 1988." World Literature Today 63, no. 3 (1989): 391. http://dx.doi.org/10.2307/40145311.
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Beacham, Richard C. "Appia, Jaques-Dalcroze, and Hellerau, Part Two: ‘Poetry in Motion’." New Theatre Quarterly 1, no. 3 (August 1985): 245–61. http://dx.doi.org/10.1017/s0266464x00001639.
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In the first part of this feature, published in NTQ 2, Richard C. Beacham described how the pioneer of modern stage lighting, Adolphe Appia, and the creator of eurhythmics, Emile Jaques-Dalcroze, came to collaborate in 1906 – in the development of the Hellerau ‘garden-city’ project. Here, they planned to provide an opportunity for active artistic participation in a specially designed performance space. The author takes up the story with the beginning of classes at Hellerau in 1911, and preparations for the two festivals which followed – including the revelatory production of Gluck's Orpheus. The First World War brought the collaboration to an end – but not before it had put into practice for the first time many of the scenic and interpretive principles of modern staging. Richard C. Beacham published a study of Appia's earlier work in Opera Quarterly (Autumn 1983), and plans to complete the present NTQ feature with an assessment of ‘The Legacy of Hellerau’. His forthcoming full-length study of Appia will be published by Cambridge University Press.
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Comet, Noah. "‘Later Flowers for the Bees’: Keats and Pollination." Romanticism 26, no. 1 (April 2020): 13–22. http://dx.doi.org/10.3366/rom.2020.0444.
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In this essay I propose that John Keats's bee imagery may have been informed by the idea of insect pollination, an idea that was widely socialised if as yet unorthodox in his time. I locate Keats's clearest expression of such an idea in an 1818 letter, and articulate some of its social, sexual, and political implications. Reading pollination into four of Keats's poems, Isabella, Lamia, and, in a more substantial way, ‘On Fame’ and ‘To Autumn’, I contend that the idea is both enriching to our understanding of his poetry and consistent with the theories he develops in his correspondence.
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T’Sjoen, Yves. "‘Koloniseren is een smaak die je moet leren’ – Hugo Claus en Het leven en de werken van Leopold II (1970)." Tydskrif vir Letterkunde 46, no. 1 (November 9, 2017): 151–66. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3473.
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The première of Claus’ play Het leven en de werken van Leopold II (The Life and Works of Leopold II), in November 1970 (by the company Nederlandse Comedie), was directed by the author himself. After a second and again rather unsuccessful run (1972–1973, Arena, director: J. Tummers) it disappeared from the stage for nearly thirty years: there was no other production of Claus’ play in the Low Countries until the autumn of 2002 (KVS, director: R. Ruëll). Undoubtedly Het leven en de werken van Leopold II is one of the lesser-known plays by the Flemish author Hugo Claus (1929–2008). While writing it, at the end of the sixties, Claus was simultaneously working on two poetry collections. Van horen zeggen contains accessible poems, sometimes rather anecdotal, with many references to the contemporary political situation. These poems show a clear affinity with the neo-realistic poetry that was dominant in Dutch-language literature in the sixties. Also in 1970, on the same day as Van horen zeggen, Claus published Heer Everzwijn (Lord Wild Boar), manneristic poetry showing another poeta faber. Given Claus’ interest in the history of the Congo Free State (see also the novel De geruchten [The rumours]) and the way he caricatures King Leopold II and his government in Het leven en de werken, it is worth investigating the political and social perspectives articulated in both his drama and his poetry. What are the similarities between the poet and the playwright? How can we explain his interest in the way Leopold mistreated the people of the Congo? In this essay I present the ideological and social points of view adopted by Claus in a broad literary and political context, studying his play on Leopold’s atrocities in what would later (in 1908) become a Belgian colony, alongside the poetry he produced in the same period.
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Bunga, Rosa Dalima, Hawiah Djumadin, and Maria Magdalena Rini. "Struktur Puisi Karya John Dami Mukese Serta Relevansinya Dalam Pembelajaran Sastra." Edunesia : Jurnal Ilmiah Pendidikan 2, no. 1 (January 1, 2021): 1–9. http://dx.doi.org/10.51276/edu.v2i1.62.
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Abstract: This study aims to describe the structure of the poem "Autumn" by John Dami Mukese which consists of physical and inner structures and their relevance to the study of literature in high school. This study uses a qualitative approach with qualitative descriptive methods. The data in this study are in the form of words that contain physical and inner structure in the poem "Autumn" by John Dami Mukese. The data source is a collection of books "Jelata Poel Jelata" by John Dami Mukese. Data collection procedures in this study are reading, identifying, modifying, and classifying in accordance with the focus of the study. Data analysis uses in-depth understanding techniques. Checking the validity of the data is done through triangulation techniques. The results of the poem builder research structure consisting of physical structures in the form of: connotative and denotative diction; visual imaging; concrete words; style of personification and repetition; rhyme; and typography. The inner structure of themes; feeling (taste); tone; and mandate. The structure of the builders of "Autumn" poetry by John Dami Mukese can be used as teaching material in the study of literature in high school specifically at KD 3.17 analyzing the elements of poetry builders. Abstrak: Penelitian ini bertujuan untuk mendeskripsikan struktur puisi “Musim Gugur” karya John Dami Mukese yang terdiri atas struktur fisik dan struktur batin dan relevansinya dengan pembelajaran sastra di SMA. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif kualitatif. Data dalam penelitian ini berupa kata-kata yang mengandung struktur fisik dan batin dalam puisi “Musim Gugur” karya John Dami Mukese. Sumber data adalah buku kumpulan “Puisi-Puisi Jelata” karya John Dami Mukese. Prosedur pengumpulan data dalam penelitian ini adalah membaca, mengidentifikasi, mengodifikasi, dan mengklasifikasikan sesuai dengan fokus penelitian. Analisis data menggunakan teknik pemahaman arti secara mendalam. Pengecekan keabsahan data dilakukan melalui teknik triangulasi. Hasil penelitian struktur pembangun puisi yang terdiri atas struktur fisik berupa: diksi konotatif dan denotatif; pengimajian visual; kata konkret; gaya bahasa personifikasi dan repetisi; rima; dan tipografi. Struktur batin berupa tema; feeling (rasa); nada; dan amanat. Struktur pembangun puisi “Musim Gugur” karya John Dami Mukese dapat digunakan sebagai bahan ajar dalam pembelajaran sastra di SMA secara khusus pada KD 3.17 menganalisis unsur pembangun puisi.
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Anokhina, Yuliya Yu. "Spatial Images in Baratynsky’s Late Lyrics: Aesthetic and Metaphysical Aspects." Transcultural Studies 15, no. 2 (October 21, 2019): 91–101. http://dx.doi.org/10.1163/23751606-01502001.
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The article is devoted to the question of how in the late lyric of the Russian poet of Pushkin’s circle Yevgeny Abramovich Baratynsky (1800–1844), namely in his final book of verses Sumerki [Twilight] (1842), in spatial images metaphysical and aesthetic principles are reflected. The author focuses on three ‘programmatic’ poems: Knjazju Petru Andreevichu Vjazemskomu [an epistle to Prince Pyotr Andreyevich Vyazemsky] which opens the poetic book, a poem Osen [Autumn], kind of coda of Sumerki and poem Rifma [Rhyme], which placed in the final of the book. The embodiment of the synthesis of metaphysical and aesthetic principles in spatial images is considered on the example of images of a coffin and a grave. The article shows that the analysis of these images makes it possible to better understand the uniqueness of the artistic philosophy which reflected in the book. The author comes to the conclusion that images of the coffin, the tomb and the grave affect the specifics of the artistic space in the poetic book, performing aesthetic functions. At the same time, directly connected with the motives of death and the memory of death, these images allow the poet to express more clearly the philosophical thoughts about the idea of that the place of poetry and of art in general in the world.
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Gillis, Alan. "‘Any Dark Saying’: Louis MacNeice in the Nineteen Fifties." Irish University Review 42, no. 1 (May 2012): 105–23. http://dx.doi.org/10.3366/iur.2012.0011.
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The contours of Louis MacNeice's career are rarely contested: from the high point of his nineteen thirties work, reaching a crescendo with Autumn Journal (1939), he drifted into a slump, reaching a nadir with two collections from the early nineteen fifties, Ten Burnt Offerings (1952) and Autumn Sequel (1954), before reviving to develop a startling new style at the end of the decade. The historical moment clearly demanded stylistic renegotiation, both for poets living in Ireland and those outside it, but in comparison with the new styles developed coterminously by Clarke and Kavanagh, MacNeice's late work is stark, suggestive of nightmarish solipsism and a breakdown of social cohesion. If the failure of his volumes from the early Fifties suggested a symbolic break between self and society, his subsequent inward turn affirms the self as the ground of lyric poetry. MacNeice's late work should be understood as symptomatic of an encroaching dissolution of communality that would profoundly affect the cultures of both islands as the twentieth century progressed. This essay explores MacNeice's stylistic evolution at mid century and considers the extent to which these developments were an essential foundation for the creation of his remarkable late style.
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Grigorova, Margreta. "The Bulgarian Reception of Jerzy Liebert: Bringing Him Out of the Shadows." Tekstualia 1, no. 5 (December 31, 2019): 19–30. http://dx.doi.org/10.5604/01.3001.0014.4097.
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The article is structured as follows: its fi rst part is a review of the Bulgarian reception of Jerzy Liebert (until 2018), while the second focuses on new results (2018–2019). Emphasis is placed on the only translations of two poems by Liebert, which are included in The Modern Polish Poets anthology, published in 1967, – Foxes (Lisy) and Jurgov Pub (Jurgowska karczma). These were translated by one of Bulgaria’s best poets and translators, Parvan Stefanov. He belongs to the generation of so called “quiet lyric poetry” in Bulgarian literature, which mounts a lyrical opposition to the propagandist and ideologised poetry from the time of the communist regime. The amplifi cation of the reception of Liebert was actually the result of a voluminous Polish issue of Bulgaria’s leading Literary Newspaper titled “Polish Literature between the Two World Wars” (34/2018). This issue contains two new translations of poems by Liebert (The Rider/Jeździec, Love Verse/Wiersz miłosny) and the fi rst translated article on Liebert published in Bulgaria: Jerzy Liebert – The Ordinary Poet by Anna Marta Szczepan-Wojnarska. The subsequent corrections of the Bulgarian translation receptions of Liebert appear in the second and expanded edition (June 2019) of the anthology Polish Poetry between the Wars (ed. by Panayot Karagyozov), where a total fi ve new translations were: the aforementioned The Rider and Love and Verse I Learn from You, Human (Uczę się Ciebie, człowieku), The Beginning of Autumn (Początek jesieni), Snow (Śnieg). The new translations are by the author of this article.
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Lee, Chan. "Buddhist Imagination and Universalism inHong, shin-sun‘s Poetry -Focusing on “Spring Song of Jikbak-guri”and “Gajaegol Near Autumn”-." Society Of Korean Language And Literature 74 (September 30, 2022): 263–94. http://dx.doi.org/10.15711/wr.74.0.10.
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Gafurovich, Sabirdinov Akbarali. "Analysis Of The Poem "Autumn Dreams" By Abdulla Oripov." American Journal of Social Science and Education Innovations 03, no. 01 (January 31, 2021): 556–59. http://dx.doi.org/10.37547/tajssei/volume03issue01-97.
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The article highlights the poet's skill of using words through the analysis of Abdulla Oripov's poem "Autumn dreams". The poet's skill in breaking deep philosophical thought into lines is studied using visual expressions and tools, poetic arts.
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Wu, Jiao. "The Way of Former King Retreated into Poetry: The New Changes of Direct Remonstrance During the Spring and Autumn Period." Journal of Chinese Prose 10 (December 30, 2020): 1–12. http://dx.doi.org/10.22419/tjcpcom.10.1.
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Антонова, Е. А., and М. В. Куличкина. "Landscape lyrics in the poetry of S. V. Moskvitin." Arctic XXI century. Humanities, no. 4(30) (December 5, 2022): 77–85. http://dx.doi.org/10.25587/svfu.2022.40.22.006.
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Изучение пейзажной лирики в аспекте мироощущения автора всегда было актуально. Прием сенсорной образности активно используется в поэзии многих авторов, но как предмет изучения в литературоведении выступает относительно недавно, в чем и заключается научная новизна. В статье предпринята попытка проанализировать пейзажную лирику современного якутского поэта Москвитина Сергея Владимировича. При анализе стихотворений использовались сравнительно-сопоставительный, лингвистический, стилистический методы. Всего было изучено 200 стихотворений, из которых для анализа отобраны 50, посвященные описанию природы. Для того чтобы лучше узнать, о чем чаще думает, что волнует автора, данные произведения были поделены на времена года: осень, зима, весна, лето. В художественном мире автора тема природы занимает особое место. Поэт очень трепетно относится к описанию родного края, детально вырисовывая, погружает читателя в якутские пейзажи. Язык Москвитина отличают восторженность и живописность, при этом простота и доступность для читателя. В ходе исследования были сделаны весьма любопытные и неожиданные выводы. Москвитин немного иначе относится к временам года, он более тепло относится к осенне-зимнему периоду. Ведь именно в это время произошли события, изменившие его жизнь. The study of landscape lyrics in the aspect of the author's attitude has always been relevant. The reception of sensory figurativeness is actively used in the poetry of many authors, but as a subject of study in literary criticism it appears relatively recently, which is the scientific novelty. The article attempts to analyze the landscape lyrics of the modern Yakut poet Sergey Vladimirovich Moskvitin. When analyzing poems, comparative, linguistic, and stylistic methods were used. In total, 200 poems were studied, of which 50 were selected for analysis, dedicated to the description of nature. In order to find out better: what the author thinks about more often, what excites the author, these works were divided into seasons: autumn, winter, spring, summer. In the artistic world of the author, the theme of nature occupies a special place. The poet is very sensitive to the description of his native land, drawing in detail, immersing the reader in the Yakut landscapes. Moskvitin's language is distinguished by enthusiasm and picturesqueness, while simplicity and accessibility for the reader. During the study, very curious and unexpected conclusions were made.
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Shaw, W. David. "Lyric Displacement in the Victorian Monologue: Naturalizing the Vocative." Nineteenth-Century Literature 52, no. 3 (December 1, 1997): 302–25. http://dx.doi.org/10.2307/2933997.
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Though a venerable lyric tradition of apostrophizing the breeze, the dawn, or the nightingale celebrates the Romantic poet's words of power, only inmates of mental hospitals actually talk to birds, trees, or doors-much less to holes in a wall, as Pound's speaker does in "Marvoil." This essay shows how Victorian dramatic monologues substitute human auditors for nonhuman ones in an effort to naturalize a convention that nineteenth-century poets find increasingly obsolete and archaic. Instead of talking to the dawn, Tennyson's Tithonus addresses a beautiful woman, the goddess who becomes the silent auditor of his dramatic monologue. Like Coleridge's conversation poems, Browning's and Tennyson's monologues are poems of one-sided conversation in which a speaker's address to a silent auditor replaces Shelley's vocatives of direct address to the west wind or Keat's apostrophes to autumn. In recuperating an archaic convention of lyric apostrophe by humanizing the object addressed, the Victorian dramatic monologue illustrates John Keble's theory of the mechanisms by which genres are disturbed, displaced, and transformed. The dramatic monologue becomes an ascendant genre in post-Romantic literature partly because it is better equipped than lyric poetry to oppose the dogmas of a secular and scientific age in which an antiquated belief in "doing-by-saying" (including a belief in oracles, prophecies, and knowledge as divination) is in rapid and widespread retreat.
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Heise, Ursula K. "The Hitchhiker's Guide to Ecocriticism." PMLA/Publications of the Modern Language Association of America 121, no. 2 (March 2006): 503–16. http://dx.doi.org/10.1632/003081206x129684.
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The first few frames of the Belgian comic-strip artist Raymond Macherot's work “Les Croquillards” (1957) provide a shorthand for some of the issues that concern environmentally oriented criticism, one of the most recent fields of research to have emerged from the rapidly diversifying matrix of literary and cultural studies in the 1990s. A heron is prompted to a lyrical reflection on the change of seasons by a leaf that gently floats down to the surface of his pond (see the next p.): “Ah! the poetry of autumn … dying leaves, wind, departing birds…” This last thought jolts him back to reality: “But—I'm a migratory bird myself! … Good grief! What've I been thinking?” And off he takes on his voyage south, only to be hailed by the protagonists, the field rats Chlorophylle and Minimum (the latter under the spell of a bad cold), who hitch a ride to Africa with him. “Are you traveling on business?” he asks his newfound passengers. “No, for our health,” they answer.
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Kiling, Tatiana Viktorovna. "To the question of cyclization in the lyrics of G. R. Derzhavin on the example of seasons cycle." Филология: научные исследования, no. 4 (April 2020): 1–12. http://dx.doi.org/10.7256/2454-0749.2020.4.32806.
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This article examines G. R. Derzhavin “uncompiled” cycle of seasons that consists of the chapters “Winter”, “Spring”, “Summer” and “Autumn”. The author clarifies the existing in scientific literature grounds for receptive unification of these texts into an “uncompiled” cycle. Alongside the theme and genre affiliation, the point of view of a lyrical subject should be considered as the key features of cyclization. The article gradually analyzes the peculiarities of four seasons that gave the name to the receptive cycle, as well as determines the unconformity of their function to the canons established in Russian poetry of the XVIII century. The author determines the correlative internal links of the texts within the framework of the receptive cycle, based on the topics of dialogues and images of the addressees. In the process of communication, the autobiographic lyrical subject grasps his views upon the nature of poetic gift, and formulates the own axiological paradigms, consists in epicurean perception of reality, ability to enjoy only most essential goods (health and honesty, obedience to God’s will, acceptance of present times and life events of the past. The novelty of this research lies on the thesis that the trend of cyclization has not previously become the subject of special analysis on this particular material.
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Hama, Bakhtiar S. "Imagism and Imagery in the Selected Poems of Major Imagist Poets." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 22, 2020): 88–93. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp88-93.
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This paper explores imagism and studies the intrinsic literary features of some poems to show how the authors combine all the elements such as style, sentence structure, figures of speech and poetic diction to paint concrete and abstract images in the mind of the readers. Imagism was an early 20th century literary movement and a reaction against the Romantic and Victorian mainstreams. Imagism is known as an Anglo-American literary movement since it borrows from the English and American verse style of modern poetry. The leaders of the movement set some rules for writing imagist poems. The authors of the group believed that poets are like painters; what the painters can do with brush and dye, poets can do it with language i.e. painting pictures with words. The poems are descriptive; the poets capture the images they experience with one or more of the five senses. They believed that readers could see the realities from their eyes because the texts are like a painting. In this paper, six poems by six prominent leaders of the movement will be scrutinized according to the main principles of the formalistic approach which is the interpretation and analysis of the literary devices pertained to the concrete and abstract images drawn by the poets. The poems are: In a Station of the Metro by Ezra Pound, Autumn by T. E. Hulme, November by Amy Lowell, Oread by Hilda Doolittle (H.D.), and Bombardment by Richard Aldington
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Bystrov, Vyacheslav N. "“It Was All So Recent…”. The Poem “To Russia” by Vladimir Gippius." Texts and History: Journal of Philological, Historical and Cultural Texts and History Studies 3 (2020): 180–91. http://dx.doi.org/10.31860/2712-7591-2020-3-180-191.
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The author presents an analysis of Vladimir Gippius’s poem “To Russia” (in the manuscript of the first redaction of the unpublished collection “Eclipses of Stars”, the poem has the title The Lay of Igor’s Campaign). The poem was written at the beginning of World War I, presumably in the autumn of 1914. The text is reproduced from the publication in the collection War in Russian Poetry (1915). The analysis involves materials of a lecture on The Lay of Igor’s Campaign that Vladimir Gippius gave to his students at the Tenishev School. The poem is an artistic interpretation of the ancient text with free paraphrasing of some fragments. The poem contains a considerable number of references to its source and echoes of it. Gippius’s poem is compared with translations of other poets (V. A. Zhukovsky, L. A. Mei, A. N. Maykov). Special attention is paid to the original images and metaphors of Gippius’s text. For example, in other renderings there is no such expression as “the clear Don” (in the original: “the blue Don”). In Gippius’s poem, an eclipse of the sun is a good sign that opens rather than block Igor’s path, and foxes do not “bark” but “sing”. Gippius’s text also echoes poems from the cycle “On the Field of Kulikovo” by Alexander Blok. A short discussion of Gippius’s unpubliched poem “What is the noise of military weapons to me?” completes the analysis. In the first redaction of the collection “Eclipses of Stars”, this poem immediately follows The Lay of Igor’s Campaign and is latently associated with it. This poem was also written in the autumn of 1914.
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Chia-cian, Ko. "Song History in Kowloon and Loyalist Classical Poetry: Chen Botao, Sung Wong Toi, and Autumn Chants on the Terrace of the Song Emperors." Journal of Chinese Literature and Culture 3, no. 2 (November 2016): 448–70. http://dx.doi.org/10.1215/23290048-3713899.
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Virolainen, Maria. "“Upon The Hills Of Georgia”. (From manuscript to poetics)." Vremennik Pushkinskoi Komissii 36 (2022): 122–33. http://dx.doi.org/10.31860/0236-2481-2022-36-122-133.
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This paper focuses on the history of the poem “Upon The Hills Of Georgia” (1829) published in “Severnye Tsvety” in 1831 under the title “A Fragment”. The published version did not include stanzas from the original drafts, which alluded to memories of a past love. According to the traditional interpretation offered by S. M. Bondi, Pushkin, who in 1831 was soon to be married, did not want to publish lines devoted to another woman. However, in 2004, the Institute of Russian Literature received an autographic manuscript of the poem identical to the published version, but written in the autumn or winter of 1829, at a point when Pushkin as yet had no aspirations to marry Goncharova. The omission of stanzas from the rough copy can be explained not by biographical circumstances but by a change in artistic intention: the poem — originally conceived as an elegy, with typical elegiac motives of memories — later acquires a different generic form, which harkens back to A. Chenierʼs “fragments”, and is closer in its poetics to anthological lyrical poetry and ancient epigrams.
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Khabibullina, Alsu Z. "Time in the Elegiac Poetry of I. Brodsky and R. Kharis: to the Problem of Differences." Polylinguality and Transcultural Practices 19, no. 4 (December 9, 2022): 650–61. http://dx.doi.org/10.22363/2618-897x-2022-19-4-650-661.
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This article is devoted to a comparative study of elegy and elegiac works of I.Brodsky and R.Kharis in the aspect of the category of time as the most important in the architectonics and content of the elegiac genre. The actual basis of the article is formed by such well-known works of Brodsky as “Almost elegy”, “Roman elegies”, “Autumn cry of a hawk” etc. and the elegies of R.Kharis the Tatar poet of the 2nd half of the XX - beginning of the XXI century: “Elegy (There is blue smoke in my room)”, “Seven elegies about the sense of life”, “August”, ‘Cemetery dust”. The conclusion is made about similarity of the type of artistic thinking of the two authors, which is based on the dominance of the rational beginning in creativity. It is stated that lyrical hero of Kharis’s elegies is not opposed to time, his century unlike the hero of the elegies of Brodsky, who chooses the point of “non-occurrence” in relation to time; time in his poetry is taken beyond the limits of being. If the value for the elegiac hero of the Tatar author becomes the natural connection of phenomena and things with each other, as well as the interaction of life and death, then Brodsky emphasizes the fragmentation and fragility of the world as a property of its metaphysical perception (“Almost elegy”, “Roman elegies”). The comparative analysis also revealed different forms of transformation of the elegy and the elegiac mode of artistry in multilingual works. Thus, in the “Seven elegies…” by Kharis the final part of the cycle differs from the state of “mixed feelings” necessary for the poetics of the genre. On the contrary, in the elegy, the idea of human loneliness is strengthened: expansion into the world of heaven turns it into a stable state of cosmic being.
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趙厚均, 趙厚均. "乾嘉閨秀的才名意識與文化轉型：以駱綺蘭為中心." 中正漢學研究 32, no. 32 (December 2018): 143–60. http://dx.doi.org/10.53106/2306036020181200320006.
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<p>經過明末清初的才德之辨，閨秀文學發展到乾嘉時期，進入了一個新的階段。此期的閨秀有著更強的才名意識，她們充分運用文壇領袖所掌握的文化權力，通過拜師等舉措拓展交往空間，從而與著名文人唱和、題贈，躋身文壇，顯揚聲名。駱綺蘭通過結交袁枚、王文治和王昶等，以畫作、詩集遍求題贈，並編選《聽秋軒贈言》和《聽秋軒閨中同人集》，得以聲名鵲起；歸懋儀在乾嘉文人與閨秀之間構築了一個非常龐大的交游網絡，她執著於詩史留名的願望，成功藉助男性文人的資助，令詩稿付梓，並憑藉才名遊走於江浙間擔任閨塾師，承擔起養家的重任；汪端則欲通過選詩修史來達到不朽，其《元明逸史》的撰寫和詩集中大量的詠史詩，可見其修史的努力，編選《明三十家詩選》更見其不凡的識見。吳藻創作雜劇《喬影》，並繪《飲酒讀騷圖》，體現出懷才不遇的苦悶和強烈的性別意識。總體而言，乾嘉閨秀已經不滿足于內闈狹小的空間，做出了跨越閨門的種種努力，是晚清民國閨秀文化近代轉型的先聲。</p> <p> </p><p>Following the debates on female talent during the late Ming and early Qing eras, women’s literary production entered a new stage. Women poets who were active during the Qian-Jia reigns had a stronger sense of establishing their literary fame through making use of the cultural power held by the leading poets of their time. They became the female disciples of these leading figures, and expanded their networks by communicating and exchanging poetic works with larger communities of eminent literati. Luo Qilan, in particular, succeeded in achieving fame through her important connections, including Yuan Mei, Wang Wenzhi, and Wang Chang. She broadly solicited inscriptions for her paintings and collections of poetry, and published The Collection of Inscriptions for the Autumn Pavilion and The Anthology of Poetic Works by Friends of the Autumn Pavilion. Gui Maoyi, another well-connected woman poet, built a literary community that included both male and female poets. She obtained help from the male literati to publish her poetry collection, thereby realizing her ambition of establishing an undying literary reputation. At the same time, she turned her poetic talent into a means of providing for her family, travelling all over Jiangsu and Zhejiang provinces to teach in elite families. Other well-known examples included Wang Duan and Wu Zao. Wang revealed her ambition of authoring history in a broad array of works, including An Informal History of the Yuan and the Ming, Selected Works by Thirty Ming Poets, and numerous poetic works on historical events. Wu was best known for her variety play, A Shadow in Disguise, as well as for her painting, “Drinking Wine and Reading the Sorrow of Departure.” In these works Wu lamented her unfulfilled ambitions and the limitations of gender roles. In general, women poets of this time made all kinds of efforts to venture beyond the inner quarters and can be viewed as the pioneer of the modern transformation of women’s writing culture during the late Qing and early Republican era.</p> <p> </p>
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Mykhed, Pavlo. "About Autograph of T. Shevchenko’s Poem “Once I Was Walking at Night”." Слово і Час, no. 10 (October 16, 2019): 68–72. http://dx.doi.org/10.33608/0236-1477.2019.10.68-72.
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The article reveals the history of the autograph of Taras Shevchenko’s poem “Once I Was Walking at Νight” (“Yakos’-to yduchy unochi”). The poet wrote it in the autumn of 1861. The existence of this autograph was reported by Dmytro Zatyrkevych, who found it while sorting the archive of his late father Ivan Zatyrkevych. The latter himself was a talented poet and began to write poetry being a student of the classical school in Nizhyn. His fable “Puddle” was published in the journal “Osnova” and became popular thanks to the famous Ukrainian actress Hanna Zatyrkevych-Karpinska. She advised the fable to Marko Kropyvnytskyi, who repeatedly and with constant success read it from the stage. Having graduated from Nizhyn, Ivan Zatyrkevych became a military man and participated in the Crimean War. In 1861 he served in Orel, where on May 2 the farewell procession with the body of Taras Shevchenko came. Ivan Zatyrkevych took an active part in preparing the farewell ceremony in Orel. In gratitude, Ivan Lazarevskyi, who was the main organizer of the mournful procession in honor of Taras Shevchenko in Orel, presented the autograph of the poem “Once I Was Walking at Night” to Zatyrkevych. At the top of the autograph, there is an inscription made by an unknown hand: “Autograph by T. H. Shevchenko presented to me by Lazarevskyi in Orel.” A comparison of the handwritings made it possible to establish that this inscription belongs to Ivan Zatyrkevych. In the summer of 1911 Dmytro Zatyrkevych announced his ȇnd to Mykhailo Hrushevskyi and then offered selling an autograph, as he needed money. Apparently, Mykhailo Hrushevskyi agreed and bought an autograph. Hrushevsky published fragments of the correspondence with Dmytro Zatyrkevych and selected poetic and prose works of Ivan Zatyrkevych within the article “One from Nizhyn” in the journal “Literaturno-Naukovyi Visnik”.