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Journal articles on the topic 'Biographical poetry'
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1
Bartczak, Kacper. "Be Poetics of Plenitude and the Poet’s Biography: Self-Creation in Some Later Poems by John Ashbery." Polish Journal for American Studies, no. 9 (2015) (July 20, 2023): 51–74. http://dx.doi.org/10.7311/pjas.9/2015/4.
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Thee article deals with the status of biographical references in John Ashbery’s later poetry. It is an attempt to work out an approach that, while keeping the biographical in view, is an alternative to the way in which the biographical has functioned in recent Ashbery scholarship. In discussing Ashbery’s strategy, I use the neo-pragmatist idea of aesthetic self-creation, especially a version of it developed by Alexander Nehamas in his writings on aesthetic objects. The term I am developing to discuss the variety of self-creation in Ashbery is “the emerging self,” and I see it as a component of a poetics which I am calling the pragmatist ironist poetics of plenitude. The emerging self of the poetics of plenitude, rising over the expanse of a lifetime of poetry writing, is a type of poetic authorial subjectivity whose relation to the empirical facts of the author’s biography reverses the relation between poetry and biography found in confessional poetry. The poetics of plenitude shows the biographical fact to be dependent on the poetic element on which it relies for its authenticity. Within the poetics of plenitude, it is the poetic that is the real and authentic.
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Salar Abdulqadr, Kizhan, Roz Jamal Omer, and Ranjdar Hama Sharif. "Ezra Pound's Poetry between Victorianism and Modernism: A Historical-Biographical Analysis." Technium Social Sciences Journal 21 (July 9, 2021): 826–32. http://dx.doi.org/10.47577/tssj.v21i1.3817.
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This paper examines the short poems of Ezra Pound, a group of works that have long been the subject of academic discussion in the field of literary analysis. Although Ezra Pound is typically considered a Modernist poet, some clear elements of Victorianism can be discerned within his revolutionary forms of poetry. The paper will offer a historical and biographical background to Pound's work before moving on to an analysis and discussion of the poet's short poems. While previous studies of Ezra Pound's poetry have adopted various critical approaches, we believe that this is the first study that compares the influence of Modernism and Victorianism on the work of this important figure in English verse of the early twentieth century.
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Yu, Xiaohan. "Research on Li Shangyin Outside Mainland China Since 2010." Communications in Humanities Research 32, no. 1 (April 26, 2024): 15–23. http://dx.doi.org/10.54254/2753-7064/32/20240004.
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In the last decade, research on Li Shangyin's poetry outside mainland China has notably shifted away from the traditional biographical interpretation method of "knowing the authors life and analyzing the work." A select few of these papers critically scrutinize the historical facts associated with Li Shangyin, unveiling fallacies in past biographical narratives and challenging the veracity of certain deeds. The majority of recent articles take a departure from the biographical approach, choosing instead to delve directly into the imagery, poetic artistic conception, and writing skills inherent in the text. These article provide in-depth analysis of the meaning and use of language, vocabulary and literary allusion. In some of them, emphasis is placed on the emotional and aesthetic value of Li Shangyin's poetry, with some scholars even regarding its "incomprehensibility" as an achievement rather than a shortcoming. In general, "what does the text of poetry express" has become an more and more important question.
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Bartol, Krystyna. "PINDAR ΙΣΧΝΟΦΩΝΟΣ (SCHOL. IN PI.O.6.88)." Cambridge Classical Journal 63 (December 2017): 1–10. http://dx.doi.org/10.1017/s1750270517000070.
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I argue in this article that the scholiast's claim (schol. in Pi.O.6.88) that Pindar was ἰσχνόφωνος meant that he was believed to be a stammerer rather than a weak-voiced person. I have attempted to show how later commentators developed some points of Alexandrian critics’ judgement of Pindar's poetry into a conventional biographical reference to the poet's speech defect.
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M, Gopi. "Biographical Thoughts in Contemporary Tamil Poetry (2005-2007)." International Research Journal of Tamil 4, S-3 (July 16, 2022): 208–15. http://dx.doi.org/10.34256/irjt22s332.
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Literature narrates the experiences of human life. In the nineteenth and twentieth centuries, despite the emergence of various literatures, the field of poetry began to take shape with a renaissance. Poetry is the way to find the norms of human life and in the theme 'Biographical Thoughts in Contemporary Tamil Poetry (2005-2007)', the idea of life is that human beings should live in unity without selfishness. There is no destruction to the wealth of education. Therefore, it is necessary to get a compulsory education. Exercise and meditation on a daily basis suggest that there should be perseverance, that the little money saved in youth should help in old age, that family planning should be enforced to reduce population growth, that children should come forward to protect themselves without leaving their parents in a nursing home, and that hunger should be avoided. By doing so one can maintain good health. It has been explored and explored through biological thoughts that life can be prosperous and spring if alcohol, liquor and gambling are kept on the right path to prevent the mind from going astray.
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Skarbek-Kazanecki, Jan. "When poetry becomes autobiography: anecdote as an interpretative tool in the Greek classical epoch." Tekstualia 2, no. 61 (August 15, 2020): 19–36. http://dx.doi.org/10.5604/01.3001.0014.3810.
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The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.
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Xu, Yan (徐豔), and Qinming Zhang (張秦銘). "A Reinterpretation of Tao Yuanming’s Thirteen Poems from a Zhuangzian Perspective." Journal of Chinese Humanities 7, no. 3 (May 2, 2022): 218–57. http://dx.doi.org/10.1163/23521341-12340116.
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Abstract Although some scholars have successfully challenged the traditional biographical reading, which considers an author’s biography an important reference and proposed proper reinterpretations of many of Tao Yuanming’s poems, we still find its dominance in the interpretation of words and sentences, even the structure and theme in Tao’s poems. In light of this issue, this article reinterprets thirteen of Tao’s poems based on our detailed investigation of all the existing notes on them. Most biographical readings, shaped by the ideal image of intellectuals portrayed in the Analects, obscure the substantial connections with the Zhuangzi in Tao’s poetry. Our reinterpretation focuses on the intertextual relationship between Tao’s poems and the Zhuangzi. We can see that the influence of the Zhuangzi on Tao’s poetry is more extensive and far-reaching than previously considered. This can help us reveal the connection between Tao’s poetry and the metaphysical institution in the Eastern Jin dynasty, which took its view of life from the Zhuangzi, instead of taking Confucianism as the only source.
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Solov, T. V., and S. A. Shargunov. "‘Poems unspelled’: on Georgy Obolduev’s early poetry." Voprosy literatury, no. 4 (August 28, 2020): 91–101. http://dx.doi.org/10.31425/0042-8795-2020-4-91-101.
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In her interview with S. Shargunov, editor-in-chief of the Yunost magazine, a writer and a public figure, the critic T. Solovyova raises various problems and questions. Among these are questions of contemporary literature, which, Shargunov believes, relies too much on the principles of stability and elegance, and needs some kind of a shock; the fate of thick literary magazines, which no longer can survive in a Soviet reservation and have started to actively explore the world around them; and the principles of biographical research, which is largely based on the invention of the protagonist, etc. The interview is concerned with Shargunov’s own prose, including his biographical novel about Valentin Kataev, his first experience in serious research, as well as works by Shargunov’s contemporaries, including authors of the same age. At the same time, the interview deliberately avoids politics and ideology; it does not discuss Shargunov’s activities as a people’s representative in the State Duma.
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Nsiri, Imed. "Narrating the Self: The Amalgamation of the Personal and the Impersonal in Eliot’s and Adonis’ Poetry." Advances in Language and Literary Studies 9, no. 2 (April 30, 2018): 104. http://dx.doi.org/10.7575/aiac.alls.v.9n.2p.104.
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This article demonstrates how the self—reference to personal stories—infiltrates some, if not most, of the poems by two renowned modernist poets and literary critics: the American/Englishman T. S. Eliot and the Syrian/Lebanese ʿAlī Aḥmad Saʿīd, popularly known as Adūnīs or Adonis. The article compares the two poets’ depictions of the personal and the impersonal in poetry, and it reaffirms the great influence that Eliot’s poetry has on Adūnīs and other Arab modernist poets. While Eliot’s criticism discourages any biographical reading of his poetry, Adūnīs holds a different view by openly acknowledging the inclusion or existence of the personal in his poetry. Adūnīs’ poetry, in particular, stresses the link between texts and historical figures in the realm of literature.
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Jamal, Muhammad Tanveer, and Abdul Zahoor Khan. "Poetry of Bābā Farīd." ISLAMIC STUDIES 61, no. 1 (March 31, 2022): 85–110. http://dx.doi.org/10.52541/isiri.v61i1.1393.
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Shaikh Farīd al-Dīn Mas‘ūd Ganj-i Shakar (569/1173-664/1265) is one of the celebrated Chishtī Sufis of the Indian subcontinent. Chishtī order is credited with several seminal literary innovations in Medieval Islamic India. Bābā Farīd is considered the father of Punjabi poetry. He also had a great command of other languages including Persian and Arabic. The present study explores the contemporary sources that interacted with Bābā Farīd’s couplets. An effort has also been made to explore the originality of the Ashlōk-i Shaikh Farīd included in the Guru Granth. The study is a unique endeavour to conceptualize and examine the thematic connection of Bābā Farīd’s poetry with his life, teachings, and metaphysical thoughts preserved in biographical compendia.
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Malinda, Ayu. "An Analysis on William Ernest Henley’s Invictus." LUNAR 2, no. 01 (August 12, 2019): 16–29. http://dx.doi.org/10.36526/ln.v2i01.513.
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The research is an analysis the poem structure of William Ernest Henley Invictus. The purpose of this research is to understand the structure that used in thepoem of William Ernest Henley Invictus. The data were taken fromdocumentation of Invictus poem and biographical of the poet. Theresearcher used objective approach as data analysis method. The structureof poetry is consisting of two structures, namely; physical structure and innerstructure. The physical structure is consisting of six sections, they are diction,imagery, concrete word, figurative language, version and typography. While, the inner structure is divide on four proportion they are theme, tone, feelingand mandate. To make a good poetry the poet should pay attention in theelements of poetry, especially the structure of poetry.
12
Fairweather, Janet. "Ovid's autobiographical poem, Tristia 4.10." Classical Quarterly 37, no. 1 (May 1987): 181–96. http://dx.doi.org/10.1017/s000983880003175x.
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Ovid's Tristia4.10 has in the past chiefly been considered as a source of biographical information rather than as a poem, but increasing interest in the poetry of Ovid's exile has now at last started to promote serious efforts to appreciate its literary qualities. The poem presents a formidable challenge to the critic: at first reading it seems a singularly pedestrian account of the poet's life and, although one may adduce plenty of parallels for details in its phrasing elsewhere in the poetry of Ovid and the other Augustans, it is clear that Ovid's thought-processes are not to be explained solely in terms of the main stream of Greco-Roman poetic tradition. Prose biography and autobiography, rhetorical apology and eulogy, subliterary epitaphs and inscriptional lists of achievements: all these types of writing could have influenced Ovid's selection of data.
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POENARIU, SENIDA. "The Case of Dorin Tudoran. The Poetry of Exile and the Exile of Poetry." Synthesis 1-2, no. 1-2 (December 19, 2023): 61–70. http://dx.doi.org/10.59277/synthe.2023.1-2.61.
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This essay traces the evolution of Dorin Tudoran's poetics, the mutations from one volume to another, starting from the hypothesis that the theme of exile is defining for all the poet’s work. I have tried to capture the stages of this exile, its points of departure and expression, Dorin Tudoran's relationship with the political system, and, above all, the causes that generated an inversion in the natural order: Tudoran’s entire work seems to be the product of a biographical event that, from a diachronic point of view, marks only the author's last volume. How poetry prefigured biography in the case of Dorin Tudoran calls for a conceptualization of “exile” beyond its basic meaning, that of crossing (willingly or unwillingly) geographical boundaries.
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Garczarek, Krzysztof. "O biograficznych aluzjach do rzeczywistości w poezji. Wprowadzenie teoretycznoliterackie." Tematy i Konteksty 12, no. 17 (2022): 43–54. http://dx.doi.org/10.15584/tik.2022.3.
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This article is an introduction to theoretical considerations focused on biographical allusions to reality that find their place in poetry. The author, following the theories of literary fiction rooted in Aristotle’s thought, takes the position that all scientific considerations concerning the actual prototypes of the creation of the represented worlds must start with the rejection of existential monism and assume the existence of ‘possible worlds’. The author proposes to introduce the concept of ‘biographical allusion formulated by applying a lyric strategy’ into literary theory and indicates three basic lyrical strategies of this type: testimony, confession and challenge.
15
Okunoye, Oyeniyi. "LANREWAJU ADEPỌJU AND THE MAKING OF MODERN YORUBA POETRY." Africa 81, no. 2 (April 28, 2011): 175–203. http://dx.doi.org/10.1017/s0001972011000192.
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ABSTRACTThis essay presents Lanrewaju Adepọju, whose work and ideas have been very influential on contemporary Yoruba poetry, as a local intellectual. In estimating his contribution to modernising ewì, an open poetic form that inhabits the interface between the oral and the written, the essay draws on biographical information, an extensive personal interview and relevant textual illustration. It correlates Adepọju's vision of poetry with the development of his creative consciousness and draws attention to aspects of his poetics and politically implicated poetry that deserve closer engagement. The article also offers a translation of a sample poem by Adepọju, while the online version of the essay offers more of his poems as well as an interview.
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Twaranowicz, Halina. "Да праблемы развiцця беларускай духоўнай паэзii: творчасць Зьнiча (Алега Бембеля)." Studia Wschodniosłowiańskie 20 (2020): 113–25. http://dx.doi.org/10.15290/sw.2020.20.08.
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The article analyses the biographical and creative path of Znicz, the Belarusian poet, philosopher and conservatory graduate. His poems consistently express spiritual search, which is characterized by the author’s dominant theocentric worldview (in 1996 Aleh Biembiel took the monastic vows of Zhyrovichy Monastery). Znicz’s poetry continues the excellent tradition of his great predecessors – ascetics and penitents. His poetry reveals the pursuit of reconciliation on the basis of unquestionable millennium-old Christian values with the fundamental values of the nation state, especially within the understanding of the concept of patriotism.
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Kozić, Ana D. "MOZART IN POEMS BY IVAN V. LALIĆ AND IN THE MOVIE AMADEUS BY MILOŠ FORMAN." Lipar 83 (2024): 59–68. http://dx.doi.org/10.46793/lipar83.059k.
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The paper offers a comparative interpretation of three poems about Mozart by Ivan V. Lalić and the movie Amadeus directed by Miloš Forman. The reasons for a comparative view of these works lie in the biographical data of the Serbian poet (fascination with Mozart and Forman’s film), as well as in the joint motifs related to Mozart, and significant similarities in considering the problem of artistic creaion. The paper also points to the possibilities of assessing the connection between poetry and film by reviewing the basic differences and similarities between the film language and poetry.
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Eunkyung Shin. "A Study on the Use of Verses As a Writing Strategy: Centered on Biographical Texts." Korean Classical Poetry Studies 30, no. ll (May 2011): 65–98. http://dx.doi.org/10.32428/poetry.30..201105.65.
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Moroz, L. V. Moroz. "ROLE-HERO IN TARAS SHEVCHENKO’S POETRY." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 22–28. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-22-28.
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The article deals with the artistic phenomenon of role lyrics as a poetic text constructed in the form of a holistic speech statement and organized from a person who is distanced from the author and can not be identified taking into consideration biographical, socio-historical or gender status of the speech subject as well as the range of moral, ethical, ideological, aesthetic, existential values and representations submitted by him.
A separate type of role lyrics includes poetic texts that are generally constructed in the form of the expression of one or more characters while the author's representation is minimized in them to some separate and fragmentary replicas which function as a specific frame element that formally combines submitted representational forms. On the contrary, it does not transfer them into the artistic plane concerning auto-psychological form of expression. This type of role-playing lyricism is constructed in the form of a monologue or a dialogue with two or more characters or a role dramatic scene where the author's voice acts as a remark linking the voices of poetic speech subjects.
The article analyzes the problems of literary critics’ theoretical searches in their studies related to the lyrics subject organization specifics. It makes an attempt to characterize the spectrum of poetic speech subjects in role lyrics.
An attempt is also made to typologize the role types of author's consciousness expression in T. Shevchenko’s lyrics. The varieties of the hero’s character actual role-type (i.e. personalized and personified) are analyzed as well.
The hero’s actual role-type is defined as the type when degree of objectification confirms his categorical (at least, outwardly declared) non-identity with the author himself motivated by biographical, socio-professional, existential, etc. incompatibility.
The article also deals with the problems related to the methods of composite and speech design of poetic role-text. It outlines conceptual and substantive points which reveal themselves at the level of ideological and thematic concepts of expression.
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Wu, Colleen Shuching. "Poetry Lies: Poststructuralism and Robert Lowell’s Idea of Literary Representation." Style 58, no. 1 (February 2024): 1–21. http://dx.doi.org/10.5325/style.58.1.0001.
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ABSTRACT While Lowell’s private life is put on the spotlight and the signification of his poetry is attached to the trauma and drama of his life, it remains pressing to ask what actually distinguishes Lowell’s poetry. Lowell serves as a touchstone case for criticism on confessional poetry, and poetry in general, because Lowell’s poems negate the definition of writing as literary representation and simple celebration of personal aura, which greatly differs from his real life or the biographical depiction of his life. The distinction between Lowell and the lyric I sometimes might appear blurred but is still existing. With the poems discussed here, there is a lack of self-indulgence and egocentrism that Lowell’s biography and his handling of Hardwick’s letters imply. This article will address this contradiction between Lowell and the lyric I (or Lowell as a poet), which is especially conspicuous when Lowell defies the possibility of literary representation.
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Santos, Luciana Nascimento dos. "Pesquisa (auto)biográfi ca." RCMOS - Revista Científica Multidisciplinar O Saber 2, no. 1 (January 22, 2024): 107–17. http://dx.doi.org/10.51473/rcmos.v2i1.318.
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This article aims to make some scores on the investigative fi eld of (Auto)biographical Research, addressing the experience as a structuring concept of this fi eld, refl ecting on the conception of biographical subject and the word as one of the raw materials of narrative (Auto)-Biography, as well as arguing about the pertinence of poetic writing in academic-scientifi c production. The article is structured in sections, i.e.: Introduction; (Auto)Biographical Research: historical notes and fi eld scores; The subject and the experience: polysemic duet, polyrhythmic, polyphonic, polychrome and inconclusive notes, where I uncover the epistemological and methodological bases of the (AUTO)Biographical Research as a movement of rupture of the paradigm of modern science that sacralizes the universal subject and generalization, because it is interested in the meanings and meanings that the subject-experience- the biographical subject- attributes to its narratives and how it reinvents itself. The refl ections presented dialogue with some theorists of this investigative fi eld, with emphasis on Souza’s productions (2008, 2010, 2014, 2018), Passeggi (2016, 2017), Larrosa (2002, 2003, 2005), Delory-Momberger (2012, 2016, 2018, 2019), as well as establishes dialogue with the insubmissive poetics of Evaristo (2008) and the polygamy of language in the poetry of Gonçalves (2020).
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Lawrence, Jonathan. "It’s All Just Poetry: Writing ʿUmar ibn Abī Rabīʿah’s Life." Journal of Arabic Literature 52, no. 3-4 (November 23, 2021): 321–50. http://dx.doi.org/10.1163/1570064x-12341450.
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Abstract The relationship between poetry and the poet’s life is complex, and reading a poem for biographical material can become a problematic exercise that constrains a poem’s interpretative possibilities. When writing about ʿUmar ibn Abī Rabīʿah (d. 93AH/712AD or 103/721), biographers and historians have shown a marked ambivalence in this regard. In early anecdotal narratives about his life and romantic adventures, events appear to derive their source material from episodes found in his poetry, whereas in later biographies of the poet, the poems tend to be understood as depicting emotional and symbolic truths, even if the events described did not actually happen. In either method of writing about ʿUmar’s life, the biographer finds the poet’s life story and persona to be filled with contradictions that are difficult to resolve. The embedding of poetry into anecdotes that narrate the poet’s life (in the form of events or emotional truths) resembles the tafsīr of the Qur’an through the Prophetic sīrah, in which Qur’anic verses are explained through the cementing of the text’s open-ended hermeneutic possibilities into fixed events and contexts. This article examines this relationship as a textual practice evolving through different biographies of the poet, and argues that the relationship points to a way of reading that presupposes a measure of extra-textual reality in the text, even where such a presupposition constructs an impossible biographical narrative replete with contradictions.
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Ryan, James. "Reflections on the Published and Unpublished Poetry of Mary Lavin." Irish University Review 49, no. 2 (November 2019): 207–13. http://dx.doi.org/10.3366/iur.2019.0400.
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The focus of the overwhelming majority of critical commentary on Mary Lavin's work has been on her short stories. Her poetry, however, can give us insight into Lavin's development as a writer, showing early stages of experiments with themes and ideas, prefiguring their later emergence in her stories. Themes of loss, yearning, and the emotional pathology of choice recur through her lyric work, and examining in particular her unpublished poems, we can trace the biographical tensions as well as her artistic growth.
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Messias, Erick. "Poetry and Psychotherapy: the Case for Fernando Pessoa as a Therapist. Poetry as a Tool in Psychotherapy." Global Psychotherapist 4, no. 1 (January 20, 2024): 139–45. http://dx.doi.org/10.52982/lkj228.
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Nossrat Peseschkian incorporated the use of stories as a key element of Positive Psychotherapy (Peseschkian 2016). Poetry has also been proposed as a powerful tool in psychotherapy and defined as “the use of language, symbol and story in therapeutic, educational and community-building capacities.” (Mazza 2016). Among great poets Fernando Pessoa is relatively unknown due to his writing in Portuguese and to the complexity of his multiple styles, personas and perspectives. Yet, this very complexity makes his poetry, alongside his unique prose, powerful tools to be used in psychotherapy. Finally, his poems are easily accessible in both Portuguese and English today. This article starts with a brief biographical introduction to Pessoa, followed by examples of his work under different voices that can be used by mental health professionals in supporting persons in the process of healing through psychotherapy.
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Reutska, Nataliia. "Literary reception of Vasyl Pachovsky’s poetry." Current issues of social sciences and history of medicine, no. 3 (31) (March 7, 2022): 52–56. http://dx.doi.org/10.24061/2411-6181.3.2021.293.
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The purpose of the article is to analyze of critic and science works, devoted to the poetry of Vasyl Pachovsky. Research methods: methods of systematization, classification, biographical, historical, formal methods. The scientific novelty of the article is that it was the first review of scientific works on the poetry of Vasyl Pachovsky. Existing works were classified into two groups, in which considered reviews of poetic collections of scientists and studies of poetry by V. Pachovsky in general. A significant number of critical works were devoted to the work of the Young Muse and consideration of the poetic heritage of Vasyl Pachovsky was carried out on occasion. Conclusions. V. Pachovsky's poetic work still needs detailed study, as a significant part of his poetic work was considered in the context of studying the creative heritage of the Young Muse. There are still no scientific works in which a detailed analysis of his poetics, namely a systematic study based on statistical analysis in terms of vocabulary, poetic syntax, phonics, versification
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Hedenborg White, Manon. "Magic in Art, Poetry, and Biography." Religion and the Arts 28, no. 1-2 (March 27, 2024): 133–69. http://dx.doi.org/10.1163/15685292-02801005.
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Abstract The article analyzes four works of poetry and illustration produced by the artist, poet, and occultist Marjorie Cameron (1922–1995) in the 1950s and 1960s. Widow of rocket scientist and occultist John “Jack” Whiteside Parsons (1914–1952), an early follower of Aleister Crowley’s (1875–1947) religion Thelema, Cameron was also a friend and collaborator of Beat artist Wallace Berman (1926–1976) and avant-garde filmmaker Kenneth Anger (1927–2023). In the 1950s and 1960s, Cameron delved deeply into Crowley’s magical writings alongside those of comparative mythologist Joseph Campbell (1904–1987). The article especially highlights how Cameron creatively adapted and re-worked the ideas of both thinkers in her artistic interpretations of her Holy Guardian Angel. A core argument of the article is that art, poetry, and esotericism were intertwined pursuits for Cameron, and that extra-textual sources (e.g., letters and biographical details) contemporary with the analyzed creative works are helpful in untangling their meaning.
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Ahmed Mohammed, Mamdouh Ali. "The Impact of Elizabeth Bishop’s Tragic Experiences on her Poetry." Arab World English Journal For Translation and Literary Studies 6, no. 3 (August 24, 2022): 30–50. http://dx.doi.org/10.24093/awejtls/vol6no3.3.
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Elizabeth Bishop is one of the most renowned modern American female poets. Her early life was characterized by some tragic events. However, she overcame all such saddening happenings and established herself as a major twentieth-century American writer. The paper investigates how some of the important topics handled in the author’s poetry can be traced back to her biographical background. The significance of the study is that it brings to light the role played by the tragic incidents in the poet’s life in the formation of her poetic production; which could enable her readers to understand some of her most famous poems better and enjoy them more. The method applied is the Biographical Critical Approach. By applying this approach, the researcher aims to indicate how the poet depended on her memories of actual events which took place in her life to author a number of her well-known poems. The study reaches some significant findings through the analysis of the selected literary texts. The researcher, for instance, draws attention to the way Bishop tackled the idea of death when she encountered it for the first time in her life. Moreover, the effect of the loss of the literary figure’s parents, especially the mother, on the under-discussion literary works is illustrated. Further, the study demonstrates how the writer expressed a lot of wisdom and stoicism in the face of destiny after reaching maturity. The analyzed literary texts evidently immortalize certain tragic events in Bishop’s life.
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Rickerby, Helen. "Articulating Artemisia: Revisioning the Lives of Women from History in Biographical Poetry." Biography 39, no. 1 (2016): 23–33. http://dx.doi.org/10.1353/bio.2016.0023.
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Wylie, Dan. "The dark surrealism of Phyllis Haring’s poetry." English in Africa 48, no. 3 (March 17, 2022): 65–85. http://dx.doi.org/10.4314/eia.v48i3.4.
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The slender poetic oeuvre of Phyllis Haring (1919–2016) is now almost forgotten. Only one collection, A Taste of Salt, was published in 1976, and a number of poems appeared in small magazines until 1991. Though she is unquestionably a “minor poet,” I argue that her dream-like, dark yet musical work is worth attention, especially as something of a local pioneer in Surrealist techniques. (Surrealism’s influence more broadly in South African poetry is apparently yet to be comprehensively explored.) This article aims to reintroduce Haring’s work, and suggest some possibilities for further, more precisely theorised study. Following a biographical sketch and brief history of her publications, I respond to selected poems to provide a preliminary taste of her salty, almost Nietzschean, world-view, her craft, and some persistent techniques, themes and images – notably of human cruelty, death, and the natural world.
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Haile, Getatchew. "Amharic Poetry of the Ethiopian Diaspora in America: A Sampler." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (March 2011): 321–39. http://dx.doi.org/10.3138/diaspora.15.2-3.321.
Full textAbstract:
This essay offers the first English-language translations of Amharic poetry written by Ethiopian immigrants to the United States. Following an introduction to the Amharic language and the central place of poetry in Ethiopian literature and cultural life, the author discusses the work of four poets. The poems of Tewodros Abebe, Amha Asfaw, Alemayehu Gebrehiwot, and Alemtsehay Wedajo make creative use of Ethiopian verbal constructions reminiscent of traditional war songs and verbal interrogations used in legal contexts. Many of the poems speak eloquently of the personal losses Ethiopians have suffered as a result of their departure from their homeland. The essay includes biographical and ethnographic details about the individual poets and various influences on their compositions. (April 2009)
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Powell, Craig. "The Nameless Father in the Poetry and Life of Francis Webb." Australian & New Zealand Journal of Psychiatry 32, no. 4 (August 1998): 488–95. http://dx.doi.org/10.3109/00048679809068321.
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Objective: A brief biographical review of the poet Francis Webb was carried out, with reference to his mental illness and recurring themes in his poetry. Method: Material is drawn from a recent biography and the author's personal encounters with the poet. Reference is also made to Lacan's theory of psychosis and Winnicott's construct of the “transitional object”. Results: The poetry may be seen in part as a transitional object whereby the poet sought to repair deficits in the structure of the self and contain psychotic chaos. Conclusions: The poems have a beauty and power beyond any psychoanalytic theorising, but may also be read as a vital striving toward self-healing on the part of the poet.
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Iravedra, Araceli. "“Palabras de familia gastadas tibiamente”." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 43, no. 2 (September 17, 2008): 286–302. http://dx.doi.org/10.1075/rro.43.2.09ira.
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This article aims to chronicle the lyrical trend of realistic affiliation labelled “poetry of experience” that dominated the Spanish literary system of the Eighties, establishing a differentiated norm which integrated the paradigm of new creation. From the perspective granted by a certain historical distance, the examination of that process shows its progressive disintegration during the Nineties, due to the institutionalisation of the paradigm, along with stagnation and epigonism, until the moment when younger poets discuss it and look for a change. At that moment, the poetry of experience stresses the meditative overtones and amplifies the space of realism towards a wider imaginative freedom, whilst transforming its characteristic features, such as narrativity and biographical anecdotes.
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Dr. Arshad Mahmood Nashad. "SARGUZASHT." Tasdiqتصدیق۔ 4, no. 01 (June 30, 2022): 83. http://dx.doi.org/10.56276/tasdiq.v4i01.82.
Full textAbstract:
Mirza Aziz Faizani Darapuri was a relatively lesser-known but prolific poet and writer of the Twentieth century. He has written admirable poetry in Persian, Urdu and Punjabi Languages. His poetry and articles were published in the leading newspapers and literary journals of his time. He lived a short but meaningful life and through his poetry and writings taught the Muslim Ummah a united and practical life. He was truly the heir and follower of poets like Maulana Hali, Akbar Allah Abadi, Allama Iqbal and Zafar Ali Khan etc. He wrote many books in poetry and prose. A few books were published in his lifetime but many books are still unpublished. His autobiography: Sarguzasht is also included in these unpublished books. His autobiography despite being short is a true reflection of all the important events and circumstances of his life. This autobiography is an important addition to the biographical literature of Urdu in terms of the authenticity of its text, simplicity of expression and charm of language. This article provides a detailed introduction to Mirza Aziz Faizani's autobiography
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Rajani, Shayan. "Regionalization without Vernacularization: The Place of Persian in Eighteenth-Century Sindh." Journal of the Economic and Social History of the Orient 63, no. 5-6 (November 11, 2020): 788–819. http://dx.doi.org/10.1163/15685209-12341527.
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Abstract This article examines a turn towards the region in two genres related to Persian poetry in eighteenth-century Sindh, the bayāẓ or poetic anthology and taẕkira or biographical dictionary. I argue that poets in Sindh’s premier city, Thatta, established Sindh as an organizing principle for poetry and the poetic community, initiating a process of regionalization in Persian after the end of Mughal rule. Notably, this was done without the patronage or encouragement of the regional successors to the Mughals in Sindh. These poets neither sought out vernaculars, nor predicated regionalization upon cultural difference. Rather, regionalization without vernacularization was the basis for their participation in the transregional enterprise of Persian poetry in a milieu where the Mughals and their officials were no longer sources of patronage or of poetic standards. The case of Persian poetry in Sindh calls for rethinking the function and status of Persian beyond its role as a language of power and for considering the role of Persian poets in bringing the region to renewed cultural salience in eighteenth-century Sindh.
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al-Shamlān, Nūra. "The Image of the Woman in the Poetry of al-Sharīf al-Raḍī." Darah Journal of Arabian Peninsula Studies 1, no. 2 (December 20, 2023): 181–213. http://dx.doi.org/10.1163/29501768-20230202.
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Abstract From pre-Islamic times onwards, the themes of love and the beauty of women occupied a prominent place in Arabic poetry. This article seeks to describe the image of the woman in the poetry of the prominent Abbasid-era poet, al-Sharīf al-Raḍī. It begins with a discussion of love poetry in Arabic in general, from pre-Islamic times until the era of al-Raḍī in the 4th/10th century. Attention is given to the various techniques employed by poets to describe and praise the beloved as well as to the developments witnessed by this genre, especially during the Umayyad and early Abassid eras. Following a biographical sketch of al-Sharīf al-Raḍī, the article proceeds to discuss his relationship to women, in all its different manifestations, with particular attention to his Hijāziyyāt, poems of passion and longing. The article concludes with the opinions of both medieval and modern critics of al-Raḍī’s poetry. Al-Raḍī is seen as an accomplished poet who successfully combined the beauty of the nomadic world with the refinement of civilization.
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Krivonos, Vladislav Sh. "Correspondence with Yu. N. Chumakov." Studies in Theory of Literary Plot and Narratology 19, no. 2 (2022): 20–41. http://dx.doi.org/10.25205/2410-7883-2022-2-20-41.
Full textAbstract:
The published correspondence of V. Sh. Krivonos with Yu. N. Chumakov is devoted to the discussion of issues directly related to the scientific biography of the outstanding Pushkinist and researcher of Russian poetry., Yu. N. Chumakov, а man of difficult fate, shares his memories of significant biographical events. The letters reveal in a new way both the important properties of his philological thinking and the features of his extraordinary personality.
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Vasylyshyn, Igor P. "EXISTENTIAL PARADIGM OF LYRICS BY MYKHAILO SYTNYK AND HANNA CHERIN (ARTISTIC AND BIOGRAPHICAL DISCOURSE)." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 82–97. http://dx.doi.org/10.32342/2523-4463-2021-2-22-7.
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The article highlights the poetic legacy of the war and postwar years of Ukrainian artists Mykhailo Sytnyk and Hanna Cherin, united not only by the Muse but also, albeit for a short time, by marriage. The creative tandem of poets lasted until the end of the 1940s, in the 1950s their lives diverged in the United States, but there remained works that united artists in their common life and artistic destiny. The aim of the article is to comprehend the existential paradigm of the lyrics of M. Sytnyk and H. Cherin in the artistic and biographical discourse. Materials of scientific research, in particular the texts of some poems, have been published in Ukraine for the first time and make it possible to cover the littleknown pages of the life and work of M. Sytnyk and H. Cherin in the 1940s in Europe. The article is written with the maximum preservation of the cited materials, which are important historical and literary sources in the study of the biography and work of Ukrainian artists, the disclosure of their biographical and creative discourse. To achieve this goal, several methods were used – primarily from biographical with the study of authentic sources, cultural-historical, philological, intertextual to phenomenological and hermeneutic analysis, which allow distinguishing and analyzing artistic and biographical discourse in the lyrics of M. Sytnyk and H. Cherin to explore the existential paradigm of their poetry. Elements of conceptual analysis are also used, which allow considering the lyrics of poets through the prism of dominant concepts. The married life of artists and the reasons for their divorce can be reproduced only from fragments, i.e. from the words of their friends, acquaintances, in some mentions of researchers of their work and from the poetic lines of M. Sytnyk and H. Cherin, because none of them did not mention this period after the break. The post-war period in Europe was the time not only of romantic relations between artists, marriage, and the birth of a daughter but also of successful creative activity, joint speeches at conferences, literary evenings, and other events of the DP cultural and artistic community. While in Europe, poets published their works in numerous emigrant publications and separate collections of poetry in the 1940s, existential meditations), in which the dominant concept is the lost Motherland, which is realized in the lyrics of poets through the opposition of foreign – native land. The artistic discourse of poetry of the war and post-war periods of M. Sytnyk and H. Cherin is represented by personal, intimate lyrics; civic and patriotic lyrics (in wartime – the lyrics of heroism and rank), and existential-nostalgic, anteistic lyrics associated with the loss of the Motherland. The existential paradigm of the lyrics of Mykhailo Sytnyk and Hanna Cherin in the artistic and biographical discourse is determined primarily by the circumstances of their life and creative activity – the Second World War, the difficult postwar years, and the emigration factor, which for many Ukrainian artists was decisive not only in their lives but also in their work. The common destiny of the artists was connected by the poetry of the war and the first postwar years, which reflected at the artistic level not only the story of their love – its bright and dramatic sides, but also the existential circumstances of Ukrainians in exile.
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Kozubovskaya, G. P. "POETRY BY A.A. FET AND M.E. SALTYKOV-SHCHEDRIN." Culture and Text, no. 53 (2023): 105–21. http://dx.doi.org/10.37386/2305-4077-2023-2-105-121.
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The article deals with the problem of “A.A. Fet and M. E. Shchedrin”, which was only occasionally raised in the domestic literary criticism of the Soviet period. Attention is paid to biographical and historical-literary aspects. An attempt is made to systematize the critical assessments given by Shchedrin to Fet’s poetry. The article considers the specifics of Shchedrin’s position, which, according to Yu.V. Lebedev, did not reach the complete “destruction of aesthetics”, as happened with Pisarev and V. Zaitsev, and some techniques of poetics of criticism (e.g., dialogue with the reader). It is shown that the duality of the critic’s position, on the one hand, understanding the aesthetic value of Fet’s poetry, on the other, devaluing it by applying theoretical ideas of revolutionary democracy to it, is also seen in Shchedrin’s prose, repeatedly quoting lines of Fet’s poetry. Semantics and functions of “someone else’s speech” in Shchedrin’s prose are clarified, the mechanisms of quoting in various kinds of beating Fetov quotes are investigated.
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Strygin, Artyom. "Sensory Imagery in Rupert Brooke’s Poems Translated by Vladimir Nabokov: Synesthesia and Metaphysics." Izvestia of Smolensk State University, no. 4 (56) (January 26, 2022): 62–74. http://dx.doi.org/10.35785/2072-9464-2021-56-4-62-74.
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The goal of the research paper is a comparative analysis of Rupert Brooke’s twelve poems and their translations by Vladimir Nabokov. The article deals with biographical, stylistic, metaphysical and intertextual details connecting two writers
and their works. The research underlines the following artistic features of translations with reference to Nabokov’s perception of Brooke’s creative personality: 1) Nabokov emphasizes the «other-world» concept in Brooke’s poetry; subsequently
this topic has been continually conceptualized in Nabokov’s later prose; 2) Nabokov’s analysis of Brooke’s poetry accentuates sensory imagery; 3) Nabokov’s translation expands and elaborates on the originals’ sensory aesthetics and metaphorical
structure. Sensory imagery in Brooke’s poems is structurally compared to the translations with due consideration of coloristics in both writers’ works.
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Hudak, Thomas John. "Organizational principles in thai phannánaa passages." Bulletin of the School of Oriental and African Studies 51, no. 1 (February 1988): 96–117. http://dx.doi.org/10.1017/s0041977x0002022x.
Full textAbstract:
Thailand has had a rich literary tradition in which, until recently, serious literature has always been equated with poetry. Classical Thai poetry written during the past 700 years has covered a vast range of topics: religion, history, romance, legendary figures, imaginary worlds and their inhabitants, to name a few areas. For each major composition, Thai literary anthologies provide representative excerpts, plot summaries, descriptions of verse forms used, biographical data for the author when known, and historical background information. Discussions of the organizational principles that lie behind the literary compositions, on the other hand, rarely occur. Rather, a tacit assumption seems to exist that the structural organization of a work is the same as the plot. An examination of literary selections, however, implies otherwise.
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Kruczkowska, Joanna. "Museum Project: 14 Henrietta St. Museum, Paula Meehan, Dragana Jurišić and the Irish Housing Crisis." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 452–69. http://dx.doi.org/10.18778/2083-2931.12.27.
Full textAbstract:
The aim of the article is to compare three (re)creative activities within one interdisciplinary project: a public space (14 Henrietta St. Museum in Dublin), poetry (Paula Meehan’s cycle of sonnets in Museum of 2019) and photography (Dragana Jurišić’s photos in the same book). They are all examined in the light of the current housing crisis in Ireland, which followed the collapse of the Celtic Tiger in 2008. The Museum project not only comments on the crisis and the changing social relations in Ireland but also challenges the perception of history and private/public memory. In the article, the components of the project are situated against biographical and historical backgrounds, and within the framework of new museology, memory studies, and the functions of photography and poetry.
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Salyha, Taras. "MUNICH CONFESSION OF VOLODYMYR YANIV (dedicated to 110th anniversary of birth)." Polish Studies of Kyiv, no. 35 (2019): 321–33. http://dx.doi.org/10.17721/psk.2019.35.321-333.
Full textAbstract:
Three major aspects of Volodymyr Yaniv’s life-creativity are described in the article: 1. biographical (his forma- tion as a creative person); 2. literary and art studies; 3. essayistic (author’s stories about the meetings with the perennial rec- tor of UFU). In parallel, there are “plots” about Volodymyr Yaniv as s historian of the church and Christianity, as a religious scholar, about his contacts with the Vatican, and in particular with His Beatitude Josyf Slipyj in the study. We can trace the “odyssey” of a young ascetic of the Galician revolutionary movement for the statehood and the unity of Ukrainian lands. A separate vision in the life of V. Yaniv is the magazine “Student’s Way”. He was fond of modern processes that took place in the cultural and artistic sphere. Studying poetry of European poets, poetry of Ukrainian creative youth, in particular B.-I. Antonych, V. Havrylyuk, O. Olzhych, poets of the Right-Bank Ukraine, Yaniv developed for himself the criteria for evaluating a literary work. The Lviv weekly “Towards” and the month “Dazhbog” and, of course, the poetry of the “Prague School” were played a special role for Yaniv as a poet. The famous Polish writers, supporters of the so-called “Ukrainian school”, Severin Goshchin- sky, Alexander Fredro, Leopold Staff, Jan Kasprovich, Maria Konopnitskaya whose creativity, undoubtedly, also influenced Volodymyr Yaniv lived and worked in Lviv. The ideological and thematic space of the poetry of Yaniv, in particular the collections “The Sun and the Lattices” and “The Foliage Fragments”, his prison poems, poetry about the Kruty heroes, are analyzed in the article. Lyro-epic creativity of V. Ya- niv in this thematic direction in her own way is biographical. The collection “Ways,” based on the scientific observations of the German, Polish and Czech theorists of psychoanalysis, is based on the ethno-psychoanalysis of the Ukrainian political prisoner. V. Yaniv is a scientist, psychologist, ethnic psychologist of the Ukrainian “soul”, sociologist and literary critic, art critic, organizer of Ukrainian science and church-religious life, public figure, professor of the Ukrainian Catholic University named after St Clemens, the Pope in Rome. The sacred motives are an organic page in poetry, literary criticism and, in general, in the works of Volodymyr Yaniv. The author used the bibliographic literature about the life and work of Volodymyr Yaniv, which, however, doesn’t allevi- ate his individual views.
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Berezina, A. V. "Mohammad Ebrahim Jafari: Aesthetics of Painting in Poetry." Concept: philosophy, religion, culture 8, no. 1 (March 29, 2024): 142–54. http://dx.doi.org/10.24833/2541-8831-2024-1-29-142-154.
Full textAbstract:
The article is devoted to the creative heritage of the outstanding figure of Iranian culture — poet and artist Mohammad Ebrahim Jafari (1940–2018). The novelty of the presented research is determined by the almost complete absence of scientific works devoted to this issue: basic biographical facts, analysis of artistic language and the specific imagery of M. E. Jafari are poorly represented even in the Persian language. The purpose of the work is to identify the features of the national-cultural horizon of the synthetic genre combining painting and poetry developed by Jafari. To achieve this goal, it was necessary, firstly, to trace the poet’s biography; secondly, to clarify the nature of the artistic images created by him at different stages of his life and to analyze the original method of the author’s initiative as a way of artistic enrichment of the new synthetic genre. The multifaceted nature of the research subject determined the need for an interdisciplinary approach and the use of a complex of methods such as biographical, hermeneutic, and comparative typological. The author of the article has studied all the video materials and interviews of the poet published to date, his paintings, as well as a collection of selected poems. The author of the article also translated, for the first time, from Persian all the poetic material presented in the text. The study showed that M. E. Jafari, who does not differentiate the forms of creativity, easily transfers the stylistic techniques of his paintings to poems, which fills his lyrics with different shades of colors and smells. Poetic rhythm can be seen in his paintings, at the same time, abstract pictorial images embody the most significance for the poet in terms of acuity of perception, creating images of space and time as a unique experience, extremely concrete in its strength and depth. The masterly combination of abstract expressiveness and specificity of the sensual image makes it possible to attribute the deeply personal artistic creativity of M. E. Jafari to the cultural wave of new poetry, which meets the basic principles of the philosophy of Iranian modernism.
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Karpov, Denis L. "THE LYRICAL HERO IN ROCK POETRY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2023): 71–80. http://dx.doi.org/10.28995/2686-7249-2023-3-71-80.
Full textAbstract:
An issue of the subject in contemporary lyrics is widely discussed at the present time, being one of the most relevant in the research of contemporary poetry. One of the issues is the relevance of the term lyrical hero in relation to contemporary poetry, which, following the analyticism path, departs from the actual lyrical utterance. The article expresses an opinion that the idea of a lyrical hero remains relevant in the study of song poetry, in particular rock poetry of the 1980s – 1990s. Based on the classic article by Yu.N. Tynyanov «Block», in which an attempt is made for the first time to qualify the definition under discussion, the article analyzes the work of Russian rock poets, proves the presence of the lyrical hero in the lyrics of K. Kinchev and Yu. Shevchuk. Also, the conclusion is made about the lyrical hero specifics in classical Russian rock poetry. It is connected not only with intratext factors, such as the presence of the self-subject, the possibility for a rock poet of constructing a single plot of the hypertext, which includes biographical motives, but also extratext factors of the existence of a synthetic rock text, including the presence of the image of a lyrical hero in the socio-cultural sphere, the creation of a media image, the formation of a stage image.
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R, Arthi, and Bharani S. "The Life Portrayed in Kulothungan's Poems." International Research Journal of Tamil 4, SPL 2 (February 28, 2022): 92–97. http://dx.doi.org/10.34256/irjt22s215.
Full textAbstract:
This article discusses about the current life of human beings in the modern era. The Poet Kulothungan describes the life in a very beautiful way and also advises the youngsters to make their life good and happy. The poet also suggests many ways to reform the world for the better future. He says many things related to our daily life which inspires everyone to enjoy their lives and have faith in themselves to achieve everything. Man expresses his imagination and his intuition through poetry. In addition, through his poetry, the creator reveals the records of social disorders, education, commerce, scientific development and caste eradication that appear in his mind. In that way one can know the biographical records in the poems of the poet Kulothungan through this article.
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Bondarenko, I. P., and Yu S. Kuzmenko. "ISSUES OF TRANSLATIONAL MASTERSHIP OF TARAS SHEVCHENKO’S POEMS IN THE JAPANESE SLAVIC STUDIES." Shevchenko Studies, no. 1(23) (2020): 30–44. http://dx.doi.org/10.17721/2410-4094.2020.1(23).30-44.
Full textAbstract:
This article aims to outline main tasks when translating poetry of the Great Kobzar into Japanese. Analytical, biographical, contextual-descriptive and comparative methods were used in the study. In particular, the analytical method is applied when examining the Japanese works related to a poetic heritage of T. Shevchenko and its translations, biographical – when considering some facts from life of the Japanese slavists, which contributed to their interest in works of the Ukrainian poet. The contextual-descriptive and comparative methods are used in analyzing translated collections of the Great Kobzar’s poetry in Japanese and problems of the Ukrainian-Japanese literary translation. Poetry of Taras Shevchenko found its readers in Japan thanks to translation efforts of Taisuke Shibuya, Takayuki Murai, Gаchiro Tazawa, Takashi Juge, Shosuke Komatsu, Kazuo Nakai, Takao Hino, Takao Okamoto and Etsuko Fujii. Three main problems of translation mastership can be distinguished in the Japanese slavistics. First, expediency of translating the Kobzar's poems not from the Ukrainian original, but from the Russian and English translations. This issue was brought up by Kazuo Nakai, who noted that this practice of using the Russian or English texts continued until the end of 1990s. Secondly, significant problems in case of the Ukrainian-Japanese literary translation are associated with untranslatables for designation of certain cultural, socio-historical and other phenomena. Third, selection of the modern or obsolete language for translation: Takashi Juge used obsolete words, while Etsuko Fujii chooses the modern Japanese language, so that young people could also read the poems of Kobzar. Thus, the Japanese slavists still have a lot of problems in the field of the Ukrainian-Japanese literary translation, to overcome which each of them uses its own approach. Further study of the Japanese translation of the Ukrainian literary works seem to have potential for deepening cultural and literary relations between two countries.
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Vladušić, Slobodan V. "BIOGRAFIJA I ŽIVOTNA PRIČA." Nasledje, Kragujevac XVIII, no. 50 (2021): 115–27. http://dx.doi.org/10.46793/naskg2150.115v.
Full textAbstract:
In the first part of the text, we analyze the genre of biography. Our criticism of biography branches out into two directions: first, we argue that biography no longer reflects the connec- tion between the author’s biographical data and his/her work, which impacts the gradual sep- aration of biographical research from hermeneutics. As a result, this opens the possibility that in the future, a literary text can be neglected as the object of research. Biographical research could then shift its focus from the figure of an aesthetically relevant author to the figure of the author as a representative of a specific group. The second direction of our criticism deals with the fact that the biography genre deems all biographical data equally valuable. In order to solve both of the above-listed problems of writing biographies, we offer the genre of a life story in the text as a supplement to the genre of biography. A life story establishes a hierarchy of life experiences in order to determine which of these experiences have the status of meta-experi- ences which, further on, impact the author’s entire life, as well as his/her poetics. The second part of the text exemplifies the difference between biography and life story in Crnjanski, by relating the poetics of his poetry collection Lirika Itake [Lyrics of Ithaca] to his life story and the meta-experience of his father’s death.
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Hoffmann, Corinna, Lea Meissner, and Per Pippin Aspaas. "Biographical Introduction; Theodor Kittelsen's Illustrations; Interpretation and Summary of Contents." Aurorae Borealis Studia Classica 12 (December 23, 2021): 1–28. http://dx.doi.org/10.7557/16.6405.
Full textAbstract:
The twelfth volume in the series consists of Norsk Høifjeld, a work of prose and poetry written by Theodor Caspari and illustrated by Theodor Kittelsen and several other artists. In the various editions of the work, the aurora borealis figures in Caspari's text as well as in some of Kittelsen's illustrations. The introduction derives from an MA course in Scandinavian literature entitled ‘Dem Polarlicht auf der Spur. Wissenschaftshistorische und kulturwissenschaftliche Erkundigungen’, given by Marie-Theres Federhofer at Humboldt University Berlin in 2019. The introduction has been written by the student Corinna Hoffmann, the student Lea Meissner, and Per Pippin Aspaas from UiT's University Library. It consists of a brief biographical sketch on Theodor Caspari, an introduction to Theodor Kittelsen's illustrations, and an interpretation and summary of contents of three of the altogether five editions of Norsk Høifjeld that were issued in Theodor Caspari's lifetime.
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Pogorelova, Inga Viktorovna. "Bach, Bukowski, genesis." Litera, no. 4 (April 2021): 198–204. http://dx.doi.org/10.25136/2409-8698.2021.4.32719.
Full textAbstract:
The object of this research is the references to the German composer of the XVIII century – Johann Sebastian Bach in poetry of the classic of modern American literature Charles Bukowski. Special attention is given to the poetic-semiotic and ontological aspects of Bach’s motif in the poetic works of C. Bukowski. The author meticulously examines the nature of mentioned references, categorizing them as the three narrative-ontological types or hypostases, in which the German composer appears in the poetry of C. Bukowski, namely: Bach-ideal, Bach-background, and Bach-father figure. The article employs the method of continuous sampling, interpretation and semantic analysis, motivic analysis, as well as biographical and psychological approaches. The author's special contribution into the research of this topic lies in the conclusion on the Bach’s motif in the poetry of C. Bukowski as a variety of ekphrasis, which suggests a verbal representation not of a single artwork, but of the demiurge (in this case it is Bach) as the creator of entirety of his brilliant compositions.
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Bogoderova, A. A. "THEMES AND MOTIFS OF COLLECTION OF POETRY “POEMS. BOOK 1” BY YU. KRUZENSHTERN-PETERETS." Culture and Text, no. 54 (2023): 41–53. http://dx.doi.org/10.37386/2305-4077-2023-3-41-53.
Full textAbstract:
The article examines the themes and motifs of the collection of works by Y. Kruzenshtern “Poems. Book 1”. Its sections contain groups lyrics with the following themes: end of life (“Farewell”), clue to one’s own destiny (“Sonnets”), love stories (“Mirrors”), nature of art (“Creativity”), death and occult searches («House»), relation to the abandoned country (“Homeland”). Kruzenshtern’s biographical plot and related themes are traced, the through motifs of time and death, pain, mirror, house and home are outlined.