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Journal articles on the topic 'Christian life, poetry'
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1
Gärtner, Thomas. "Die Musen Im Dienste Christi: Strategien Der Rechtfertigung Christlicher Dichtung in Der Lateinischen Spätantike." Vigiliae Christianae 58, no. 4 (2004): 424–46. http://dx.doi.org/10.1163/1570072042596228.
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AbstractThe present article examines the arguments by which early Christian poets in Late Antiquity justify their attempt to combine Christian content and pagan poetical form. It focuses on the poetologically significant parts of their works, especially the proems. Whereas the earliest poets, i.e.Proba, Prudentius and Orientius, justify Christian poetry by its effects on the poet's personality and in the context of the poet's life, Juvencus prefigures another type of argument which is fully developed in Sedulius' Carmen paschale, according to which Christian poetry is justified by its material and formal qualities. This new type of argument has enormous reception in the Middle Ages and is especially adapted by Hrotsvith of Gandersheim who combines content and form as two coordinates of a more differentiated system.
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Petrovic, Predrag. "The poet speaks to god: Christian religiosity in modern Serbian poetry." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 86 (2020): 97–112. http://dx.doi.org/10.2298/pkjif2086097p.
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During the twentieth century Serbian poetry was in intensive dialogue with Christian religion, motives and symbols. In the first half of the century, the inspiration to the Christian religion is evident in the poetry of Jovan Ducic and Momcilo Nastasijevic. In the poetry of Momcilo Nastasijevic there are frequent motives from The Book of Revelation and the reference to Christian ethics. Jovan Ducic in the book Lirika (1943) gives a tragic and sublime vision of life, taking on numerous Christian motives. The renewal of the prayer tone in poetry after World War II will appear in Desanka Maksimovic?s collection Trazim pomilovanje (1964). The culmination of Christian religiosity in Serbian literature of the last century is found in the book Cetiri kanona (1996) by Ivan V. Lalic, in which the figure of the Virgin Mary is especially emphasized.
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Brodňanská, Erika, and Adriána Koželová. "Ethical teachings of Classical Antiquity philosophers in the poetry of Saint Gregory of Nazianzus." Ethics & Bioethics 9, no. 3-4 (December 1, 2019): 98–105. http://dx.doi.org/10.2478/ebce-2019-0014.
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Abstract The paper focuses on the ethical teachings of Classical Antiquity philosophers in the poetry of Saint Gregory of Nazianzus, especially on the parallels between the author’s work and the Cynics and the Stoics. The syncretic nature of Gregory’s work, reflected in the assimilation of the teachings of ancient philosophical schools and the then expanding Christianity creates conditions for the explanation and highlighting of basic human virtues. Gregory of Nazianzus’ legacy also draws on the teachings of such philosophers as Plato and Aristotle, but he always approaches them from the perspective of a strictly Christian worldview. He understands philosophy as a moral underlying basis from which one can draw inspiration for a virtuous and happy life. Gregory thinks that philosophy cannot harm Christians in the pursuit of a virtuous life. Nevertheless, Christian teachings and God are the highest authority. They stand above all philosophical schools or ideas advanced by specific philosophers. Gregory’s moral poetry thus directs his readers, if they are to deserve eternal life, to follow the commandments, which is possible only if one lives a practical and virtuous life.
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Melikyan, Sofia, and Anastasia Edelshtain. "From the poetic heritage of Sulayman, bishop of Gaza (10th–11th cent.)." St. Tikhons' University Review. Series III. Philology 73 (December 30, 2022): 135–50. http://dx.doi.org/10.15382/sturiii202273.135-150.
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The publication presents a commented interlinear and literary translation of two qasidas (poems) from the Divan (collection) of the first known Arab Christian poet – Sulayman al-Ghazzi, bishop of Gaza in Palestine (Xth-XIth cent.). His poetic work is the earliest attempt at using the metrical and stylistic tools of classical Arabic poetry for purely Christian subjects. The Divan also contains multiple autobiographical data and important historical evidence of Christian persecution under the Fatimid caliph al-Hakim, including the destruction of the Church of the Holy Sepulchre in Jerusalem. Despite their unique significance, very few of Sulayman’s poems have been translated into a modern language. The two selected qasidas belong to the opposite traditional genres of Arabic poetry – reproach and praise. In the first one the Jews who rejected Christ are targeted; the other one is focused on righteous Christians and their liturgy. In addition, the first qasida is rich in biblical allusions and quotations, loosely reworked by the author in a poetic vein, and the second one gives a detailed description of the divine service and is therefore a valuable evidence of the liturgical life of Palestinian Christians in Sulayman’s era.
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Roberts, Michael. "The Description of Landscape in the Poetry of Venantius Fortunatus: The Moselle Poems." Traditio 49 (1994): 1–22. http://dx.doi.org/10.1017/s0362152900012976.
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Venantius Fortunatus is the last major Latin poet of late antiquity. Born near Treviso in northern Italy, he studied grammar and rhetoric in the still thriving schools of Ravenna before moving in 566 to Gaul, where he sought to employ his literary education and talents in the service of Merovingian and Gallo-Roman patrons. Fortunatus's poetry gives ample evidence of his early studies: he shows familiarity with classical poetry, especially Virgil, Ovid, Lucan, and Statius, and with the main Christian poets of late antiquity. In a passage at the beginning of his verse Life of St. Martin, Fortunatus lists Juvencus, Sedulius, Orientius, Prudentius, Paulinus, Arator, and Alcimus Avitus as preeminent in Christian poetry, thereby naming all of his most important Christian Latin predecessors.
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Divjak, Alenka. "The exploitation of heroic conventions in the OE poem Andreas: an artistic misconduct or a convincing blend of traditional literary concepts and new Christian ideas?" Acta Neophilologica 45, no. 1-2 (December 31, 2012): 139–52. http://dx.doi.org/10.4312/an.45.1-2.139-152.
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This paper examines the function of traditional heroic concepts, typical of the traditional military Germanic society, in the Christian environment of the Old English poem Andreas, whose indebtedness to the traditional heroic poetry has been generally recognised. The paper juxtaposes four examples of traditional heroic ethos from Beowulf, the most detailed example of heroic poetry, and the text to which Andreas is verbally and stylistically very close, with the relevant parallels from Andreas, in order to determine to what extent the traditional images relating to the life of traditional heroic society still retain in Andreas their traditional connotations and to what extent they are imbued with the new Christian meaning.
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Gramatchikova, M. O., and T. A. Snigireva. "The Motif Agony in the Garden in Poetry of GULAG Prisoners." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 27, no. 1 (2021): 116–25. http://dx.doi.org/10.15826/izv1.2021.27.1.013.
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The purpose of this study was to research the biblical motifs in the poetry of GULAG prisoners. The starting point for this work was a hypothesis that the phenomenon of GULAG poetry is in a close affinity with the tradition of the spiritual poetry described by F. I. Byslaeva as poetry that connects “poetic art and an educated Christian thinking”. By analyzing poetry of N. Anyfrieva и А. Solodovnikovа the conclusion is drawn that even though poets-prisoners are trying to be adherent to the canonical understanding of the biblical plots they are inclined to have a very personal interpretation of the plots which is understandable given the circumstances of that historical time and their life experience.
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Naumenko, Nataliia. "The Culture of Wine in Ukrainian Baroque Poetry." Culturology Ideas, no. 14 (2'2018) (2018): 123–30. http://dx.doi.org/10.37627/2311-9489-14-2018-2.123-130.
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The article represents the results of the culturological analysis of Ukrainian baroque poetry with ‘wine’ for the prominent image. Just as the conceit of wine was never researched profoundly by culturologists and linguists, this article is an attempt to conceptualize the imagery of wine and culture of its consumption in Ukrainian literary criticism and cultural studies. Upon researching Ukrainian baroque poetry, the author of this article revealed some new connotations of the image of wine. First of them is a symbol of reproach declared to the authorities of either sacral or secular power (the conceptual pattern of it are the writings by Ukrainian polemist Ivan Vyshensky). However, even the strongest judgements sounded hopefully thanks to stylization in the mood of Christian liturgy. Secondly, wine was a reflection of joy of life, love, or friendship in Epicurean style. Thirdly, it was set up as a philosophical image of the human self as the most precious thing in the world. This idea was also supported staunchly by H. Skovoroda. Henceforth, wine in baroque poetry is not only an image of something material within the framework of the everyday life and rituals; it is a factor of reconciliation of Christian and Pantheistic worldview in the Ukrainians. Further researches of ‘wine’ conceit in Ukrainian poetry (and Ukrainian culture as a whole) would allow confirming anew the vision of a human-within-the-world as the world-within-a-human.
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Wasielewska, Magdalena. "Od cierpienia do nadziei – paradoksy w poezji księdza Janusza Pasierba." Dydaktyka Polonistyczna 17, no. 8 (2022): 254–63. http://dx.doi.org/10.15584/dyd.pol.17.2022.21.
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The paper deals with the poetry of Janusz Pasierb. It draws attention to the importance of paradoxes in this poetry. The Catholic priest focuses on difficult topics, pain and suffering, pointing out that these experiences are inextricably linked with human life. He also notes that those chosen by God struggle with various problems harder than others. This does not mean, however, that one should give up: his texts convey a clear message that through difficulties man draws closer to the Creator and opens to Christian hope, a saving perspective.
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Wojtulewicz, Christopher M. "The Coincidence of Opposites in John Henry Newman According to Erich Przywara, S. J." Religion & Literature 55, no. 1 (March 2023): 29–47. http://dx.doi.org/10.1353/rel.2023.a909153.
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ABSTRACT: For Erich Przywara S. J. (1889-1972), Newman stands in a line of philosophers that deal with the "coincidence of opposites," stretching back to Heraclitus. But how are coinciding opposites to be understood in the context of the Christian life? Are they not in fact contradictions which compel a choosing of one opposite to the exclusion of the other? Although Newman's relationship to Augustine in particular is key to Przywara's analysis, it is to Newman's specific contributions that Przywara turns in order to answer these questions. Przywara finds in Newman a sophisticated deployment of analogy, manifest in his sensitivity to the concrete coinciding opposites of the Christian life. Tracing the particular themes which display these coincidences of opposites from across Newman's homilies, letters, poetry, and fiction, this article contextualises Przywara's engagement with Newman, and shows how these different literary genres underscore Przywara's conclusion that Newman simultaneously stands in both the Augustinian and Thomistic traditions whilst yielding new and innovative explorations of the Christian life.
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Pisarenko, Alena Yur'evna. ""The Black Man" by Sergei Yesenin: Motive-figurative Constants and Artistic Genealogy (Mystical Aspect)." Litera, no. 10 (October 2022): 62–71. http://dx.doi.org/10.25136/2409-8698.2022.10.39046.
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The article is devoted to the analysis of the last poem by the bright representative of the Silver Age of Russian poetry Sergey Yesenin. The poem "The Black Man" is not only and not so much the poet's confession before his death, but the result of the poet's work, the logical, albeit tragic, completion of his artistic and life searches. The article examines the key images and motifs of the Yesenin poem in trans-literary and trans-cultural aspects, including references to medieval mysticism, mediated by the Russian literary tradition of the XIX-early XX century. The reception of mystical experience in the artistic world of Yesenin takes place through a rethinking of the traditions of Orthodox spirituality, the European Christian worldview and the romantic picture of the world.
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Philippovsky, German Y. "N. A. Nekrasov and the English pre-Romanticists (to the origins of the poetic motif of Night)." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 8–18. http://dx.doi.org/10.20323/2499-9679-2021-2-25-8-18.
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The paper investigates the literary roots of «night-motifs» in N. Nekrasov`s epic «Who is Happy in Russia?» and his «night» poems «Knight for an Hour» and «Railroad» down to English poetry of XVII–XVIII cc.: metaphysical poetry by H. Vaughan (XVII c.) and greater didactic poem by E. Young (XVIII c.). Both mythological and lyrical «night» motifs of H. Vaughan`s poetry owed to ancient folk traditions of the poet`s Motherland – Wales, with its archaic Celtic language, rituals and sacred festivals (such as Samhein). E. Young`s poem «Complaint or night thoughts on life, death and immortality» (1743–1745) is closely related to later baroque culture, stressing the night-motif in the context of the poet`s contemplation of life, death and christian immortality of human soul. H. Vaughan`s and E. Young`s «night» poetry influenced greatly the sentimentalist and preromantic trends in European poetic traditions of XVIII–XIX cc. N. Nekrasov`s main epic poem with its profound night motifs, though continuing pre-romantic European traditions of H. Vaughan and E. Young, remains greatly indigenous and rooted deeply in both folk and poetic Russian orthodox culture.
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Vishnevetsky, Igor Georgievich. "Three Contemporary Russian Poets and Biblical Tradition: Sergey Zavyalov, Natalia Chernykh, Jaan Kaplinski." Religions 13, no. 11 (November 15, 2022): 1103. http://dx.doi.org/10.3390/rel13111103.
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The poets in question belong to different generations, as well as different cultural, ethnic, and even religious backgrounds. Ethnically Mordvinian Zavyalov (b. 1957), who is also a noted scholar and translator from Ancient Greek and Latin, and ethnically Russian Chernykh (b. 1969), who is trained as a librarian and grew up among hippies, are both Eastern Orthodox Christians. Jaan Kaplinski (1941–2021), half Polish and half Estonian, was born and died a Roman Catholic, yet for a considerable part of his life, until his gradual switch from the Estonian language to Russian, considered himself a “pagan.” The article focuses on these poets’ different forms of engagement with the Holy Scripture and practices of the Christian Church. Zavyalov’s groundbreaking experimental poem Advent: Leningrad, 1941 (Рождественский пост, 2009) intertwines fragments of liturgical services and recommendations for fasting around the time of Christmas with the voices of the besieged city, dying from famine during WW II. His poem’s cathartic effect is remarkable: the death is negated by Christ’s birth and history starts anew. His most recent poem I Saw Jesus: And He Was Christ (Я видел Иисуса: и Он был Христос, 2022), which will be discussed in this article, engages with the Holy Scripture and the practices of the Russian Orthodox church in an even more direct way. Chernykh’s poetry of recent decades deals with the relevance of the Bible for a practicing Christian in a largely non-Christian world. Furthermore, Kaplinski’s posthumous Russian collection Winged Fingerprint (Отпечаток крылатого пальца), which is to be published in 2022, can be described as a dialog with the Biblical God and death “after the end of everything.” The most prominent voice in Estonian letters, Kaplinski transforms his later lyrical poetry written in Russian into a spirited prayer for the salvation of everything seemingly “insignificant”, left out of “larger history”.
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Ruda, Olena. "Ahiolohiya poetychnoyi zbirky Lazarya Baranovycha Żywoty świętych (1670)." Studia Ucrainica Varsoviensia, no. 8 (August 31, 2020): 249–58. http://dx.doi.org/10.31338/2299-7237suv.8.19.
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The purpose of the article is the analysis of hagiology in Lazar Baranovych’s poetry collection entitled Żywoty świętych (1670). This includes the fulfi lment of such tasks: 1) To enumerate the saints mentioned in the poetry collection; 2) To determine to which church/epoch/place of worship or order of sainthood they belong; 3) To determine how full the saints’ details of biography are refl ected in the poetry collection mentioned above; 4) To understand Lazar Baranovych’s view on the topic of diff erent kinds of sainthood clearly; 5) To measure the actuality of his views given the context of the 18th century Ukraine. The results of the research are shared in the given article, showing how exactly Lazar Baranovych defi ned for himself the concept of the sainthood at the fi rst place. They also tell us about his views on the call for monkhood and family life and help us to reconstruct the images of the ideal spiritual shepherd, female Christian etc.
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Siwek, Beata. "„I kroczy Chrystus po wodzie…”. Świat duchowości chrześcijańskiej w poezji Haliny Twaranowicz." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 58, no. 1 (June 7, 2023): 43–52. http://dx.doi.org/10.36770/bp.770.
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The article is devoted to the issue of Christian spirituality in the works of the Belarusian poet Halina Tvaranovich. Particular attention is paid to religious poems, which are an interesting attempt to show an existential conflict of an individual that defines human life, but also the inner desire of faith and the experience of its power in the matter of the poetic word. Faith in the poetry of Halina Tvaranovich is an experience that leads to the depths of God and enables touching His Mystery. The confrontation of the personal image of God crucified for the sins of humanity with the image of a suffering man is, in Tvaranovich’s poetry, a source of philosophical and metaphysical questions and longings.
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Kamitova, Alevtina Vasilyevna. "MAXIM PROKOPYEVICH PROKOPYEV: LIFE AND CREATIVITY." Historical and cultural heritage 14, no. 1 (2024): 107–11. http://dx.doi.org/10.62669/30342139.2024.1.9.
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The article is devoted to the 140th anniversary of the birth of M. P. Prokopiev, Udmurt poet, publicist and public figure. The paper gives a brief biographical note, presents systematized material concerning his literary work. It is noted that in Udmurt poetry the foundations of political lyrics are connected with the name of M. P. Prokopyev. In his early life he wrote poems based on religious themes, imitated Russian classics and turned to translations of their works. It is suggested that his conversion to the Orthodox tradition was formed under the influence of Christian values transmitted during his studies at the Karlygan Central Votsk School and Kazan Inorodic Teachers’ Seminary. It is noted that M. P. Prokopyev was among the first Udmurt authors who turned in their poetic practice to the development of biblical themes, using the technique of approximate similarity to the quoted place from the Holy Scripture.
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Dmytriv, Iryna. "CREATIVITY OF “LOGOS” WRITERS THE PERIOD OF EMIGRATION." Polish Studies of Kyiv, no. 35 (2019): 121–26. http://dx.doi.org/10.17721/psk.2019.35.121-126.
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The article attempts an integrated analysis of the creativity of the “Logos” group activities of the emigration period on the background of the literary process of the first half of the twentieth century. The aesthetic, religious and national principles that underlie the multifaceted activity of the “Logos” are considered. The “Logos” group should be described by six writers: Hryhor Luzhnytsky, Olexandr-Mykola Moh, Stepan Semchuk, Petro Sosenko (junior), Vasyl Melnyk and Roman Skazynsky. Hryhor Luzhnytsky is the author of more than 500 artistic, scientific, popular scientific works, numerous journalistic works, reviews, essays. After leaving for the United States in 1949, the writer continues his activity and takes on adventure and sensational and spyware. Vasyl Melnyk (Limnychenko) is a “writer-wanderer” and a “political emigrant”. Beyond the borders of his native land continues to write poetry (“Ode to the book”, “Ballad about the Truth”, “Ballad about White Letters”, “Ballad about the Sun in the Bridge” and others). A certain generalization of the writer’s life experiences was his journalistic works “Ukrainian Crusaders”, “Religion and Life”. A peculiar “bridge” between poetry and journalism became essays. Stepan Semchuk − a poet, a journalist, a publicist. Becoming a priest, Stepan Semchuk leaves for Canada, but he does not cease to write there. Out of his native land he published poetic collections. Stepan Semchuk worked as an active publicist, author of the historical and literary articles. Association of catholic writers “Logos” was occupied noticeable place in literary life of Western Ukraine of intermilitary period of the 20th century. “Logos” writers expressly declared that they were the creators of Catholic literature, and tried to outline the concept of “Catholic worldview” and “Catholic literature”. Ideological principles of “Logos” were a christian moral; the main tasks were popularization of religious subject and christian ethics. “Logos” writers literary works are skilful collage of biblical images, motifs, allusions, reminiscences, christian ceremonies, symbols.
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Lundgreen-Nielsen, Flemming. "Grundtvig, angelsakserne og Sidste Digt." Grundtvig-Studier 50, no. 1 (January 1, 1999): 208–26. http://dx.doi.org/10.7146/grs.v50i1.16341.
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On Grundtvig and Anglo-Saxon Poetry, esp. Regarding his Last PoemBy Flemming Lundgreen-NielsenThe article discusses the degree of Anglo-Saxon influence on Grundtvig’s poetical imagery and on his conception of the transition from earthly life through death to eternal life and salvation. S.A.J. Bradley’s emphasis on Anglo-Saxon reminiscences in Grundtvig’s farewell poem, 1872 (in Heritage and Prophecy, 1993) is acknowledged as as a valuable contribution to the understanding of the text; yet his moderation of the influence from the poetical practice of Danish 18th century lyrical poets and from the Greek myth of Charon, the ferryman of death, is questioned in the light of Danish 19lh century reception of these recent writers and of Grundtvig’s own preoccupation with Greek myths and history in the 1840s. William Michelsen’s interpretation of Grundtvig’s last poem (in Grundtvig Studier 1995) is discussed in some detail, relating to the idea of the action as a reversal, i.e. Christianization, of the Charon or Valhal myth. Finally Merete Bøye’s attempt (in Grundtvig Studier 1998) to establish a dichotomy borrowed from Anglo-Saxon Christian poetry of Hall and Ocean (»Hal« and »Hav«) in Grundtvig’s writings, understood as symbolic locations in an eschatological perspective, is supplemented by information of the use of these words and terms in the literary universe of Grundtvig and his contemporaries. The article concludes with an 1832 quotation from Grundtvig to the effect that in true poetry and true prophecies, produced by skalds who are not professional soothsayers, ambiguity is the point, allowing each reader to make what he can of it. Therefore a comprehension of Grundtvig’s last poem should not be narrowed down to the con-sideration of only one pattern, in this case from Anglo-Saxon poetry.
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Smyth, Marina. "The Origins of Purgatory through the Lens of Seventh-Century Irish Eschatology." Traditio 58 (2003): 91–132. http://dx.doi.org/10.1017/s0362152900003007.
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Many of the surviving texts associated with seventh-century Ireland deal with eschatology. In general, these texts convey assumptions on the fate of the soul after death that are consistent with the traditional Christian view in late antiquity in the West, namely, that the ultimate destiny of most Christians will not be determined till the great universal judgment at the end of time. To illustrate this point I will adduce the theological treatise Liber de ordine creaturarum and the moral treatise De XII abusiuis saeculi, as well as religious poetry and hagiographical works, and set them in their likely liturgical context. In contrast, the Vision of Fursey and Adomnán's Life of Columba stand out as revealing the strong influence of concepts originating in the early Christian ascetic circles of Egypt. Irish Christians were thus also exposed to the idea that the fate of all individual souls will be determined immediately after death. Awareness and even endorsement of this point of view will have prepared the way toward accepting the novel teaching that a finite period of painful purification immediately follows the death of most Christians. The survival of these two texts demonstrating the presence in seventh-century Ireland of the belief that the final determination of an individual's fate occurs at the time of death draws attention to the radical change in perspective that must have been an essential initial step in the very formulation of the doctrine of purgatory.
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MARKOV, ALEXANDER VIKTOROVICH. "THE LAWS OF CHRISTIAN CULTURE IN THE LATE POETRY OF ELENA SCHWARTZ." Cultural code, no. 3 (2020): 7–14. http://dx.doi.org/10.36945/2658-3852-2020-3-7-14.
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The imagery of Fra Beato Angelico's fresco is grotesquely transformed in the poem dedicated to it by Elena Schwartz, as a reason for discussing the destiny of human. Painting is viewed as a way to relate a person to physical and metaphysical space, turning the circumstances of the current life into the details of another being, and tourism into a kind of pilgrimage to other worlds. The article reconstructs the structural opposition of the poem and proves that they create a working model of Christian culture. It has been established that Schwartz views Renaissance art not as naturalistic and representative, but as exploring the boundaries of various material phenomena and their existence in time. She also interprets medieval art as deductive rationalism, which gives the keys to the experiences of modernity. Reflections on art make it possible to reassemble the impressions of the experience, understanding medieval dogmatic intuitions not just as correct, but as modern. Schwartz, criticizing representative art and reconstructing medieval presumptions of art creation, clarified the boundaries of the artistic expression of Christian dogma.
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Bauer, Martin M. "Schulübungen oder Kalenderblätter? Zur Interpretation einer Gruppe spätantiker Kulthymnen in der Appendix Claudianea." Philologus 166, no. 1 (July 1, 2022): 134–49. http://dx.doi.org/10.1515/phil-2022-0103.
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Abstract Until now, the short cult hymns to Liber, Mars and Juno in the Appendix Claudianea have mostly been seen as rhetorical school exercises. Yet a philological-historical analysis shows that they could be remains of occasional poetry from everyday life. The hymns are structured according to the Roman festival calendar and, on the basis of language and content, should probably be dated to the final phase of public non-Christian cult practice in the fourth century. The anonymous poet was familiar with classical Greek and Latin poetry, but reveals weaknesses in Latin prosody and metre. It can therefore be supposed that he should be identified as one of the many Graeco-Egyptian ‘wandering poets’, but probably not as Claudian himself.
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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.
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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.
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Sulaiman, Maha Qahatn. "Woman’s Self-Realisation in the Poetry of Thomas Hardy." English Language and Literature Studies 8, no. 4 (November 28, 2018): 58. http://dx.doi.org/10.5539/ells.v8n4p58.
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A comprehensive investigation of Thomas Hardy’s poetry reveals the doctrines of Existentialism which were new and not common during the 19th century. Hardy’s poetry, combining both Modern and Victorian elements, proclaims the emancipation from the fetters of money and religious oriented orthodox heritage. Hardy believes that the struggle for existence is the canon of life and, therefore, human cooperation is a necessity to man’s wellbeing. Though Hardy’s religious beliefs declined, mainly the concepts of divine intervention, absolution, and afterlife, he did not relinquish his faith in the moral principles of the Christian Church. This is expressed in his poetry through an intense desire to elevate man’s status in the world, to secure the transition of man’s existence from insignificance to accomplishment and excellence. The present study examines Hardy’s poetry in the light of the existentialists’ belief that man can achieve supremacy by being conscious of one’s limitations, ethical responsibilities, and duties. The focus of the study is on female characters in Hardy’s poetry, whose elevated consciousness and self-realisation present an ethical model that can assist the development of humanity and improve the world.
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Michelsen, William. "Om tankebilledet i Grundtvigs sidste digt." Grundtvig-Studier 46, no. 1 (January 1, 1995): 102–6. http://dx.doi.org/10.7146/grs.v46i1.16182.
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About the Thought-Image in Grundtvig’s Last PoemBy William MichelsenThe article is a contribution to the on-going debate about the interpretation of a hardly legible line in Grundtvig’s last poem, .Old Enough I Now Have Grown. (Grundtvig Studier, 1994, p. 107).In last year’s Grundtvig Studier, FI. Lundgreen Nielsen argues in favour of the reading .Soul-Ferry-Prow., understanding the phrase as determined by .a reversed Charon myth, the antique ferryman having been replaced by the Spirit of God, and his barge pole by the compass of God’s word. (Grundtvig Studier, 1994, p. 116).Thus, with some support in Bent Noack’s interpretation (Vartovbogen, 1993), FI. Lundgreen-Nielsen can read the poem as pervaded by maritime images. William Michelsen agrees on this point, but objects to the understanding of Grundtvig’s last poem as a reversed Charon myth. Instead William Michelsen reads the poem as an example of Grundtvig’s use of the symbol world of Nordic mythology in his personal Christian poetry. Grundtvig expresses his thoughts in poetry, and thus a thought image arises. The decisive feature of the thought image in this poem is precisely that it contradicts the Charon image, i.e. the notion that man’s death is a journey to the land of the dead. To Grundtvig, the sea is usually not an image of death, but an image of history, of human life. In Grundtvig’s view, death does not mean that life comes to an end, but death means a dangerous journey, since it takes man either towards the land of the dead or the heavenly harbour. In accordance with the old world picture, the firmament is close to the earth, encircling the horizon. In Nordic mythology, the inhabited land was surrounded by the ocean, separating the earth from the land of the dead, Hel or Valhalla. Thus William Michelsen defines the poem not just as a »song of farewell«, but as a poem expressing a view of life, applicable to every Christian. Instead of »Soul-Ferry-Prow«, Grundtvig’s son Svend Grundtvig reads the difficult line as »Soul-Eye-Prow«, which would make the poem into an exclusively personal poem. William Michelsen does not reject this personal interpretation, but sees the ship as the nave, the »church ship«, the Christian church, where the Spirit of God is the master mariner, and where many people, the whole of Christendom, together with Grundtvig, are on board. Usually Grundtvig sees the church in terms of a house, and not until now, during the composition of this poem, does he see the church as a ship, steered by the Spirit of God to ensure that the church reaches the »Heavenly Harbour« - this being emphasized by the masculine ending of the last stanza but one. The poem is an expression of Grundtvig’s Christian interpretation of the existential situation of man facing death.
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Hoekema, Alle. "The Motif Of Si Anak Hilang in the Poetry Of Sitor Situmorang." Exchange 34, no. 1 (2005): 61–80. http://dx.doi.org/10.1163/1572543053506301.
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AbstractRecently the Indonesian poet, novelist and essayist Sitor Situmorang reached the age of eighty. Situmorang has a Christian background; his origins are to be found in the Batak area in North Sumatra. His life and work have been summarized as 'to love, to wander'; in a way he has been a perennial wanderer and pilgrim, roaming around in many places of the world and being home, finally, in his poems. Part of his life he spent in prison as a political detainee. In this article we analyse the motif of 'the lost [prodigal] son' which occurs no less than four times in Situmorang's lyrical work, each time in a different context and with a different meaning. Connected with the role of the father and the mother and of a deep longing for his native village, this motif forms an important thread in his poetry, which often has religious allusions.
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Klein, Joachim. "Begräbnisdichtung im russischen Barock: Simeon Polockijs Threnodien." Zeitschrift für Slawistik 66, no. 1 (March 30, 2021): 23–44. http://dx.doi.org/10.1515/slaw-2021-0002.
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Summary This article is about Simeon Polotskii’s voluminous lament of 1669 about the death of Mariia Il’inichna, the wife of tsar Aleksei Mikhailovich. The lament is analysed as a specimen of baroque court poetry and as a poetic cycle. Special attention is paid to its religious content. What are the lament’s principal ideas about death and the afterlife? How does it treat the central motif of contemptus mundi, the Christian contempt of life on earth? And how does it relate to the religious tenets of the Orthodox Church?
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Cohen, Jonathan. "Evolving to Science Poetry: Three Poems by Ernesto Cardenal." American, British and Canadian Studies 41, no. 1 (December 1, 2023): 239–46. http://dx.doi.org/10.2478/abcsj-2023-0028.
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Abstract Nicaraguan poet-priest Ernesto Cardenal (1925–2020) is one of the most important Latin American poets. He developed his “exteriorist” poetics in the 1950s, much influenced by Anglo-American poets, in particular Ezra Pound, to differentiate his poetry from the prevailing subjectivist verse in Latin America. The impact of Pound’s canto technique on his work is clear, as well. Cardenal’s epic poem Cántico cósmico (Cosmic Canticle), published in 1989, is his magnum opus. This work is distinguished by his avant-garde use of science and its language, as he contemplates the entire cosmos and issues of being and non-being. Revolution is another major aspect of the poem, reflecting Cardenal’s commitment as a Christian-Marxist revolutionary. My translations of three fragments of his Cosmic Canticle selected by him are published here for the first time. They represent his focus on the origin of our planet and life on Earth.
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Wright, Alexandra. "What Have the Bach Passions Ever Done for Jewish–Christian Relations?" European Judaism 53, no. 1 (March 1, 2020): 105–19. http://dx.doi.org/10.3167/ej.2020.530114.
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Both the texts and music of Bach’s St Matthew and St John Passions portray the Jews in deeply negative ways, baying for the blood of Christ. While there are strong arguments against seeing these works as having any kind of positive influence on Jewish–Christian relations, there is also an argument for examining the different layers of texts – from the Gospels to contemporary Lutheran poetry – as well as diverse musical expression in both works in order to elicit and understand profound, universal themes of sin and repentance, confession and forgiveness, life and death. Public performances of the Passions need to be undertaken responsibly with detailed programme notes and talks that draw out the journey of the individual worshipper and tackle the difficult problems of the Gospel texts and the music.
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Grądziel-Wójcik, Joanna. "„Lekcje biologii”, czyli Miłosz czyta Szymborską." Ruch Literacki 53, no. 1 (November 8, 2012): 99–112. http://dx.doi.org/10.2478/v10273-012-0006-2.
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Summary Wisława Szymborska has a prominent presence in Czesław Miłosz’s essays, criticism, interpretations and anthologies. This article presents an overview of Miłosz’s assessment of her work. For the first time he turned to her poetry in ‘A Biology Lesson’, one of his lectures delivered in 1981/1982 at Harvard. To illustrate his point about modern man’s existence in a world determined by laws of nature and stripped of eschatology Miłosz quotes Szymborska’s poem ‘Autonomy’. Later, it is her poem ‘A little girl tugs at the tablecloth’ that acquires for him a programmatic importance. Nevertheless, a close analysis of his dialogue with Szymborska shows that in spite of some thematic and poetic common ground their philosophies of life are widely different. Miłosz’s misgivings about the ‘scientific worldview’ in Szymborska’s ‘poetry of consciousness’ are in fact an expression of a dispute about metaphysics and a defense of a Christian imagination.
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Imamutdinova, Albina, Nikita Kuvshinov, Elena Venidiktova, and Anfisa Ibragimova. "The Kazan Period in the Life of the Historian V.M. Khvostov." Journal of Educational and Social Research 9, no. 4 (October 1, 2019): 227–30. http://dx.doi.org/10.2478/jesr-2019-0076.
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Abstract Vladimir Mikhailovich Khvostov is one of the famous, thoroughly educated Russian historians. In his scientific heritage are widely represented lots of works on the history of diplomacy and international relations, on the study of major problems of General and national history. He himself defined that the most important secret of his life was his childhood and the inspiration for the poetry of the “Prophet”, the poem of Alexander Pushkin, the father of modern Russian literature. This poem was the most unusual incident in a highly Christian society two centuries ago, with its poet, the most unusual figure among the elite and the aristocracy. Poetry and poetry presented a transformative image of the Prophet that did not conform to the official description of the Gospel and the Torah, but rather resembled the Muslim definitions of their Prophet. The poem became the symbol of one of the greatest Russian intellectuals to rebel against the rule of the Church-Torah system in European societies, and as a result Pushkin was even excommunicated by the Council of Bishops of the Orthodox Church, but escaped the deadly tsarist reign of his youth.Among them are the doctoral dissertation “Foreign policy of the German Empire in the last years of the chancellorship of Bismarck”, articles on the history of international relations in the middle East in the late XIX century, the manuscript of the 2nd volume “History of diplomacy”, the introduction to the book “History of foreign policy of the USSR”, numerous articles and reports on various issues of foreign policy of the USSR and international relations.Article is devoted to the famous historian, scientist and public figure academician Vladimir Mikhaylovich Hvostov, describes his educational experience on the basis of archive documents. The research also covers Vladimir Mikhaylovich Hvostov’s early professional development. Further development of his life should be continued through detailed studying the personal fund of V.M. Hvostov which is located in Russian Academy of Science Archive.
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Surat, Irina Z. "Calvary." Literary Fact, no. 3 (25) (2022): 163–94. http://dx.doi.org/10.22455/2541-8297-2022-25-163-194.
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The article is dedicated to the subject of the crucifixion in Russian lyric poetry of 19th–21st centuries. It studies five poems that present different images of Calvary. Analyzing A.S. Pushkin’s “Worldly power” we discover a lexical connection of the poem to prayers and liturgical texts. The poem “When rowan leaves are dank and rusting…” by A.A. Blok requires consideration from two angles: among his other Christological poems and in the light of a general among symbologists tendency of eroticizing Christian images. We demonstrate that the subject of co-crucifixion is natural for Blok, that it was slowly emerging in his lyric poetry of the 1900s. The article analyzes O.E. Mandelstam’s poem “The implacable words…” in the context of his lyric poetry of the 1910s, as well as in comparison to the later variation of the image (“Like chiaroscuro’s martyr Rembrandt…”). The research reveals “maternal projection” of the subject of Calvary on the example of the poem “Mother” by V.V. Nabokov, passages from A.A. Akhmatova’s poem "Requiem” and I.A. Brodsky's poem “Still-life.” El.A Shvarts’s poem “Rembrandt’s etching — Christ and the thieves” represents ekphrastic versions of the biblical story.
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Zvereva, Tatiana V. "“Quiet life”: Things and news in the poetics still lifes by Svetlana Kekova." Izvestiya of Saratov University. Philology. Journalism 23, no. 4 (November 22, 2023): 416–21. http://dx.doi.org/10.18500/1817-7115-2023-23-4-416-421.
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The article deals with the poetry oeuvre of the modern Russian poet Svetlana Kekova. The goal of this research is to examine texts created in the genre of poetic still life (Tikhaya zhizn (Quiet life), Po reke pechalnoy luna proplyvaet ryboy… (The moon is floating down the sad river like a fish...), Pomme de terre, V starom barake, gde tvoy poyavlyaetsa vrag… (In the old barrack hut where your enemy appears...), Ogon’ veshchey (Fire of things), Sredi nadezhd, raskayanja i strakhov (Among hopes, repentance and fears)). Still lifes in S. Kekova’s poetry is a particular case of the manifestation of a “religious ekphrasis”, due to which the described series of objects acquire a second symbolic meaning. The main place in the article is given to a detailed analysis of the poetic diptych Tikhaya zhizn (Quiet life). Two parts of the cycle address Dutch and Flemish still lifes, though the author’s intentions are connected with the comprehension of a sacred plot that goes back to the New Testament history. The mirror structure of this text has been revealed, the semantic principles underlying the compositional structure of the cycle have been shown. If the “Dutch still lifes” consecutively reflect the key events of the New Testament (The Last Supper, Crucifixion and Resurrection), and all the three poems are united by the idea of the victory of light over darkness and the possibility of salvation, then in the “Flemish still lifes” the author speaks about the sinfulness of the earthly life. The Dutch and Flemish still lifes in Tikhaya zhizn (Quiet life) are contrasted as worlds of salvation and death, which are being infinitely attracted and repelled. Together they represent a complex dialectic of the Christian history. This study pays special attention to the problem of ekphrasis, as it has been found that one of the possible pretexts of the “Flemish still lifes” is the painting “The Meat Stall” by Pieter Aertsen. The article concludes that the main sense-generating mechanism of S. Kekova’s writing is the ability of the author’s view to transfigure earthly things so that you can see echoes of the higher News in them.
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Svetlana Andreevna, Petrova. "Myth and Reality in the Album of V.R. Tsoy "A Star Called the Sun"." Journal of Social Sciences Research, no. 56 (June 10, 2019): 1035–38. http://dx.doi.org/10.32861/jssr.56.1035.1038.
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The article deals with the poetry of V.R. Tsoy in the perspective of mythopoetics and intermediality. The interaction of two types of art - literature and music is being researched. There is a special inclusion of mythological elements in the structure of the album, which are endowed with cyclo-forming functions. The poet creates a special artistic world, using the myth of the dying and resurrecting divine principle, connecting the heliocentric and Christian systems of worldview. At the same time, the author also uses contemporary realities, showing the specifics of his modern mentality, touches on central philosophical problems and questions of the meaning of life in general.
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Medvedev, Aleksandr A. "“The Staff of Isaiah”: Catacomb Discourse in Arseny Tarkovsky’s Poetry." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 4 (2022): 188–99. http://dx.doi.org/10.15826/izv2.2022.24.4.072.
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This article analyses the work of A. Tarkovsky (1907–1989), for whom 1917 became a turning point which subsequently determined his “internal emigration”. The most important creative mission for Tarkovsky was the restoration of the interrupted cultural tradition of Russian modernism. As its representative, Akhmatova is a model of the creative and ethical behaviour of the artist for Tarkovsky. Tarkovsky’s poetry from the 1930s–1960s is considered from the point of view of the catacomb secret discourse (coding, subtext, background). Through images of the desert, sand, heat, and closed eyes, it expresses alienation from new culture and politics, a stoic opposition to oblivion, and desire to preserve cultural memory (Mandelstam, Tsvetaeva) that binds history into a single whole. In the situation of a cultural desert, such values as an individual’s dignity, Christian humility, and life are significant for Tarkovsky. In his model of the poet, Tarkovsky focuses on the biblical and early Christian tradition, in which the poet appears as a prophet, messiah, spiritual leader of the people (Isaiah, John the Baptist, Christ), emphasising not mystical or ritual but social ethics, characteristic of the Russian intelligentsia of the nineteenth century, with its moral uncompromisingness (“straight” ways). An important context for understanding Tarkovsky’s catacomb discourse and his image of the poet is the reflection on the people and the intelligentsia in L. Chukovskaya’s Notes on Anna Akhmatova (1938–1966). Polemising with the Narodism rejection of the intelligentsia in the Soviet period, Akhmatova and Chukovskaya express the key values of the Russian intelligentsia of the nineteenth and early twentieth centuries (personal dignity, freedom, ethical uncompromisingness, criticism of ethical relativism, truth and justice, prophetic ministry, sacrifice, and poverty). Tarkovsky’s poetic discourse and his image of a prophet poet also oppose Narodism simplification expressing the core values of the Russian intelligentsia and preserving the modernist complexity of poetics (openness and involvement in world culture, intertextuality, neomythologism, and associativity).
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Li, Kunyuan, Ruoyu Li, Manxi Liu, Xinwen Liu, and Bingxin Xie. "A Mysticism Approach to Yeats Byzantium." Communications in Humanities Research 4, no. 1 (May 17, 2023): 438–44. http://dx.doi.org/10.54254/2753-7064/4/20220657.
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William Butler Yeats is the most famous poet in the history of modern Irish literature. He is called the greatest poet of our time by T.S Eliot. He was awarded the Nobel Prize for Literature in 1925. He has a strong interest in mysticism and has made unremitting exploration of it throughout his life. Mysticism is an important source of Yeatss life creation. From the early collection of Irish folklore and mythology to the formation of the later mysterious system, Yeats constructed his own set of mythological systems. Yeats mysticism is particularly evident in his poem Byzantium. His poems are full of mystery due to the combination of Irish folk mythology, Swedish mysticism philosophy, Judaism and Christian doctrine, Indian Buddhist thought, ancient Greek and ancient Egyptian mythology and other factors. Among them, his poems are famous for the symbol of Oriental mysticism. This paper makes a detailed interpretation of Byzantine and then implements the analysis of this masterpiece in each section. Based on this analysis, this paper focuses on the interpretation of mysticism in poetry and its impact in order to achieve a better understanding of the mysticism embodied in poetry and provide a valuable reference for future research on related issues.
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Friedrich, Michał. "„Wspólnota kosmologiczna”. Natura i sacrum w liryce Jerzego Harasymowicza." Góry, Literatura, Kultura 14 (August 18, 2021): 267–82. http://dx.doi.org/10.19195/2084-4107.14.19.
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The paper is dedicated to the issues of nature, religion and sacral architecture of Polish–Ukrainian borderland, as well as the metaphysical understanding of nature in Jerzy Harasymowicz’s poetry. In addition to that, the article refers to the question of the unique cosmological communion between humans and other parts of God’s creation according to Christian perception of the world. The first chapter contains some general theses, which deal with the subject of nature in Harasymowicz’s poetry, but the issue of sacrum is also mentioned. The second part of the essay brings a reflection dedicated to pantheism and hylozoism present in the large collection of poems written by the poet from Puławy. Metaphysics, which is a crucial part of his achievements, is also mentioned here. The last part of the article discusses the relations between nature and culture located in the wider context of Eastern Christianity as well as Slavic paganism. The text, written in the year of the twentieth anniversary of Harasymowicz’s death, includes some crucial issues of the poet’s achievements from his whole life.
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Daddario, Will. "«Lemma»: Jay Wright’s Idiorrhythmic American Theater." Pamiętnik Teatralny 70, no. 4 (December 20, 2021): 121–40. http://dx.doi.org/10.36744/pt.985.
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This essay presents Jay Wright’s play Lemma as a historiographical challenge and also as a piece of idiorrhythmic American theater. Consonant with his life’s work of poetry, dramatic literature, and philosophical writing, Lemma showcases Wright’s expansive intellectual framework with which he constructs vivid, dynamic, and complex visions of American life. The “America” conjured here is steeped in many traditions, traditions typically kept distinct by academic discourse, such as West African cosmology, Enlightenment philosophy, jazz music theory, Ancient Greek theater, neo-Baroque modifications of Christian theology, pre-Columbian indigenous ways of knowing, etymological connections between Spanish and Gaelic, the materiality of John Donne’s poetry, and the lives of enslaved Africans in the New World. What is the purpose of Wright’s theatrical conjuration? How do we approach a text with such a diverse body of intellectual and literary sources? The author answers these questions and ends with a call to treat Lemma as a much needed point of view that opens lines of sight into Black and American theater far outside the well-worn territory of the Black Arts Movement.
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Martinek, Libor. "Poetika smrti v raném díle Bohuslava Reynka." Slavica Wratislaviensia 168 (April 18, 2019): 289–301. http://dx.doi.org/10.19195/0137-1150.168.24.
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Poetics of death in the early work of Bohuslav ReynekThis article is dedicated to the poetics of death in the early works of the Czech poet, translator and graphic artist Bohuslav Reynek 1892–1971. The author focuses his attention on the topos of death, which is the overarching theme that encloses other important motives associated with it and described by the author as “intermotives”. Typical of the whole first volume of Reynek’s poetry is the combination of the natural world with the vision of a Christian order, which at the end of human life tends toward an apocalyptic end of the earth and confrontation with the salvation of Jesus Christ. Poetyka śmierci we wczesnej twórczości Bohuslava ReynkaArtykuł poświęcony jest poetyce śmierci we wczesnych dziełach czeskiego poety, tłumacza i grafika Bohuslava Reynka 1892–1971. Autor tekstu skupia swoją uwagę na toposie śmierci, na który składają się ważne motywy z nim związane, nazwane przez niego intermotywami. Dla całego pierwszego tomu poezji Reynka typowe jest połączenie świata natury z wizją chrześcijańskiego porządku, w którym kres ziemi i ludzkiego życia w konfrontacji z dziełem zbawienia Jezusa Chrystusa zmierza ku apokalipsie.
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Chizhov, N. S. "Soviet Poetic Underground in Critical and Scientific Coverage (First Article)." Nauchnyi dialog, no. 8 (August 24, 2021): 221–47. http://dx.doi.org/10.24224/2227-1295-2021-8-221-247.
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The results of a research of literary critical works devoted to the study of Soviet under-ground poetry in the 1960s and 70s are presented in the review article. It is shown how the process of liberation of unofficial poetic culture from the collectivist attitudes of Soviet ideology and the search by its representatives for the spiritual and moral foundations of life and creativity was highlighted in the sam- and tamizdat periodicals. Special attention in the review is payed to the reflection of uncensored criticism in relation to the problems of restoring the connection with the literary tradition of the Silver Age by nonconformist poets and the formation of new principles of artistic writing in their work. In the context of these processes, the value nature of the phenomenon of “Christian Renaissance” in underground poetry, its role in the development of modernist poetic culture in the second half of the 20th century is revealed. In the light of literary-critical reception, the concept of “cultural movement” is considered as a strategy for uniting creative forces in the literary underground, which determines the value horizons of unofficial poetry. It is substantiated that the “cultural movement” was interpreted by uncensored criticism from the standpoint of its ideological and institutional self-sufficiency, the ability to be an active subject of Russian and world culture.
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Joyce, Chris. "From lilac to larkspur: self-refutation in T. S. Eliot’s later poetry." Revista Leitura, no. 36 (March 16, 2019): 71–83. http://dx.doi.org/10.28998/2317-9945.200536.71-83.
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This paper argues that much of Eliot's poetry is unconsciously self-refutational and self-deceived. Our attention is distracted from this by its lyricism and intensely personal poignancy. Disgust at the contemplation of humanity, and self-disgust, underlie Eliot's parodie treatment of life: the horror of the sinfulness of the flesh, which can 'only die'. I argue that, while we cannot ask a poet to give an untruthful report of experience, something is wrong when the creative faculty is given so strongly to expressions of general disgust, over and above Eliot's anti-semitism, misogyny, sexual ambivalence and prurience.To counterbalance this effect, Eliot posits tlie ambivalent 'enchantment' of 'death's twilight kingdom', with its promise of redemption from sin, and the enchantment of childhood memories, which he presents as ultimately beguiling and illusory.But in 'Marina' the quasi-liturgical passage on spiritual death is 'placed' by the effect of the poem as a whole. Similarly, the life and vitality of the sixth section of 'Ash-Wednesday' evokes poetic values which repudiate the author's conscious intentions. In 'Little Gidding' he recalls 'Things ill done and done to others' harm.' It is the compound ghost who speaks (containing the Eliotic alter-ego), the Brunetto Latini of Canto XV of the Inferno. That Eliot is, in a broad sense, sexually — and therefore humanly — maladjusted explains the persistent presence in his work of a condition which 'remains to poison life and obstruct action.' His major critics have been curiously uncritical in this regard.His exasperation I suggest, is not with the deceptions of humanism but, part-unconsciously, with the self-deceived character of his Christian 'acceptance'. This is poetry of self-appeasement. DOI: 10.28998/0103-6858.2005v2n36p71-83
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Gayovych, Galyna. "VASYL BARCA. PHILOSOPHICAL CREATION OF THE ARTITS’S OWN WORLD." Polish Studies of Kyiv, no. 35 (2019): 84–90. http://dx.doi.org/10.17721/psk.2019.35.84-90.
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This article deals with the life and work of Vasyl Barka. He is one of the most prominent writers of the 20th century and one of the brightest representatives of Ukrainian emigration. The artist spent most of his life outside Ukraine. Nowadays he is returning to his native land in his poems. Deservedly, he gains appreciation and becomes the subject of research interest. Life conditions made him create a special world model, which the writer had created in his writings. This research analyzes the facts of his life in order to explain the original poetic micro– and macrocosm of the writer, it focuses on such aspects of his creativity, which underlie the philosophical design of the writer’s own picture of the world. The author tries to understand the basis of the writer’s life philosophy. Emphasis is laid on the fact that his hard, and sometimes even dramatic life totally fits into the context of our difficult times. It is believed that faith in God has always lived in the soul of the writer. But tough rejection of religion by the communist system, aggressive destruction of everything related to faith and church, encouraged the artist to look for the depths of this phenomena. Searching for the truth, Vasyl Barka is convinced that the deepest human’s tragedy lays in their sinful separation from God. The article says that Barka’s dream of an ideal world coincides with Skovoroda’s theory. However, the artist not only dreamt of such a world, but he became his representative himself. This view is confirmed by the last period of his life. Constant philosophical reflections about the sense of life have resulted in the change of the world outlook and the complete adoption of Christian ideology. With the help of his writings, Vasyl Barka tries to purify our spirituality from all the stinging and hypocritical things which were done by the Pharisees from science and arts and their books. In search for harmony, Barka creates poetry of original style which requires the reader’s physical and spiritual attention. The study showed that the poetic palette of the artist had been influenced by various style schools and directions. Such an alloy of styles largely explains the difficulty of perceiving of Vasyl Barka’s poems. Therefore, Barca’s poetry is on the verge of the general literary process. So, in future, Vasyl Bark’s extraordinary and rich creativity is worth investigating. Besides, it is worth analyzing from the point of view of national, religious and Christian principles.
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Hanfi, Muneer Ahmed, and Shabeer Ahmed Shahwani. "درخانی، عالم آتا ادبی کڑد." Al-Burz 6, no. 1 (December 20, 2014): 22–31. http://dx.doi.org/10.54781/abz.v6i1.158.
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Maktaba Durkhani (Durxání Academy) established at the village of Durxání in Dhadar (Balochistan). It Started work in Brahui, Balochi, Sindhi, Persian, Urdu and Arabic Languages. The majority publications of Maktaba had been done in Brahui language. The first ever Brahui translation of the Holy Quran, which translated by an eminent religious scholar of the Academy, several religious literatures had translated in various languages mentioned above, this Academy brought great changes and reforms in the life of individuals and in Baloch society. The writers of the Academy opposed the Christian missionaries. This Academy has brought new ideas in the history of Brahui literature and language. It put a great influence on Brahui language. The writer of the Academy had presented many works, which are belonged to religious teachings, Brahui literature, poetry, prose and language.
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Myrsiades, Linda Suny. "Historical Source Material for the Karagkiozis Performance." Theatre Research International 10, no. 3 (1985): 213–25. http://dx.doi.org/10.1017/s0307883300010890.
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Karagkiozis, or Greek shadow puppet theatre, is a theatrical form that reflects nineteenth-century Greek oral culture. It utilizes a variety of national and regional costumes, dialects, and manners. Having developed in Greece during the period of that nation's modern history, it expresses the continuity of Greek culture and carries its themes, scenes of daily life, and characters. It retains, moreover, vestiges, or perhaps more accurately resurgences, of the pagan as well as the Christian past. Folk characters and types from folk plays and tales – the quack doctor, old man, old woman, devil Jew, Vlach, Moor, Gypsy, swaggering soldier, old rustic, jesting servant, trickster, parasite, stuttering child, ogre, dragon, bald-chin, and the great beauty – are its types as well. Popular folk dances, regional songs, and heroic poetry and ballads appear throughout Karagkiozis performances.
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Jang, eun-young. "Poetic Representation of the Gwangju Uprising: the embodiment of liberated motherhood and Mother God: focusing on the Goh Jeong-Hee’s eighth collection of poems Tears-Rain in Gwangju." Dongnam Journal of Korean Language and Literature 55 (May 31, 2023): 37–75. http://dx.doi.org/10.21654/djkll.2023.55.1.37.
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This paper analyzed the poetic representation of the Gwangju Uprising focusing on Goh Jeong-Hee’s Poetry of May. Goh Jeong-Hee was influenced by Korean women's theology in the 1980s. Korean female theologians criticized the oppression of women under the patriarchal system and raised the Mother God as the source of life. In the late 1980s, the reality faced by women was defined as the reality of killing and insisted on a great transition to life. She stressed that women should be the subject of the unification movement in order to overcome the national contradictions that suppress women. Of course, prior to Christian epistemology, there was a reality of the 1980s in Goh Jeong-Hee’s poetry and Gwangju was at the center of it. However, when the truth of the Gwangju Uprising was not revealed in the late 80s, Goh Jeong-Hee expressed deep despair and skepticism. And using Christian death and resurrection as motifs, the experience of despair was used as an opportunity to move toward a fundamental revolution. Goh Jeong-Hee hinted at the need for a new language by evoking the women’s pain and anger what are not reduced from a male-centered system to a universal language through a ‘Michineon’. And while attempting a revolutionary transformation of thoughts and customs, she embodied death in the uprising as an event that c the birth of life. The Gwangju Uprising was an opportunity for mother to be called the subject of liberation and Mother God to be called the source of life, and was a turning point in transforming Gwangju into a land of livelihood and resurrection. This is because Goh Jeong-Hee found Mother God in women in Gwangju as the source of life. Women in Gwangju, who were considered victims of the uprising and innocent victims, were another main subject of the uprising that supported the community of life by saving the dead, caring for the injured, and feeding the living. Goh Jeong-Hee proved that the practice of living shown by women in Gwangju turned the time stained with violence and death into a 10-day liberation zone. And Goh Jeong-Hee‘s May poem shows a vision of a community of care that we talk about as an alternative society today. Although it has not been fully discussed by Goh Jeong-Hee herself, it is inferred that liberated motherhood uses solidarity and relationship that support each other's lives as its principle. The new world created by female subjects makes us imagine a community of autonomous and mutually beneficial care based on liberated motherhood.
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Raibediuk, Halyna. "The pagan world of Ukrainians in the scientific concept of Ivan Ohiienko and in the poetry of Irina Kalinets: typological aspects." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION SCHOLARLY PAPERS PHILOLOGY, no. 18 (December 29, 2021): 84–96. http://dx.doi.org/10.32626/2309-7086.2021-18-2.84-96.
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The proposed article explores the ways of timeless communication of the au-thor’s consciousness of Ukrainian theologian Ivan Ohiienko and dissident writer Iryna Kalynets, clarifi es the intersections of their refl ections on the pre-Christian life of the Ukrainian people, characterizes the typology of transposition of pagan world and folklore-mythological narrative versions of the poetess. The similarity of views of both representatives of the analyzed discourse on the animistic world-view and mentality of Ukrainians is revealed, the integral meaning of their de-clared concepts of its pre-Christian ethics, mythology and culture, invariability of nature worship and personifi cation of the material world as reciprocal (mutual) We emphasize the important aspects of the poet’s lyrics in the aesthetics of the natural world in line with the core ideas and semantic concepts of the work «Pre-Christian beliefs of the Ukrainian people» by Ivan Ohiienko. In this context, we analyze in detail the traditional fl oristic images (evshan-potion, viburnum) permeated in the art world of Iryna Kalynets, singled out in this work by its author as markers of the national world. The second aspect of the interpretation of the poet’s lyrics lies in the plane of analysis of astral symbolism (sun, moon, stars). In her author’s text, as well as in the work of Ivan Ohiienko, the images of the astral cult regulate the co-herence of the earthly and celestial spheres, creatively realize the aesthetic function of the binary opposition earthly / celestial. The key images of the ancient Ukrainian world in Iryna Kalynets’ work are focused in the semantic fi eld of Ohiienko’s sci-entifi c concept. At the same time, they function in diff erent associative contexts, attesting to their individual artistic versions.
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Krynicka, Tatiana. "Przymioty i zadania żony według Jana Chryzostoma." Vox Patrum 53 (December 15, 2009): 113–21. http://dx.doi.org/10.31743/vp.4458.
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Like many others Church fathers John Chrysostom considers virginity preferable to marriage. At the same time, being an interpreter of Saint Paul’s doctrine, he repeats that marriage is a splendid God’s mystery (Ephesians 5, 31-33). That is why he explains to the Christian men what kind of women they have to marry in order to become happy husbands, as well as draws Christian wives’ attention to their duties. According to Chrysostom, a man who seeks a wife should follow example of the servant, sent by Abraham back to his homeland to get a bride for his son, Isaac. First of all, he must aim to find a righteous woman. Bride’s wealth, as well as physical beauty are able to make her husband happy only provided that she lives faithfully serving God. Saint John teaches that God expects married Christian women to submit to their husbands, to live a chaste life, to take care of household while the man is about his public business, to be modest in their appearance and manners. Many times he sharply points out women’s vices and faults. On the other hand he holds in high esteem their virtues and sensibility, as well as demands that husbands should love their wives, treat them with respect, be loyal to them. Analyzing female characters pictured by John Chrysostom, we often come across the types well-known through ancient Greek poetry.
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Horodets’ka, Veronika. "Khrystyyansʹki sakralʹni symvoly u prostorovo-chasovomu kontynuumi poetychnoho movlennya ukrayinsʹkoho pysʹmennyka Yuriya Andrukhovycha." Studia Ucrainica Varsoviensia, no. 8 (August 31, 2020): 29–39. http://dx.doi.org/10.31338/2299-7237suv.8.5.
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This article explores the linguistic worldview of a Ukrainian poet – postmodernist Yuriy Andrukhovytch – realized through the concept of “Christian sacred symbols” analyzed from the perspective of anthropological and cognitive aspects of lingual and cultural studies. It defines the essence and the ways of implementing the concept in the spatio-temporal continuum of poetry collection “India” as well as highlights the role of man in the poet’s imaginary world through the archetypes of the world culture and decodes symbolic meaning of cultural context of the author’s works. Contrary to a generally accepted view that the earth is round, spatial reality for the author turns out to be a planet which resembles a cake, a fl at surface, a desert, a kingdom and a bridge. The sky is seven crystal hemispheres, out lining the heavenly space with stars and planets fixed at each level. The space is represented by such geographical notions as East Asia, India, China, the river Nile. The author of the article supposes that India becomes for the writer the embodiment of our civilization at all times of mankind, another way to present man in the space of eternity, and a kind of life philosophy. The synthesis of pagan, Jewish, Hindu, Muslim and Christian ideas about man’s place in the world and his moral peace, happiness and overall love is represented by such symbols as angels, harpes, gehennr hell hrifony, dragons, percale books, lilies, honey, pythons, fl ags, birds, reptiles, saints, timpani, newts, tulips, furies, devils, Yuri’s sword, Yasmin and others.
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Melnik, Vladimir I. "Patristic teaching in N. A. Nekrasov's early poetry: from a religious subject to the evangelic ideal." Verhnevolzhski Philological Bulletin 2, no. 29 (2022): 8–16. http://dx.doi.org/10.20323/2499-9679-2022-2-29-8-16.
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The originality of N. A. Nekrasov's early poems in «Dreams and Sounds» is based on patristic teaching. This collection revealed not only Nekrasov's discipleship as a poet, but also his «spiritual discipleship», his attempts to put his church experience into poetic form, his neophyte categorical nature as a spiritual person. Nekrasov was excused by his youth and purity of motives. But being a great poet, he soon realized that one should not write so bluntly and categorically about religious issues, that religiosity is important in art due to its hidden depth, rather than its open, almost journalistic expression of the dogmas and tenets of church life. Nevertheless, he managed to find forms of original poetic expres-sion. In each of his poems, Nekrasov not only follows church regulations, but also shows his own innovations. The po-ems «Death», «Conversation», «Doubt» and others are analyzed from this point of view. The content of these works shows that Nekrasov not only had an idea of the patristic Orthodox teaching, but also tried to wage «spiritual struggle», as far as it was possible at a very young age and in his life circumstances. After a short time he would find the strength to stop trying to present a scholastic «theory» of Christian doctrine, but would not lose the warmth of his faith, but bring its life-giving gospel spirit into his social poetry, filling it with the spirit of love, mercy, and holy impulses. The author raises the question of the links between the collection «Dreams and Sounds» and Nekrasov's later work.
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Ovcharenko, Olga A. "IMAGE OF GOD IN FERNANDO PESSOA LITERARY WORKS." Vestnik of Kostroma State University 30, no. 1 (June 28, 2024): 75–80. http://dx.doi.org/10.34216/1998-0817-2024-30-1-75-80.
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Philosophical problematics occupies the central place in Fernando Pessoa’s literary works and appears in all the genres of his literary heritage, beginning with the lirico-epical cycle “Message” and finishing with his heteronimical lyrics and “The Book of Anxiety”. During all his life Pessoa appealed to the problem of God and solved it in different ways, but did not arrive to any definite conclusion. The problem interested Pessoa because he wanted to find in God a kind of defence, but finally remained alone before the Destiny to which the God himself could not resist. The author of the article focuses on the image of God in orthonymic and heteronymic lyrics of Fernando Pessoa, as well as in his prose. The author of the article shows the difference in the attitude to God of Pessoa’s different heteronyms, analyses Pessoa’s religious views in the “Book of Disquiet” and investigates in details his positions in orthonymic poetry, poetic cycle “Message” especially. It is concluded that during all his life, Pessoa hesitated between Catholicism and Gnosticism, corresponding to his own definition of “Christian gnostic”.
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Gaponenkov, Alexey А. "The Bible in the religious and philosophical works of N. S. Arseniev: Mystical experience." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 23, no. 1 (March 21, 2023): 9–14. http://dx.doi.org/10.18500/1819-7671-2023-23-1-9-14.
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The article traces the formation of the mystical experience of Nikolai Sergeevich Arseniev (1888–1977) on the basis of the memoir book “Gifts and Encounters of the Life Path” (1974), and the stages of his consideration of biblical studies. The analysis of Arseniev’s exegetical work “The Religious Experience of the Apostle Paul” (1935) is proposed. He was one of the Russian thinkers in whose writings the Holy Scripture occupied a central place, and almost all of his religious ideas grew out of New Testament books, and biblical concepts. As an exegete, he studied the problem of the Logos in the Gospel of John the Evangelist and the mystical experience of the Epistles of the Apostle Paul. The cross-cutting theme of Arseniev’s works was mysticism in ancient cults, the poetry of the Middle Ages, the works of the desert fathers, the texts of Russian and Western European ascetics of piety, religious philosophers (A. S. Khomyakov, I. V. Kireevsky, S. N. Trubetskoy, S. L. Frank) and biblical scholars. He relied on the mystical experience of the Church, the unity of Christians. In the Epistles of the Holy Apostle Paul, Arseniev emphasized the mysticism of life in Christ, Christian realism, the realism of the Cross of the Lord, and the realism of Resurrection. In general, the mystical experience of Paul, his preaching and activity, according to Arseniev, differs from “our usual experience” and is more real, since the apostle is “subdued”, “captured” by Christ, His fullness, and the grace of God.