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Journal articles on the topic 'Christian poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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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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2

Moor, Ed de. "Christelijke Themata in de Moderne Arabische Literatuur." Het Christelijk Oosten 47, no. 1-2 (November 29, 1995): 73–94. http://dx.doi.org/10.1163/29497663-0470102006.

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Themes Related to Christianity in Modern Arabic Literature Although Christians contributed largely to modern Arabic literature, in literary studies Arabic literature is generally considered as the reflexion of Islamic culture. Scholars tend to neglect the Christian aspects of this literature. Nevertheless there are some studies which deal with works by modern writers, Moslims and Christians alike, on themes such as mixed marriage, Church and State, the problem of the minorities and religious questions. Striking themes in modern Arabic prose and poetry, are the presentation of Jesus, the Son of Men, as a prophet of social justice, and motifs such as the Holy Cross and the Resurrection. We find these themes fairly often in the prose written by Jibran Khalil Jibran, a Lebanese Christian, in the poetry by the so-called T ammuzian poets and in the Palestinian Resistance poetry. Modern novels sometimes deal with historical events concerning Christianity, as is shown in some works by Najib Mahfuz and Kamil Husayn.

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3

Kempton, Heather Mary. "Holy be the Lay: A Way to Mindfulness Through Christian Poetry." OBM Integrative and Complementary Medicine 7, no. 1 (November 23, 2021): 1. http://dx.doi.org/10.21926/obm.icm.2201011.

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Mindfulness practices have exploded in popularity in public awareness and in therapeutic applications. While mindfulness in a therapeutic context is presented as a secular practice, its primarily Buddhist heritage may make some Christian clients wary of engaging. Research indicates that both reflection (co-creation) on poetry and creation of poetry can be therapeutic, and that both Buddhist and secular/therapeutic mindfulness texts use poetry to convey meaning through key themes of nature, change/impermanence, stages of practice, and acceptance. Taken together poetry offers a pathway to mindfulness, which in this article is applied to the Christian client. Examples are given of: how mindfulness-based practices are in accordance with Christian teachings (e.g., grace theology), that poetic practices already exist in Christian traditions (e.g., Lectio Divina and the Prayer of the Heart), and themes previously identified in Buddhist and secular/therapeutic mindfulness related poetry, are also present in Christian poetry. It is argued that poetry can provide an appropriate and palatable vehicle for introducing Christian clients to mindfulness, which allows for the individual’s spirituality to be harnessed as a mediator of the benefits of mindfulness practice.

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4

Malachi, Zvi. "Christian and Jewish Liturgical Poetry." Augustinianum 28, no. 1 (1988): 237–48. http://dx.doi.org/10.5840/agstm1988281/212.

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5

Boyle, Nicholas. "The Idea of Christian Poetry." New Blackfriars 67, no. 798 (October 1986): 436–54. http://dx.doi.org/10.1111/j.1741-2005.1986.tb07045.x.

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6

Birns, Nicholas. "Christian Mysticism and Australian Poetry." Journal of Australian Studies 38, no. 2 (April 3, 2014): 246–47. http://dx.doi.org/10.1080/14443058.2014.904720.

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7

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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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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9

Edzard, Alexandra. "A Judeo-French Wedding Song from the Mid-13th Century: Literary Contacts between Jews and Christians." Journal of Jewish Languages 2, no. 1 (June 9, 2014): 78–98. http://dx.doi.org/10.1163/22134638-12340022.

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The subject of this article is a bilingual Judeo-French wedding song, edited by David Simon Blondheim in 1927. It is studied in its linguistic (Hebrew and French) and cultural (Jewish and Christian France) context. In the Jewish tradition, the song belongs to a widely used form of poetry in which two or more languages alternate. A similar bi- and multilingualism can also be found in medieval Christian poetry in France and in Muslim poetry in Moorish Spain. The present study concentrates on poems in which French can be found together with other languages. The article demonstrates influence from Christian multilingual poetry on the Judeo-French wedding song. In addition, it discusses how Jewish and Christian poets proceed when using more than one language and what reasons there are for the use of multiple languages within a single text.

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10

Franchi, Roberta. "Dal racconto storico-agiografico alla riscrittura poetica." Augustinianum 60, no. 2 (2020): 399–426. http://dx.doi.org/10.5840/agstm202060222.

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Peristephanon X, a hymn on the martyrdom of St. Romanus of Antioch, may be considered the masterpiece of Prudentius’ poetry on the Christian martyrs. Romanus is represented as a Christian hero. As a rhetor, he defends his faith against paganism as if he were a lawyer; as a martyr, he follows Christ’s example in accepting torture and death. Prudentius’ poetry aims to stimulate and revivify the Christian belief of his audience.

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11

Irina, G. Ryabiy. "Narodnaya dukhovnaya poeziya - vozmozhnyy istochnik khristianskikh motivov v poezii M. Yu. Lermontova." Yugra State University Bulletin 11, no. 1 (December 15, 2015): 135–40. http://dx.doi.org/10.17816/byusu2015111135-140.

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12

Arnold, R. "The Poetry of Piety: An Annotated Anthology of Christian Poetry." Literature and Theology 17, no. 1 (March 1, 2003): 104–5. http://dx.doi.org/10.1093/litthe/17.1.104.

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13

Baran, Baran A. M. "Christian confessions in T. Shevchenko’s poetry." Literature and Culture of Polissya 93, no. 11f (2018): 5–18. http://dx.doi.org/10.31654/2520-6966-2018-11f-93-5-18.

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14

Chaturvedi, Namrata. "Christian Devotional Poetry and Sanskrit Hermeneutics." International Journal of Asian Christianity 1, no. 1 (November 1, 2018): 64–90. http://dx.doi.org/10.1163/25424246-00101005.

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This paper focuses on exploring dhvani as a hermeneutical tool for reading Christian devotional literature. Dhvani is a theory of poetic suggestion proposed by Ānandavardhana in the eighth century and elaborated upon by Abhinavagupta in the eleventh century that posits layers of semantics in poetic language. By focusing on the devotional poetry of the seventeenth-century religious poets of England, this paper argues for Ānandavardhana’s proposed poetics of suggestion as an enabling way of reading and cognizing devotion as a psycho emotive process. In the context of Indian Christianity, dhvani has been suggested by certain scholars as also enriching the possibilities of interfaith dialogue. This paper argues for incorporating poetic frameworks like dhvani as modes of interfaith dialogue, especially when reading Christian texts in India.

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15

Tatarinova, L. N. "CHRISTIAN ANTINOMY IN MODERN SPIRITUAL POETRY." Rossiiskii Gumanitarnyi Zhurnal 3, no. 1 (2014): 45. http://dx.doi.org/10.15643/libartrus-2014.1.7.

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16

Aleksić, Jana. "Christian inspiration in contemporary Serbian poetry." Kultura, no. 178-179 (2023): 99–136. http://dx.doi.org/10.5937/kultura2379099a.

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The subject of our research in this paper are aspects of religious spirituality in contemporary Serbian poetry. First, we give an overview of poetic, ideological and cultural characteristics of poetic production in the last three decades, with certain value categorizations. We then direct our attention to the individual poetics of poets born in the seventies and eighties, whose poetry has a proven presence of Christian inspiration. Our goal is to establish a literary-historical and culturally distinct poetic flow and situate it within the History of Modern and Contemporary Serbian literature, predominantly secular. The focus of our analysis is not exclusively quotes, narratives or motifs from the Bible and patristic literature. We examine how Christian (Serbian-Byzantine and Western-Christian) spirituality participates in the formation of an individual poetic view of the world, as well as poetic spirituality that manifests itself through poetic images, expressions and figures. We are interested in the work of the religious consciousness of our poets in shaping their artistic, moral and value attitudes towards the phenomena of our epoch, but also towards the culture to which they belong. Therefore, we analyse the cultural models that these poets embrace in their poetry, as well as the humanistic messages that they place within their immanent poetics. We come to the conclusion that male and female poets, with their poetic and spiritual commitment, have taken the risk of deciding to give up poetry as a form of social engagement, aware in advance of the burden of the alternative and the minority.

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17

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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18

Gardner, Kevin J. "Parish of the Dead." Religion and the Arts 20, no. 5 (2016): 637–62. http://dx.doi.org/10.1163/15685292-02005004.

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This essay offers an introduction to the poetry of Peter Scupham. Through close readings of individual poems, I demonstrate the beauty and formal accomplishment of his work, and I argue that his poetry embodies his sense of a living Christian tradition, one that also inheres in the English landscape. I further argue that this tradition connects the dead to the living, and the remote in time to more recent English history. The particular Christian ethos of Scupham’s poetry is one in which tradition, order, design, meaning, and essence are paramount.

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19

Adamiak, Jarosław. "Motyw Aurory w antycznej poezji chrześcijańskiej." Vox Patrum 60 (December 16, 2013): 79–92. http://dx.doi.org/10.31743/vp.3979.

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The theme of Dawn, which is present in the epics of Homer and later on in the poetry of Vergil and Ovid, was also present in ancient Christian poetry. This, on one side was due to ancient education, that included works by classical authors. On the other side, it resulted from the desire by Christian artists to mimic pagan masters. The theme of dawn is an example of acquasition of poetic patterns, but it also shows the original thought of Christian poets who gave it new meaning, identifying the Aurora with Christ.

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20

Bontempo, Eric. "Converting Byron in Victorian Devotional Poetry Collections." Essays in Romanticism 29, no. 2 (October 1, 2022): 187–212. http://dx.doi.org/10.3828/eir.2022.29.2.6.

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This essay examines the variety of religious remediations of Byron’s poetry in the Victorian period, arguing that the poet’s specialized inclusion in Victorian devotional poetry anthologies signals the logic and politics of evangelical Christianity. Carefully anthologized selections of Childe Harolde’s Pilgrimage and Hebrew Melodies in devotional poetry collections like The Pious Minstrel (1831), Beauties of Modern Sacred Poetry (1862), and The Sunday Book of Poetry (1864) allowed publishers, editors, and readers to claim Byron as either a converted, saved Christian poet or as a lost soul who occasionally expressed the pious insights of someone on the brink of conversion. Byron’s posthumous reception in Victorian evangelical discourse is an understudied phenomenon that parallels other forms of Victorian Byromania that attempt to “convert” the poet and his works. I argue that the remediation and circulation of Byron’s anthologized devotional poetry offers insights into Victorian conceptions of Christian living, prayer, devotion, and piety.

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21

KAZAKOVA, MARIA, and STEFANIIA KHMYLOVA. "MOTIFS OF CHRISTIAN ETHICS IN ZACHARIAS TOPELIUS POETRY." Studia Humanitatis 19, no. 2 (October 2021): 43–49. http://dx.doi.org/10.15393/j12.art.2021.3726.

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The article analyzes the motifs of Christian ethics in the poetry of a Finnish poet, writer, historian, and journalist Zacharias Topelius, whose artistic world view was shaped under the influence of the ideological and aesthetic Christian tradition. The relevance of the topic is determined by the growing interest in studying the representation of the motives of Christian morality in the works of European writers, as well as by the fact that the topic has not been sufficiently studied in Russia. References to the biblical texts enable us to trace the spiritual development of Topelius’s lyrical hero into the conscious cognition of his purpose. The author identifies the dominant set of Christian motifs represented by the motifs of purification and humility of soul through suffering. It is proved that Topelius’s works form a consistently built individual author’s model of the artistic embodiment of the main provisions of Christianity.

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22

Bradburn, Elizabeth. "The Poetry and Practice of Meditation." Poetics Today 40, no. 3 (September 1, 2019): 597–614. http://dx.doi.org/10.1215/03335372-7558178.

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Is reading poetry good for you? Drawing on evidence that reading poetry involves some of the same brain structures as those upon which human psychological well-being depends, this essay argues that George Herbert’s devotional lyrics, long understood as Christian meditations, center on recurring images in a manner consistent with the modern practice of mindfulness meditation. There is a significant overlap between the way meditation was understood by seventeenth-century Christians and the way it is understood by modern meditators in a secular and therapeutic context. Neurally, meditation means the reduction of activity in the brain’s default mode network; phenomenally, it means repeatedly bringing wandering attention back to a chosen meditation object. Poetry can be isomorphic with meditative practice because the image of meditation has an identifying pattern of movement—spontaneous wandering and controlled return—that can be created in several sensory modalities. Complex enough to characterize Herbert’s poetry as meditative, the pattern of wandering from and returning to a focal image potentially defines a meditative literary mode with a distinctive relationship to the imagination. The therapeutic potential of meditative poetry speaks to the value not just of poetry but of humanist education in general.

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23

Liberman, Anatoly. "Poetry on Christian Subjects (review)." JEGP, Journal of English and Germanic Philology 108, no. 4 (2009): 550–54. http://dx.doi.org/10.1353/egp.0.0083.

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24

Chakravarti, Ananya. "BetweenBhaktiandPietà: Untangling Emotion in Marāṭhī Christian Poetry." History of Religions 56, no. 4 (May 2017): 365–87. http://dx.doi.org/10.1086/690703.

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25

Maxton, Rosie. "Sulayman al-Ghazzi and Christian Arabic Poetry." Bulletin for the Council for British Research in the Levant 12, no. 1 (January 2017): 91–92. http://dx.doi.org/10.1080/17527260.2017.1556956.

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26

Kirsch, Adam. "The Rareness of Poetry: On Christian Wiman." Sewanee Review 125, no. 1 (2017): 108–29. http://dx.doi.org/10.1353/sew.2017.0010.

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27

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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28

Azarova, N. M. "ADVENTURES OF THE SOUL: TRANSMISSION OF THE SYSTEM OF MYSTICAL POETRY IN THE LANGUAGE OF VENIAMIN BLAZHENNY." VESTNIK IKBFU PHILOLOGY PEDAGOGY AND PSYCHOLOGY, no. 1 (2023): 50–60. http://dx.doi.org/10.5922/pikbfu-2023-1-5.

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The poetry of Veniamin Blazhenny (the Blessed) can be seen as a vivid example of the translation of the typological properties of the language of mysticism in late 20th century poetry. The artistic nature of the work of the Blessed during this time did not receive a fundamental analysis. The soul, a key concept of Blazhenny’s poetry, reveals undoubted similarities with the conceptualization of the soul and the idea of metempsychosis in Jewish and Judeo-Christian mysticism. This study focuses on grammatical elements, and in particular the system of pronouns and negative poetics, the way the subject is constructed and the strategy of anti-discursiveness. The key word and concept of Blazhenny’s poetry is the Soul which reveals an undoubted similarity with the conceptualization of the soul and the idea of metempsychosis in Jewish and Jewish-Christian mysticism.

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29

Gacia, Tadeusz. "Topos "locus amoenus" w łacińskiej poezji chrześcijańskiego antyku." Vox Patrum 52, no. 1 (June 15, 2008): 187–98. http://dx.doi.org/10.31743/vp.8051.

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This paper deals with the topos of locus amoenus in Latin poetry of Christian antiquity. Descriptions of idealized landscape can be found in whole literary tradition from Homer on. In Latin epic poetry Virgil used this device to describe Elysium, which Aeneas enters in the Aeneid. In Virgil’s eclogues locus amoenus is a place of refuge for shepherds from calamities of fate and an alien world. For the farmer in his Georgics it is a reward for honest agricultural work. For Horace it was an escape from the noise of the city. For Christian poets, Prudentius in Cathemerinon, Sedulius in Carmen paschale, Avitus of Vienne, Dracontius, Venantius Fortunatus and other, locus amoenus becomes the biblical paradise in the eschatological sense, or morę generally, salvation. Use of the topos of locus amoenus shows the cultural continuity of antiquity. In Christian poetry this theme is filled with a new content, but the process of thinking and artistic creation remains they share with classical authors.

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30

Pifer, Michael. "The Rose of Muḥammad, the Fragrance of Christ: Liminal Poetics in Medieval Anatolia." Medieval Encounters 26, no. 3 (September 24, 2020): 285–320. http://dx.doi.org/10.1163/15700674-12340073.

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Abstract Although scent has played a diminished role in modern Western societies, it communicated a wide array of meanings to Muslims, Christians, and Jews in medieval Anatolia. This study examines the ubiquitous presence of fragrance in Persian and Armenian poetry, particularly in the works of Jalāl al-Dīn Rūmī (d. 1273), his son Sulṭān Walad (d. 1312), and Kostandin Erznkatsʿi (fl. late thirteenth–early fourteenth cen.), a Christian Armenian poet of Erzincan. For these and other poets, olfaction served as a rich heuristic for sensing the divine essence in many contexts: in everyday customs, such as washing with rose water or the preparation of sherbet; in devotional practices, such as burning incense or receiving communion; and finally in the instruction of poetry itself.

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Liu, Benjamin. "“Un Pueblo Laborioso”: Mudejar Work in the Cantigas." Medieval Encounters 12, no. 3 (2006): 462–74. http://dx.doi.org/10.1163/157006706779166002.

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AbstractThis essay analyzes the idea of “work” as a site of convergence between two meanings of the term mudejar: the sociohistorical, in which the Mudejar is a tax-paying minority Muslim under Christian rule, and the aestheticist, in which mudejar describes a style of architectural and artisanal craftsmanship. Both senses—minority labor as taxable production and as cultural product—are studied in the poetic and social contexts of medieval Spanish poetry, with specific attention to thirteenth-century Galician-Portuguese poetry. The essay concludes by identifying a shift, described in terms articulated by Pierre Bourdieu, in the economic relations between Christians and Muslims, from that primarily viewed as an interpersonal social relation to a material relation expressed as goods and capital.

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32

Kulesza, Dariusz. "O tym, czego nie ma? Poezja chrześcijańska w Polsce XXI wieku." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 57, no. 4 (April 3, 2023): 281–97. http://dx.doi.org/10.36770/bp.754.

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The purpose of the article is to identify the state of Christian lyric poetry in contemporary Polish literature. A reliable diagnosis on this matter is made by a historical-literary analysis, carried out with the help of the cube figure. It indicates the most important axes ordering Polish contemporary poetry in a way that transcends the ad hoc character of critical assessment. An additional criterion is a historical-literary context related to the works of Kochanowski, Sęp Szarzyński, and Norwid. The recognition, referring mainly to the poems of poets grouped around the journal "Topos", shows that in the 21st century, Christian poetry in Polish literature is not present. The article formulates possible conditions conducive to its appearance in the future.

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33

Smith, G. M. "Ambivalence in the Christian poetry of C.S. Lewis." Literator 20, no. 1 (April 26, 1999): 15–30. http://dx.doi.org/10.4102/lit.v20i1.442.

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This article examines the ambivalence expressed in certain of the explicitly Christian poems written by C.S. Lewis. As a writer his primary claim to fame is his Christian apologetics, in spite of the fact that he is well thought of in literary circles and produced several scholarly works. In the light of his considered Christian convictions, one would expect his poetry to voice a strong faith and confidence in God However, somewhat ironically, certain of his poems reflect his struggles and doubts concerning faith in an intensely personal register. Nevertheless, in spite of his ambivalent feelings towards God, he retains the certainty that God is able to transcend his human frailty and difficulties. The problem of faith is relevant in our own time, and it therefore seems fitting that we should examine certain of C.S. Lewis's poems in commemoration of the centenary year of his birth.

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34

Russell, Richard Rankin. "The Poet as Christian?: Seamus Heaney and Irish Catholicism." Christianity & Literature 72, no. 2 (June 2023): 290–302. http://dx.doi.org/10.1353/chy.2023.a904921.

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Abstract: This essay-review analyzes Kieran Quinlan's 2020 study, Seamus Heaney and the End of Catholic Ireland (Catholic University Press of America), noting its tendency to conflate Catholicism north and south of the border between Ireland and Northern Ireland and its bias against recovering Christian images, ideas, and values in Heaney's poetry. Heaney's Northern Irish Catholicism became a persistent element in his poetry and continued to influence it until his death in 2013.

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35

Thurn, Nikolas. "Christian Schesaeus and Heinrich Porsius." Specimina Nova Pars Prima Sectio Medaevalis 6 (May 12, 2022): 175–85. http://dx.doi.org/10.15170/spmnnv.2011.06.11.

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Neo-Latin poetry of the 16th century is generally open to each of its regional, vernaculare literatures. The paper illustrates this fact by two epic poems: Christian Schesaeus' Ruinae Pannonicae and Heinrich Porius' Iter Byzantinum. It argues that they cannot fully be understood without considering their relationship to the Hungarian poems of Sebastian Tinodi and the German tradition of "Newe Zeyttungen".

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36

Kilikily, Cristianti Costafina, and Dovila Johansz. "Pemanfaatan Metode Cooperative Script dalam Meningkatkan Kemampuan Membaca Puisi pada Siswa Sekolah Dasar." Indo-MathEdu Intellectuals Journal 4, no. 3 (December 2, 2023): 2049–57. http://dx.doi.org/10.54373/imeij.v4i3.401.

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This research aims to investigate the use of the Cooperative Script Method in improving the ability to read poetry in elementary school students. This research was carried out on Class V students of Yamluli Christian Elementary School, Southwest Maluku Regency. This researcher is conducting classroom action research to describe student activities in the Indonesian language learning process using the Cooperative script method to improve poetry reading skills. The results of this research show an increase in poetry reading skills seen in the initial test results with a score of 46.27 and an increase in cycle I with an average score of 63.81 and an increase in cycle II to 72.27 so this research is said to be successful because it has met the KKM. at Yamluli Christian Elementary School it was 65.

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KRAVETS, Larysa. "CONCEPTS OF CHRISTIAN CULTURE IN RECENT UKRAINIAN POETRY." Culture of the Word, no. 97 (2022): 61–72. http://dx.doi.org/10.37919/0201-419x-2022.97.7.

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During its long existence, Christianity had a powerful influence on the development of world culture in general and Ukrainian culture in particular. The Bible and other Christian texts determined the formation of the aesthetic foundations of ancient Ukrainian literature and became an inexhaustible source for the creativity of Ukrainian writers of the new era. Today's tragic events actualized in the country’s cultural space religious texts of various genres and themes, which in the literary and artistic sphere became a powerful source of language and expressive means, as well as new contents and ideas. The modern poetic reception of Christian texts preserves the durability of the national literary tradition and at the same time is characterized by numerous different types of innovations. Through the concepts of Christian culture, their reinterpretation, the authors convey the tragedy of the events, the difficult trials that once again befell the fate of the Ukrainian people, and at the same time support and inspire people. The recorded units are divided into groups (1) concepts of God, the Holy Spirit, Jesus Christ, the Virgin Mary and biblical figures (Simon, Pilate, Judas, St. Peter), (2) biblical toponymic concepts, (3) concepts of mythical creatures (angels, beast; animals), (4) object concepts (cross, thirty pieces of silver, cup). It is natural that the concepts of the first and second groups are the most used in modern Ukrainian poetry, and the concepts of the third and fourth groups are less used. The artistic reception of Christian concepts in war poetry is diverse in terms of form and method of use, realized content and functional significance, and frequency of actualizations. Despite the differences in the stylistic and worldview-aesthetic direction of the artists’ creativity, they have in common an appeal to Christianity as the spiritual core of national culture. Concepts of Christian culture are emotional and meaningful clots of collective memory, spiritual culture, which deepen the content of poetic texts, appealing to universal values, evoking a wide range of associations. The actualization and reinterpretation of these concepts helps convey the tragedy of the events, the difficult trials that befell the Ukrainian people, and at the same time support and inspire people. Their use in poetic texts testifies to the bibliocentricity of the linguistic thinking of Ukrainian authors.

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Lombard, Daniël B. "The Manifestation of Religious Pluralism in Christian Izibongo." Religion and Theology 6, no. 2 (1999): 168–93. http://dx.doi.org/10.1163/157430199x00128.

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AbstractThe article contributes to scholarly inquiry into religious pluralism in South Africa, in particular to how Christian doctrine interacts with the African worldview. Evidence for the intercultural and interreligious discourse is based on an analysis of a eulogy of Christ, created and performed in the traditional style of izibongo, or Zulu praise poetry. The conclusion is drawn that the eulogy is a manifestation of vigorous interreligious dynamics, showing that Christianity and izibongo are both remarkably protean in their potential for creative interaction. Christianity is embraced, but simultaneously transformed by the indigenous genre; praise poetry can assert its traditional style, but itself becomes transmuted by Christian doctrine.

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류양선. "The Christian faith in Yun, Dong-ju's poetry." Korean Poetics Studies ll, no. 31 (August 2011): 141–68. http://dx.doi.org/10.15705/kopoet..31.201108.006.

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Williams, Rhian. "Christian and Lyric Tradition in Victorian Women's Poetry." English Studies 96, no. 6 (July 17, 2015): 722–24. http://dx.doi.org/10.1080/0013838x.2015.1045757.

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Park, Il-woo. "A Study on the Creation of Christian Poetry." Hannam Language and Literature 42 (December 30, 2021): 55–81. http://dx.doi.org/10.69544/hnlal.2021.1.3.

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Münz-Manor, Ophir. "Liturgical Poetry in the Late Antique Near East." Journal of Ancient Judaism 1, no. 3 (May 6, 2010): 336–61. http://dx.doi.org/10.30965/21967954-00103005.

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The article presents a contemporary view of the study of piyyut, demonstrating that Jewish poetry of late antiquity (in Hebrew and Aramaic) was closely related to Christian liturgical poetry (both Syriac and Greek) and Samaritan liturgy. These relations were expressed primarily by common poetic and prosodic characteristics, derived on the one hand from ancient Semitic poetry (mainly biblical poetry), and on the other from innovations of the period. The significant connections of content between the different genres of poetry reveal the importance of comparative study. Thus the poetry composed in late antiquity provides additional evidence for the lively cultural dialogue that took place at that time.

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Bosmart, M. "Simbolistiese trekke in die poësie van C. Louis Leipoldt." Literator 13, no. 2 (May 6, 1992): 97–110. http://dx.doi.org/10.4102/lit.v13i2.748.

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Due to Leipoldt's long stay abroad as well as his extensive reading of European literature, there is a strong possibility of Symbolist influence on his poetry. However, the large volume of Leipoldt’s poetry cautions against concluding too much from symbolistic traits in isolated poems. Rather, the presence of a symbolistic world view, encompassing the acknowledgement of a transcendental world, and a conception of poetry as having to represent this world, should be traced as a background against which individual poems could be read. Critics have identified a number of characteristics of Leipoldt’s poetry which might bear on Symbolism. These include the poet's individualism, a dualistic tension between various oppositions, an interest in the exotic and the occult and a consciousness of beauty. An overriding theme in Leipoldt’s work seems to be the search for meaning. Rejecting traditional Christian religion, Leipoldt tries to fin d meaning elsewhere. An awareness of some transcendental world can be shown in a number of poems. This world seems to be identified gradually with Nature as an eternal and omnipotent force. Against this background, certain repetitive motifs in Leipoldt’s poetry attain symbolic status, alluding to meanings hidden in the transcendental world.

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Reynolds, Dwight F. "Music, Poetry, and Lingua Franca in Medieval Iberia." Philological Encounters 2, no. 1-2 (January 9, 2017): 76–94. http://dx.doi.org/10.1163/24519197-00000016.

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This essay examines three different points of cultural contact between Muslims and Christians in medieval Iberia as documented in three different bodies of texts. In each example, the use of a lingua franca results in the exchange of cultural ideas and the re-presentation of one group in the language of another. The first point of contact is in the court of Córdoba in the early 9th century as recorded in an Arabic biography of a musician, which has survived only as excerpted in a later encyclopedia compiled across the Mediterranean in Syria in the 14th century. The second point of contact takes place only a few decades later, also in Córdoba, and is documented in a Latin epistle composed by a Christian during a period of increasing tension between Muslims and Christians. The third point of contact occurs in Aragon and Catalonia in the late 14th and early 15th century, where ‘Moorish’ and Jewish musicians and dancers were regularly hired to perform at the courts of the royal family and other nobles, the evidence for which is found in financial records composed in Old Catalan. Each of these examples provides evidence of cultural contact that could significantly change our understanding of the relationship between cultural and linguistic groups in this period.

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Grech, Marija. "Eco-Deconstructive ‘Misreadings’: Textuality and Materiality in Derrida and Christian Bök." Oxford Literary Review 45, no. 1 (July 2023): 88–103. http://dx.doi.org/10.3366/olr.2023.0405.

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This article explores the relationship between textuality and materiality through a reading of the work of Derrida alongside that of the experimental poet Christian Bök. Bök’s poetry exemplifies how a playful manipulation of the materiality of a text can differentially enact what might be thought of as a textuality of matter, and, in doing so, it enacts an eco-deconstructive reading of itself that draws attention to the wider eco-deconstructive nature of language. In its self-reflexive absorption with the materiality of its own form, this poetry fixes its gaze inwards, revelling in the difficulty of its linguistic structures and the proliferation and frustration of meaning that they make possible. But it is precisely at the points of these inward turns that this poetry also reveals itself to be most intimately connected with other material realities. It is at the moments in which language appears most singularly itself—where the differentiality of its structures appears most particular and peculiar to it—this poetry suggests, that its differentiality replicates, touches, transforms and differs from itself in the equally differential movements of other material forms of existence.

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Yang, Xiaoli. "Towards a Chinese Theology of Displacement: The Poetic Journey of a Chinese Migrant." Mission Studies 37, no. 2 (June 19, 2020): 193–217. http://dx.doi.org/10.1163/15733831-12341715.

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Abstract While poetry was used as a rich vehicle to express one’s identity, freedom and communal belonging in the “poetry fever” (shige re, 诗歌热) of the 1980s in Mainland China, its connection with Christian theology has been long neglected despite the rapid increase in Chinese conversion to Christianity amongst the post-1989 generation. Using both autoethnographic and phenomenological methodology, this paper explores the relationship between the two using the author’s own poetry writings as a case study. From the vantage point of a Chinese Christian, poet and migrant to Australia, this paper is an inter-disciplinary study that journeys with the poetic voice from the themes of lament to search and then return, followed by some theological reflections. It argues that the dualistic thinking of poetry and theology can move into non-dualist responses so that the two can meet and become fused on the epistemological path towards God. This path parallels with that of the Israelites in exile, and ultimately Jesus’ journey in the gospel. It aims to provide a trajectory to develop further a poetic Chinese theology of displacement.

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Petrova, Maya. "Bede the Venerable’s De Arte Metrica and Christianization of the education in the early Middle Ages." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 13, no. 1 (2019): 269–84. http://dx.doi.org/10.25205/1995-4328-2019-13-1-269-284.

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The paper examines what texts of Christian poets were used by Bede the Venerable in his De arte metrica; how he quoted them. It is discussed how the norms of classical poetry were superseded in the schools of the early Middle Age, and how they were replaced by Christian ones.

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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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Maslova, Anna G. "Biblical Motifs and Images in E. I. Kostrov’s Poetry." Проблемы исторической поэтики 27, no. 1 (February 2020): 92–110. http://dx.doi.org/10.15393/j9.art.2020.6882.

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<p>The article analyzes the peculiarities of biblical motifs and images in E. I. Kostrov’s works. In his odes the poet often refers to the Old Testament scenes and images through the prism of a Christian aspect. Kostrov considers ancient and the Old Testament subjects in the light of the Christian and Orthodox tradition. The poet attributes a Christian sound to the secular genre of the ode, saturating his works with the motifs of the Holy Scriptures. Kostrov often uses the concept of “meekness” emphasizing the sanctity of the Orthodox power, which gets commandments of mercy and humility from God leading to spiritual salvation. The motif of two paths — the unholy and righteous ones — becomes cross-cutting in Kostrov’s poetry. The path of Russia corresponds to the latter one. The motif of divine light descending into the world and eradicating the darkness is the motif of the people “chosen by God”. According to Kostrov, not the Jews but the Russians are such a people. Working with the texts of the Psalms, Kostrov introduces his own motifs, shows his individuality, reveals his own experiences and doubts, and disagrees with some ideas of his era. Christian ideals of meekness and non-violence are the main values in E. I. Kostrov’s poetry.</p>

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González Varas, Carolina. "La espiritualidad cristiana en el hablante de Domingo Gómez Rojas." Literatura y Lingüística, no. 23 (July 29, 2014): 15. http://dx.doi.org/10.29344/0717621x.23.107.

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ResumenLa figura y obra poética de Domingo Gómez Rojas se ha dado a conocer, principalmente, por ser la obra de un estudiante encarcelado por “subversivo” y asesinado injustamente. En esta investigación nos alejamos de aquella perspectiva que hasta hace pocos años acaparó la atención de la crítica y revisamos un aspecto desatendido por sus estudiosos: la espiritualidad cristiana de su poética.Específicamente, se examina la cosmovisión cristiana del hablante lírico en el contexto del proceso de secularización, propio de la modernidad. Posteriormente, se confronta la espiritualidad del hablante con la del autor, con el propósito de ampliar el conocimiento de su poesía y de descubrir qué es lo característico y novedoso que realmente distingue la obra del poeta en este ámbito.Palabras clave: Poesía, cosmovisión, espiritualidad cristiana, Domingo Gómez Rojas.The christian spirituality on the speaker of DomingoGómez RojasAbstractDomingo Gómez Rojas´s poetry and figure has been known, mainly, because of being the work of an unjustly imprisoned and killed student. This research attempts to move beyond this perspective that, until recent years, captured the attention of critics, and is entering into a clearly unattendent topic: his poetry´schristian spirituality. Specifically, we are going to examine the lyric speaker´s christian worldview in the secularization context of modernity. We will confront the vision of the speaker with the one of the author, with the purpose of expanding the knowledge of his poetry and discover the characteristics that really distinguish this poet´s work.Keywords: Poetry, worldview, christian spirituality, Domingo Gómez Rojas.

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