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Journal articles on the topic 'Galician poetry'
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Kharchuk, R. B. "FIRST GALICIAN RECEPTION OF SHEVCHENKO’S POETRY (1840–1850’s)." Shevchenko Studies, no. 1(24) (2021): 130–41. http://dx.doi.org/10.17721/2410-4094.2021.1(24).130-141.
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The author examines the first reception of Shevchenko's poetry in Galicia in the 1840s and 1850s, finding out that Galician writers, including the publishers of «The Dniester mermaid» («Rusalka Dnistrova»), read Shevchenko's poetry in the almanac «Swallow» («Lastivka»). In her opinion, M. Shashkevych was more influenced by I. Kotlyarevsky's «Aeneid» and M. Maksymovуch's collection of Ukrainian songs than from Shevchenko's poetry, though he copied «Bewitched» («Prychynna») from the almanac «Swallow» («Lastivka»). This fact makes it possible to count M. Shashkevуch among the first implicit readers of Shevchenko in Galicia. Such reaction to Shevchenko's work can be explained by the fact that none of the three members of the «Russian Trinity» read the first Kobzar (1840). Y. Holovatsky has received «Chigirinskij kobzar and Gajdamaki. Dve pojemy na malorusskom jazyke Shevchenka» (St. Petersburg, 1844) in 1846 from K. Zap. He has received poems «Trizna» and «Hamalia» as well. This is evidenced not only by K. Zap's letter with the list of books he had to bring to Lviv, but also by the Y. Holovatsky’s memories, which have not been mentioned in Shevchenko's literature before. Y. Holovatsky refused to mention Shevchenko and his works in publications and lectures due to the coward in his house in connection with the report on reading the poem «Haydamaky». His brother Ivan intended to include Shevchenko's poetry in his anthology «The wreath for Ruthenians to Obzhynky» («Vinok Rusynam na obzhynky»), the first and second parts of which were published in 1846 and 1847 in Vienna, but he did not implement this plan. So, the first acquaintance with the poetry of Shevchenko in Galicia was mediated by an almanac «Swallow» («Lastivka»), the first implicit reader of Shevchenko in Galicia was M. Shashkevуch. «Kobzar» (1840) never reached Galicia, but information about «Kobzar» (1844), «Trizna», «Hamalia» and forbidden Shevchenko’s poem «Caucasus» («Kavkaz») circulated in the Galician intellectual environment. The first readers of Shevchenko in Galicia were a few people. The wider audience (mostly seminarists) became acquainted with Shevchenko's poetry following the «Kobzar» (1860).
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Rodrigues, Louis J. "Rosalía de Castro's Galician poems." Babel. Revue internationale de la traduction / International Journal of Translation 50, no. 1 (September 22, 2004): 60–75. http://dx.doi.org/10.1075/babel.50.1.07rod.
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Abstract Two Galician poems (one from each of two collections: Cantares Gallegos and Follas novas) by Spain’s most renowned poetess are examined in this critical essay, which includes translations into English, Spanish and Catalan together with an analysis of both poems and a commentary on each with a discussion of such technicalities as metre, rhyme, imagery, lexis and syntax insofar as they aff ect the end-product in each case. The essay discusses the linguistic features of Galician as a preliminary to the appreciation of the poems, draws attention to Rosalia’s statements on her art and works, and concludes with a review of the pertinent aspects of poetry in translation — its theory and practice. Résumé Deux poèmes galiciens (tires de chacune des deux collections: Cantares Gallegos et Follas novas) de la poétesse la plus célèbre d’Espagne, sont étudiés dans cet essai critique qui comprend des traductions en anglais, en espagnol et en catalan, ainsi qu’une analyse des deux poèmes et un commentaire de chacun, avec une discussion sur certains points techniques comme la metre, le rythme, l’imagerie, le lexique et la syntaxe, dans la mesure ou ils affectent, dans chaque cas, le product fini. L’essai traite des caractéristiques linguistiques du galicien, avant de passer à l’évaluation des poèmes. Il attire l’attention sur les déclarations de Rosalia à propos de son art et de ses oeuvres et conclut en passant en revue les aspects pertinents de la poésie en traduction — sa théorie et sa pratique.
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Palacios, Manuela, and Marilar Aleixandre. "Damnatio ad bestias: Performing Animality and Womanhood in Contemporary Irish and Galician Poetry." Altre Modernità, no. 26 (November 29, 2021): 84–98. http://dx.doi.org/10.54103/2035-7680/16690.
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The concomitant subjection of women and animals was denounced as early as 1990 by Carol J. Adams in The Sexual Politics of Meat, where she identified the intersections of discourses that aim at the subjugation of women and animals and censured those practices that animalize women and feminize animals for the better exploitation of both. More recent ecofeminist debates, however, have highlighted women’s vindication of animality with the aim to recuperate one’s repressed animal nature and rebel against oppressive anthropocentric and androcentric constrictions (Velasco Sesma 2017). This article focuses on contemporary Irish and Galician poetry concerned with the performativity of animality and womanhood in contemporary society and engaged in the emancipation of women and animals from patriarchal oppression. Ireland and Galicia have shared longstanding cultural bonds and, since the 1990s, have experienced a conspicuous accession of women writers who have participated in the feminist and environmental debates of their respective communities. This article exposes the intersecting discourses and practices that subdue animals and women, as evinced in contemporary Irish and Galician writing, and shows how poetry can become a locus of resistance and woman-animal complicity in the struggle for mutual emancipation.
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Blackmore, Josiah. "Medieval Galician-Portuguese Poetry: An Anthology.Frede Jensen." Speculum 70, no. 1 (January 1995): 157–58. http://dx.doi.org/10.2307/2864736.
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Lourido Hermida, Isaac. "Entre Rosalía 21 y Labregos do tempo dos sputniks: la poesía gallega como espectáculo." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (January 9, 2012): 90. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218551.
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El objetivo de este trabajo es analizar la presencia de la poesía en el espacio público gallego en la actualidad. Para ello, se estudian los discursos que han combinado poesía, oralidad y música en las últimas cuatro décadas. Con la intención de investigar los cambios sufridos por los modelos convencionales del recital, la canción de autor o el uso de textos poéticos en la música folk, son analizadas tres propuestas musicales contemporáneas: el proyecto interdisciplinar Rosalía 21, el programa de intervención política de Labregos do tempo dos sputniks y, finalmente, la iniciativa del grupo Fanny + Alexander, que vincula pop electrónico y letras contemporáneas. Palabras clave: poesía gallega, espacio público gallego, normalización cultural, intermedialidad. The paper aims to analyze the presence of poetry in the Galician public sphere nowadays. Therefore, discourses combining poetry, orality, and music over the last four decades are covered here. In order to study changes in conventional recital and singer-songwriting models, as well as the use of poetic texts in traditional music, the paper analyzes three contemporary musical proposals: the interdisciplinary project Rosalía 21, the political action program of Labregos do tempo dos sputniks and, finally, the work of the group Fanny + Alexander, that links electronic pop and contemporary lyrics. Keywords: Galician poetry, Galician public sphere, cultural normalization, intermediality.
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Palacios-González, Manuela. "The gender of translation: Irish poetry in Galician." Babel. Revue internationale de la traduction / International Journal of Translation 54, no. 3 (August 13, 2008): 268–80. http://dx.doi.org/10.1075/babel.54.3.04pal.
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Palacios, Manuela, and María Xesús Nogueira. "Otherwhereness and Gender: Mary O’Malley’s “Asylum Road” and Marga do Val’s “A cidade sen roupa ao sol”." Oceánide 13 (February 9, 2020): 103–10. http://dx.doi.org/10.37668/oceanide.v13i.46.
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This article aims to delve into the gendered nature of Mary O’Malley’s and Marga do Val’s poetry on displacement and migration, so as to assess the female subject’s questioning of notions such as home, belonging, mobility and otherness. In spite of these writers’ different national and cultural backgrounds, the common history of massive emigration from Galicia and Ireland allows us to hypothesize that their poetry and contemporary reflections on displacement are mutually relevant, as former research on Irish and Galician women’s mobility has indicated (Lorenzo-Modia 2016, Acuña 2014). As each writer is analysed, their most significant and germane propositions are identified. This allows us to conclude that there is a will to connect the theme of migration to the writers’ autobiographical experience of mobility and that O’Malley and do Val are thoroughly aware of the relation between past and present flows of emigration and immigration.
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KOBRYN, Nataliia. "Musical Shashkevychiana in Galicia (Until 1939)." Наукові зошити історичного факультету Львівського університету / Proceedings of History Faculty of Lviv University, no. 23 (June 8, 2022): 324–40. http://dx.doi.org/10.30970/fhi.2022.22-23.3624.
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Shashkevych's virtuosity was one of the most important part of national celebration, as well as the separate trend of Ukrainian concert life in Galicia from the second part of 19th until 1939. The cult of Shashkevych's work as a driving factor of the national revival and development of the musical culture of Galician Ukrainians was formed during the XIX - first half of the XX century simultaneously with the annual honors of Taras Shevchenko. The milestones of Shashkevych's 1887, 1893, 1911, and 1937 anniversaries were not only demonstrations. They intensified the Ukrainian musical art and performance, including the creation of new musical compositions on the poetry of Shashkevych. The article analyzes the artistic aspects of Shashkevych's anniversaries and concerts in Galicia until 1939 in terms of the musical content of concert programs and national composition.
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ALFONSO-GARCÍA, ALETHIA. "Reconsidering the Environment and Configuring a Truth through Contemporary Galician Poetry." Bulletin of Contemporary Hispanic Studies 2, no. 2 (November 1, 2020): 195–210. http://dx.doi.org/10.3828/bchs.2020.12.
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Camuflaxe by Lupe Gómez (Fisteus 1972-) constitutes a radical example of a praxis of language that encompasses human and nonhuman semiosis, affecting the poetic experience and the relationship of poetry with the notions of commodification, knowledge and truth. To prove it, I follow ideas on semiosis of the forests, ecocosmology and poetry. Semiosis (Kohn) is understood as a set of processes and activities made by humans and nonhumans. Ecocosmology (Abrams) admits that a collective semiosis means a change in the way we learn and experience the environment. Poetry regarded as thought without knowledge (Badiou) frees itself from the dependence of philosophical bases, regarded as closed systems. This article analyses how Camuflaxe exemplifies all of the above.
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McGovern, Timothy. "Expressing Desire, Expressing Death: Antón Lopo'sPronomesand Queer Galician Poetry." Journal of Spanish Cultural Studies 7, no. 2 (July 2006): 135–53. http://dx.doi.org/10.1080/14636200600811110.
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Sánchez Rei, Xosé Manuel. "Teaching L2 Galician through the traditional songbooks: The case of the direct object [+human] with the preposition a." Glottodidactica 50, no. 2 (December 29, 2023): 85–99. http://dx.doi.org/10.14746/gl.2023.50.2.5.
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Explaining the grammatical structures that characterize the Galician language system to university students of L2 Galician involves certain difficulties, both in terms of contact with Spanish and due to its nature as an L2 language. It must be noted that such learners’ L1 is mostly Spanish, French, English or Italian. We propose in this paper an activity in which students engage in a process of practical reflection on real examples of the language. The activity will focus in par-ticular on the absence of the preposition a with the direct object (DO), i.e., Nós saudamos o teu amigo (“We greet your friend”), using for this purpose a corpus of traditional Galician popular songs, and following the recommendations of the Content and Language Integrated Learning (CLIL) model. Within this theoretical and practical approach students will also acquire knowledge of Galician culture and history, through information found in the anonymous poetry of the songbook itself.
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Wolkoff, Gisele Giandoni. "To The Winds Our Sails. Irish Writers Translate Galician Poetry." ABEI Journal 12 (November 17, 2010): 109. http://dx.doi.org/10.37389/abei.v12i0.3578.
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Garcia, J. M. R. "Manuel Maria's Agrarian Poetry, Galician Literature, and Spain's Democratic Transition." Modern Language Quarterly 75, no. 4 (January 1, 2014): 541–75. http://dx.doi.org/10.1215/00267929-2796897.
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Hamos, Andrea Warren. "Popular Elements in Late Troubadour Poetry: The Galician-Portuguese Influence." Tenso 7, no. 1 (1991): 12–22. http://dx.doi.org/10.1353/ten.1991.0018.
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Danylych, V. S. "The formation of national functions of literature of medieval Iberian Romania." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 36 (2019): 50–64. http://dx.doi.org/10.17721/2663-6530.2019.36.04.
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The article focuses on the development of national literature in the process of historical evolution of society and its language, historical relations with other cultures which have some influence on the general literary activity in Medieval Iberian Romania. It was singled out the dominating role of epics as the main genre in the majority of occidental and oriental literatures, which confirms the importance of moral and political meaning of military honor which grew to the scale of the ideal of the epoch. It was stated the significant role of borrowed genres, plots, topics, motives from the polyphonic multinational literary repertoire in the formation of the national contents of poetical and prose works of the epoch of foundation of the national language and literature of Iberian Romania. The cultural phenomenon of the use of Galician Portuguese in poetry was highlighted. The tradition confirmed the lyrical function of Galician Portuguese in poetry and the King of Leon and Castile supported this tradition on the condition of the absence of general national language of Medieval Spain. The high prestige of Galician lyrics was transformed into the language itself which had special poetical internal feature. Bright and complicated phenomenon in Medieval culture of Spain is Arabian-Spanish (Andalusia) poetry of the VIIIXV centuries. It appeared as a result of transference of mighty oriental Arabian (Syrian) tradition onto the Iberian Peninsula. The bearers of the tradition wereMuslim Arabs who settled down in Spain after its conquest. The unique historical situation made Iberian Peninsula the arena of interaction of occidental and oriental civilizations. The external impulses made influence on literary life of Medieval Spain, constantly developing the people’s literary imagination, although not destroying but reinforcing the unique character of the national culture.
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Paden, William D. "The Beloved Lady in Medieval Galician-Portuguese and Occitan Lyric Poetry." La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures 32, no. 2 (2004): 69–84. http://dx.doi.org/10.1353/cor.2004.0031.
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Nabytovych, Ihor. "PSYCHOLOGY OF CREATIVITY OF ALEXANDER FREDRO: TRANSFORMATION OF CREATIVE DISCOURSE, UKRAINIAN RECEPTION." Polish Studies of Kyiv, no. 38 (2022): 172–200. http://dx.doi.org/10.17721/psk.2022.38.172-200.
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The article studies reception of the work of Alexander Fredro, the comedy playwright in the Ukrainian Galician theater culture. the sources of his artistic development and, at the same time, the reasons that led to the completion of the publication of new works almost at the peak stage of his creative burning. Already in the first quarter of the 19th century, the dramaturgy of Alexander Fredro gradually turned Galicia into a center of Polish culture. The article ex- amines the peculiarities of the psychology of creativity, the transformation and creative development of the playwright: from children’s plays to juvenile obscene poetry during the Napoleonic Wars, and then to comedies. Fredro’s comedies are not a theater of characters, schematized and precisely outlined by the classicist cutter of stylistic devices. These figures go beyond the boundaries of schematism. Fredro moves away from presenting his characters as special human types, unambiguous in their weaknesses and passions. His char- acters are alive and complete – even in their pettiness, worthless passions and the neediness of their ideals and aspirations. All this makes them real. Together they create a great theater of the life of Galicia. S. Goszczyński really insisted: the cosmopolitanism of A. Fredro’s comedies can be seen from the fact that his heroes are not national characters: they are borrowed from French classical comedy and linguistically stylized according to French ease. He was the last prophet of Clas- sicism, who heralds the dawn of Romanticism, destroying the poetics of classicist comedy, laying bridges and paving new ways of development for comedy. The Ukrainian Galician theatre, which began to form somewhat later than the Polish theater in Galicia, was not interested in A. Fredro’s comedies. The most important reason for this is the huge gap between the mental and cultural spaces of the Poles and Ukrainians of Galicia. The world of Fredro’s comedies is often a timeless world of aristocratic courtyards and city residences, aristocratic families with their values, traditions and ideas of the noble people of the old Polish-Lithuanian Commonwealth.
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Sandels, Marianne. "Elusive Beauty, Charm and Elegance—Feminine Attractiveness in Galician-Portuguese Troubadour Poetry." Studia Neophilologica 84, no. 2 (December 2012): 166–78. http://dx.doi.org/10.1080/00393274.2012.731214.
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Kharchuk, Roxana. "Shevchenko’s Grateful Readers from Dnieper Ukraine: Volodymyr Antonovych and Mykola Lysenko." Академічний журнал "Слово і Час", no. 3 (March 30, 2019): 33–41. http://dx.doi.org/10.33608/0236-1477.2019.03.33-41.
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This paper outlines the portrait of Shevchenko’s reader from the Dnieper Ukraine in the first half of the 19th century based on the example of two prominent figures of Kyiv (Old) “Hromada” Volodymyr Antonovych and Mykola Lysenko. The first one represented the intellectuals from the Right Bank Ukraine, the second one ‒ from the Left Bank part. Under the influence of the Ukrainian national renaissance Volodymyr Antonovych became de-Polonized. He was the first political Ukrainian who understood the significance of Shevchenko’s poetry for the formation of Ukrainian national identity (this is evidenced by his memoirs and promoting Shevchenko’s works). According to M. Starytskyi, Mykola Lysenko perceived “Kobzar” passionately. Not only did he become de-Russificated under the influence of Shevchenko’s poetry, but also made the music to “Kobzar” a matter of his life.
The author of the paper emphasizes that Shevchenko’s works urged the intellectuals from the Right and Left Bank Ukraine, disconnected after the Truce of Andrusovo, to unite in “Hromada” movement. At the same time the Left Bank intellectuals dominated in “Hromada”. On the researcher’s opinion, this fact may be explained by the high level of education in the Cossak Hetmanate Ukraine. “Kobzar” was a cornerstone for the educational program of Ukrainian ‘narodnyks’ and this whole intellectual movement was based on it. Shevchenko’s works essentially contributed to spreading the Ukrainian idea in Galicia.
There is an opinion, that it was the Galician people who separated the Ukrainian national identity from Russian, while in the Left Bank Ukraine both of these identities coexisted. The author of the paper believes that the intellectuals in both parts of Ukraine in 1860s-1870s had an indistinct national identity. Unlike the Galicians the intellectuals from Ukraine under Russian rule, in particular Volodymyr Antonovych, could not speak openly about Ukrainian self-sufficiency. However Shevchenko (born in the Right Bank Ukraine) was first among Ukrainian intellectuals to voice a thesis about the separation of Ukrainians from Russians, about the distinctive Ukrainian history, language and literature that differ from the Russian ones.
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Corral Díaz, Esther. "«A morte en feminino na lírica galego-portuguesa: o Pranto por Beatriz de Suabia»." Revista de Literatura Medieval 29 (December 21, 2018): 91–106. http://dx.doi.org/10.37536/rpm.2017.29.0.69394.
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Resume: A morte «real» da dama no corpus da lírica trobadoresca non é un tema habitual. Pero da Ponte, un autor innovador e renovador da tradición poética, compón o «único» pranto feminino conservado na lírica galego-portuguesa, Nosso Senhor Deus! Que prol vus ten ora. No artigo estudarase este lamento que deplora a morte de Beatriz de Suabia. Atenderase á contextualización da cantiga na tipoloxía elexíaca, ao personaxe da raíña, e á análise do texto. A arquitectura deste pranto segue o paradigma do planh occitano e, ademais, revela que a sombra de Alfonso X está presente na súa articulación.Palabras clave: Mulleres, Edad Media, pranto, morte, lírica galego-portuguesa.Abstract: The «real» death of the lady is not a common topic in the troubadoresque lyric poetry. Pero da Ponte, an innovative and reformist author of the lyric tradition, writes the «only» female lament conserved in Galician-Portuguese school, Nosso Senhor Deus! Que prol vus ten ora. This paper will study this compostition, which deplores the death of Beatrice of Swabia. It will analyse the contextualization in the elegiac tipology, the character of the queen, and the analysis of the text. The structure of the lament the model of the Occitan planh and reveals that the shadow of Alfonso X is present in the text.Keywords: Women, Middle Ages, Lament, Death, Galician-Portuguese lyric poetry.
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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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Vaniuha, Liudmyla, Yaroslava Toporivska, Oksana Hysa, Iryna Zharkova, and Mykola Bazhanov. "I. H. Verkhratskyi (1846–1919): at the origins of Ukrainian natural science." History of science and technology 11, no. 1 (June 21, 2021): 84–102. http://dx.doi.org/10.32703/2415-7422-2021-11-1-84-102.
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Among the scientists of European greatness, who at the turn of the XIX and XX centuries showed interest to the folklore of Galicia (Halychyna) and Galician Ukrainians, contributed to their national and cultural revival, one of the leading places is occupied by the outstanding Ukrainian scientist Ivan Verkhratskyi (in some other sources – Verkhratsky). He was both naturalist and philologist, as well as folklorist and ethnographer, organizer of scientific work, publisher and popularizer of Ukrainian literature, translator, publicist and famous public figure. I. H. Verkhratskyi was also an outstanding researcher of plants and animals of Eastern Galicia, a connoisseur of insects, especially butterflies, the author of the first school textbooks on natural science written in Ukrainian. The scientist also wrote poetry and translated from foreign languages. The article covers the life and scientific and pedagogical activities of I. H. Verkhratskyi – one of the founders of Ukrainian natural science, who made a significant contribution to the development of Ukrainian natural terminology and nomenclature, the author of the first textbooks on botany, zoology, mineralogy. The authors believe that I. H. Verkhratskyi can be considered one of the founders of Ukrainian scientific terminology in Natural Science, and today his works in this area remain relevant. These works are also valuable from the historical and cognitive points of view as one of the sources for studying the process of formation of the Ukrainian literary language and scientific and natural terminology. I. H. Verkhratskyi devoted himself to the establishment of the Ukrainian literary language, its scientific and journalistic backgrounds, and made a significant contribution to lexicography, dialectology, and schooling. Based on the scientific publications and memoirs of his colleagues and students, the authors have recreated the main stages of his biography and considered his professional career. His activity in the field of formation of natural science terminology have been considered in detail. Dialectological materials of the scientist and researcher I. H. Verkhratskyi are still actively used to study the Galician and Transcarpathian dialects. His achievements as a scientist, teacher and popularizer of science has been summarized.
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Fernández, José Francisco. "Forked tongues: Galician, Basque and Catalan women's poetry in translations by Irish writers." Irish Studies Review 22, no. 1 (January 2, 2014): 125–27. http://dx.doi.org/10.1080/09670882.2013.872377.
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Oceánide, O'Donoghue Bernard, Paddy Bushe, and Suso De Toro. "Literary Contributions by Paddy Bushe, Bernard O'Donoghue and Suso de Toro." Oceánide 13 (February 9, 2020): 127–31. http://dx.doi.org/10.37668/oceanide.v13i.49.
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Paddy Bushe was born in Dublin in 1948 and now lives in Waterville, Co. Kerry. He writes in Irish and in English. His collections include "Poems With Amergin" (1989), "Digging Towards The Light" (1994), "In Ainneoin na gCloch" (2001), "Hopkins on Skellig Michael" (2001) and "The Nitpicking of Cranes" (2004). "To Ring in Silence: New and Selected Poems" was published in 2008. He edited the anthology "Voices at the World’s Edge: Irish Poets on Skellig Michael" (Dedalus, 2010). His latest collections are "My Lord Buddha of Carraig Eanna" (2012), "On A Turning Wing" (2016) and "Móinéar an Chroí" (2017). He received the 2006 Oireachtas prize for poetry, the 2006 Michael Hartnett Poetry Award and the 2017 Irish Times Poetry Now Award. He is a member of Aosdána. In 2020, Dedalus Press publishes "Double Vision", a two-volume publication comprising Second Sight, the author’s own selection of his Irish language poems, accompanied by the author’s own translations, as well as "Peripheral Vision", his latest collection in English.
Bernard O’Donoghue’s was born in Cullen, County Cork in 1945, he has lived in Oxford since 1965. His first full-length collection, "The Weakness", emerged in 1991 with Chatto & Windus, following on from a trilogy of pamphlets. His second collection, "Gunpowder" (1995) won the Whitbread Poetry Award. More recently, he published the collection "Outliving" and a selection of his poetry by Faber in 2008, followed by "Farmers Cross" (2011), which was shortlisted for the T.S. Eliot Prize. In 2009 he was honoured by the Society of Authors with a Cholmondeley Award. Until recently, O’Donoghue taught and worked for Oxford University, specialising in medieval verse and contemporary Irish literature. His reputation as a scholar consolidated in 1995 with his critical work, "Seamus Heaney and the Language of Poetry", described as “excellent” by Ian Sansom in "The Guardian". More recently O’Donoghue edited the "Cambridge Companion to Seamus Heaney" and has produced a number of translations of medieval works, including "Gawain and the Green Knight" (2006) and, forthcoming from Faber, "Piers Plowman".
Xesús Miguel "Suso" de Toro Santos (1956-) is a Spanish writer. A modern and contemporary arts graduate, he has published more than twenty novels and plays in Galician. He is a television scriptwriter and regular contributor to the press and radio. Suso de Toro writes in Galician and sometimes translates his own work into Spanish. His works have been translated into several languages, and have been taught in European universities. There are plans to make three of his works into films: "A Sombra Cazadora" (1994), "Non Volvas" (1997), and "Calzados Lola" (2000).
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Kobryn, Nataliia. "The Ukrainian periodicals of Galicia on Ostap Nyzhankivskyi’s musical activities in the 1880s." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 110–25. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-8.
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The paper aims to analyze the areas of Ostap Nyzhankivskyi’s musical activities in the 1880s via a prism of the publications in «Dilo» and «Zorya» press publications. Their content and main topics as well as the aspects of his music career have been systematized and analyzed. Research methodology. The historiographical, chronological, comparative and analytical methods are employed to analyze the publications on musical topics in «Dilo» and «Zorya», as well as to explore the early stage of Nyzhankivskyi’s musical activities. Findings. The first musical performances of O. Nyzhankivskyi in Lviv were featured in the «Dilo», specifically, in the reviews. These were the evening event at «Academic Brotherhood» in December 1884 and the concert in honor of Olexandr Konyskyi in January 1885. He was distinguished immediately as a choir conductor as well as a composer with his own choral works. At this decade Ostap Nyzhankivskyi was a conductor of the choir «Akademichne Bratstvo», worked with the society «Zorya». Additionally, he participated in the concerts of Academic Gymnasium and Theological Seminary as a conductor and a composer. Some music critics compared performance skills of the choir under the direction of Ostap Nyzhankivskyi to the most famous choral society of Lviv «Lutna». We know about many concerts Ostap Nyzhankivskyi participated in, and of his rich repertoir as a conductor. Specifically, from the press reports we learned about active concert activities of O. Nyzhankivskyi, considerable conductor’s repertoire and almost annual premiers of his new compositions ― choirs, solo performances and vocal duets. As a conductor he popularized works of the Ukrainian composers, specifically, such Galician ones as M. Lysenko and P. Nishchynskyi. According to listeners and musical critics, the most effective and resonant of his own works were the choral piece «Hulyaly» on Y. Fedkovych poetry and the vocal duet «Do lastivky» on the poetry by Volodymyr Navrotskyi. The authors of in-depth critiques on early Nyzhankivskyi orks were P. Bazhanskyi and V. Matyuk. Some press reports were on topic of functioning of the first Ukrainian musical publishing house in Galicia «Muzychna bibliotheka» cofounded by Ostap Nyzhankivskyi. It edited 17 volumes of the Ukrainian musical works during the period of 1885―1892s. One of the first musical critiques authored by O. Nyzhankivskyi was dedicated to the memory of the Ukrainian composer Denys Leontovych. Conclusions. We conclude that the versatile musical and creative activities of O. Nyzhankivskyi became one of the decisive drivers of the intensive development of national music in the Western Ukraine. It promoted a rise of the Ukrainian national consciousness and intensified a cultural life of the Galician Ukrainians. Keywords: Ostap Nyzhankivskyi, Ukrainian periodicals, music art, musical critics, concerts.
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TORRALBO CABALLERO, Juan de Dios. "EL COMPLEJO ECLECTICISMO DE LAS TRADUCCIONES EN LA REVISTA CÁNTICO COMO FISURAS IDEOLÓGICAS EN LA ÉPOCA DE FRANCO." Signa: Revista de la Asociación Española de Semiótica 29 (April 8, 2020): 807. http://dx.doi.org/10.5944/signa.vol29.2020.24144.
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Resumen: Este artículo estudia las traducciones de poesía en la revistaCántico a la luz de la era franquista. Se aborda la inclusión de poetascomunistas o socialistas como W. H. Auden, André Gide, Louis Aragony Salvatore Quasimodo analizando también la presencia de escritorespróximos al fascismo como Giuseppe Ungaretti. Destaca la existencia depoesía religiosa junto a la colaboración de escritores próximos al régimende Franco como Joaquín de Entrambasaguas, lo cual se interpreta nosolamente como predilección estética sino también como mecanismos paraevitar la censura. La inclusión de poesía catalana y gallega es otro aspectoque permite corroborar la apertura que esta revista aporta al panoramaliterario español. Abstract: This paper studies the translations of poetry in the journalCántico with reference to the Francoist age. It addresses the inclusionof Communist and Socialist poets like W.H. Auden, André Gide, LouisAragon, and Salvatore Quasimodo also analysing, conversely, the presenceof writers sympathetic to fascism, such as Giuseppe Ungaretti. It pointsout the presence of religious poetry, along with contributions by writers cosy with the Franco regime, like Joaquín Entrambasaguas, these being interpreted not only as aesthetic predilections, but also maneuvers to avoid censorship. The inclusion of poetry in Catalan and Galician is another aspect evidencing how the journal proved able to foster openness on the Spanish literary scene, despite the censorship to which it was exposed.
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Lee, Charmaine. "Did Raimbaut de Vaqueiras really know fve languages? Notes on the descort, Eras quan vey verdeyar (BdT 392, 4)." Lírica galego-portuguesa. Lingua, sociolingüística e pragmática, no. 02 (2020): 83–112. http://dx.doi.org/10.52740/argamed.20.02.05.00047.
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Raimbaut de Vaqueiras' descort, Eras quan vey verdeyar (BdT 392, 4) frequently figures as a prime example of Medieval multilingualism (Varvaro 2004; Brugnolo 2015: 15), written as it is in five Romance varieties: Occitan, Italian, French, Gascon and Galician-Portuguese, including a ten-line tornada, or five two-lined tornadas, repeating the same languages. This exceptional poem, which has received much critical attention, especially from the philological and linguistic points of view, leads to a series of questions concerning Medieval multilingualism and multilingual poetry; Raimbaut's particular choice of languages; why he chose these and for which audience in what circumstances; who would have understood the text and how far did he master these languages himself. In what follows I hope to be able to answer just a few of these.
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Marcenaro, Simone. "«Filologia e cultura epica: il caso dei trobadores»." Revista de Literatura Medieval 30 (December 31, 2018): 13–28. http://dx.doi.org/10.37536/rpm.2018.30.0.74043.
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Resumen: Alcune cantigas de escarnio e maldizer del trovatore galego-portoghese Fernan Soarez de Quinhones alludono, in forma parodica e burlesca, alla letteratura epica, sia attraverso l’uso di forme e stilemi propri del genere, sia attraverso una rete di rimandi intertestuali. L’analisi e lo studio dei possibili intertesti utilizzati dal trovatore per le sue canzoni satiriche possono dirci qualcosa di più in merito alla cultura letteraria del circolo di autori che si riunirono alla corte del futuro Alfonso X, ancora infante, nel quarto decennio del xiii secolo; allo stesso tempo, sarà possibile fornire dati utili sull’influsso dell’epica antico-francese nell’Iberia medievale.Parole-chiave: Trovatori galego-portoghesi, cantigas de escarnio e maldizer, Chanson de geste, Alfonso X di Castiglia.Abstract: Some cantigas de escarnio e maldizer by the Galician-Portu- guese Troubadour Fernan Soarez de Quinhones hint at epic Literature in a parodic and satirical manner, through the use of forms and style of the epic genre but also thanks to a deep network of intertextual relationships. The study and analysis of the possible sources used by the author in his satirical poems can tell us something more about the literary culture of the Trouba- dours gathered at the court of the infante Alfonso, in the fourth decade of the 13th century; at the same time, it will be possible to provide useful data on the influence of Old French epic poetry in medieval Iberia.Keywords: Galician-Portuguese Troubadours, cantigas de escarnio e maldizer, Chanson de geste, Alfonso X of Castile.
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Dasca, Maria. "Xuan Bello, translator and author: his role in the development of the Asturian literature of “Surdimientu”." Quaderns. Revista de traducció 31 (April 26, 2024): 39–55. http://dx.doi.org/10.5565/rev/quaderns.139.
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Xuan Bello is one of the best-known Asturian authors in the Iberian Peninsula. His work as a poet developed in parallel with his work as a translator, especially of Portuguese and Galician, two languages that have influenced his own literary production in Asturian. His dual role as author and translator is inseparable from its cultural context, characterized above all by Surdimientu, the movement to recover the Asturian language and culture launched in 1974. Indeed, Asturian literature can be seen as an emerging literature, supported by a group of agents who take on various functions inside the literary system. The aim of this article is to analyse the relationship between Bello’s poetry and prose with: 1) The role played by the author within the framework of Surdimientu, 2) The role played by his translations, and 3) The impact of the translations of his works in prose on the Catalan literary system.
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BERMES, Iryna, and Khrystyna PELEKH. "VOCAL SHASHKEVYCHIANA OF BOHDAN-YURIY YANIVSKYI (FOR THE 180TH ANNIVERSARY OF THE DEATH OF MARKIYAN SHASHKEVYCH)." Fine Art and Culture Studies, no. 3 (September 4, 2023): 11–17. http://dx.doi.org/10.32782/facs-2023-3-2.
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The article is devoted to the research of the works of Markiyan Shashkevych (1811−1843) – «a true poet with great talent» (Wozniak, 1911, p. 22), whose images and poetics he drew from Ukrainian folk songs. Ukrainian composer Bohdan-Yuriy Yanivskyі (1941−2005), did not miss her attention, creating two vocal masterpieces on the texts of romance. The purpose of the article is to reveal the peculiarities of reading of Markiyan Shashkevychʹs poetry in Bohdan-Yuriy Yanivskyiʹs vocal artefacts, to describe the means of musical expressiveness, their importance in creating an artistic image. Methodology of the research consists in application of musicology approach for implementation of musical and theoretical analysis of vocal works by Bohdan-Yuriy Yanivskyiʹs based on the poems by Markiyan Shashkevych. Scientific novelty. For the first time, two vocal compositions accompanied by a piano («To my darling», «Thought» («The moon dashed in the clear sky…»), the necessity of their introduction into the concert practice, their role in the composerʹs creative heritage are emphasized. Conclusions. Bohdan-Yuriy Yanivskyi has comprehended Markiyan Shashkevychʹs poetry very creatively, interpreting it in a specific way, deepening the meaning, organically combining folk (kolomyjkaʹs) and romance elements with harmonic and rhythmic expressive means of light pop music. The artist brought some naive, sentimental verses of «Galician riser» to the contemporary listener. Vocal Shashkevychiana of Bohdan-Yuriy Yanivskyi takes a worthy place within the artist's compositions. It extends the coordinates of the chamber vocal creativity to words by Markiyan Shashkevych not only in the Ukrainian but also in the Slavic musical scope, confirms a deep understanding of poetry, its subtle composing reading embodied in the musical text.
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Nogueira Pereira, María Xesús. "La poesía gallega actual: retrato de familia." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 15-17 (February 26, 2011): 545. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.200415-1726.
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El artículo presenta una panorámica de la poesía gallega actual, centrada en sus principales tendencias, tensiones y autores. El estudio se remonta al proceso de recuperación del discurso poético llevado a cabo en la Posguerra. En este sentido, se informa de la convivencia de propuestas y generaciones que concurrieron durante estos años. El trabajo se ocupa también del proceso de renovación poética producido en la década de los ochenta, que superó definitivamente el dominio del verso socialrealista y promocionó, frente a otras propuestas, una poesía culturalista de gran cuidado formal. Finalmente, se presentan las tendencias surgidas en los primeros años de la década de los noventa, que permiten comprender la situación actual, caracterizada, en buena medida, por la convivencia generacional. This paper gives an overview of modern Galician poetry, focused on main tendencies, tensions and authors. The study goes back to the discourse recuperation process carried out during the post-war period. In this sense, information is given on the coexistence of different proposals and generations during that period. This paper also deals with the poetic renewal process in the eighties, which definitely overcame the dominating social realist discourse and promoted culturalist poetry to the detriment of other proposals. Finally, tendencies in the first years of the nineties are discussed. This helps us to understand the actual situation characterized to a certain extent by the cohabitation of different generations
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Salyha, Taras. "MUNICH CONFESSION OF VOLODYMYR YANIV (dedicated to 110th anniversary of birth)." Polish Studies of Kyiv, no. 35 (2019): 321–33. http://dx.doi.org/10.17721/psk.2019.35.321-333.
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Three major aspects of Volodymyr Yaniv’s life-creativity are described in the article: 1. biographical (his forma- tion as a creative person); 2. literary and art studies; 3. essayistic (author’s stories about the meetings with the perennial rec- tor of UFU). In parallel, there are “plots” about Volodymyr Yaniv as s historian of the church and Christianity, as a religious scholar, about his contacts with the Vatican, and in particular with His Beatitude Josyf Slipyj in the study. We can trace the “odyssey” of a young ascetic of the Galician revolutionary movement for the statehood and the unity of Ukrainian lands. A separate vision in the life of V. Yaniv is the magazine “Student’s Way”. He was fond of modern processes that took place in the cultural and artistic sphere. Studying poetry of European poets, poetry of Ukrainian creative youth, in particular B.-I. Antonych, V. Havrylyuk, O. Olzhych, poets of the Right-Bank Ukraine, Yaniv developed for himself the criteria for evaluating a literary work. The Lviv weekly “Towards” and the month “Dazhbog” and, of course, the poetry of the “Prague School” were played a special role for Yaniv as a poet. The famous Polish writers, supporters of the so-called “Ukrainian school”, Severin Goshchin- sky, Alexander Fredro, Leopold Staff, Jan Kasprovich, Maria Konopnitskaya whose creativity, undoubtedly, also influenced Volodymyr Yaniv lived and worked in Lviv. The ideological and thematic space of the poetry of Yaniv, in particular the collections “The Sun and the Lattices” and “The Foliage Fragments”, his prison poems, poetry about the Kruty heroes, are analyzed in the article. Lyro-epic creativity of V. Ya- niv in this thematic direction in her own way is biographical. The collection “Ways,” based on the scientific observations of the German, Polish and Czech theorists of psychoanalysis, is based on the ethno-psychoanalysis of the Ukrainian political prisoner. V. Yaniv is a scientist, psychologist, ethnic psychologist of the Ukrainian “soul”, sociologist and literary critic, art critic, organizer of Ukrainian science and church-religious life, public figure, professor of the Ukrainian Catholic University named after St Clemens, the Pope in Rome. The sacred motives are an organic page in poetry, literary criticism and, in general, in the works of Volodymyr Yaniv. The author used the bibliographic literature about the life and work of Volodymyr Yaniv, which, however, doesn’t allevi- ate his individual views.
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Vieira, Yara Frateschi. "Olhos e coração na lírica galego-portuguesa." Revista do Centro de Estudos Portugueses 29, no. 42 (December 31, 2009): 11. http://dx.doi.org/10.17851/2359-0076.29.42.11-36.
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<p>O presente artigo trata do papel que as cantigas de amor galegoportuguesas atribuem aos “olhos” e ao “coração”, enquanto fatores importantes no processo de enamoramento. Em primeiro lugar, verifica-se a o sentido e a presença dos motivos associados a ambos os termos nas literaturas que poderiam tê-los transmitido à Península Ibérica e a sua relação com exemplos similares encontrados na lírica galego-portuguesa; em seguida, examinamse três cantigas de amor (Martim Moxa, <em>B </em>891/ <em>V </em>475; D. Dinis, <em>B </em>523/ <em>V </em>106; João Garcia de Guilhade, <em>A </em>237), procurando determinar os usos específicos dos motivos nessa lírica.</p> <p>The present article deals with the role that the Galician-Portuguese love-songs attribute to the “eyes” and the “heart”, as important factors in the process of falling in love. First of all, we verify the meaning and the presence of motives associated to both terms in those literatures that could have transmitted them to the Iberian Peninsula, and how they relate to similar examples found in the Galician-Portuguese lyric; we then examine three love-songs (Martim Moxa, <em>B </em>891/ <em>V </em>475; D. Dinis, <em>B </em>523/ <em>V </em>106; João Garcia de Guilhade, <em>A </em>237), seeking to determine specific uses of those motives in this poetry.</p>
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Fernández, Vanessa Silva. "To the Winds Our Sails: Irish Writers Translate Galician Poetry. Edited by Mary O'Donnell and Manuela Palacios. Pp. 172. Cliffs of Moher: Salmon Poetry, 2010. Pb. €15." Translation and Literature 21, no. 1 (March 2012): 133–38. http://dx.doi.org/10.3366/tal.2012.0060.
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Novyk, O. P. "THE POETICS OF ROMANTICISM OF MYKHAILO MINCHAKEVYCH’S WORKS IN THE SON OF RUS." Rusin, no. 60 (2020): 154–66. http://dx.doi.org/10.17223/18572685/60/9.
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The article analyses Mykhailo Minchakevych’s poems “Satire”, “Rozsvit”, “Roksolana”, “Separation”, dumka “Cross stone near Lyubchych”, love elegy “Dumka” from the manuscript collection The Son of Rus (1995), with the focus on the poetics of romanticism and imagery. The author compares the themes and motives in Mykhailo Minchakevych’s poetry with those of other Romanticists (Markiyan Shashkevich, Mykola Petrenko). The poetics of Minchakevych’s works was incluenced by the writing of Markiyan Shashkevych and other Galician authors; however, it demonstrates the similarities with East Ukrainian literature of the first half of the 19th century as well as European Romanticism. Mykhailo Minchakevych uses the so-called “word complexes” (D. Chyzhevsky), inherent to Ukrainian Romanticism. His desire to demonstrate the Rusinian great history is manifested in his reminiscences of the time of Kievan Rus and allusions to famous historical figures of the past. Similarly, the poet tries to show the influence of the Rusins on European history by mentioning the ties of blood between the Russian princes and European rulers. The poems “Satire”, “Rozsvit”, “Roksolana” convey the moods of “Russian Trinity” both through motives and imagery, thus revealing the influence of Markiyan Shashkevych. Mykhailo Minchakevych’s poems are also close to folklore, which becomes evident in their motives, composition, and the use of repetitions and onomatopoeia. Minchakevych’s poetry as a component of the “Russian Trinity” phenomenon reflects the processes that took place in the Ukrainian culture in the first half of the 19th century.
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Ershova, Irina V. "Dante’s Plot on Francesco and Paolo in Spanish Literature of the 15th–17th Centuries." Studia Litterarum 7, no. 2 (2022): 76–93. http://dx.doi.org/10.22455/2500-4247-2022-7-2-76-93.
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The article discusses the reception of the Divine Comedy (La Divina Commedia) by Dante Alighieri and, in particular, of Canto 5 of the Inferno and its central episode — Dante’s encounter with Francesca and Paolo, in Spanish literature of the 15th–17th centuries. It began at the end of the initial third of the 15th century that was caused by late reception of the European courtesy tradition in Spain. Old translations of Infierno by Dante (Enrique de Villena, Pedro Fernández de Villegas) saw in the story of Francesca and Paolo first and foremost a cautionary example of the tragic effect of the courteous poetry and its ideals on real fates of people, thus partly determining further ways of perception of the narrative of killed lovers and its effect on the Spanish poetry and drama. The brightest expression of this idea is the episode, where Marquess de Santillana, hero of El Triumphete de Amor vision, meets the Dante’s characters and the “dona de Ravenna” gives place to Galician troubadour Macias. The national legend and didactic representation of Dante’s episode forced the narrative of Francesca and Paolo out of the Spanish literature. Lope de Vega’s play titled El castigo sin venganza written on the basis of the plot of Bandello’s novella and transformed under the influence of Dante’s episode became in a way the return to the initial and tragic essence of the story of two lovers.
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Jarazo Álvarez, Rubén. "Irish Poetry in Faro de Vigo (1961-1981): Francisco Fernández del Riego and Álvaro Cunqueiro in the Galician Newspaper." ABEI Journal 13 (November 17, 2011): 137. http://dx.doi.org/10.37389/abei.v13i0.3633.
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Otero Pereira, Sonia. "La otra doña Emilia: aproximación a la figura de Emilia Calé Torres de Quintero (1837 – 1908)." Lectura y Signo, no. 10 (December 29, 2015): 33. http://dx.doi.org/10.18002/lys.v0i10.2472.
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<p><strong>Resumen</strong></p><p>Este artículo tiene como principal objetivo exponer los datos biográficos de una autora desconocida en la actualidad, pero de gran renombre en su época: Emilia Calé. Para ello, recopilamos la escasa información que existe sobre esta misma, matizamos algunos de ellos y rectificamos otros, al tiempo que damos noticia de referencias en la prensa de la época que contribuyen con algún detalle a arrojar luz sobre la vida de esta escritora gallega. El conocimiento de estos materiales nos permite descubrir cómo ha sido el devenir vital de doña Emilia que, sin duda, influirá en su producción literaria, especialmente en su poesía.<strong></strong></p><p><strong>Palabras clave:</strong> Emilia Calé, <em>Galicia Literaria</em>, <em>Horas de inspiración</em>, Lorenzo Gómez Quintero.</p><p> </p><p><strong>Abstract</strong></p><p>The main objective of this paper is to expose the biographical information of an unknown writer at present, but of great renown in her epoch: Emilia Calé. Hence, we compile the very little information that exists about this matter in monographs and articles of different authors, as well as the references in the press of the epoch that they help with some detail on the life of this Galician writer. The knowledge of these materials allows us to discover Emilia’s development of life, undoubtedly, it will influence her literary production, especially in her poetry.</p><p><strong>Key words</strong>: Emilia Calé, <em>Galicia Literaria</em>, <em>Horas de inspiración</em>, Lorenzo Gómez Quintero.</p>
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Швець, Алла. "IVAN FRANKO’S POEM “TSAR’S WORDS” IN THE CONTEXT OF THE WRITER’S ANTI-IMPERIAL DISCOURSE." Слово і Час, no. 5 (October 30, 2023): 20–34. http://dx.doi.org/10.33608/0236-1477.2023.05.20-34.
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The paper analyzes Ivan Franko’s poem “Tsar’s words” in the context of the anti-imperial discourse presented in the writer’s journalism and poetry. It also uncovers allusions and reminiscences of the poetic texts by T. Shevchenko and P. Kulish within the poetic framework of Franko’s work. Additionally, the study directs attention towards the facts of Franko’s life during the Russian occupation of Lviv from 1914 to 1915, a period when this particular poem was written.
In terms of content, the poem 'Tsar's Words' represents Franko's satirical reflection on the manifesto addressed by the supreme commander-in-chief of the Russian army, Nikolai Romanov, to Galician Muscophiles and the people of Galicia. The title-allusion “Tsar’s words” decodes the real political and historical meaning of this monarchical message, essentially revealing the aggressive and conquering plan of Russia’s anti-Ukrainian project for Galicia. Under the pretext of “collecting Russian lands,” its true aim was to undermine the core of Ukrainian life in the region. Therefore, the poetics of this piece is defined by the simultaneous presence of literary imagery and topical journalism. The poem contains genre features of political satire with elements of invective, political parody, and biting sarcasm. It is characterised by an angry denunciative pathos, the presence of an implicit addressee, a combination of high and vernacular vocabulary, hyperbolism, and polemicism.
As a far-sighted political analyst with the foresight of a national prophet, Franko saw deeper historical processes and consequences in this war, interpreting it in the spectrum of a historically consistent, existential confrontation between the national aspiration of Ukrainians for their own statehood and centuries of Russian enslavement. The political sarcasm of the poem further develops into a prophetic vision and national warning by Franko against the bloody consequences of an uncertain peace with Muscovy, exposing the real essence of the colonialist policy of russification, savage conquest, and obscurantism.
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Doucet, Montserrat. "El Grupo Bilbao: de grupo ectópico y alógrafo a movimiento literario." Revista de lenguas y literaturas catalana, gallega y vasca 22 (January 11, 2018): 193. http://dx.doi.org/10.5944/rllcgv.vol.22.2017.20851.
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A partir de 1996, comienza a gestarse en Madrid el Grupo Bilbao, formado por escritores en su mayoría poetas que aman la lengua gallega y la utilizan como vehículo literario. Con el tiempo este grupo en origen ectópico y alógrafo crece en número e influencia convirtiéndose en un referente de las letras gallegas fuera de Galicia y pasando a ser un movimiento literario. Trataremos de analizar las circunstancias que posibilitaron tal hecho.From 1996, the Bilbao Group began to take shape in Madrid, formed by writers mostly poets who love the Galician language and use it as a literary vehicle. Over time this group ectopic and alógrafo in origin, grows in number and influence becoming a referent of the Galician letters outside of Galicia and happening to be a literary movement. We will try to analyze the circumstances that made this possible.
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Sommerfeld, Beate. "Rose Ausländers „Malergedichte“ als post-apokalyptisches Schreiben." Germanica Wratislaviensia 144 (November 20, 2019): 65–82. http://dx.doi.org/10.19195/0435-5865.144.5.
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Der Aufsatz fokussiert die sog. „Malergedichte“ der galizischen Lyrikerin Rose Ausländers vor dem Hintergrund des Schreibens nach der Shoah. Die Referenzen auf die bildende Kunst in Ausländers Lyrik werden als Emanationen des Sprach- und Wirklichkeitsverhältnisses nach der Shoah lesbar. In den Gedichten wird das „Drama der Repräsentation“ ausgetragen, von dem die moderne Malerei, aber auch die Literatur erfasst wird. Sowohl die Ablehnung einfachen Abbildens als auch die Suche nach neuen künstlerischen Artikulationsformen werden von der Lyrikerin zum Krisensymptom der Literatur nach dem Holocaust umgedeutet. Über die Partizipation am Bild erprobt Ausländer Wege eines allusiven Schreibens über den Holocaust, in den Bildern und Verfahren der modernen Kunst findet sie Metaphern einer postapokalyptischen Befindlichkeit. Rose Ausländer’s “painter poems” as post-apocalyptic writingThe essay focuses on the so-called “painter poems” of the Galician lyricist Rose Ausländer in the context of writing after the Shoah. The references to the fine arts in Ausländer’s poetry become readable as reflections on the problematics of language and reality after the Holocaust. In the poems, the “drama of representation” is carried out, which affects modern painting, but also literature. Both the rejection of simple mimesis and the inquiry of new forms of artistic articulation are reinterpreted by the lyricist as a crisis symptom of literature after the Holocaust. Via the participation in the picture, Ausländer experiments with ways of an allusive writing about the Holocaust, in the pictures and procedures of modern art they find metaphors of a post-apocalyptic state of mind.
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Jordão, Aida. "Inês de Castro on Youtube." Interactive Film and Media Journal 1, no. 2 (November 22, 2021): 66–81. http://dx.doi.org/10.32920/ifmj.v1i2.1500.
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Since the fourteenth century, when Inês de Castro was laid to rest in her magnificent tomb in the Monastery of Alcobaça, artists have told the tragic story of the Galician noblewoman who was assassinated for political reasons and became Queen of Portugal after her death. Inês embodies beauty, love, innocence, and saudade, and figures prominently in the lusophone cultural imaginary. Plays, novels, poetry and feature films offer representations of the Dead Queen that range from tragic and defiant to sentimental and trite. In new media, the moving im- ages that currently vie with iconic figurations of the legendary colo de garça are YouTube videos about the love of Inês and Pedro. Responding to homework assignments in Portuguese history or literature courses, primary and secondary school students engage with the love story and create new narratives – plays, animation, and videos – that attract thousands of viewers. In this paper, I consider a selection of YouTube videos made by Portuguese and Brazilian students that tell the familiar love story in a unique way, taking varying degrees of poetic license with their sources, the medieval period and the medieval woman. Some are original and irreverent while others simply glorify dead poets. Through a feminist lens, I analyze the mediated embodiment of Inês de Castro and interrogate the inflexible and hierarchical binary dualisms of man/woman, masculine/feminine, and public/private to posit a fluid conception of historical adaptation and the gendered representation of iconic figures. Image Credit: Still of Encenação D. Pedro e D. Inês
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Rabizo-Birek, Magdalena. "Schulz poetów „ośmielonej wyobraźni” (preliminaria)." Schulz/Forum, no. 13 (October 28, 2019): 63–85. http://dx.doi.org/10.26881/sf.2019.13.05.
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The paper addresses the popularity of the person and work of Bruno Schulz in one of the trends in Polish poetry, represented by the generation born in the 1970s, placing it in the context of the writer’s earlier reception (e.g., in the works of the poets of older generations, such as Marian Jachimowicz, Tadeusz Różewicz, Jerzy Ficowski, Anna Frajlich, and Jarosław Gawlik). This trend has been usually referred to with a metaphorical term “bold imagination” and called “imiaginativism”, and its main representatives are Roman Honet, Tomasz Różycki, Radosław Kobierski, and Bartłomiej Majzel. Close to that group are also Ewa Elżbieta Nowakowska, Dariusz Pada, and Mariusz Tenerowicz. All of them consider Schulz, who called the entire genuine literature “poetry,” their mentor and patron, both as a writer and a graphic artist, whose heritage includes also the works that are unfinished or lost, and as such, they encourage continuing his ideas (such as the novel Messiah). For them, he is also the founder of a “trend” based on the primacy of imagination, visions, the mythicization of reality, and a creative approach to cultural traditions. The poets have been also inspired by Schulz’s literary legend whose elements are his double Polish and Jewish identity, the family and erotic psychodramas, life in a provincial and multicultural Galician town as well as the necessity to combine a literary career with the humdrum teacher’s job and his tragic death in the Holocaust. Referring to the motifs drawn from Schulz’s life and work, the imaginativists, poets and fiction writers, write apocrypha and elegies in which Schulz continues his “posthumous life.” The author considers all the modes of his presence in the poetry of the “bold imagination”: as a literary precursor, as the favorite master, as an emblem of the Holocaust, and as a protagonist of a biographical legend. She interprets the programmatic statements of Honet, Majzel, and Różycki, where Schulz figures prominently, right before other highly appreciated poets, writers, and artists: Rilke, Kafka, Trakl, and Schiele. Then she interprets the early poems by Honet, Kobierski, Nowakowska, and Pada, which include the characteristic motifs of Schulz’s fiction: a sanatorium, a phantasmagoric town, the Book, a comet, and the realities of the Austro-Hungarian Empire and the belle époque. It has been stressed that the later Schulzean “biographical apocrypha” of the imaginativists (Tomasz Cieślak’s coinage), which develop the alternative versions of his life, are rooted in the projects of alternative histories (“side courses of time,” the “thirteenth months”) to be found in his fiction, as well as the visionary ways of prolonging life of the dead (particularly in “The Sanatorium under the Sign of an Hourglass” and the “Treatise on Tailor’s Dummies”). The Schulzean poems of the imaginativists are full of biographical details – their authors, imitating the poetics of their master, quoting, paraphrasing, and summarizing his texts or referring to his life experience and vicissitudes, write first of all about themselves. Schulz’s biography and work turn out to be an unusually flexible medium, a figure of the contemporary (particularly Polish) artist, and a mirror for the writers of late modernity, who get a chance to understand themselves and perhaps confirm their own poetic calling.
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Pirko, Maria. "The centenary of “Rusalka Dnistrova” in the interwar publishing context." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 14(30) (December 2022): 147–68. http://dx.doi.org/10.37222/2524-0315-2022-14(30)-6.
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Based on the books edition of Ukrainian publishing organizations of Galicia, the author is analyzed the place of the 100th anniversary of “Rusalka Dnistrova” — the first literary and folk issue of native language in the western Ukrainian territory, in the publishing practice of the interwar period. An attempt was made to find out the influence of the almanac on the cultural development of the region, the idea of the unity of the people on the both coasts of the Dnieper, and the formation of the national consciousness of Ukrainians throughout the century. Almanac “Rusalka Dnistrova” is a book that was destined to start a new vernacular, folk literature in Western Ukrainian, and at the same time, the Ukrainian cultural and political revival of the region. This book, on the eve of the appearance of Shevchenko’s “Kobzar”, was compiled by the Lviv romantics, theological seminarians Markiyan Shashkevich, Ivan Vahylevych and Yakiv Holovatskyi, named “Rus’ka Triitsia”. The issue was printed in Budapest in 1837. Although the title states “Rusyn folk songs”, the compilers submitted not only recordings of folk songs from different regions of Galicia, but also their original poetry, prose and examples of translation work. In the introductory comments to individual chapters of the almanac, M. Shashkevich and I. Vahylevych review the content of the publication retrospectively and prospectively, presenting the historical genesis of the material, its thematic and genre stratification, and its lexical and stylistic features. The book is filled with love for Ukrainian folklore, antiquity and everything native. It has a strong spirit of conciliarism of Ukraine. Almost all Galician magazines in one form or another responded to the jubilee almanac, including historical, literary and journalistic articles and artistic works. The 100th anniversary of the first book in the Ukrainian vernacular was commemorated by a lot of public organizations in Galicia. In addition to publications in the columns of periodicals about the celebration of the anniversary of “Rusalka Dnistrova”, new book editions have appeared for a wide Ukrainian audience. Literary scholar and folklorist Mykhailo Wozniak favorably evaluated the movement work of the “Rus’ka Triitsia” and on the occasion of the anniversary period (1833–1837) prepared new information about the activities of the group under the name “In the century of “Zoria” by Markiian Shashkevich (1834–1934)”. The content of the “Calendar for everyone for 1937” edition of the Ivan Tiktor publishing house is almost entirely dedicated to the centenary of “Rusalka Dnistrova” as evidenced by the thematic art cover by Edward Kozak and the anniversary publication of the collection. And in general it can be said that the calendar is dedicated to the national revival of Ukrainians. The support of the national idea of M. Shashkevich is evidenced by a considerable list of donors, placed on the last page of the illustrated one-day magazine “In the century of “Rusalka Dnistrova”, which on the occasion of the solemn celebration of the anniversary on August 1, 1937 at Bila Hora in Pidlyssia and in the artistic thematic cover of the work of the artist Myron Levytskyi was issued by the Zolochiv branch of the “Prosvita” society. For the centenary of the almanac, the jubilee collection published a circle of “Ridna Shkola” named after Markiyan Shashkevich in Sambir, which became the first printed publication of the society and another printed issue. The appearance of “Rusalka Dnistrova” was a significant event in the development of the literary process in Western Ukraine in the conditions of social and national oppression of the Ukrainian people. The collection defended its right to exist, to develop language and culture, and over the centuries the almanac has not lost its relevance. Keywords: almanac “Rusalka Dnistrova”, “Rus’ka Triitsia”, Markiyan Shashkevych, Ukrainian folklore, national consciousness.
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Sukhareva, Svitlana. "THE HISTORY OF THE POLISH-UKRAINIAN BORDERLAND AS AN IMPERATIVE FOR THE CREATIVITY OF THE LITERARY GROUP “ZIEWONIA”." Polish Studies of Kyiv, no. 38 (2022): 294–309. http://dx.doi.org/10.17721/psk.2022.38.294-309.
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The article highlights the historical motives and inspirations of the literary group “Ziewonia”. Attention is drawn to the influence of the historical era (the period of the November Uprising of the Poles and being under Russian oppression), as well as previous milestones in Polish and Ukrainian history, which were signposts to national liberation. The peculiarities of the development of Ukrainophilism within the general Slavophilism of the first half of the 19th century are taken into account. The place of the scientific concept of Zorian Dołęga-Chodakowski on the transformation of the historical approach to the reception of Slavic literature in general, and Polish and Ukrainian in particular, is determined. In addition to the influence of famous historians, it is also worth highlighting the extraordinary role of the Society of Friends of Science in Lviv. It was from there that ideas about the transformation of historical models came in order to revive the people’s struggle and patriotic sentiments in society. Along with chronicle historicism and Walterscottism, the writers of the “Ziewonia” group in their works highlight the principles of folk historicism, which is largely based on Ukrainian folklore. Song folk images and plots, historical events from Dum are the basis of most of the poetic works of representatives of the “Ziewonia” group. Some of them have clearly expressed anti-Ottoman motives. Thus, Seweryn Goszczyński’s work “Kościelisko” was written in the spirit of folk historicism, as it depicts the struggle of the inhabitants of the Carpathian region against the Tatar army. The presence of a common enemy among the Ukrainian and Polish peoples from previous centuries is transferred to the first half of the 19th century, when such an enemy was the Russian Empire and other imperialist conquering states. Therefore, inspirations of national liberation can be found everywhere in the poetry, prose and drama of “Ziewonia”. The key in historical inspiration was the image of a folk hero or a Cossack. Slavophilic writers successfully put into practice the program principle of “Ziewonia” dedicated to history, in particular literary and critical reflections on the place of Galician writing.
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Kravets, Yarema. "Mykhailo Hrushevsky and His Francophonic «Anthologie de la littérature ukrainienne» (1921) in Belgian and French Publications of the 20th and 21stcenturies (in Ukrainian) 7-15." Sultanivski Chytannia, no. 12 (June 1, 2023): 7–15. http://dx.doi.org/10.15330/sch.2023.12.7-15.
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Mykhailo Hrushevsky’s presence in French culture dates back to the beginning of the 20th century (a course of lectures in Paris, a review of É. Verhaeren’s drama, a 1912 Paris edition, etc.). Scholar’s most outstanding work in the context of Ukrainian-Francophone literary relations is his «Anthologie de la literature ukrainienne» (1921), which helped Francophone researchers learn about the literary heritage of Ukraine from ancient times to the 19th century. The main thesis of the article is the importance of this anthology in further acquaintance of the French speaking world with Ukrainian literature. The preface to this book written by the French linguist professor Antoine Meillet of College de France was important as it emphasized such an significant fact about the publication as «literature in Ukrainian not well known in other countries». M. Hrushevsky explained that it was only the first step of Ukrainian sociological institute which started its work on creation of the anthology of Ukrainian literature of later period. Materials from the edition of Ukrainian Sociological Institute were partly used in 1928 by the editorship of the Belgian-French magazine «La Nervie», being completed by some other samples of Ukrainian literature of the second half of the 19th century and the first two decades of the 20thcentury. Another fact that testifies about the importance ofHrushevsky’s anthology is that the outstanding French scholar and literary critic Roger Tisserand, the author of numerous encyclopedia articles about Ukrainian writers and the work «Life of a nation. Ukraine», referred to it more than once using some samples of Ukrainian poetry. Two excerpts from Mykhailo Hrushevsky’s edition («Galician–Volhynian Chronicle» (fragment) and «Praise to St. Volodymyr») were reprinted in Vol. 4a (1993) by the compilers of Belgian encyclopaedia «Patrimoine littéraireeuropéen» (12 vols.). A separate chapter about Mykhailo Hrushevsky and an excerpt from his foreword to the «Anthologie…» were included into Sarcelles anthology of Ukrainian literature (2004) by literary scholar Arkady Zhukovsky. The scholar described extensively Mykhailo Hrushevsky with special focus on his scholarly-research work, teaching and organization of academic life.The literary critic illustrated life and creative activity of the scholar by extracts from the preface to «Anthologie de la littérature ukrainienne…» and gave a short explanation of the issues, raised by Mykhailo Hrushevsky in his subsequent works. The material in the article about the resonance of M. Hrushevsky’s French anthology in the French speaking milieu testifies to the presence of the outstanding scholar, historian and literary critic in European culture. Such works as André Mazon’s memorable article in the Slavic journal «Le Monde Slave» (V. 12, № 1–2, 1935) and A. Joukovsky’s French language research «Mykhailo Hrouchevskyi. Sa vie et son œuvre. Paris, 1997» are of great interest.
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Simonek, Stefan. "The Empire Writes Back—Writing Back to the Empire." East Central Europe 43, no. 3 (December 3, 2016): 241–56. http://dx.doi.org/10.1163/18763308-04303003.
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The article offers a comparison between the representations of the former ussr in contemporary Ukrainian literature from Galicia and from the eastern part of Ukraine. In the main it focuses on the writers Yuri Andrukhovych, Serhiy Zhadan, and Lyubko Deresh. In Andrukhovych’s novels and essays, the former Habsburg monarchy is represented as a positive, liberal counterpart to Soviet collectivism and uniformity; Zhadan, in his poetry, depicts the cultural situation in Eastern Ukraine as a kind of a post-Soviet void; Deresh, finally, in his successful pop novels denies any further relevance of Soviet heritage in Galicia.
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Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.
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Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.
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Miranda-Barreiro, David. "Intermediality and Transmedial Thanatography in Jacobo Fernández Serrano's Lois Pereiro: Breve encontro." European Comic Art 16, no. 2 (September 1, 2023): 54–73. http://dx.doi.org/10.3167/eca.2023.160203.
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Abstract In 2011, the poet Lois Pereiro (1958–1996) was honoured at the annual Día das Letras Galegas (Galician Literature Day). The Galician publishing industry released a plethora of texts about Pereiro, including Jacobo Fernández Serrano's comics biography Lois Pereiro: Breve encontro. This article examines the comic as an intermedial text that captures the influence of literature, films, music and comics in Pereiro's own writing. Furthermore, it is analysed as part of a transmedial network, together with other biographies published around the Día das Letras. These texts address the role played by death in the poet's life and work (as he died at an early age of rapeseed oil poisoning and AIDS), and they can therefore be understood as ‘thanatographies’ as much as life writing.
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Stepnowski, Adam. "Debora Vogel w galicyjskim jidyszlandzie. Czasopismo „Cusztajer”." Schulz/Forum, no. 16 (May 25, 2021): 176–90. http://dx.doi.org/10.26881/sf.2020.16.08.
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The paper sums up the history and analysis of Tsushteyer [Contribution] literary journal, published between 1929 and 1931 in Lviv. The goal of the group under the same name (comprising such writers as Debora Vogel, Rachela Auerbach, Ber Shnaper, Melekh Ravitsh and Mendl Neugröschl) was to create a strong Yiddish-speaking cultural centre in Galicia. One of their projects was establishing and publishing a literary journal. Three issues of Tsushteyer contained prose, poetry, essays and art reproductions. The paper describes the characteristics of the contents, emphasises the role of Debora Vogel in the editorial office and outlines the unique features of Tsushteyer in comparison with other Yiddish literary journals.