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Journal articles on the topic 'Inspirational poems'
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1
Fallon-Ludwig, Sandra. "Narrative inspiration in Liszt’s symphonic poems: The cases of Hunnenschlacht and Tasso, Lamento e Trionfo." Studia Musicologica 54, no. 4 (December 1, 2013): 367–78. http://dx.doi.org/10.1556/smus.54.2013.4.3.
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Although Franz Liszt’s symphonic poems were inspired by works of literature, poetry, and painting, the resulting works are not mere replicas of the inspirational source. Rather, Liszt concentrates on themes of importance gleaned from the sources and uses these ideas to create a musical narrative. In this paper, I explore two distinct musical narratives in Liszt’s symphonic poems: the “conflict and resolution” narrative evident in Hunnenschlacht and the “suffering and redemption” narrative of Tasso, Lamento e Trionfo. Through these examples, I demonstrate that musical narrative is an organizing force in and of itself within Liszt’s symphonic poems; a narrative progression towards apotheosis propels the music forward and suggests Liszt’s programmatic inspiration in each work. Although some seek to fit the musical structure of Liszt’s symphonic poems into a preexisting model, this paper proposes that the program is their integral part, and that only through a combination of programmatic and formal analyses can one gain a deeper understanding of these works as a whole.
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Jiang, Wei, and Rainer Marggraf. "Ecosystems in Books: Evaluating the Inspirational Service of the Weser River in Germany." Land 10, no. 7 (June 24, 2021): 669. http://dx.doi.org/10.3390/land10070669.
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Attempts at assessing the monetary value of cultural ecosystem services has proven challenging due to their non-material and non-market characteristics. Innovative methods are needed to fill this methodological gap. In this paper, a novel approach is developed for evaluating the inspirational service, one type of valuable cultural service, of a specific ecosystem embodied in published books. Taking the Weser River in Germany as an example, a breadth of evidence found in 19 books shows the strong inspiration of the river to people living around it who create plenty of literary and artistic works that represent different faces of the river, such as novels, poems, folklore and paintings. Based on the prices of these books and the estimated number of persons who have read these books, the total value of the inspirational service provided by the Weser River is calculated as 168,499 € from 1980 to 2019, leading to the annual value of 5616.63 €/year and the unit value of 0.24 €/ha/year with the water surface area of 23,123 ha and the period of 30 years. The advantages and shortcomings of this approach are discussed, and suggestions for the improvement and further research are made.
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Jihan Abdul Rahman Ali Oshiesh. "Al Baradouni .. Clairvoyant of Yemen Sighted in the Blind Time." Albaydha University Journal 2, no. 2 (September 29, 2020): 231–40. http://dx.doi.org/10.56807/buj.v2i2.65.
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Al-Baradouni is a great inspirational revolutionary poet with his disappointment, his art and his genius glow. Although Al Baradouni (1929 – 1999) was born to a miserable family, in a miserable age, and grew up as a blind boy, and received education with great hardship, but he had the early poetic talent, to be an influential figure to attract the attention of decision centers, and it was natural to contact these centers like other great poets within a good friendly relationship. He is one of the few poets who remained conservative in the form of the old poem, and at the same time renewed in its themes, and in its architecture intended to build the poem, where they established new linguistic relations at the level of significance, expressive form and poetic wording, all with strict preservation of the line system and traditional rhythm. Al Baradouni, who was following all the new in the volatile Arab poetry movement, and read the translated international literature, benefited from his readings in his poetry, renewed in language and in the picture, in the metaphor, and used narrative techniques in his poems, which were drafted poetic stories, as well as dialogue and drama, especially in his diwaniya City of Tomorrow and Smoky Faces in the Mirrors of the Night. This article will shed the light on Al Baradouni’s life, his personality, his people and his ages. The paper will examine to which extent the poet is physically disable but mentally intellectual than all his age artists. He was like the candle among all the literati of the first half of the 20th century in Arabic literature and revolutionary discipline.
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Haft, Adele J. "Imagining Space and Time in Kenneth Slessor’s “Dutch Seacoast” and Joan Blaeu’s Town Atlas of The Netherlands: Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas, Part Three." Cartographic Perspectives, no. 74 (January 3, 2014): 29–54. http://dx.doi.org/10.14714/cp74.1199.
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“Dutch Seacoast” by the acclaimed Australian poet Kenneth Slessor (1901–1971) is thecenterpiece of The Atlas the five-poem sequence opening his 1932 collection Cuckooz Contrey. Like the other four poems, “Dutch Seacoast” pays tribute to cartography’s “Golden Age,” Toonneel der Steden van de vereenighde Nederlanden being the poem’s epigraph and the title that Joan Blaeu gave to one of two volumes comprising his Town Atlas of the Netherlands (1649). While focusing on Blaeu’s exquisitely ordered map of Amsterdam, Slessor suggests that he is gazing at the map described by his poem and invites us to consider how poets and cartographers represent space and time.An intensely visual poet, Slessor was also attracted to lyrical descriptions of objects: his inspiration for “Dutch Seacoast” was a particularly poetic, but sparsely illustrated, catalogue of maps and atlases. After reprinting the poem and describing its reception, my paper traces the birth of “Dutch Seacoast” (and The Atlas generally) in Slessor’s poetry notebook, the evolution of the poem’s placement within the sequence, and the complex relationships between the poem, the catalogue, and Blaeu’s spectacular atlas. Comparing Blaeu’s idealistic view of Amsterdam with that city’s dominance during the Dutch“Golden Century,” Slessor’s darker obsessions with the poem’s ending, and his “other countries of the mind” with his native Australia, we come to understand why “Dutch Seacoast” remained for the self-deprecating poet one of his eight “least unsuccessful” poems.
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Cusmano, Liana. "George Amabile on War, Trauma, the Creative Process, and His Latest Collection Martial Music." Italian Canadiana 34 (September 17, 2021): 175–79. http://dx.doi.org/10.33137/ic.v34i0.37477.
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Liana Cusmano’s interview with poet George Amabile focuses on his prize-winning 2018 collection Martial Music and the art of writing in general. He offers insights on the poetic process, how to research and produce a collection of poems. Amabile’s poetry is inspired by what he has experienced or witnessed. He talks about dealing with war and trauma. He shares his frustration with daily life getting in the way of the creative process. “Life is the subject and the inspirational/ motivational source of our work, but it also sucks up our time and frustrates our ability to give our unstinted attention to our creative efforts,” says George Amabile.
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İÇLİ, Ahmet. "Traces Of The I And The Other In The Nazires (=Similar Poetry): The Journey Of I To We In The Example Of Mustafa Ali's Poetry And The Nazires written for his poetry With "We" Redıf (=Rhyme)." Akademik Dil ve Edebiyat Dergisi 6, no. 3 (October 30, 2022): 156–65. http://dx.doi.org/10.34083/akaded.1169198.
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It is known that the same or similar poems/works were written within the scope of nazire tradition in classical Turkish poetry. Such poems are basically based on writing a similar or better example of a sample or model poem. It is also important that these poems, which are similar in many ways, show the same feelings, dreams, thoughts and goals. In one aspect, the model poem; It can be thought that it was a source of inspiration or an interpreter for other poets who tried to write a similar poetry. The content of the model poem is a guide for other poets trying to express themselves. In addition, defining and positioning oneself through this model poem is a reflection of different emotions and feelings. It is historically significant that the poems, are a mirror of the living world, can deal with similar subjects. It is important that a poet conveys information about himself, that others find traces of themselves around the same poem, and that they express themselves in this way, in terms of being a manifestation of the reality of the information and feelings given by the poets and the reactions they receive. In the context of nazire poetries, it is possible for each poet to describe her/his "I=self" with "we". In one sense, the " personalities" united around the model poem, form the we-consciousness. While this situation establishes a network of relations in terms of togetherness, they actually convey/describe the others around them There are many signs and indications in the poems in terms of containing the information about the poet. The expressions in which the words "I" and "we" are used are at the forefront of the issues that explain the characteristics of the poets, Gelibolulu Mustafa Ali's poem with "we" redif (rhyme, repeated voices), can be evaluated in this context and can be supported by historical data. This poem also carries clues about Ali's personal attitudes and behaviors, worldview, dreams and emotions. The poems written similar to this poem of Ali are important in that both carry traces of their poets and contain the elements of "I" and "other" around the "we" redif. In this article, the poem of Gelibolulu Mustafa Ali from and the nazires written to his poem will be evaluated in terms of conveying the self/I and other elements within the framework of the nazire tradition and then the content analysis.
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Thomas Baby, Kappalumakkel. "The Skylark: A Symbol of Poetic Inspiration for Generations with Special Reference to Shelley and Hughes." Pertanika Journal of Social Sciences and Humanities 30, no. 2 (June 15, 2022): 723–42. http://dx.doi.org/10.47836/pjssh.30.2.16.
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The skylark is a tiny brown bird with a small crest on its head. It is slightly larger than a sparrow and is popularly known for its uninterrupted song during its upward flight. The bird is found in most parts of England and many European countries. A closer examination of English poetic tradition reveals that several English poets have anthologised this tiny bird, including famous poets such as Wordsworth, Shelley, Hopkins, Meredith, Rossetti, Rosenberg, and C Day-Lewis. The late poet laureate Ted Hughes also wrote about the skylark in our times. Even Shakespeare and Goethe have eulogised the skylark in their plays. Since Thomas Hardy has written a poem about ‘Shelley’s skylark,’ it is evident that traditionally ‘To a Skylark’ by Shelley is the most popular of all ‘Skylark’ poems. However, Hughes’s poem on skylark merits our attention because it is entirely different from the general trend of all other skylark poems written until his time. Therefore, this study explores how the skylark became a symbol of poetic inspiration for different generations of poets by analysing the two famous poems on skylark written by Shelley (1792–1822) and Hughes (1930–1998). While Shelley depicts the skylark as a pure spirit of joy, Hughes considers it an embodiment of cosmic energy resulting from the bird’s struggle for flight against the earth’s gravitational pull. Therefore, the different perceptions of Shelley and Hughes about the skylark constitute the essence of this discourse.
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Hussein, Ali Ahmad. "Two Sources for Abu Dhuʾayb al-Hudhali's Famous Elegy." International Journal of Middle East Studies 53, no. 2 (May 2021): 213–33. http://dx.doi.org/10.1017/s0020743821000027.
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AbstractThis article considers the celebrated elegy by the classical 7th-century Arabic poet, Abu Dhuʾayb al-Hudhali — his ʿayniyya, which ends with ʿayn as a rhyming letter. Analyzing the poem's structure and comparing it with that of two poems composed by Abu Dhuʾayb's teacher, Saʿida b. Juʾayya al-Hudhali, leads to the conclusion that Saʿida's two poems were the main sources on which the pupil drew to create his poem. The sophisticated changes that Abu Dhuʾayb introduced in structure and content, however, made his poem more memorable than those of his teacher. The article raises another question, to which there is, as yet, no definitive answer: what was the true inspiration for Abu Dhuʾayb's poem? Was it the death of his sons, as is traditionally believed, or was it literary: to surpass his teacher in composing a more skillful poem?
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Haft, Adele J. "The Poet As Map-Maker: The Cartographic Inspiration and Influence of Elizabeth Bishop’s “The Map”." Cartographic Perspectives, no. 38 (March 1, 2001): 37–65. http://dx.doi.org/10.14714/cp38.794.
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New Year’s Eve of 1934 found Elizabeth Bishop recuperating from the flu. Out of her isolation, the recently orphaned 23-year-old created “The Map.” Inspired by a map’s depiction of the North Atlantic, Bishop’s exquisite poem alludes in part to the “seashore towns” and coastal waters of her childhood home, Nova Scotia. A seminal twentieth-century poem about maps, Bishop’s “The Map” has inspired a host of other mappoems since it opened her Pulitzer prize-winning collection, Poems: North & South—A Cold Spring, in 1955. My paper, the third in a series advocating the use of poetry in the teaching of geography, will attempt to elucidate Bishop’s masterpiece and introduce the map that, I believe, inspired her poem. The paper also will present two works influenced by “The Map”: Howard Nemerov’s “The Map-Maker on His Art” (1957) and Mark Strand’s “The Map” (1960). Linking these three acclaimed American poets even further is their recognition of an intimate and explicit connection between poets and cartographers.
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O’Halloran, Kieran. "Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis." Language and Literature: International Journal of Stylistics 28, no. 2 (May 2019): 133–58. http://dx.doi.org/10.1177/0963947019828232.
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A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.
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Haft, Adele. "John Ogilby, Post-Roads, and the “Unmapped Savanna of Dumb Shades”: Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas, Part Two." Cartographic Perspectives, no. 72 (June 1, 2012): 27–66. http://dx.doi.org/10.14714/cp72.424.
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Written by the acclaimed Australian poet Kenneth Slessor, “Post-roads” is the second poem of his sequence The Atlas and of his collection Cuckooz Contrey (1932), in which it debuted. Like the other four Atlas poems, “Post-roads” begins with a quote from a prominent seventeenth-century map-maker; in this case, John Ogilby (1600–1676)—the celebrated British publisher, surveyor, and cartographer. Slessor not only transformed Ogilby’s work (and portrait) into poetic images, but made Ogilby’s “tireless ghost” the central character of his poem. This article, part of the first full-scale examination of Slessor’s ambitious but poorly understood sequence, begins by reproducing the poem and tracing the poem’s development in Slessor’s poetry notebook. To reconstruct his creative process, it details the poet’s debt to the ephemeral catalogue of atlases and maps in which he discovered his title, epigraph, central character, and a possible source for the colorfully named coaches and carriages that conveyed passengers not only throughout London and Britain beginning in the early seventeenth century, but also throughout Australia from around 1800 to 1920. After comparing poet and cartographer, we consider the poem’s relationship to two of Ogilby’s atlases: the monumental Britannia (1675) and the posthumous, if far more accessible Traveller’s Guide (1699, 1712). Both reveal how Ogilby—even from the grave—helped passengers like the poem’s “yawning Fares” trace their routes. Finally, after offering reasons for Slessor’s choice of “Guildford” out of all the place-names along the roads through England and Wales, and proposing literary inspirations for “Post-roads,” the paper returns to Slessor’s hero/artist.
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Aqeel, Asim, Saba Rasheed, and Hafiz Nauman Ahmed. "South-Asian niche as the poetic helicon of Taufiq Rafat: a metapoetic study." Acta Scientiarum. Language and Culture 44, no. 2 (August 5, 2022): e60893. http://dx.doi.org/10.4025/actascilangcult.v44i2.60893.
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The genre of metapoetry thematizes the fictional elements – the inspiration of a poet, his poetic process, meta-poetic metaphors, the role of the poet in society, and intertextual references – partaking in the making of poetry explicitly or implicitly carried through a poem within a poem technique. This paper presents Eva Müller-Zettlemann’s theoretical pronunciation of meta-poetic elements, i. e., poetic inspiration, poetic process, and meta-poetic metaphors, at play in the metalyrics of Taufiq Rafat from his anthologies Arrival of the Monsoon: Collected Poems 1947-78 (1985) and Half Moon: Poems 1979-1983 (2008). Rafat’s inspiration is the South-Asian terra firma and lived experience that makes him infuse the regional sensibility through a poetic process of perceiving and penning down immediately. His meta-poetic metaphor involves the invention of an image of cultural genesis that informs the process of poetic creativity. Moreover, the study also considers the explicit expression of the role of the poet in society and the functions of poetry in Rafat’s poems, otherwise a prose phenomenon. Thus, the paper analyzes the conscious expression of the construction of South-Asian singularity inspired by the cultural kernel in content and form in Rafat’s metalyrics.
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Haft, Adele J. "Earle Birney’s “Mappemounde”: Visualizing Poetry With Maps." Cartographic Perspectives, no. 43 (September 1, 2002): 4–24. http://dx.doi.org/10.14714/cp43.534.
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This paper is about “Mappemounde,” a beautiful but difficult poem composed in 1945 by the esteemed Canadian poet Earle Birney. While exploring the reasons for its composition, we examine the poem’s debts to Old and Middle English poetry as well as to medieval world maps known as mappaemundi, especially those made in England prior to 1400. But Birney took only so much from these maps. In search of more elusive inspirations, both cartographic and otherwise, we uncover other sources: Anglo-Saxon poems never before associated with “Mappemounde,” maps from the Age of Discovery and beyond, concealed details of Birney’s personal life. Then we trace Birney’s long-standing interest in geography and exploration to show how he used maps, especially mappaemundi, as visual metaphors for his intellectual, spiritual, and personal life.
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Al-Mar'ruf, Ali Imron. "INTERTEKSTUALITAS PUISI “PADAMU JUA” AMIR HAMZAH DAN PUISI “DOA” CHAIRIL ANWAR: Menelusuri ‘Cahaya’ al-Qur’an dalam Puisi Sufistik Indonesia." Kajian Linguistik dan Sastra 17, no. 1 (March 25, 2015): 75–87. http://dx.doi.org/10.23917/kls.v17i1.4499.
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The study focussed on the intertextual analysis of poems “Padamu Jua”, masterpieceof Amir Hamzah and “Doa”, masterpiece of Chairil Anwar. The study aims todescribe: (1) the intertexts relation of the poem “Padamu Jua” and “Doa”; (2) the influenceof the poem “Padamu Jua” as hypogram on the poem “Doa”; and (3) to describethe possibility of the al-Qur’an as an inspiration source. The research method is qualitativesince it uses participant observation technique. This means that the researcher getsinto the realms of data, comprehends them, and continuously systematizes the object ofstudy. The object of study is the intertextualities of the two poems while the data arequalitative types in the form of verbal word or discourse within the poem text. The resultof study shows that: (1) there is intertextual relation between the poem “Padamu Jua”and “Doa”; the poem “Padamu Jua” is as a hypogram while the poem “Doa” is as itstransformation; (2) directly or indirectly, the poem “Padamu Jua” and the poem “Doa”can be seen on the structure, the imagination use, and a slight different expression of itstheme; (3) there is a strong tendency that the two poems constitute the Indonesian sufisticbellesletters inspired by the al-Qur’an verse “Light of above Light” ( S. an-Nur: 35) asits hypogram. Therefore, the two poems are categorized as highly valuable works whichare successfully to integrate the devine and human dimension.
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Requesens i Piquer, Joan. "Jacob, la inspiració, Joan Vinyoli." REVISTA VALENCIANA DE FILOLOGIA 4, no. 4 (November 10, 2020): 28. http://dx.doi.org/10.28939/rvf.v4.137.
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Resum: El patriarca bíblic Jacob és el referent objectiu amb el qual el poeta Joan Vinyoliconstrueix el poema «Nit d’àngel». El seu estudi en el context del poemari on és inclòs, ElCallat, em porta a veure’l com una exposició, diguem, del que per a ell és la paraula “inspiració”.Diria que Vinyoli, feta l’anàlisi del poema i una possible interpretació, ens hi mostraquin és l’esforç d’accés a la pròpia i més fonda interioritat, la qual retorna a l’exterior amb eltreball poètic, és a dir, en la construcció que ell anomena «els cants». L’experiència de Jacobd’haver lluitat amb un àngel, doncs, com a imatge reflexa de la descoberta de la intimitat i,simultàniament, de quin és del sentit de la seva vida de poeta. Paraules clau: Jacob, inspiració, interioritat, símbol, transcendència, natura. Abstract: The biblical patriarch Jacob is the objective reference with which the poet JoanVinyoli constructs the poem «Nit d’àngel». His study in the context of the book of poems inwhich is included, El Callat, makes me see it as an exhibition, let us say, of what for him isthe word “inspiration”. I would say that Vinyoli, once the analysis of the poem and a possibleinterpretation have been made, shows us what the effort is to access one’s own deepestinteriority, which returns to the exterior with the poetic work, that is, in the construction ofthe one he names “els cants”. Jacob’s experience of having struggled with an angel, then, asa reflection of the discovery of intimacy and, simultaneously, of what is the meaning of hislife as a poet. Key words: Jacob, inspiration, interiority, symbol, significance, nature.
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Ayvazyan, Lilith. "“BURNT TO THE BONE” WITH LOVE, DAMNATION AND SIN: PHÆDRA AS THE SWINBURNIAN $FEMME$ $\textit{DAMNÉE}$." Armenian Folia Anglistika 17, no. 1(23) (May 31, 2021): 124–49. http://dx.doi.org/10.46991/afa/2021.17.1.124.
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After nearly two centuries of neglect, Algernon Charles Swinburne (1837-1909) revived the tragedy of Phædra in his Poems and Ballads of 1866. Phædra, alongside with his other female characters, has been “branded” as shameless, indecent, masochistic, and obsessive. These analyses tend to present the poet’s protagonists as one-dimensional characters lacking emotional and psychological depth. To fully comprehend Swinburne’s Phædra, this paper observes the short poem not only from the point of Pre-Raphaelitism, but also in associations with Sappho and Baudelaire; Sappho acts as Swinburne’s inspiration for female empowerment, while Baudelaire’s Les Fleurs du Mal serves as the origin of the unique archetype of femme damnée, that can often be observed in Swinburne’s poetry of the 1860s.
The aim of this paper is to shed a new light on the character of Phædra by comparing Swinburne’s delineation of Phædra with how she is portrayed in the classical originals, and then examine how he adapted her in the society of nineteenth-century England. Like his Pre-Raphaelite friends and many of the Victorian poets and artists, Swinburne’s work, especially early poems and plays, display the author’s revolt and aversion towards the Victorian “false” morality.
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Grundtvig, N. F. S. "Grundtvig and the Descent into Hell." Grundtvig-Studier 67, no. 1 (January 4, 2018): 95–106. http://dx.doi.org/10.7146/grs.v67i1.96650.
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The following special section on Grundtvig’s poem I Kveld blev der banketpaa Helvedes Port [This Night came a Knocking on Hell’s Fortress-Gate]includes a new unrhymed metrical English translation of the poem withselect commentary by S.A.J. Bradley, followed by two articles, the firstby K.E. Bugge about the genesis of the poem and the Descent theme inGrundtvig’s thinking; and the second by S.A.J. Bradley concerning theAnglo-Saxon poems which Grundtvig indicates were his inspiration to IKveld and a small cluster of other hymns which he wrote for the DanishChurch.
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Haft, Adele J. "“The Map Shows Me Where It Is You Are”: Gloria Oden Responds to Elizabeth Bishop Across National Geographic and Rand McNally World Maps." Cartographic Perspectives, no. 61 (September 1, 2008): 8–35. http://dx.doi.org/10.14714/cp61.212.
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African-American poet Gloria Oden was among those inspired by Elizabeth Bishop’s seminal poem “The Map” (1934). In honor of Bishop, Oden wrote two poems about reading maps: “A Private Letter to Brazil” (1957) and “The Map” (ca. 1961). Like May Swenson’s “The Cloud-Mobile,” Oden’s poems overtly pay homage to Bishop. Like Howard Nemerov’s “The Mapmaker on His Art” and Mark Strand’s “The Map,” Oden’s verses reveal that she shares in Bishop’s understanding of the mapmaker’s art: its imaginative power and limitations, its technical achievement and arbitrary nature. Yet Oden’s two poems are far more politically and historically nuanced than Bishop’s “The Map”—or than any of the other map poems written shortly after Bishop won the 1956 Pulitzer Prize for her collection opening with “The Map” (Poems: North & South—A Cold Spring). Furthermore, unlike her peers, Oden found inspiration in Bishop’s poem and in an identifiable contemporary map. By comparing both of her poems to Bishop’s original as well as uncovering, with the help of Oden’s own words, the identity of her maps, this paper will demonstrate how Oden’s penetrating critique of two popular 1950s wall maps helped her connect not only with Bishop but also with the world she found reflected in, or absent from, the map.
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Hatten, Robert S. "A Surfeit of Musics: What Goethe's Lyrics Concede When Set to Schubert's Music." Nineteenth-Century Music Review 5, no. 2 (November 2008): 7–18. http://dx.doi.org/10.1017/s1479409800003347.
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Of the many possible relationships between music and poetry, which are but a small subset of the possible relationships between music and text, I have chosen a still narrower focus for inquiry. I will investigate two independent, lyric poems whose musically poetic language and form was fully conceived without any expectation that a composer might use their texts as structural scaffolding and expressive inspiration for related, and emergent, musical and artistic ends. Two lyric poems by Goethe, each set by Schubert, will serve to illustrate the conflict between poetic and instrumental/vocal musics, in which the lyric poems inevitably concede something of their music to an appropriation by, and not merely a translation into, another artistic medium. Even when Schubert succeeds in exemplifying, or expanding upon, the symbolic richness of meaning embodied in the poem, we should consider the fate of overwritten meaning embodied in the musical language and form of the poem by itself.
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Knox, JuEunhae. "United We ’Gram: Scrolling through the Assimilated Aesthetics of Instapoetry." Poetics Today 43, no. 3 (September 1, 2022): 479–532. http://dx.doi.org/10.1215/03335372-9780403.
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Abstract The phrase “Do it for the ’gram” has become extremely popular among the tech-savvy Generation Z, born in the 1990s and early 2000s and raised on social media. An escalation of the now long-established selfie, this colloquialism refers to the behavior of doing something specifically for the sake of posting a picture on Instagram. Publishing polished pictures for the sake of popularity does not merely apply to activities like brewing kombucha or practicing yoga, however, but in posting inspirational micro-poems. The extremely visual short-form genre of Instapoetry boasts 14.2 million posts to #poetsofinstagram alone, yet this so-called fidget-spinner literature has received little scholarly attention. While some magazines have featured the well-known Rupi Kaur, no academic work to date has extensively analyzed the aesthetics and cultural antecedents of Instapoetry. This article combines quantitatively collected data of common trends with in-depth analysis of case studies featured in Instagram's “Top 9” to show how the material and linguistic features of Instapoetry are in fact shaped and assimilated by their digital platform. By manually analyzing Instapoets’ practices in writing, stylization, and promotion, the author demonstrates that the sheer volume and rapidity of content production in turn encourages posts that are not only visually appealing but also immediately recognizable as Instapoems. Conforming to generic trends while simultaneously claiming genuineness and autonomy is a crucial method of increasing followers in a culture in which rapid swiping instantly consumes and buries masses of content. Examining the constant evolution of algorithmic “gatekeepers” and the pressures of the creative economy also contextualizes the challenges ingrained in creating “authentic” discourse on this heteronomous visual platform.
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Mohammed Alashari, Duaa, Abd Rahman Hamzah, and Nurazmallail Marni. "The Journey of Islamic Art Through Traditional and Contemporary Calligraphy Painting." UMRAN - International Journal of Islamic and Civilizational Studies 7, no. 3 (October 4, 2020): 1–11. http://dx.doi.org/10.11113/umran2020.7n3.408.
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Islamic Art is considered as historical art and it is famous all over the Islamic world. The Islamic calligraphy art started around the time of the revelation of al-Quran. Islamic calligraphy art was famous for adorning the interior and exterior aspects of mosques and some famous Islamic buildings. The aim of this article is to highlight and study the traditional and contemporary Islamic calligraphy painting by well-known calligraphers. Calligraphers have been inspired by the Arabic language and they are expressing this language as a kind of unique art through traditional and contemporary painting. Indeed, this paper will provide a brief history of calligraphy art. Islamic calligraphy painting is expressed in a variety of styles and there are also different modes of traditional Arabic styles of writing. Islamic Calligraphers appreciate this sacred and spiritual art and as they carried on their journey, they began to create their art by adding some inspirational verses of the Quran as well as some historical poems. The most noticeable visible feature related to Islamic calligraphy traditional and contemporary painting has to do with the complex and intricate compositions that involve the overlapping of words integrated into a unique method. Islamic calligraphy painting, through either a traditional or a contemporary method, expresses movement and dynamism through the calligraphic lines. The study reveals that the traditional and contemporary calligraphy paintings are considered as innovative art based on their unique traditional scripts, the intricate contemporary identity of the handwriting and the materials. Calligraphers expressed their artistry, and their ability and creativity by applying the sacred language to create a fabulous and unique tradition which is referred to as contemporary calligraphy painting.
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LAI, JOHN T. P. "Wellspring of Inspiration: TheMandarin Union Versionand Modern Chinese Poetry in the Early Twentieth Century." Journal of the Royal Asiatic Society 30, no. 1 (December 21, 2018): 163–77. http://dx.doi.org/10.1017/s1356186318000676.
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Coinciding with the May Fourth new cultural and literary movement, the publication of theMandarin Union Version, the vernacular Chinese translation of the Bible, in 1919 had a profound impact on the formation of modern Chinese literature. This paper examines the ways in which theUnion Versionprovided a novel source of imageries, poetic genres and worldviews for the experimentation of modern Chinese poetry during the Republican period, particularly between the 1920s and 1940s. Revering the Bible as the Holy Scripture, young Christian poetess Bing Xin (1900–99) spontaneously expressed her religious sentiments and commitment by composing a series of “sacred poems” as her own poetic response to the striking beauty of biblical images. Zhou Zuoren (1885–1967), a renowned May Fourth Chinese writer and intellectual, regarded the Bible as a treasured anthology of Jewish literature and appreciated the humanistic values embodied in the teachings of Jesus. Placing the biblical references of the wilderness, Jesus's universal love and Moses's legalistic position in the forefront, Zhou Zuoren's poem“Qilu,”or “Crossroads,” captured the perplexity of his contemporary intellectuals, Zhou himself included, in their sabbathless search for cultural rejuvenation and national salvation during the transitional and tumultuous Republican era. An ardent admirer of W. B. Yeats and T. S. Eliot, Chinese modernist poet Mu Dan (1918–77) studied their poetry at the Southwest United University in Kunming during the Second Sino-Japanese War (1937–45). Imbued with biblical allusions, for instance, the fall of humankind and the loss of paradise, Mu Dan's poems, like“She de youhuo,”or “The Temptation of the Serpent,” articulate his penetrating critique of modernity. These works of poetry represent the multiple voices and diverse reactions of the early twentieth-century Chinese poets towards theUnion Versionwhich had not only firmly established its canonical status as the predominant Chinese translation of the Bible used by the Protestant Church, but also emerged as a literary tour-de-force to propel the evolution of modern Chinese poetry.
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Asmael, M. Swrood weli. "A reflection of the love and spinning on notice poet Abdullah Taho (Women and the homeland)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (November 6, 2018): 229–52. http://dx.doi.org/10.36473/ujhss.v221i1.433.
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- It is shown to us through the poems of our poet (Pashyo) that he lived floating between two great seas of love with no dam between them… his love for his beloved lady (Yar) and his inordinate love for his (homeland), all of which was reflected in his poems, so the love of (Yar) was the source of his small inspiration with the love of homeland and the treatment of the pains and tortures of his nation.
- (Pashyo) differs from the poets preceding him, he is one of scarce poets who declares with high and clear voice what his Kurdish people suffer of political and human problems through the words of his poems, he rises the mettles and addresses all the classes of his nation to uncover the occupiers and usurpers and expose them. His weapon is words that have more intensive effect that the bullets on them.
- With respect to language, (Pashyo) wrote his poems in a simple and fluent language and at the same time they rise to high technical levels of superiority and beauty and what is named as abstained easy.
- (Pashyo) was sincere and honest in his expressions, and did not write his poems for private purposes, except for the beloved love, while the rest of his poems were in the explanation and treatment of his nation's political problems.
- Within the folds of his poems, it is shown that there is a directed message controlling in an obvious way over the shape and content.
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Nyagemi, Bwocha. "Textualization of History in Poems from East Africa by Cook and Rubadiri." Nairobi Journal of Humanities and Social Sciences 1, no. 1 (March 15, 2017): 87–101. http://dx.doi.org/10.58256/njhs.v1i1.17.
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Using new historicism, this paper examines textualization of history in selected poems from Cook and Rubadiri anthology, Poems from East Africa (1971). A textual analysis of poems with titles that encompass appellations of real humans, such as Martin Luther King and Yatuta Chisiza, and places, such as Vietnam and Angola, have been selected in order to compare how history and historicization has been undertaken in poetry. History and historicization are examined as twin elements that ambivalently help readers in understanding the context and inspiration of the poets in the selected poems for this study. The reading established that there is a one to one correlation between the messages contained in the texts (poems) and the historicities surrounding such creations. It also established that the personalities in the poems: Martin Luther King, Yatuta Chisiza, Major Christopher Okigbo, inter alia, fought for causes that, to this day, afflict humanity as a whole. The reading also found that wars such as was the war in Vietnam, Angola, Maji Maji Revolt, and many more, mirror the current wars in various parts of the world.
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G., Ranjit, and Dr K. Rajkumar. "Eco-critical Elements in the Selected Poems of Jayanta Mahapatra." SMART MOVES JOURNAL IJELLH 8, no. 5 (May 28, 2020): 1. http://dx.doi.org/10.24113/ijellh.v8i5.10576.
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Jayanta Mahapatra is a well-known, distinguished, Indo-Anglican writer whose poems and short stories are acknowledged worldwide. He was awarded the Sahithya Akademi Award for his work Relationship in 1981, which enabled him to gain the name of one of the doyens of Indian English Poetry. His major themes are all linked with his native place Orissa. His poems mentions Puri, Konarka, Chilika lake, Bhubaneswar recurrently and each of them are pictured in detail. An Ecocritical study on his poems is worth probing as it deserves more attention and consideration in the current state of environmental crisis. His sole inspiration is his interaction with the nature and his intimate relationship to it. As ecocriticism rightly perceives it as the study of the relationship between human and nature, deserves a detailed study with his poems. River daya in his poem takes the role of a bearer of history and is the memory of the past valor and glory of Orissa. The study here focuses on the elements of ecocriticism in his selected poems.
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Ujszászi, Zsuzsanna. "The Pre-Raphaelite Journey into the Middle Ages." Acta Universitatis Sapientiae, Philologica 7, no. 1 (December 1, 2015): 29–43. http://dx.doi.org/10.1515/ausp-2015-0033.
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Abstract The Pre-Raphaelite artists and poets rejected contemporary conventional style in art, and did not concern themselves with the representation of contemporary life either. They viewed the surrounding social life as sordid, and reached back to the Middle Ages both for technique and subject matter. Dante Gabriel Rossetti, Holman Hunt, John Everett Millais, and later William Morris found inspiration in late medieval art and literature. They took their subjects from history, legend, religion or poetry, focusing on moral or psychological issues, and expressed fascination for beauty as a value of spiritual nature. This paper examines three of Dante Gabriel Rossetti’s medieval fantasy pictures (The Tune of Seven Towers, The Blue Closet and A Christmas Carol), which prompt a meditative and imaginative response through their enigmatic references, and thus attest the mysterious feature of Pre-Raphaelite medieval imagery. The paper discusses their enigmatic nature in the light of William Morris’s early dream poems The Tune of Seven Towers and The Blue Closet, written on the relevant Rossetti pictures. A parallel reading of poem and picture evidences how Pre-Raphaelite medievalism in painting can invite the onlooker for an inner journey through exploring an imagined referential background.
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Law, Bridget Murray, and Carol Polovoy. "Poems and Notes of Inspiration." ASHA Leader 17, no. 15 (December 2012): 16–19. http://dx.doi.org/10.1044/leader.acc1.17152012.16.
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Ghamkhawar, Muhammad Khan. "براہوئی مزاحمتی شاعری: ردوم و پس منظر." Al-Burz 11, no. 1 (December 25, 2019): 71–87. http://dx.doi.org/10.54781/abz.v11i1.50.
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Throughout history, revolutions and collective resistance to oppression have found inspiration and expression through poetry. Pithy and powerful, poetry is a popular art form at protests. Poets have directly played their roles in revolutionary struggles, and their poems have always expressed protest against harsh realities as well as dreams of liberty across a wide range of styles and genres. In this article we will go through different times of Brahui poetry of resistance to colonialism, discussing the specific approach takes in its political context.
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Künstler-Langner, Danuta. "Kobieta w dawnej literaturze polskiej. Inspiracje, wzorce, twórczość." Studia Interkulturowe Europy Środkowo-Wschodniej, no. 13 (November 25, 2020): 153–81. http://dx.doi.org/10.31338/2544-3135.si.2020-13.8.
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This paper presents the images of women in European culture and Old Polish Literature. The works devoted to women from the Middle Ages to Baroque focused on their social and political duties or artistic creation. The authors chose different literary forms: chronicles, poems, epigrams, laments, odes, sonnets, or epic works. The created characters included: a saint, a beloved lady, a donna angelicata, a hero of a chronicle or an autobiography. The works described their life, creative activity, or artistic aspirations. Some of them are panegyric poems, religious works, meditations, or love poetry. Women with an amazing sense of observation were discovering the space of literature and were participating in a world in its dynamic changes. They were excellent creators of humanistic and religious literature, referring to ancient tradition and European values.
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Əli qızı Quliyeva, Nazilə. "On the life and artistic activity of Khurshidbanu Natavan." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 49–52. http://dx.doi.org/10.36719/2663-4619/66/49-52.
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Khurshidbanu Natavan is remembered in the history of Azerbaijani literature and culture as a lyric poet and artist. He began his artistic career in the 1950s, when most of the poems he wrote under the name “Khurshid” disappeared, only a small part has survived. From 1870, the poetess took the nickname “Natavan” (helpless, weak, sick) and created ghazals with deep content. His poems were spoken during his lifetime and spread among his contemporaries in the form of manuscripts. As it is known from his pseudonym, Khurshidbanu came to our poem with an anxious inspiration and a complaining spirit. As in Fuzuli, in his lyrics, joy and sorrow are united. Standing behind these contradictions, the poet sought the deep philosophical meaning of social contradictions, tried to reveal the essence of the causes of justice and injustice, happiness and misery. Realizing that there is a big gap between his dreams and the realities of life, Natavan could not reconcile with the laws of society and nature, nor with creation. Key words: Natavan, selfless mother, unfortunate woman, poem, ghazal, complaint about the cycle, literary meeting
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Wang, Yong, and Olga V. Vinogradova. "Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (December 15, 2019): 704–12. http://dx.doi.org/10.22363/2312-9220-2019-24-4-704-712.
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For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets created an enormous and diverse area of postmodernist poetic texts, which is in sync with Russian poets of postmodernism. In the fi rst part of the article, the authors review the contemporary Russian poetry, in particular the “second avant-garde” poetry, in relation with the contemporary Chinese poetry that was “moved in time” for some decades, but came across the same processes of rising and the dialogue with society (sometimes provocative), with the world poetry, processes of introspection and experimental search. The second part of the article deals with the aspects of infl uence, made by Russian poets of different periods upon Chinese poetry, and with the issues of further development of contemporary Chinese poetry.
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Bohdziewicz-Sulecka, Beata. "„Poznam Cię światełkami palców” – o inspirującym wpływie Lasek na twórczość księdza Jana Twardowskiego." Colloquia Litteraria 30, no. 1-2 (August 23, 2023): 59–80. http://dx.doi.org/10.21697/cl.2021.30.1-2.4.
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The article is a voice in the reflection on the culture-forming role of Laski, where Róża Czacka has been running the Society for the Care of the Blind since 1922. It is also a haven for those who have lost their sight of faith, a place of evangelical work and many creative inspirations. I show how the Laski community influenced Jan Twardowski’s post-war debut and his poetry. Referring to M. Czermińska’s article, I call Laski the poets autobiographical place. I interpret poems inspired by Twardowski’s stays and meetings in Laski, emphasizing the theme of sensual experience, mainly touch
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Zuhair Al-Wattar, Shaymaa. "Breaking the Spell of the Male Gaze in Selected Women's Ekphrastic Poems." Journal of Education College Wasit University 2, no. 37 (December 18, 2019): 20. http://dx.doi.org/10.31185/eduj.vol2.iss37.1106.
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For centuries art and poetry have been inspiring each other and the relation between word and image constantly fascinates the poets. The literary world has given poems that tackle artwork the name: ekphrasis. Ekphrasis represents a rich hunting ground for references, allusions, and inspiration for poets. However, ekphrasis is powerfully gendered that privileged male gaze. Traditionally, the male is given the strong position as the gazer, while the woman is locked in her predetermined role that of the beautiful, silent, submissive, gazed upon.
Women poets refuse to adhere to the gendered ekphrastic tradition and the under-representation of women in ekphrastic poetry. They strongly challenged the ekphrasis tradition modifying it to create a distinctive feminist ekphrasis. Their poetry changes the male-dominated ekphrsis tradition that for centuries has pervaded the Western cultures. The work of the poets Louise Bogan,Carol Ann Duffy, Rita Dove, and Margaret Atwood is an excellent example of women's ekphrastic poetry that defies the tradition of patriarchal male gaze in an attempt to break the spell of the male gaze.
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Jęcz, Jadwiga. "Mythological Motifs in Kisses by Maria Pawlikowska-Jasnorzewska." Ruch Literacki 58, no. 2 (March 1, 2017): 163–75. http://dx.doi.org/10.1515/ruch-2017-0024.
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Summary Maria Pawlikowska-Jasnorzewska’s interest in the ancient world should come as no surprise. While a fascination with imaginary creatures was part and parcel of the Art Nouveau (Secesja) aesthetic, no less important was her association with the Skamandrites, a group of poets some of whom acknowledged neoclassicism as an important source of inspiration. The article examines the mythological motifs in Pawlikowska-Jasnorzewska’s Pocałunki (Kisses), a volume of poems published in 1926, in particular her reinterpretation of the Narcissus story (in ‘Narcyz’) and a string of mythological images used as a decorative encrustation (e.g. in ‘Syreny’).
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Thi Hoa Le, Tran. "QUESTION IN REVERSE STYLE AND THE INSPIRATION OF SELF-CLAIM IN NGUYEN KHUYEN POEMS." Journal of Science, Social Science 62, no. 5 (2017): 47–55. http://dx.doi.org/10.18173/2354-1067.2017-0032.
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Hulsenboom, Paul. "Better than Pindar? The Ode by Sidronius Hosschius to Sarbievius and Its Two Versions." Terminus 22, no. 4 (57) (2020): 285—\—314. http://dx.doi.org/10.4467/20843844te.20.016.12536.
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The main aim of this paper is to present and analyse an ode by the Flemish Jesuit Sidronius Hosschius (Sidronius [or Syderoen] de Hossche, 1596–1653) to “the Sarmatian Horace”Mathias Casimirus Sarbievius (Maciej Kazimierz Sarbiewski, 1595–1640). This eulogy has often been viewed as a masterpiece. In addition, it has two distinct versions: one published in a collection of poems in honour of Sarbievius (the socalled Epicitharisma), first printed in an edition of his oeuvre in 1632, and one in the collective volume of Hosschius’s own works issued posthumously in 1656. Both versions were first published by the famous Plantin-Moretus printing house in Antwerp. The paper consists of three sections. The first one focuses on the relationship between Hosschius and Sarbievius and on the Nachleben of Hosschius’s ode. The second section offers a general analysis of the poem. Tracing the contents of Hosschius’s ode and its sources of inspiration, it argues that Hor. Carm. IV 2 is central to the poem’s understanding. The third section discusses the differences between the two versions, in an attempt to disclose why the poem was altered and how the changes influence the ode’s meaning. A number of larger changes affect the poem’s central message: while in the earlier version Sarbievius is said to outdo Pindar and even Horace, the later version is more cautious. All it does is admit that Sarbievius could perhaps equal Pindar and Orpheus. Hosschius’s eulogy and the reception of Sarbievius through his composition have two different traditions: 1) the one found in most editions of Sarbievius’s works, where the poem basically proclaims him to be the best Latin lyricist of all time, thereby tying in with other laudatory contributions and promoting both Sarbievius’s oeuvre and the editions themselves, and 2) the one added to Hosschius’s own poetry, where the adjusted version—which contains more references to ancient literature and which could be called more personal, as well as, perhaps, more realistic—became a fan favourite. In both instances, however, the reinterpretation of the psychological effect of poetry—the translation of furor poeticus from the author to the reader—and the re-evaluation of the concept of aemulatio could be the main reason why Hosschius’s ode was so highly valued.
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Hulsenboom, Paul. "Better than Pindar? The Ode by Sidronius Hosschius to Sarbievius and Its Two Versions." Terminus 22, no. 4 (57) (2020): 285—\—314. http://dx.doi.org/10.4467/20843844te.20.016.12536.
Full textAbstract:
The main aim of this paper is to present and analyse an ode by the Flemish Jesuit Sidronius Hosschius (Sidronius [or Syderoen] de Hossche, 1596–1653) to “the Sarmatian Horace”Mathias Casimirus Sarbievius (Maciej Kazimierz Sarbiewski, 1595–1640). This eulogy has often been viewed as a masterpiece. In addition, it has two distinct versions: one published in a collection of poems in honour of Sarbievius (the socalled Epicitharisma), first printed in an edition of his oeuvre in 1632, and one in the collective volume of Hosschius’s own works issued posthumously in 1656. Both versions were first published by the famous Plantin-Moretus printing house in Antwerp. The paper consists of three sections. The first one focuses on the relationship between Hosschius and Sarbievius and on the Nachleben of Hosschius’s ode. The second section offers a general analysis of the poem. Tracing the contents of Hosschius’s ode and its sources of inspiration, it argues that Hor. Carm. IV 2 is central to the poem’s understanding. The third section discusses the differences between the two versions, in an attempt to disclose why the poem was altered and how the changes influence the ode’s meaning. A number of larger changes affect the poem’s central message: while in the earlier version Sarbievius is said to outdo Pindar and even Horace, the later version is more cautious. All it does is admit that Sarbievius could perhaps equal Pindar and Orpheus. Hosschius’s eulogy and the reception of Sarbievius through his composition have two different traditions: 1) the one found in most editions of Sarbievius’s works, where the poem basically proclaims him to be the best Latin lyricist of all time, thereby tying in with other laudatory contributions and promoting both Sarbievius’s oeuvre and the editions themselves, and 2) the one added to Hosschius’s own poetry, where the adjusted version—which contains more references to ancient literature and which could be called more personal, as well as, perhaps, more realistic—became a fan favourite. In both instances, however, the reinterpretation of the psychological effect of poetry—the translation of furor poeticus from the author to the reader—and the re-evaluation of the concept of aemulatio could be the main reason why Hosschius’s ode was so highly valued.
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Paszkowicz, Wojciech. "Inspirations, interactions and associations: On some links between the works of Vladimir Vysotsky and English-, French- and German-language poetry, theatre and pop music." Tekstualia 2, no. 53 (July 29, 2018): 99–114. http://dx.doi.org/10.5604/01.3001.0013.3290.
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The threads binding the poetry of Vladimir Vysotsky with Russian and foreign literature have a diverse character – some convergences, similarities of his works to those of other authors can be identifi ed in the content, the subject, and the metre of the poems. Some of the literary associations are easily detectable for any recipient, others are more diffi cult to fi nd. The article focuses on the identifi ed links between the works of Vysotsky and those of foreign authors such as Pierre-Jean de Béranger, Robert Burns, and Bertolt Brecht. The convergences observed between Vysotsky’s and de Béranger’s poems, in the subject, form, and metre, indicate the affi nity of the way of thinking and ideals, as well as both poets’ love of freedom, despite the 150 year gap between their birth dates. The presented links with literature of the 18th, 19th, and 20th century widen the opportunities for interpreting the works of Vladimir Vysotsky.
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Peiu, Anca. "The Frost in Faulkner: Walls and Borders of Modern Metaphor." Acta Universitatis Sapientiae, Philologica 10, no. 1 (October 1, 2018): 75–88. http://dx.doi.org/10.2478/ausp-2018-0005.
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AbstractMy paper discusses the dialogue between Robert Frost’s verse and William Faulkner’s works: from the first poems he published as a young writer, especially in his debut volume The Marble Faun (1924), to The Hamlet (1940), an acknowledged novel of maturity. Three world-famous poems: “Birches,” “Mending Wall,” “Nothing Gold Can Stay” will represent here Frost’s metaphorical counterpart. The allegorical borders thus crossed are those between Frost’s lyrical New England setting and the Old South of Faulkner’s Yoknapatawpha diegesis; between (conventional patterns of) Romanticism and Modernism – in both writers’ cases; between poetry and prose; between “live metaphor” and “emplotment” (applying Paul Ricoeur’s theory of “semantic innovation”); between (other conventional patterns of) regionalism and (actual) universality. Frost’s uniqueness among the American modern poets owes much of its vital energy to his mock-bucolic lyrical settings, with their dark dramatic suggestiveness. In my paper I hope to prove that Frost’s lesson was a decisive inspiration for Faulkner, himself an atypical modern writer. If Faulkner’s fiction is pervaded by poetry, this is so because he saw himself as a “poet among novelists.” Faulkner actually started his career under the spell of Frost’s verse – at least to the same extent to which he had once emulated the spirit of older and remoter poets, such as Keats or Swinburne.
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Czwordon-Lis, Paulina. "„Na nagłej i niespodziewanej sprężynie!”, czyli "Makowskie bajki" jako pogranicze poezji dziecięcej i poetyckiego mitu dziecka." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 12, 2017): 224–39. http://dx.doi.org/10.24917/20811853.16.17.
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„Na nagłej i niespodziewanej sprężynie” – Makowskie bajki as a borderland of children poetry and the poetic myth of a child This paper reads Jerzy Ficowski’s Makowskie bajki, a poetry volume/series written under the influence of chosen Tadeusz Makowski’s paintings, as a separate work situated somewhere in the ‘borderland’ of children and adult literature, or as literature that does not clearly define its target. The main context for this interpretation of the cycle are mainly children poems by Ficowski. Some of his early poems from 1957–1974, especially the Zmierzch o świcie poem, are significant as sources of the artistic myth of a child, derived from the visions of Bruno Schulz and Witold Wojtkiewicz, visions troubling and extending beyond the children’s understanding. The paper examines the artistic consequences of the inspirations coming from both sides of this literary border.Key words: children literature; poetry for children; poetic myth; literary borderland; childhood; poetry series; Tadeusz Makowski;
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Orska, Joanna. "Poeci-tłumacze jako „awangarda” lat 90." Wielogłos, no. 1 (43) (2020): 57–73. http://dx.doi.org/10.4467/2084395xwi.20.005.12153.
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Poets-Translators as the “Avant-Garde” of the 1990s David Lehman in his book The Last Avant-Garde. The Making of the New York School of Poets sustains the avant-garde character of the New York School (painters and poets), pointing to the resistance of the public to their works as to one of the symptoms showing their anti-normative and emancipatory message. New experimental poetry in post-transformational Poland of the 1990s was, in general, following the innovations of foreign neo-avant-garde practices – in respect to the methods, interests, and creative ideas. The New York School tradition became the main source of inspiration, due to its reception by poets-translators of the circle of “Literatura na Świecie” magazine: Piotr Sommer, Bohdan Zadura, Andrzej Sosnowski, and Tadeusz Pióro. This article shows that their literary statements on art, which could be seen as programmatic in the avant- -garde way, displayed certain outlines similar to the New York School ideas. One might risk the thesis that at the turn of the centuries in Poland not only American neo-avant-garde poetry aroused the interest of Polish poets-translators. Also the programme of the New York School poets, however vague, became important for their experience and it was being “translated” alongside the poems, though its features would turn out different in Polish conditions.
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Salvatore, Roberta. "Boris Pasternak and Friedrich Gottlieb Klopstock (about Pasternak’s Poem The Starry River of a Week Ago)." Slovene 6, no. 2 (2017): 456–81. http://dx.doi.org/10.31168/2305-6754.2017.6.2.19.
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The aim of this paper is to demonstrate that Boris Pasternak’s poem The Starry River of a Week Ago (1917) is a description of the creation process and a reflection on the nature of this process. To support this view, attention will be drawn to some significant sets of images and themes in this text that are found also in a group of five poems by Friedrich Gottlieb Klopstock, in which ice-skating functions as a metaphor of creation. These poems will give rise to a specific tradition within German poetry where ice-skating is symbolic of both the rapture and the risk of inspiration. In the last part of the paper it will be shown that, although there is no evidence of Pasternak’s acquaintance with Klopstock’s poetry, his thorough knowledge of German language and literature leaves little doubt about this acquaintance. Moreover, it is possible to find a number of affinities in the way of thinking of these two writers.
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Kurek, Marcin, and Justyna Ziarkowska. "Czy poezja jest przekładem?" Między Oryginałem a Przekładem 28, no. 2(56) (June 30, 2022): 61–77. http://dx.doi.org/10.12797/moap.28.2022.56.04.
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IS POETRY A TRANSLATION? ST. JOHN OF THE CROSS IN THE POLISH TRANSLATIONS OF FEDERICO GARCÍA LORCA AND JUAN GELMAN
The article points to the inspirations of the mystical poetry of St. John of the Cross in two 20th-century Spanish language poets, Federico García Lorca and Juan Gelman, in whom it takes a special form of intertexts. The poets refer to others’ words out of a sense of the inadequacy of language and the inexpressibility of feelings that accompany them after the loss of their loved ones – loneliness, despair, abandonment. At the same time, the act of “rewriting” earlier texts as an expression of apophatic theology is present in St. John himself. An analysis of Lorca’s Polish translations, as well as of Gelman’s experimental poems, leads to the conclusion that the complex web of diachronic intertextual references poses a difficult challenge to the translator and requires extensive historical literary and cultural competence.
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García Sánchez, Lúa. "Estilo y paráfrasis en el Anacreón castellano de Quevedo: el uso del tropo y la figura." JANUS. Estudios sobre el Siglo de Oro, no. 10 (May 17, 2021): 350–78. http://dx.doi.org/10.51472/jeso20211019.
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RESUMEN: El propósito de este artículo consiste en estudiar las modificaciones que lleva a cabo Francisco de Quevedo en su paráfrasis Anacreón castellano (1609), las cuales suponen la introducción de elementos elocutivos ajenos a las Anacreónticas griegas. Para ello se han identificado y analizado aquellas expresiones de los cincuenta y siete poemas en castellano que no cuentan con un antecedente en el original ni en las demás fuentes que empleó Quevedo. La inspiración hallada en estos poemas griegos y sus procedimientos estilísticos, modificados por Quevedo en su traducción castellana por medio de nuevos tropos y figuras, pudo influir también en cierta medida, como las abundantes fuentes que manejó, en su creación literaria posterior. ABSTRACT: The aim of this paper is to study Quevedo’s modifications in his paraphrase Anacreón castellano (1609), which involve the introduction of style features alien to the Greek Anacreontics. They have been identified and analysed the expressions of the fifty-seven Spanish poems that do not have any correspondence in the original neither in the other sources used by Quevedo. The inspiration found in these Greek poems and their stylistic devices, modified by Quevedo in his Spanish translation through new tropes and figures, could have influenced also to a certain extent, as well as the abundant sources that he read, in his later literary creation.
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Abdurahmanova Saadat Khalid. "THE MOTIVE OF ASCETICISM IN EMILY DICKENSON’S POETRY." International Academy Journal Web of Scholar, no. 1(43) (January 31, 2020): 7–12. http://dx.doi.org/10.31435/rsglobal_wos/31012020/6880.
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This paper is an attempt to analyze the poetry of Miss Emily Dickinson (1830-1886) contributed both American and World literature in order to reveal the extent of asceticism in it. Asceticism involves a deep, almost obsessive, concern with such problems as death, the life after death, the existence of the soul, immortality, the existence of God and heaven, the meaningless of life and etc. Her enthusiastic expressions of life in poems had influenced the development of poetry and became the source of inspiration for other poets and poetesses not only in last century but also in modern times. The paper clarifies the motives of spiritual asceticism, self-identity in Emily Dickenson’s poetry.
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Thornbury, Emily V. "Aldhelm's rejection of the Muses and the mechanics of poetic inspiration in early Anglo-Saxon England." Anglo-Saxon England 36 (November 14, 2007): 71–92. http://dx.doi.org/10.1017/s0263675107000038.
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AbstractIn the metrical preface to his Enigmata, Aldhelm of Malmesbury denies that he has had anything to do with the Muses. While this gesture connects him to his Christian Latin predecessors (and, less directly, to the pagan poets as well), the unique elements of Aldhelm's poem suggest that he is also drawing upon a native tradition of poetry that valued technical skill above lofty subject-matter. By portraying the Muses within this Germanic framework as useless, rather than dangerous, Aldhelm's rejection enabled his successors to employ the Muses, and other Classical allusions, as harmless decorative elements in their verse.
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Cowan, Robert. "OF GODS, MEN AND STOUT FELLOWS: CICERO ON SALLUSTIUS' EMPEDOCLEA (Q. FR. 2.10[9].3)." Classical Quarterly 63, no. 2 (November 8, 2013): 764–71. http://dx.doi.org/10.1017/s0009838813000232.
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Cicero's letter to his brother Quintus from February 54 is best known for containing the sole explicit contemporary reference to Lucretius’ De rerum natura, but it is also notable as the source of the only extant reference of any kind to another (presumably) philosophical didactic poem, Sallustius’ Empedoclea (Q. fr. 2.10(9).3= SB 14): Lucretii poemata, ut scribis, ita sunt: multis luminibus ingenii, multae tamen artis. sed, cum ueneris. uirum te putabo, si Sallusti Empedoclea legeris; hominem non putabo.Lucretius’ poems are just as you write: they show many flashes of inspiration, but many of skill too. But more of that when you come. I shall think you a man, if you read Sallustius’ Empedoclea; I shan't think you a human being.
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Kowalczyk-Cantoro, Daria. "Renesansowy poemat "Sarca" jako "aemulatio" z autorami antycznymi." Collectanea Philologica, no. 24 (December 28, 2021): 141–53. http://dx.doi.org/10.18778/1733-0319.24.09.
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The aim of this article is to analyse the Renaissance poem Sarca, whose authorship is attributed to the Italian humanist Pietro Bembo, and to indicate the ancient inspirations of the work. The main model for the work is Carmen 64 by Catullus, although the author also refers to other Roman poets. The intertextual relations between Sarca and the hypotexts are presented on various levels. The analysis focuses on showing parallel elements of the setting and takes in consideration the few similarities at the linguistic and stylistic level. Genre-wise Sarca is classified as an epithalamium of an aythiological character. Its characteristics typical of the Renaissance era are also highlighted. The article also brings up the history of the poem and the topic of its attribution, presenting an extensive state of research.
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Haft, Adele J. "Introduction to Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas." Cartographic Perspectives, no. 70 (September 1, 2011): 5–43. http://dx.doi.org/10.14714/cp70.42.
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This is the first of seven articles comprising a book-length treatment of The Atlas by the acclaimed Australian poet and journalist Kenneth Slessor (1901–1971). Hisreputation as Australia’s first modernist poet and pioneer of her national poeticidentity began with his 1932 collection Cuckooz Contrey, which opened with one ofthe most original interpretations of cartography in verse: the five-poem sequence The Atlas. Fascinated by maps and navigators’ tales, Slessor began each poem withthe title of a map or an atlas by a cartographer prominent during Europe’s “goldenage of cartography,” and then alluded to that particular work throughout thepoem. The sequence celebrates the cartographic achievements of the seventeenthcentury while imaginatively recreating the worlds portrayed in very differentmaps, including Robert Norton’s plan of Algiers (“The King of Cuckooz”), JohnOgilby’s road maps (“Post-roads”), Joan Blaeu’s plan-view of Amsterdam (“DutchSeacoast”), John Speed’s world map (“Mermaids”), and a map of the West Indies,supposedly by Nicolas or Adrien Sanson, featuring buccaneers and a seafight (“TheSeafight”). Yet none of these maps appears in Slessor’s collections or critical studiesof his work. Nor have his poems been juxtaposed with the atlases, maps, or rarecatalogue of maps that inspired them.I plan to fill these gaps in six future issues of Cartographic Perspectives. Fivewill begin with an Atlas poem—reprinted in its entirety and in the order ofits appearance within the sequence. Analysis of the poem’s content will befollowed by discussion of its introductory quote or epigraph, which Slessor (ashis poetry notebook makes clear) found in the map catalogue. Next comes anexamination of both the cartographer and the map highlighted in the epigraph.By reproducing the map as well as the catalogue’s description of the map, eacharticle will uncover the cartographic connections between Slessor’s publishedpoem and its manuscript versions, its map(s), and the map catalogue. AnEpilogue will round out my series by exploring the unique atlas-like structure ofSlessor’s sequence and identifying the likely author of the catalogue that Slessorcreatively transformed into The Atlas.My Introduction, the only part of the series published in this issue, providesthe background for what will become the first extended examination of The Atlas. Opening with a brief biography of Slessor as poet, journalist, and man-about-Sydney, it surveys Cuckooz Contrey before turning to The Atlas, which debuted inthat collection. The effort that Slessor lavished on his sequence and on masteringthe period in which it is set are revealed throughout the notebook in whichhe drafted all five poems. Reviewing his corpus shows that The Atlas uniquelycombines strategies apparent in Slessor’s earlier and later poems, includinghis emphasis on the arts and the use of illustrations to heighten his poetry’sallure. The Introduction presents the maps created to illustrate his poetry,especially Strange Lands, made by the famously controversial Norman Lindsayand featured as the frontispiece of Cuckooz Contrey. Slessor’s poetic allusionsto maps lead to the magnificent nautical library in which he may have foundthe inspiration for The Atlas. Yet, as the second half of this article demonstrates,that library collection has proved one of many challenges to producing thisgroundbreaking study.
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Helbling, Mark. "The Response of African Americans to Lindbergh's Flight to Paris." Prospects 27 (October 2002): 375–98. http://dx.doi.org/10.1017/s0361233300001253.
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On May 21, 1927, at 10:24 p.m., Charles Lindbergh gently touched down on French soil, the first person to fly the Atlantic alone. Immediately, the world had a new hero — mobbed wherever he went, the recipient of thousands of letters and poems, the inspiration for popular as well as classical music. But what, exactly, Lindbergh meant to his generation and subsequent generations has remained a source of interest and controversy. In “The Meaning of Lindbergh's Flight” (1958), for example, John W. Ward argued that Lindbergh revealed a deep tension in the American public: “Was the flight the achievement of a heroic, solitary, unaided individual or did the flight represent the triumph of the machine, the success of an industrially organized society?” Twenty-two years later, Laurence Goldstein, in “Lindbergh in 1927: The Response of Poets to the Poem of Fact” (1980), was less certain how to know the significance of Lindbergh's transatlantic flight. But he did argue that Lindbergh's problematic relationship to the “idealizing tendency of popular discourse” was itself a way to understand his complex response to his times and his achievement. More recently, Susan M. Gray, in Charles Lindbergh and the American Dilemma: The Conflict of Technology and Human Values (1988), argued that Lindbergh is best understood as a case study of a larger American issue, the “dialectical tension between technology and human values.” Not only did Lindbergh reveal the complex tensions noted by Ward and Goldstein, but, more fundamentally, he revealed the dialectical imagination characteristic of American thinking since the early 19th century.