Academic literature on the topic 'Miao Love poetry'

In India, Bengal’s most celebrated literary figure, Rabindranath Tagore, was specifically sensitive regarding the various seasons occurring in India. The monsoon and its relation with Tagore’s songs is the main focus of this paper. The monsoon, when Mother Nature spreads her beauty by unravelling her bounty treasures, is richly expressed by Tagore. In the composition for the khanika (poem) ‘Asho nai tumi phalgune’ [you did not come in the spring season] Tagore says: “when I awaited eagerly for your visit in the spring, you didn’t come. Please, don’t make me wait any longer and do come during the full monsoon”. In another of his songs he visualises on a cloudy sunless day, a person’s longing to share his or her deepest treasure of feeling for that particular important person ‘Emon ghonoghor boroshaye’ [in this heavy downpour] (Tagore 2002: 333, song 248). Through these poetic compositions and many more, one may understand the depth in Tagore’s understanding of the human’s emotional details regarding this specific season. The monsoon may also be disastrous. According to Tagore’s a composition ‘Bame rakho bhoyonkori’ [keep aside the destructions] (Tagore 2002: 394, song 58) he describes as well as wishes that the monsoon keeps away the damage or distress from people’s lives. His tunes blend with his words and emotions, not to mention the ragas that are believed to be related with rain that is popular to the Indian subcontinent such as Rag Megh or Rag Mian ki Malhar. These have been affluently used by Tagore to create emotional feelings through his words. He expresses being a philosopher with whom people can find a connection, irrespective of their regional background.

Esta dissertação nasceu da constatação de que a obra do escritor Ruy Belo é eminentemente dialógica, sendo atravessada por múltiplas referências que continuamente exigem a memória na sua poesia. As evocações a obras do passado e a outros escritores cruzam-se e dissolvem-se com mestria no universo literário, através da utilização de alusões, de referências, de citações, de epígrafes, às vezes de uma forma direta, outras de uma forma indireta. Assim, após a teorização da memória, teceram-se várias considerações sobre a noção, função e manifestações de intertextualidade, algumas influências que marcaram o autor e as vozes de outros poetas a revelarem a determinação dos núcleos estruturantes dessa poética e o estabelecimento do fio condutor da construção do ato poético. Analisou-se o Poema-livro A Margem da Alegria de Ruy Belo, definindo como hipótese de trabalho a existência de uma poética de memória, a par de uma poética que se constrói num constante diálogo de inúmeras vozes, ressaltando, para lá do mito de amor, um espaço reflexivo, através das errâncias do poeta que vive na atualidade e a assinalar que este poeta não se circunscreve a movimentos estéticos, mas antes se enquadra como um poeta de todos os tempos. Também foi abordado o período pós-moderno e apresentação de alguns fragmentos da poética e ensaios do autor onde foi mais visível a memória como “criação” do seu universo literário, na (des)construção de mitos, símbolos, ideias, palavras.
This dissertation was born from the observation that the Ruy Belo writer’s work is imminently dialogical, being crossed by multiple references which continuously require the memory in his poetry. The evocations of past works and other writers intersect and dissolve themselves with mastery in the literary universe, through the use of allusions, references, quotes, headings, sometimes in a direct way, others in a roundabout way. Therefore, after the theorization of memory, several considerations were woven on the notion, function and manifestations of intertextuality, some influences that marked the author and the voice of other poets to reveal the determination of the structural cores of that poetics and the establishment of the thread of construction of the poetic act. Poema-livro A Margem da Alegria de Ruy Belo was analyzed, defining as a working hypothesis the existence of a poetics of memory, along with a poetic which is constructed in a constant dialogue of innumerous voices, highlighting, beyond the love myth, a reflective space, through the wanderings of the poet who lives in the present and noticing that this poet does not hold on to esthetic movements, but rather fits as a poet of all times. It was also addressed the post-modern period and the presentation of a few fragments of the poetic and the author’s essays where it was more visible the memory as a “creation” of his literary universe, at the (de)construction of myths, symbols, ideas, words.