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Journal articles on the topic 'Monks as poets'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Wang, Ludi, and Yongfeng Huang. "A Study on Pei Yue and His Poems Written to Monks." Religions 13, no. 3 (2022): 194. http://dx.doi.org/10.3390/rel13030194.

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Pei Yue 裴説 is a poet who flourished in the Late Tang (618–907) and Five Dynasties (907–960). The historical literature contains relatively limited information about his life, and his poems handed down to this day are also rare. To date, he has not been a major focus in the academic literature. Eight complete poems and two remnants from Pei Yue’s existing poems were addressed to monks, including the renowned monk and calligrapher Huaisu 懷素 (737–?), the two outstanding monks and poets Guanxiu 貫休 (832–912) and Shangyan 尚顏 (fl. 881), as well as the lesser known Chubin 處賓, Chumo 處默, Zhiqian 知乾, a n

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2

Wu, Chenghao, and Haoyuan Zhang. "The Influence of Sino-Japanese Zen Communication on Five Mountain Poetry: A Case Study of Zekkai Chuushin." Communications in Humanities Research 21, no. 1 (2023): 132–41. http://dx.doi.org/10.54254/2753-7064/21/20231437.

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Five Mountain culture, a unique Sino-Japanese exchange, shaped Japan's development via Zen monks. These monks in China and Japan infused Zen's allure into Japan, initially captivating aristocrats and later the masses. As Five Mountain culture spread, it met the ruling party's needs, blending Chinese culture with local roots to form a distinct Japanese culture. Zen monks, especially Zekkai Chuushin, who studied in China, played pivotal roles. Zekkai Chuushin's Zen mastery, appreciation of Chinese customs, and study of Ming Dynasty calligraphy and poetry influenced the spread of Chinese culture.

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3

De Gaetano, Miryam. "Nell’attesa del Giorno. Il contesto storico-culturale del Carmen de resurrectione." Augustinianum 59, no. 1 (2019): 129–42. http://dx.doi.org/10.5840/agstm20195916.

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The aim of this study is to determine the historical and cultural context of the pseudoepigraphic Carmen de resurrectione. The Carmen treats poetically many subjects of Christian eschatology: the second coming of Christ, the final judgement, heaven and hell, the universal conflagration. The author believes that the end time is imminent. This perception is common to all the Christians who experienced tribulations: persecutions, natural calamities, barbarian invasions. These painful events urged the Christians to undertake a path of true conversion, in the religious and moral sense. Unlike other

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4

Kedrova, Mariia Alexandrovna. "Feelings and sensitivity in medieval Italian visions (based on the poetry of the turn of the 13th-14th centuries)." Philology. Issues of Theory and Practice 17, no. 6 (2024): 2092–97. http://dx.doi.org/10.30853/phil20240300.

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The purpose of the study is to analyze three poems of the turn of the 13th-14th centuries to identify the feelings and emotions of the heroes, inhabitants of the afterlife, followed by an explanation of the functions of representation of the selected phenomena in the texts. The material for the article was the poems written in the folk language by the Italian didactic poets Bonvezin da la Riva (“The Book of Three Scriptures”) and Giacomino da Verona (“Infernal Babylon” and “Heavenly Jerusalem”). The scientific novelty of the work consists in identifying the tropes and motifs by which the autho

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5

Milanovic, Vesna. "On St. Sava’s (svetosavski) redaction of Holy Monks images in Mileseva church narthex: Contribution to research in iconographic common places in the Nemanjics’ church foundation." Balcanica, no. 32-33 (2002): 263–95. http://dx.doi.org/10.2298/balc0233263m.

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This paper discusses the possibility of further completing the to-date analyses on the content and scope of the painting program in the Mileseva narthex, representing a striking two-band frieze of the images of holy monks. This new examination does not ignore the already recognized distinguishing marks, and pays special attention to investigating possible relationships and links with the solutions in some other monuments of the same era not having been previously researched in detail. The undertaking of the author was in this case determined by an attempt to look into and throw some light onto

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6

Dimri, A. P., M. Roxy, A. Sharma, et al. "Monsoon in history and present." Journal of Palaeosciences 71, no. 1 (2022): 45–74. http://dx.doi.org/10.54991/jop.2022.463.

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Monsoon in the Indian sub-continent remains a seasonal phenomenon which is awaited by all of the humans of the sub–continent. It has long drawn the reverence of monks, travellers, poets, traders and researchers. All mortals from the sub-continent have looked to it from their own perspective and it continues to be the subject of intense multi-dimensional engagement. The monsoon has provided the means of survival to many civilizations, besides sculpting the drainages and the paleogeography of the subcontinent. The evolution of the Himalayas has played a critical role in the evolution of the summ

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Grzyś, Olga. "Literatura hiszpańskojęzyczna o władztwie religii katolickiej nad ciałem osób duchownych i konsekrowanych." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (December 20, 2020): 369–85. http://dx.doi.org/10.24917/20811853.20.23.

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Catholic religion presents an ambivalent attitude towards the body: it adores the tormented and resurrected body of Christ, but rejects human physicality, regarding it as a cause and consequence of sin. Such conviction led to imposing numerous restrictions on almost all life spheres of priests, nuns and monks. They cannot get around, get dressed or decide about their activities and relationships freely. They subject their bodies to mortification, vowing celibacy and sexual abstinence. However, a desire to marginalise the physical sphere of human life, which was rooted in the Church, has produc

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8

Wang, Anyu, and Alexandra V. Troschinskaya. "ON THE QUESTION OF CLARIFYING THE NAME OF ZHU DA (1626–1705) AND ITS ORIGIN." Scientific and analytical journal Burganov House. The space of culture 19, no. 4 (2023): 56–67. http://dx.doi.org/10.36340/2071-6818-2023-19-4-56-67.

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Zhu Da (1626–1705) was a famous Chinese artist who lived during the late-Ming Dynasty and early Qing Dynasty. He was born in Nanchang, Jiangxi Province. Zhu Da was related to the imperial house of Ming. After the fall of this dynasty, during the reign of the Manchus, he was forced to hide, became a monk for some time and reached heights in the study of Buddhism, after which he returned to worldly life. Zhu Da and his work were significantly influenced by the classical texts of Confucianism, the philosophy of Cheng-Zhu, Buddhism and Taoism. His poetic captions for paintings and individual poems

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9

Owen, Stephen. "How Did Buddhism Matter in Tang Poetry?" T’oung Pao 103, no. 4-5 (2017): 388–406. http://dx.doi.org/10.1163/15685322-10345p03.

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Buddhism was often a theme in poetry, especially when writing to monks and on Buddhist sites; it was sometimes a deep conviction on the part of individual poets that contributed to the way they represented the world. There was a period, however, from the ninth through early eleventh century, when Chan meditation shaped how poets thought about the very way of writing poetry. The common use of the [Buddhist] “Way” or Chan in parallel with “poetry” in couplets from this period worked through the possible relations: identity, similarity, complementarity, and mutual exclusion. But the presumption w

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10

Lee, Hewon. "Scrolls of Poem-Paintings by Buddhist Monks of the Late Goryeo and Early Joseon : Records of the “Scrolls of Poems” on the Studio Name and Their Significance." Korean Journal of Art History 315 (September 30, 2022): 39–74. http://dx.doi.org/10.31065/kjah.315.202209.002.

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This article examines written records of the now-lost poem-painting scrolls created by Buddhist monks who were active in the late Goryeo and early Joseon (the fourteenth through fifteenth centuries) in order to reconstruct their artistic exercises and reassess their significance in the history of East Asian art. The literati painters of Yuan China reserved pictorial space in landscape painting for narrative or descriptive purposes. In contrast, the Buddhist monk-painters of the late Goryeo and early Joseon depicted natural features in their landscape paintings, accompanied by poems, as encrypt

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11

Alexander, Hieromonk. "THE IMAGE AND GLORY OF GOD IN JACOB OF SERUG'S HOMILY, «ON THAT CHARIOT THAT EZEKIEL THE PROPHET SAW»." Scrinium 3, no. 1 (2007): 180–212. http://dx.doi.org/10.1163/18177565-90000154.

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Jacob of Serug († 521) is, after Ephrem of Nisibis, the most beloved of theologian poets among the Syriac-speaking Christians of the East. Until recently, though, he was not well known in Western Christian circles and, when discussed at all, was usually associated with Severus of Antioch and Philoxenus of Mabbug as part of a triad of the most important, early sixth-century «Monophysites» theologians. This article seeks rather to examine one of Jacob's works, the long verse homily on Ezekiel's chariot vision, against the background of those traditions common in particular to Eastern Christianit

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Grześkowiak, Radosław, and Jakub Niedźwiedź. "Unknown Polish Subscriptions to the Emblems of Otto van Veen and Herman Hugo: A Study on the Functioning of Western Religious Engravings in the Old-Polish Culture." Terminus 21, Special Issue 1 (2019): 1–29. http://dx.doi.org/10.4467/20843844te.19.024.11285.

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The Seweryn Udziela Ethnographic Musem in Cracow holds an impressive collection of old engravings, among which there are also copperplates by Cornelis Galle. He used selected prints from Amorum emblemata (1608) and Amoris divini emblemata (1615) by Otton van Veen and Pia desideria (1624) by Herman Hugo to create his own emblematic cycle on metaphysical relations between the Soul and Amor Divinus. The drawings from the works of Veen and Hugo were very popular in the seventeenth century and inspired numerous poets and editors around Europe. In the Polish-Lithuanian Commonwealth, it was Hugo’s Pi

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13

Wu, Yaping. "The Serene and Harmonious Style of the Tea Poems by the Poet-Monk Qi Ji and Its Origins." Communications in Humanities Research 12, no. 1 (2023): 299–304. http://dx.doi.org/10.54254/2753-7064/12/20230141.

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In traditional Chinese culture, there are concepts of Zen and Tea as One and Poetry and Tea as One. The tea poems by the poet-monk Qi Ji integrate Zen, tea, and poetry, forming a unique style of serenity and harmony, also known as a style of qinghe in Chinese. This research paper focuses on the study of Qi Jis tea poems, exploring the qinghe style and its origins. Based on the analysis, conclusions can be drawn that his poem style of qinghe is reflected in both the choice of words and sentence structure, as well as the thematic content. In terms of the word choice and sentence structure, Qi Ji

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14

송채은, 송채은. "A Study on Rhyme-Assigned Poetry Composition by Goryeo and Joseon Literati." Korea University Institute for Sinographic Literatures and Philology 20 (March 31, 2025): 322–76. https://doi.org/10.31666/jspklls.2025.3.20.322.

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The composition of rhyme-assigned poetry was a prevalent literary practice during both the Goryeo and Joseon periods in Korea. Although only about twenty examples from Goryeo literati have survived, they exhibit distinct characteristics: the coexistence of individual and collective composition, as well as the parallel use of isolated rhyme characters and entire poetic lines as rhyming elements. The active participation of Buddhist monks in this practice reflects the flourishing of Buddhism in the Goryeo era, while the frequent selection of Su Shi’s verses illustrates the widespread admiration

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15

Mutalâp, Daniar. "The Life and Work of Monk Raphail of Hurezi Monastery (II)." Revista Istorică 34, no. 1-3 (2023): 157–90. http://dx.doi.org/10.59277/ri.2023.1-3.34.07.

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The present paper attempts to reconstruct the life and work of monk Raphael from Hurezi Monastery in the context of both his activity from Oltenia (The Diocese of Râmnic and Hurezi Monastery) and from Moldova (Dragomirna Monastery).Born around 1725, Radu became monk at Hurezi Monastery on the 2nd of April 1754, changing his name to Raphael. In 1781 he was named hegumenos of Hurezi. Close to his death (circa 1791), he received the great schema, becoming hieroschemamonk Roman. His intellectual activity is remarkable, scoping the production of more than 20 Romanian manuscripts, the correction of

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16

Batmunkh, Mungunchimeg. "THE RED PROTECTOR “ТЭР МИНУ” BY DANZANRAVJAA (1803–1856)". Folklore: structure, typology, semiotics 5, № 4 (2022): 63–79. http://dx.doi.org/10.28995/2658-5294-2022-5-4-63-79.

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Danzanravjaa (1803–1856), the 5th Noyon Khutuktu was a wellknown khalkha monk, poet, and the founder of the Mongolian theatre. He wrote more than 300 works in Mongolian and Tibetan. His museum contains those poems, songs, and plays including a philosophical volume. He dedicated the eulogy “Тэр мину” to his “patron deity and friend Jamsran”. This article introduces for the first time the poem “Тэр мину” of Danzanravjaa, examines the connection of this deity to the Noyon Khutuktu lineage and pays a special attention to the Choinling and Galba Monastery relationship of Danzanravjaa. The article i

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17

Galanova, Valeriya A. "Karelian epic poem by F. N. Glinka as a historical Christian legend." Verhnevolzhski Philological Bulletin 3, no. 26 (2021): 24–28. http://dx.doi.org/10.20323/2499-9679-2021-3-26-24-28.

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The article discusses the peculiarities of Fyodor Nikolayevich Glinka's poetry, his work, and the distinctive features of his poems. The attention is focused primarily on the poems: «Karelia, or the Imprisonment of Marfa Johannovna Romanova» (1830), «The Maiden of Karelian Forests» (1826). The poem Karelia, or the Imprisonment of Marfa Johannovna Romanova» is about the events during the Time of Troubles. The prince's mother, Marfa Ioannovna Romanovna, is exiled to Karelia as a result of a conspiracy. A traveling monk helps her survive her exile. He introduces her to the mythology and life of K

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18

E, Gnana Pratap Singh. "Satire in Vanampaadi Poems." International Research Journal of Tamil 4, S-18 (2022): 91–99. http://dx.doi.org/10.34256/irjt224s1813.

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Due to the westernization of literature many new strategies have been used in Tamil poems. Although many strategies are in use still many new strategies become influential over time. Various kind of strategies are used in the poems of this period but the strategies like, symbol, paradox and so on are used in abundance. During Sangam period satire is used to show the moral values of the protagonist. Scholars rarely use satire in their works. The writers of Vanampadi poems directly mocks the politics, economy, education, justice, spirituality, caste, religion, superstition. Ignorance and hypocri

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19

Kamal, Dr Sera Tarek. "Lamentation of Ibn Al-Rumi to Abu Al-Husain Yahiya Bin Umar Bin Al Hussein Bin Zaid Bin Ali(May Allah be pleased with him)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, no. 1 (2018): 95–118. http://dx.doi.org/10.36473/ujhss.v226i1.189.

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Lamentations have formed an important theme throughout the successive periods of Arab poetry, especially the Abbasid period, for the multifaceted and humanistic aspects of this original poetic purpose, on the one hand, and because it transcends merely a positive emotional attitude of the elusive and negative people and life on the other. It is also worthy of research and guidance, and it is important to know the importance of human life and its causes. And its poets deserve attention . It was "the son of Rumi" who lived a life filled with oppression and injustice, one of the most prominent poe

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Kamal, Dr Sera Tarek. "Lamentation of Ibn Al-Rumi to Abu Al-Husain Yahiya Bin Umar Bin Al Hussein Bin Zaid Bin Ali(May Allah be pleased with him)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES, no. 226(1) (September 1, 2018): 95–118. http://dx.doi.org/10.36473/ujhss.v0i226(1).189.

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Lamentations have formed an important theme throughout the successive periods of Arab poetry, especially the Abbasid period, for the multifaceted and humanistic aspects of this original poetic purpose, on the one hand, and because it transcends merely a positive emotional attitude of the elusive and negative people and life on the other. It is also worthy of research and guidance, and it is important to know the importance of human life and its causes. And its poets deserve attention . It was "the son of Rumi" who lived a life filled with oppression and injustice, one of the most prominent poe

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21

Klein, J. W. E. "New light on the Gouda Erasmiana manuscripts 1." Quaerendo 18, no. 2 (1988): 87–95. http://dx.doi.org/10.1163/157006988x00196.

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AbstractTwo copyists ('A' and 'B') worked on the two Erasmiana manuscripts, known since the publication of P. S. Allen's Opus epistolarum (vol. 1, app. ix) as 'the Gouda Manuscripts'. Both copyists must have been monks of Steyn monastery near Gouda. The hand of copyist 'A' (c. 1520-5), who wrote part of MS 1323 and the whole of MS 1324, can also be found in some page fillings in a Diurnale, which was written in Steyn monastery and is now preserved in the Koninklijke Bibliotheek, The Hague, under shelf-mark 71 J 67. Since 'A' was a monk we should not identify him with the physician Reinier Snoy

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22

McAlpine, Erica. "Parody’s paradox: ‘Dover Beach’ versus ‘The Dover Bitch’." Journal of the British Academy 12 (December 13, 2024): 0. https://doi.org/10.5871/jba/012.a46.

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This article tests the notion that a literary critic might judge one poem to be demonstrably better than another. It does so by staging a contest between Matthew Arnold’s ‘Dover Beach’ and Anthony Hecht’s parody ‘The Dover Bitch’. Pitting Arnold versus Hecht raises several questions: how subjective, or prescriptive, can a critic be in defining standards for poetry? What values necessarily factor into a reader’s aesthetic criteria, and how do these values work with, or against, the formal, thematic, and ethical freedoms poets require? Can a parody ever outshine the original? By closely comparin

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23

Chojnacki, Christine. "The Usages of the Homage to the Five Supreme Entities in the Romance Poems (8th–12th Centuries)." Religions 15, no. 12 (2024): 1542. https://doi.org/10.3390/rel15121542.

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Used to mark devotion to the main propagators of Jainism, namely the Jina (arhat), the Liberated Souls (siddha), the Teachers (ācārya), the spiritual Guides (guru), the Preceptors (upādhyāya), and the monks (muṇi), the formula of homage to the five supreme entities (pañcanamaskāra) underwent a significant development in the medieval period where it became a mantra protecting against all evils and violence and symbolising Jainism in its entirety and its respect for life in all its forms amidst the various Indian religions. In the present paper, I intend to investigate how the formula was used i

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24

Chongstitvatana, Suchitra. "Modern Thai Buddhist Poetry by Women Poets: A Transformation of Wisdom." MANUSYA 8, no. 1 (2005): 38–50. http://dx.doi.org/10.1163/26659077-00801003.

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The study is an attempt to explore and explain the transformation of Thai didactic poetry, especially Buddhist poetry by women poets. The texts selected are Dawn in the Night by Chomchand, Under the Rain and Thunder by Khunying Chamnongsri Rutnin. In Thai Theravadin tradition women poets rarely hold a high position nor have authority in teaching Dharma. In the realm of didactic poetry, monk-poets or male poets are the norm. These two women poets convey the teaching of Dharma through expressing artistically their personal experience of practicing Dharma. This aspect transforms the tradition of

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25

Ibragimova, Karina R. "Geoffrey Chaucer’s Little Tragedies: the Category of the Tragic in ‘The Monk’s Tale’." Вестник Пермского университета. Российская и зарубежная филология 13, no. 4 (2021): 80–88. http://dx.doi.org/10.17072/2073-6681-2021-4-80-88.

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The article examines the implementation of the category of the tragic in The Monk’s Tale, which is part of The Canterbury Tales by Geoffrey Chaucer. The purpose of this work is to clarify the concepts ‘tragedy’ and ‘the tragic’ in the culture of the Late Middle Ages, as well as their interpretation in Chaucer’s oeuvre. The focus is on the specific understanding of these terms in the Middle Ages: since the genre of dramatic tragedy became a thing of the past along with Antiquity, the word ‘tragedy’ began to be used by poets and scribes of the Middle Ages to specify a distinct type of narration

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26

Sim Kyung-Ho. "A Study on Poems on Scrolls of Landscape by Gosan Monks." HANMUNHAKRONCHIP: Journal of Korean Literature in Chinese 42, no. 42 (2015): 155–85. http://dx.doi.org/10.17260/jklc.2015.42.42.155.

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정세진. "A study on "poem - report - poems" on Su - Shi's poems by Japanese Wu-Shan zen monks." CHINESE LITERATURE 78, no. ll (2014): 131–56. http://dx.doi.org/10.21192/scll.78..201402.007.

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Song, Ying, and Panrong Shi. "Ethereal Tranquility: A Study of the English Translation of Hanshi Chan Poems in Early Qing Dynasty through the Perspectives of Translation Aesthetics." Philosophy and Social Science 1, no. 11 (2024): 35–42. https://doi.org/10.62381/p243b05.

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The Lingnan poet-monk group in early Qing Dynasty is the largest poet group in China to date, with the most renowned being the Haiyun school. The leader, Hanshi, left behind the Xiatang Poetry Collection in 20 volumes, which is considered a classic of Lingnan Buddhist literature. The Chan poems of Tianran Hanshi, as an aesthetic object, contain rich Chan meanings and artistic nuances. Their aesthetic value is primarily reflected in three aspects: the beauty of sound, the beauty of emotion, and the beauty of imagery. This study, using Liu miqing's translation aesthetics as a linguistic aestheti

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Feinstein, Sascha. "Epistrophies: Poems Celebrating Thelonious Monk and his Music." African American Review 31, no. 1 (1997): 55. http://dx.doi.org/10.2307/3042178.

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Gatten, Aileen, Shotetsu, and Steven D. Carter. "Unforgotten Dreams: Poems by the Zen Monk Shotetsu." Monumenta Nipponica 52, no. 2 (1997): 263. http://dx.doi.org/10.2307/2385575.

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Scott, Jennifer M., and Steven D. Carter. "Unforgotten Dreams: Poems by the Zen Monk Shotetsu." Pacific Affairs 71, no. 2 (1998): 262. http://dx.doi.org/10.2307/2760999.

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Ranaweera, R. A. A. S., A. S. Rubasinghe, and B. G. S. P. Wimalasiri. "Understanding the education system in the Kotte period of Sri Lanka through the form of poetry known as Sandesha Kavya of that era." Journal of Multidisciplinary & Translational Research 9, no. 2 (2025): 95–107. https://doi.org/10.4038/jmtr.v9i2.32.

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The era of the Sinhalese Kingdom of Kotte (1412 – 1597 A.D.), named after its capital, Kotte, is considered the golden era of literary and educational activities in historical Sri Lanka. The royal patronage, scholarly Buddhist monks and their monastic or pirivena education system with diverse subjects and curricula were known to be behind the success of literary and educational activities in the Kotte period. Although Buddhist monasteries (pirivenas) were the known educational institutes that prevailed in historical Sri Lanka, there has been a lacuna in identifying the specific education syste

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Lei, Enhai, and Xudong Hu. "Presentation and Analysis of “Three Teachings Syncretism” in Song and Jin Poetry and Its Modern Significance." Religions 16, no. 1 (2025): 39. https://doi.org/10.3390/rel16010039.

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The “Three Teachings Syncretism” (sanjiao heyi, 三教合一), i.e., the integration of Confucianism, Buddhism, and Daoism, represents an important religious philosophy in ancient China. This article aims to analyze how this ideology is presented and expressed directly in Song and Jin poetry, along with its modern value and significance. To achieve the research objectives, the paper isolates related poems from the Complete Song Poetry and Complete Liao Jin Poetry as the research objects. First, it organizes and classifies the relevant poems through the ways in which the idea of “Three Teachings Syncre

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Ryzhkova, Anna V. "TRANSFORMATION OF CHAN-BUDDHIST MOTIFS IN MONASTERY POETRY OF THE SONG DYNASTY (GENDER ASPECT)." Alfred Nobel University Journal of Philology 1, no. 23 (2022): 107–17. http://dx.doi.org/10.32342/2523-4463-2022-1-23-10.

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There are phenomena of Chan Buddhism as philosophical and religious dogma and embodiment of its rules in the center of the article. Study object is poetry of monks and nuns written during Song dynasty (lyrics of Dumu Jingang, Zhenru, Daoqian and Daoqiang). The study is based on the works of the Chinese (Hu Shih), Ukrainian (N. S. Isaieva), Russian (M.I. Vorobyova-Desyatovskaya, M.S. Ulanov), French (H.Ciхоus, C. Clement), Germany (S. Weigel) and American (N. Miller) researchers. However, in the same time we have noticed lack of the works addressed to analysis of the Chan poetry, its’ themes, i

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Bryant, Daniel. "Clouds Thick, Whereabouts Unknown: Poems by Zen Monks of China by Charles Egan (review)." Journal of Chinese Religions 38, no. 1 (2010): 88–90. http://dx.doi.org/10.1353/jcr.2010.0011.

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Bou, Enric. "«Temeritats enlluernadores»: La ciutat en la poesia de Bartomeu Rosselló-Pòrcel." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 5, no. 5 (2015): 265. http://dx.doi.org/10.7203/scripta.5.6389.

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Resum: La poesia de Rosselló-Pòrcel és una obra de dimensió limitada, però d’una gran diversitat. En els últims anys s’ha estudiat amb precisió la presència d’un llegat postsimbolista. En aquest article s’analitza un aspecte menystingut: el sentit de la presència de mons urbans en la poesia de Rosselló-Pòrcel. El poeta experimenta amb un nou concepte de la metàfora i incorpora els elements que componen l'escenari urbà nomenats amb ajuda d'un lèxic despullat del tabú del prosaisme. L’adjectivació, a més, farà possible unir l'experiència del que és descriptiu amb la desrealització de l'objecte c

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Smolak, Curtius. "“Ardebo igneo amore Tui”: De Coelestino Leuthnero O.S.B., Matris Dei amatore." Nordlit, no. 33 (November 16, 2014): 345. http://dx.doi.org/10.7557/13.3164.

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<em>"In my fiery love for you I will burn": Coelestinus Leuthner OSB, the lover of the Mother of God</em>. This article examines the Latin poems of the Benedictine monk Coelestinus (Cölestin) Leuthner (1695–1759), who taught Rhetoric at the gymnasiums of Freising and Salzburg. Those who read Leuthner will find that his poetry, for all its variety with regard to both genres (epigrams, odes and elegies) and subject matters (which are indeed many and diverse), creates a kind of red string leading – like an Ariadne’s thread – to Mary, the mother of Jesus. Poems in her honour are placed

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Dr. Shubhra Maheshwari. "Neglected character of Ramayana: Description of Urmila in Maithili Sharan Gupta's Saket is a great initiative." Knowledgeable Research A Multidisciplinary Journal 2, no. 03 (2025): 10–14. https://doi.org/10.57067/kr.v2i03.168.

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Urmila, with her dedication towards duty and simple, calm and humble nature, is a woman who is the most sacrificial heroine of Ramayana. She considered her husband's duty as her everything and despite living in the palace for 14 years, she lived the life of an ascetic ascetic. Poets like Rabindra Nath Tagore and Pandit Mahavir Prasad Dwivedi tried to draw attention to her indifference towards him, but she remained out of sight of the poets. Maharaj Janak, father of Urmila and Sita, despite being a householder, lived like a monk and kept Ram's Khadau on the throne. When Ram left the throne and

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Woo Jae Ho. "Monk Calligrapher’s Calligraphy and Poems on Calligraphy in the Tang Dynasty." Journal of North-east Asian Cultures 1, no. 60 (2019): 93–111. http://dx.doi.org/10.17949/jneac.1.60.201909.005.

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Rai, Man Kumar. "Satire in Shrestha’s Ghintang Ghishi Twank." JODEM: Journal of Language and Literature 11, no. 1 (2020): 73–81. http://dx.doi.org/10.3126/jodem.v11i1.34808.

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 The objective of this article is to analyze the use of satire in three poems, from Rupesh Shrestha’s volume of poems Ghintang Ghishi Twank in order to examine use of the suffering of voiceless people. The poems depict absurdities of the society and hypocrisy of the leaders which are the causes of poor people‟s pains. This poems exhibit how follies, vices and absurdities are hurdle in transforming society into prosperous one. The poet has berated them with the aim of bringing positive change in the society and in the lives of the common people. The poet mocks at the political changes whi

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Janakiraman, Ilamathy. "The Concept of God in Siddha Literature." International Research Journal of Tamil 3, S-2 (2021): 201–6. http://dx.doi.org/10.34256/irjt21s238.

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The people of this World could attain good conscience only by way of faith in God and the same was experienced and preached by the Siddhas. The Siddhas are aware of the loss of faith in God among the people due to various circumstances. So the Siddhas proclaims that the world has the power to create it, the divine attributes, the way of worship, and so on. The Kagapusunda Kaviya explains that “Shakti” appears through something called “Brahmam” and creates Siva and other deities in this World. During the period of destruction, again everything goes into “Shakthi”. All Siddhas says that the God

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Geng, Jiyong, and Qiang Pi. "Translation through a Zen Mind: Sam Hamill's Translation of Li Bai's "Du Zuo Jing Ting Shan"." Journal of Global Buddhism 21 (January 1, 2020): 117–21. https://doi.org/10.5281/zenodo.4030981.

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In the global spread of religions and philosophical thoughts, translation is always at the forefront. In the case of Buddhism, the typical image is that of learned intellectuals or scholarly monks assiduously working on the interpretation and translation of important words and concepts across cultures. But there are also other forms of Buddhist translation at work exerting a less visible, but no less important impact on the reception of Buddhism. This paper discusses American poet Sam Hamill's translation of one of Li Bai's renowned poems and argues that this form of translation is co-influenc

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Burmistrova, Yu D. "The French publication of Turgenev’s Poems in Prose [Stikhotvoreniya v proze] during the writer’s lifetime: organization of the cycle." Voprosy literatury, no. 6 (February 7, 2019): 167–81. http://dx.doi.org/10.31425/0042-8795-2018-6-167-181.

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The article considers the French edition of Ivan Turgenev’s Poems in Prose [Pofmes en prose], published during his lifetime, as a cycle of miniatures different from its contemporary version printed in Russia. The detailed textual analysis indicates minor differences in translation of several poems – caused, apparently, by their so-called untranslatability – and more serious ones in the order and organization of the poems. The latter could have been Turgenev’s own intention, given the potentially different readership type and the profound contrast between the European and the Russian consciousn

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Ji, Mi-Ri, and Pyong-In Yi. "Spirit of Tea Shown in the Tea Poems of Zen Master Gyeongbong." Korean Tea Society 31, no. 2 (2025): 1–12. https://doi.org/10.29225/jkts.2025.31.2.1.

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Zen Master Gyeongbong (1892-1982) was a representative Zen monk of modern and contemporary Buddhism in Korea and a tea monk who led Zen tea culture. He was well-versed in poetry, calligraphy, painting, tea, and Zen and was called one of the five perfections. He was also highly regarded for his artistry. While continuing his intense Zen practice, Gyeongbong delivered many sermons to educate sentient beings and left behind 32 tea poems that combined tea and Zen. Based on the Zen style of daily tea, Gyeongbong preached that everyday life is Budda's Dharma. Gyeongbong's attempt to popularize tea d

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Rucki, Wojciech. "Listy mistrza do uczniów pośród łąk pasterskich. Reminiscencje ze średniowiecza." Classica Wratislaviensia. Series Altera 1 (February 22, 2024): 107–15. http://dx.doi.org/10.19195/2956-8897.1.7.

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    Presented here is a translation of four poems by the Northumbrian monk Alcuin, advisor to Charlemagne, forming a mini-corpus which depicts the author as a teacher and creator of the educational and moral reform program of the reborn Roman Empire. The commentary points to the reception of Greco-Roman antiquity — especially the topics — and the attempts at remolding the material in the Christian spirit.   

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O'Hogan, Cillian. "Thirty Years of the ‘Jeweled Style’." Journal of Roman Studies 109 (May 27, 2019): 305–14. http://dx.doi.org/10.1017/s0075435819000480.

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In seventh-century Wiltshire, a scholar-monk began to write classicising Latin poetry. In bold terms he describes himself as the first of the Germanic peoples to write Latin poetry (‘neminem nostrae stirpis prosapia genitum et Germanicae gentis cunabulis confotum in huiuscemodi negotio [i.e. poetry] ante nostram mediocritatem tantopere desudasse’). His programmatic statements cite Virgil explicitly, and allude to Prudentius and Sedulius. His is a poetry that sets out a stall for the beginning of something new, but does so by making clear his predecessors. For Aldhelm, as for much of the Middle

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Weinstock, Jeffrey Andrew. "Before the After: Anticipatory Anxiety and Experience Claimed in Poe's Angelic Dialogues." Poe Studies 52, no. 1 (2019): 91–109. http://dx.doi.org/10.1353/poe.2019.a741446.

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ABSTRACT: Poe's three "angelic dialogues" or "colloquies"—"The Conversation of Eiros and Charmion" (1839), "The Colloquy of Monos and Una" (1841), and "The Power of Words" (1845)—are narratives of the most profound forms of trauma possible: the literal end of the world in the sense of both the death of an individual and the apocalyptic destruction of the entire planet. In each narrative, angels converse in Aidenn, Poe's version of heaven, about their deaths, the annihilation of the planet, and the uncertainties of the universe. This essay argues that Poe's angelic dialogues possess the potenti

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Little, Jean. "Uncertain Relationships: Probability and Natural Law in "The Colloquy of Monos and Una" and "The Mystery of Marie Rogêt"." Poe Studies 55, no. 1 (2022): 59–80. http://dx.doi.org/10.1353/poe.2022.a864938.

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ABSTRACT: This essay builds on recent accounts of Edgar Allan Poe's reliance on scientific theory by tracing aspects of probability and natural law in "The Colloquy of Monos and Una" (1841) and "The Mystery of Marie Rogêt" (1843). In these stories, Poe explores the implications of a non-local connection between distinct individuals and the relationship between perception and the physical world in a way that will contribute to his later work, Eureka (1848). By analyzing his writing in relation to the probability theories that pervaded scientific discourse in his time, including that of Laplace,

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Hartvig, Gabriella. "Ossian Translations and Hungarian Versification, 1773–93." Translation and Literature 22, no. 3 (2013): 383–400. http://dx.doi.org/10.3366/tal.2013.0129.

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Ossianic translations in the Hungary of the1790s were the occasion of heated debates between different schools of translation. Michael Denis, Ossian's first German-language translator, was known in Hungary primarily as a bardic poet, bibliographer, and also as a Jesuit monk. He had personal connections with, and was a great inspiration for, Hungarian ‘Latinate poets’ who knew Denis’ German and Latin hexameter renderings. This essay suggests that it was through Denis’ Jesuit connections that Ossianic poetry first reached the Hungarian reading public and was interpreted in the context of Latinat

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Collins, John. "“Where Are We Really Going? Always Home”: Thomas Merton and Hermann Hesse." Religion and the Arts 16, no. 1-2 (2012): 78–99. http://dx.doi.org/10.1163/156852912x615883.

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AbstractIn 1968 Thomas Merton, a Trappist monk, made a journey to the Far East to study Eastern monastic religions. Merton’s contemplative prayer life was enhanced by his literary imagination, which was fueled by the reading of a broad spectrum of novelists and poets. During his trip eastward, Thomas Merton read three Hermann Hesse novels and recorded notes in his journal regarding two of them:Journey to the EastandSteppenwolf. This essay examines Thomas Merton’s enigmatic quotations and observations about the two aforementioned novels within the context of each of the respective volumes. Furt

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