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1
Menelaou, Iakovos. "‘My Verses Are the Children of My Blood’: Autobiography in the Poetry of Kostas Karyotakis." International Journal of Comparative Literature and Translation Studies 5, no. 3 (July 31, 2017): 5. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.3p.5.
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Kostas Karyotakis (1896-1928) is one of the most important Modern Greek poets. His poetry not only influenced several other poets, but it also attracted critics’ interest. Former critics dealt with Karyotakis’ poetry and spoke about the relation between life and work in his poems. Nevertheless, they did not analyse extensively certain poems, which reflect clearly the poet’s personal experience. In addition, other critics attempted to analyse and see Karyotakis’ poems as independent entities, isolated from the poet’s life. While the results of such an approach were interesting, indeed, in fact they do not show the real meaning of the poems. Although such theories are useful and productive, when reading poets who made their life an important part of their poetry, biography is a key element for the interpretation of their works; thus a New Historicism approach is preferred. My purpose in this paper is to show the close relation between life and work in Karyotakis’ poetry through a parallel focus on life and poetry. Going beyond the results of previous critique, I intend to show how Karyotakis’ poetry alludes to his personal experience.
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Dr Zafar Hussain Haral and Zaib-un-Nisa. "AN ANALYSIS OF TAZKARA HAZAR DASTAAN KNOWN AS KHUMKNANAE JAVEED BY LALA SRI RAM." Tasdiqتصدیق۔ 4, no. 2 (January 10, 2023): 111–21. http://dx.doi.org/10.56276/tasdiq.v4i2.124.
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Tazkara is a type of biography in Urdu literature. In Tazkara the researcher compiles the data and events of the lives of poets and other literary personalities. Tazkara Hazar Dastaan known as Khumkhanae Javeed was gathered by Lala Sri Ram. This biography consists of Six volumes. There are 689 pages in Volume 1 and a list of 634 poets according to the Urdu alphabet ا تا بby poetic names included in it. Volume 2 consists of 751 pages with a list of 485 poets by poetic names according to پ تا ح. Volume 3 consists of 737 pages with a list of 534 poets by poetic names according to خ تا ز. Volume 4 consists of 628 pages with a list of 421 poets by poetic names according to س تا ش. Volume 5 consists of 616 pages with a list of 647 poets by poetic names according to ش تا ع. Volume 6 consists of 556 pages with a list of 458 poets by poetic names according to ع تا ے. There are 3977 pages and 3179 poets in all volumes. It is a remarkable work. In this article, this biography is critically analyzed.
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PASTERNAK, Ekaterina. "“CHTO ZH! STAKAN DERZHA VINA // VYP’IEM ZA...”: ABOUT DERZHAVIN IN RUSSIAN POETRY." Lomonosov Journal of Philology, no. 6, 2023 (December 17, 2023): 161–70. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-06-14.
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The article deals with mentions of the name of Gavriil Derzhavin in Russian poetry in 1790-2023. In the poems, the singer of Felitsa appears not only as an outstanding original poet, but also as a lover of truth, a statesman, a representative of the Catherine the Great era, and finally, a friend and acquaintance of his peers and the idol of the young Pushkin and Delwig. In later texts, the image of the real Derzhavin, as we know him from sources, including autobiographical Notes, becomes more and more blurred. Some hypostases of Derzhavin attract poets more often (poet and statesman), others are much less common (a friend of some of his contemporaries), some are not mentioned at all (literary theorist or the author of the mentioned Notes). Such a choice also influences the formation of the image of the poet among the general readers (for example, in the 20th century, one of the favorite plots is the description of the meeting between Derzhavin and Pushkin at the Lyceum, which is clearly related to the importance of this episode in Pushkin’s biography, but not in that of “old Derzhavin”), and among other poets. Avant-garde poets represent Derzhavin in their texts in their own way. Very few poets pay attention to the formal features of Derzhavin’s poems. Sometimes voluminous quotes from his work are included in poems by later authors (for example, by K. Ryleev and K. Simonov). A new poem by German Lukomnikov, lines from which are included in the title of this work, is considered separately: Derzhavin’s name is not mentioned in the text, the poet’s unspoken surname is encrypted in a compound rhyme.
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Dale, Stephen F. "The Poetry and Autobiography of the Bâbur-nâma." Journal of Asian Studies 55, no. 3 (August 1996): 635–64. http://dx.doi.org/10.2307/2646449.
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Literary biography is a difficult art to practice when the subject is a premodern Muslim poet. Even in the work of such explicitly autobiographical western writers as the twentieth-century Russian poet Anna Akhmatova the relationship between art and life can be tantalizingly ambiguous. In the case of most well-known classical Muslim poets, though, the connection between life and literature is usually indeterminable. To personalize the lyrics of the great fourteenth-century Persian poet Hafiz is as problematic as trying to glean autobiographical details from Shakespeare's sonnets. The reasons are essentially the same. Little is known of these poets' lives, and their poems exemplify lyric and panegyric genres that were not intended to be autobiographical or idiosyncratic. Neither Hafiz nor Shakespeare were Romantics, and they did not write introspective or self-revealing poems.
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Moulin, Joanny. "Lives of the Poets: poetry and biography." Études anglaises 66, no. 4 (2013): 413. http://dx.doi.org/10.3917/etan.664.0413.
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Strashnov, S. L. "Twice lived youth of Yaroslav Smelyakov." Voprosy literatury, no. 5 (November 9, 2019): 158–86. http://dx.doi.org/10.31425/0042-8795-2019-5-158-186.
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The article discusses the interaction of Y. Smelyakov’s (1913–1972) poetry with mass consciousness and describes the major events of the poet’s biography. Milestones on his literary path have been reconstructed, as has his evolution from a carefree lyrical hero into a confident author. The analysis of Smelyakov’s poetry is supplemented with numerous references to everyday Soviet realia. Especially detailed are descriptions of his debut poems, but the author also takes into account the latest interpretation of the poet’s youthful years in the early 1930s. The context of 1920s–1970s Soviet literature is a pivotal element of the analysis. In particular, the author suggests mutual affinity of Smelyakov’s works with the genre of popular sentimental songs, the works of proletarian poets, and the Sixtiers’ poetry. The article recalls the polemics around Smelyakov’s work, especially in the years before the war in 1941 and in the post-Soviet era. Soviet critics often reproached Smelyakov for excessive lyricism, attention to mundane details, and sentimentalism.
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Levochskiy, S. S., E. F. Levochskaia, and A. M. Morozova. "The one who declaims poems: The ritual nature of the poetic bonfire." Shagi / Steps 10, no. 1 (2024): 270–96. http://dx.doi.org/10.22394/2412-9410-2024-10-1-270-296.
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This article provides research into poetic bonfires, a collective reading practice in modern Russia, for example, the Marina Tsvetaeva bonfire and the Nikolay Rubtsov bonfire. On the popular poets’ death day or birthday, readers gather to read his or her poems and sing songs in a special place related to the poet’s biography. This practice is important in the context of reading practices and the formation and maintenance of a readers/reading community. The authors interpreted through the prism of cultural anthropology collected materials such as ethnographic diaries with thick descriptions and interviews. The authors make the assumption that poetic bonfires, with their ritualistic nature, are connected with the concept of cosmos (everything has to exist in right order). The cosmology of poetic bonfires is set through the repetition of behavioral templates, for example, reading poems and making the bonfire, and by semiotization of the area where the poetic bonfire takes place through the biography of the poet and the readers’ own poetry. Legitimization of the poetic bonfire depends on these factors, but at the same time, in most cases the poetic bonfire itself is informal. Therefore, the informal status of the poetic bonfire makes it a safe space and a special emotional refuge for the participants. The rituality that characterizes poetic bonfires allows participants to unite as a whole group with their own rules and behavioral models.
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Nazar, Shabana, Aziz-ur-Rehman Saifee, and Abdul Rehman Yousuf Khan. "E-8 Al- Khansa -The Poetess of Arabic Elegies: Biography and Critical Analysis of His Poetry." Al-Aijaz Research Journal of Islamic Studies & Humanities 4, no. 2 (December 6, 2020): 69–81. http://dx.doi.org/10.53575/e8.v4.02(20).69-81.
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Arabs from widely different experiences have resorted to language arts over the centuries to express themselves and as a means of encouraging, regulating, or shaping their societies' social fabric. The current study is an effort to evaluate and analyse the literary, metaphysical, theosophical, philosophical, and imaginative dimensions of the Al-Khansa' poetry. It is a fact that too many studies have now been completed on the Abbasid period's poets, and far less attention was paid to the reviews on the Poets of the Abbasid period, so this is the insight that have culminated me to endeavour upon operating on the subject. The findings are based entirely on a review of the literature of books and papers previously published, and a study from a few listed poems. The critical inference is that the influence of Arabic poems entirely depends on how they have been written. Besides, the development of reasonably large stages for poetry shedding, the availability of rewards for innovative poetry, and even an authoritarian dictator or institution's backing are established as its most significant factors for developing a famous poem.
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Beers, Theodore S. "The Biography of Vahshi Bāfqi (d. 991/1583) and the Tazkera Tradition." Journal of Persianate Studies 8, no. 2 (November 26, 2015): 195–222. http://dx.doi.org/10.1163/18747167-12341284.
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This paper focuses on Vahshi Bāfqi (d. 991/1583), especially on the sources for the study of his biography and works. The various editions of his collected poems are assessed. Next, all of the known early sources on Vahshi’s biography are presented, including a very important one that has not been published or cited before. Laying out all of these sources allows us to construct a more authoritative biography of the poet than has appeared to date. On a broader level, we learn that the careers and works of poets of Vahshi’s era are best understood in connection to one another. The tremendous growth of thetazkeragenre in the Safavid-Mughal period makes possible this kind of research, focused on interconnectivity and cosmopolitanism in literary culture. In fact, the sources not only permit such an approach; they demand it. The paper ends with a series of recommendations for future research on Vahshi, his contemporaries, and thetazkeras themselves.
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Djumati, Rahma, and Nurfani Nurfani. "PENYAIR-PENYAIR MALUKU UTARA." Humano: Jurnal Penelitian 13, no. 1 (June 16, 2022): 27–31. http://dx.doi.org/10.33387/hjp.v13i1.3893.
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A poetis is an author of poetry, rhymes, and prose. The world of literature has developed along with the development of life in Indonesia. The large number of residents has led to the development of various events which is in turn the poets known by theirtrack records of prose and poetry. Of course, this existence is a good news for Indonesia in which it is rich in literature lovers. Then, by its love of literature a refined and noble character will grow. Behind of that, the growth of literary lovers is accompanied by the growth of writers that are poets, essays, short stories, poetry that showed contributing to the world of Indonesian literatures. Not a few good literary works that obey received positive appreciation by the government, which later emerged as regional writers because of their works. Nowadays, in North Maluku, many literature writers appear with their literary works. Therefore, poets must be known by the general public and education world. This study discusses about identification of poets originated from North Maluku region by conducting a qualitative descriptive research method to process data using the words instead of numbers and applying analytical tools, namely an expressive approach to see the biography of poets.
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Djumati, Rahma, and Nurfani Nurfani. "PENYAIR-PENYAIR MALUKU UTARA." Humano: Jurnal Penelitian 13, no. 1 (June 16, 2022): 27–31. http://dx.doi.org/10.33387/humano.v13i1.3893.
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A poetis is an author of poetry, rhymes, and prose. The world of literature has developed along with the development of life in Indonesia. The large number of residents has led to the development of various events which is in turn the poets known by theirtrack records of prose and poetry. Of course, this existence is a good news for Indonesia in which it is rich in literature lovers. Then, by its love of literature a refined and noble character will grow. Behind of that, the growth of literary lovers is accompanied by the growth of writers that are poets, essays, short stories, poetry that showed contributing to the world of Indonesian literatures. Not a few good literary works that obey received positive appreciation by the government, which later emerged as regional writers because of their works. Nowadays, in North Maluku, many literature writers appear with their literary works. Therefore, poets must be known by the general public and education world. This study discusses about identification of poets originated from North Maluku region by conducting a qualitative descriptive research method to process data using the words instead of numbers and applying analytical tools, namely an expressive approach to see the biography of poets.
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Djumati, Rahma, and Nurfani Nurfani. "PENYAIR-PENYAIR MALUKU UTARA." Humano: Jurnal Penelitian 13, no. 1 (June 16, 2022): 27–31. http://dx.doi.org/10.33387/hjp.v13i1.3893.
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A poetis is an author of poetry, rhymes, and prose. The world of literature has developed along with the development of life in Indonesia. The large number of residents has led to the development of various events which is in turn the poets known by theirtrack records of prose and poetry. Of course, this existence is a good news for Indonesia in which it is rich in literature lovers. Then, by its love of literature a refined and noble character will grow. Behind of that, the growth of literary lovers is accompanied by the growth of writers that are poets, essays, short stories, poetry that showed contributing to the world of Indonesian literatures. Not a few good literary works that obey received positive appreciation by the government, which later emerged as regional writers because of their works. Nowadays, in North Maluku, many literature writers appear with their literary works. Therefore, poets must be known by the general public and education world. This study discusses about identification of poets originated from North Maluku region by conducting a qualitative descriptive research method to process data using the words instead of numbers and applying analytical tools, namely an expressive approach to see the biography of poets.
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Abdelfattah, Tamer Abdelbasset. "Evidence of the influence of the Iliad on Arabic literature." British Journal of Translation, Linguistics and Literature 3, no. 3 (September 30, 2023): 21–63. http://dx.doi.org/10.54848/bjtll.v3i3.68.
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This paper explores the influence of the Iliad text which composed during VIII century B.C on Arabic Literature by focusing on four main points, first: how the Arab poets knew the text of the Iliad and how they tried to borrow lines from it, especially during Abbasid era, secondly: what is the relationship between Iliad and the Arab folk biography, and also the relationship between Oral narration and improvisation on both literatures. Thirdly: the influence of the Iliad on the Concept of Arabic tournament appeared in Antara's character who mixed between love and courage in his poems. Finally: the influence of the Iliad on modern Arabic literature, by discussing the different evidence that modern poets took from the Iliad once by using opening dictions, expressions, myths, characters and so on.
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Skarbek-Kazanecki, Jan. "When poetry becomes autobiography: anecdote as an interpretative tool in the Greek classical epoch." Tekstualia 2, no. 61 (August 15, 2020): 19–36. http://dx.doi.org/10.5604/01.3001.0014.3810.
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The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.
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Esteve Mestre, Cesc. "Biografia i bibliografia a l’edat moderna. Les vides d’escriptors literaris a la Biblioteca Valentina (1747) de Josep Rodríguez." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 23, no. 23 (May 28, 2024): 245. http://dx.doi.org/10.7203/scripta.23.28774.
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va manifestar l’interès per les vides de poetes, creixent d’ençà el segle XVI. La Biblioteca Valentina de Josep Rodríguez, publicada el 1747, conté informació i valoracions de la vida i l’obra d’uns 700 escriptors, la gran majoria valencians. Aquest article s’ocupa de la part de l’obra dedicada als escriptors literaris, els poetes, amb el propòsit d’il·lustrar les formes i els usos d’aquesta classe de biografia en la bibliografia. L’examen de l’obra mostra que les vides de les biblioteques comparteixen interessos i mètodes amb altres modalitats de biografies coetànies i, alhora, que els propòsits de la bibliografia imposen a les vides d’escriptors formes i funcions específiques. L’anàlisi de la Biblioteca Valentina permet entendre que la biografia interessa als bibliògrafs en la mesura que proporciona dades que permeten documentar i certificar l’existència d’escriptors i l’autenticitat d’obres. Aquest ús de la biografia es combina amb la finalitat més tradicional i estesa de fer servir les vides per conferir autoritat i fama als poetes, amb la singularitat que, a les biblioteques, l’objecte d’aquesta canonització és, en última instància, tota una comunitat literària, en el catàleg de Rodríguez, la formada pels escriptors valencians. Paraules clau: Josep Rodríguez, bibliografia, biografia, historiografia literària, edat modernaAbstract: In the late modern age, libraries became one of the genres most interested in spreading the lives of poets, a growing interest since the 16th century. The Biblioteca Valentina by Josep Rodríguez, published in 1747, contains information and assessments of the life and work of some 700 writers, most of them Valencian. This article deals with the part of the work dedicated to literary writers with the purpose of illustrating the forms and uses of biography in the bibliography. The examination of the work shows that lives in libraries share interests and methods with other modalities of contemporary life-writing and, at the same time, that the purposes of bibliography impose specific forms and functions on the lives of writers. The analysis of the Biblioteca Valentina allows us to understand that biography matters to bibliographers, insofar as it provides data that document and certify the existence of writers and the authenticity of works. This use of biography is combined with the most traditional and widespread purpose of using lives to confer authority and fame to poets, with the singularity that, in libraries, the object of this canonization is ultimately a literary community, in Rodríguez’s catalogue, the one formed by Valencian writers.Keywords: Josep Rodríguez, bibliography, biography, literary history, early modernity
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Węgrzyniak, Anna. "Tuwim: Years After." Acta Universitatis Lodziensis. Folia Litteraria Polonica 36, no. 6 (May 30, 2017): 7–23. http://dx.doi.org/10.18778/1505-9057.36.02.
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The subject of the article is to present an outline of the reception of Julian Tuwim’s works in the last decade. “The Prince of Poets” of the interwar period, well known in the post-war era, is less and less known today. Post-war generations of poets made no particular references to Tuwim and his poetry, and even though many critical works are being published about him, Tuwim’s works do not engage critics who would be able to reconnect his writing with the contemporary world. Tuwim is disappearing from school literary curricula, contemporary readers remember only his children’s poems and one can doubt whether this situation can be changed by an extensive, multifaceted work by Piotr Matywiecki Twarz Tuwima (Tuwim’s face), the comprehensive and readable biography of the poet. It is an important book which tackles a number of vital questions concerning for instance the tragic alienation of the Polish Jew who lived between two cultures and wanted to be excluded from neither.
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Dvinyatina, Tatiana M. "Literary Circle of the Poet I.A. Bunin in 1895–1900." Studia Litterarum 8, no. 3 (2023): 126–47. http://dx.doi.org/10.22455/2500-4247-2023-8-3-126-147.
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This article traces the history of the formation of Ivan Bunin’s poetic circle during the first years of his metropolitan literary career: from his first visit to Moscow in early 1895 to the time when he was preparing his key collection of poems, “Autumn” (1901). Those were the years when Bunin established contacts with the senior symbolists Konstantin Balmont and Valeriy Bryusov, made the acquaintance of Chekhov and Gorky and became friends with Aleksander Fedorov, Aleksander Kuprin and the members of the Fellowship of South Russian Artists, some of whom influenced the young Bunin’s literary work. By the beginning of the 1900s Bunin had formed links which subsequently strengthened with the Moscow Literary Circle, which included poets and writers from various movements, and the “Parnasus” association, which from 1899 was renamed “Wednesday” and included poets and writers of a non-symbolist tendency, among whom Bunin’s literary biography moved forward. Particular attention is paid in the article to the mutual influence between and textual echoes in Bunin’s poems and those of symbolists, which have to be taken into consideration in the scholarly annotations to the recently launched first complete edition of Bunin’s works.
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Ahmad, Hemin Omar. "Keyfi, his life and works in the Ottoman Archives." JOURNAL OF LANGUAGE STUDIES 6, no. 3, 1 (April 1, 2023): 284–90. http://dx.doi.org/10.25130/jls.6.3.1.22.
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Research on the history of Kurdish literature requires more efforts. Especially all those poets who have left behind little material and little has been written about them. For various reasons, the Kurds have not been able to rewrite their literary history completely and accurately. In this respect, new information about them is gradually going to be revealed through the workings on uncovering the manuscripts of the world archives. Although the nineteenth century is the richest century in the history of literature, it has the most shortcomings on the lives and works of our poets. This research entitled (Keyfi, his life and works in the Ottoman Archives) has tried to reveal several aspects of this poet's life through the Ottoman and Western archives, especially revealing part of his life in Mosul, Istanbul, and his work as a translator, lawyer, linguist and journalist. Additionally, the study reveals the time and the place of his death, and investigates his relationship with Kurdish poets and his reflection in Kurdish journalism during the Ottoman period. This study resolves some of the debates that existed in the past century about the life of this poet and with this new information fills a gap in the biography of Keyfi in the history of Kurdish literature
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Ahmad, Hemin Omar. "Keyfi, his life and works in the Ottoman Archives." JOURNAL OF LANGUAGE STUDIES 8, no. 3 (March 31, 2024): 111–35. http://dx.doi.org/10.25130/lang.8.3.7.
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Research on the history of Kurdish literature requires more efforts. Especially all those poets who have left behind little material and little has been written about them. For various reasons, the Kurds have not been able to rewrite their literary history completely and accurately. In this respect, new information about them is gradually going to be revealed through the workings on uncovering the manuscripts of the world archives. Although the nineteenth century is the richest century in the history of literature, it has the most shortcomings on the lives and works of our poets. This research entitled (Keyfi, his life and works in the Ottoman Archives) has tried to reveal several aspects of this poet's life through the Ottoman and Western archives, especially revealing part of his life in Mosul, Istanbul, and his work as a translator, lawyer, linguist and journalist. Additionally, the study reveals the time and the place of his death, and investigates his relationship with Kurdish poets and his reflection in Kurdish journalism during the Ottoman period. This study resolves some of the debates that existed in the past century about the life of this poet and with this new information fills a gap in the biography of Keyfi in the history of Kurdish literature.
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Zarodova, Yu P., N. O. Laskina, and I. E. Loshchilov. "Yuri Sopov’s Poem “Arthur Rimbaud” (1919): Text and Contexts." Studies in Theory of Literary Plot and Narratology 17, no. 1 (2021): 228–63. http://dx.doi.org/10.25205/2410-7883-2021-1-228-263.
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The article introduces publication of the full text of the narrative poem “Arthur Rimbaud” by the Omsk poet Yuri (Pyotr Ivanovich) Sopov (1897–1919), written shortly before his tragic death in the explosion at A.V. Kolchak’s residence on August 25 (or 26), 1919. The text previously had been known by fragments only, by virtue of quotations included in the newspaper obituary by the poet Georgy Maslov, who briefly survived Sopov. A number of details allow us to conclude that Sopov is fairly accurate when rendering facts of Rimbaud’s life and must have been familiar with the French poet’s biography, not just with echoes of the legend. Therefore, the numerous occasions in the poem, where he prefers fiction over fact, should be considered as the result of a deliberate choice. In the perception of contemporaries, the image of the author of the poem partially merged with the mythologized image of its hero. First of all, this concerns poets of the circle of the Omsk literary and artistic association “Chervonnaya Troika” and writers close to the group “Pamir” (“Siberian brigade”). The poet Leonid Martynov (1905–1980) repeatedly turned to the image of Rimbaud, translated his poems, compared his image, biography and character to his own, in poetry and in prose. The article shows that the perception of the French poet in Martynov’s creative laboratory during his long career was mediated by the memory of Yuri Sopov’s poem.
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Saleem, Asif. "السيرة النبوية في شعر المديح النبوي المعاصر." Journal of Islamic and Religious Studies 4, no. 1 (June 27, 2019): 23–34. http://dx.doi.org/10.36476/jirs.4:1.06.2019.04.
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This article sheds light on the Prophetic biography in Arabic poetry of the Contemporary Prophetic Praise. The poets mentioned in this article have described different events in the life of the Holy Prophet (P.B.U.H). Some poets have focused his life, right from birth to death, while others have discussed different life events. Events like the night journey of Holy Prophet (Laila-tul-Mi’rāj) or hijrah of Holy Prophet (P.B.U.H) from Makkah to Madinah or ghazwāt (battle fought by the Holy Prophet) could be found. Similarly, some have defended Holy Prophet against false accusations on him.
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Yavorskaya, Alena L., and Andrei B. Ustinov. "Two Anatolys and One “Angelica”: On the History of the “Southwestern Literary School”." Literary Fact, no. 20 (2021): 280–313. http://dx.doi.org/10.22455/2541-8297-2021-20-280-313.
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The subject of the paper is the cultural life of Odessa in the 1910s, and the reconstruction of Anatoly Gamma’s biography, who was 21 when he died in the fall of 1918. His creative life was very short, and appeared to be almost a literary hoax. However, Gamma’s poetry reflected a radical change in the artistic paradigm after the Revolution of 1917. Here the authors reprint all the existing Gamma’s poems published in 1917–18 in the Odessa periodicals. After the tragic death of another Odessa poet Anatoly Fioletov at the age of 21, Gamma’s name happened to appear in obituaries dedicated to both poets. One of those memorial articles entitled “On Two Anatolys (Anatoly Gamma, Anatoly Fioletov)” was published in the Kharkov magazine “Muses” under the nom de plume “Angelica d’Éspré,” which the authors decipher in this essay. Most importantly, being associated with Anatoly Fioletov, Eduard Bagritsky and other Odessa poets, Gamma became a part of a cultural phenomenon that was called by Viktor Shklovsky in 1932 the “Southwestern Literary School.”
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Stokes, John, and Donald E. Stanford. "Dictionary of Literary Biography. Volume XIX. British Poets 1880-1914." Yearbook of English Studies 17 (1987): 234. http://dx.doi.org/10.2307/3507661.
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Larrissy, Edward, Donald E. Stanford, and Vincent B. Sherry. "Dictionary of Literary Biography. Volume XX. British Poets 1914-1945." Yearbook of English Studies 17 (1987): 235. http://dx.doi.org/10.2307/3507662.
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Kopyriulina, Olga M. "Color designation semantics in S.A. Esenin and E. Verhaeren’s lyric." Neophilology, no. 26 (2021): 320–27. http://dx.doi.org/10.20310/2587-6953-2021-7-26-320-327.
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We consider the color designation features in the poetic texts of Russian and French poets. An appeal to the lyric poetry of great writers from a chosen perspective expands and concretizes the existing ideas about the individual features of the authors’ style. Analysis object is the language units of poetry by S.A. Esenin and E. Verhaeren, containing color semantics. A comparative analysis of several works representative within the framework of the declared theme reveals the similarities and differences in the color palette of Esenin and Verhaeren’s lyrics. We consider the semantics of blue, white, yellow, red colors and their shades in poems of poets. Special attention is paid to the golden color poetics, the use of which is also focused on religious symbolism. We designate the vectors of changes in the set of colors in different periods of Esenin and Verhaeren’s creative activity, the dependence of the changes in the color scale on the general pathos of the poets and the events of their personal biography is determined. We clarify the reasons for the differences in color solutions in the landscape and philosophical poetry, explained by the authors’ belonging to different literary trends and national traditions. We provide examples of discrepan-cies in existing Russian translations of E. Verhaeren’s works with the provision of our own trans-lations.
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Gudkova, S. P., and A. V. Khozyajkina. "Features of the development of books of poems in modern Russian-language poetry of Mordovia (on the material of the poetry books by A. M. Sharonov «The Monologues» and S. Yu. Senichev «Grapes in Chocolate, or Compounding»)." Bulletin of Ugric studies 11, no. 1 (2021): 16–24. http://dx.doi.org/10.30624/2220-4156-2021-11-1-16-24.
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Introduction: the article is devoted to the study of the development of books of poems as a major genre form in modern Russian-language poetry of Mordovia and fits into the complex of Russian literary studies concerning the peculiarities of the development of the Finno-Ugric literary process. In the course of the research, the typological features of a thematic and «final» book of poems are revealed; the poetological features of this genre in the works of the poets of Mordovia belonging to the «traditional» and «avant-garde» paradigm are analyzed. Objective: to analyze the main trends of the development of a book of poems in the literary process of Mordovia. Research materials: the poetry books by A. M. Sharonov «The Monologues» and S. Yu. Senichev «Grapes in Chocolate, or Compounding». Results and novelty of the research: the analysis of the modern Russian-language poetry of Mordovia has shown that today there are two ideological and artistic paradigms: «traditional» paradigm based on the experience of classical Russian poetry and «avant-garde» paradigm developing with the support of postmodern experiments. The diversity of poetic practices makes it possible to determine the ways of development of a book of poems in the poetic process of the republic. In the creative works of the poets of Mordovia two genre-specific forms, such as thematic and «final», are developing. Moreover, the traditional poets most often comprehend the problems concerning the preservation of the national identity of the Mordovian people. They poetically sum up the plots and images of national mythology and folklore. The genre form of a «final» book of poems allows the most representative to convey the scale of significant historical and sociocultural events of the era, as well as to present the author’s biography against the background of these events. The avant-garde poets, on the contrary, move away from national attributes. The associative and metaphorical principle of constructing a book of poems becomes more important for them, where along with the lyrical understanding of the world there is a philological game, intertextuality, and allusiveness. Through the techniques of literary play authors often express nostalgia for lost values. The analysis of the poetic of the books of poems by A. M. Sharonov and S. Yu. Senichev will allow not only to determine the features of their creative manner, but also to trace the ways and character of the development of modern Russianlanguage poetry in Mordovia as a whole.
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Semenenko, Ivan Ivanovich. "Life and creative work of Pan Yue in the context of his “Rhapsody on the Mouth Organ”." Philology. Issues of Theory and Practice 16, no. 11 (November 3, 2023): 3766–77. http://dx.doi.org/10.30853/phil20230576.
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The research aims to determine the main characteristics of the life and literary works of one of the most prominent Chinese poets of the late 3rd century CE Pan Yue. The paper examines the biography of the author in its various periods and stages, the themes and uniqueness of his works in different traditional genres, as well as the historical fate and significance of his literary legacy. The scientific novelty of the research lies in the fact that it is the first time in Russian Sinology that the life and poetry of Pan Yue become the subject of a specific and comprehensive study: a detailed periodization of his biography is provided, a thematic classification of his works is presented, the related discussions in Chinese tradition are analyzed, the key importance of Pan Yue’s “Rhapsody on the Mouth Organ” for understanding his worldview, creative work and life conflicts is revealed. As a result of the research, the main periods and stages in Pan Yue’s biography have been established; the contradictory nature of traditional evaluations of the poet’s verses has been explained; the main themes of his works with the central theme of mourning for the deceased have been identified; the aesthetic significance of the category of sorrow in Pan Yue’s literary works as a means of restoring harmony and life has been clarified.
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Mohammad pour, Mohsen, and Hossein Valizade. "Sylvia Plath's “Mirror” and Forough Farrokhzad’s “The Bird May Die” Comparative Analysis from a Mystical Perspective." Advances in Language and Literary Studies 8, no. 1 (February 1, 2017): 162. http://dx.doi.org/10.7575/aiac.alls.v.8n.1p.162.
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Sylvia Plath’s mirror and Forough Farrokhzad’s the bird may die are two of the best known poems in the aspect of femininity, fighting for feminine rights and equality. The two poets though living distances apart, respectively in America and Iran, had the same poetic perspectives. These poems can be viewed in the aspect of mysticism and mystical state. The term mysticism defined by William James and Frederick Crossfield Happold, is a state of mind experiencing the finding of the hidden truth and the true self. Many have said that the poem mirror dictates the feministic aspect of Sylvia Plath's life, and how women are visualized or valued by men, or that the poem demonstrates the aging of Plath into a wise and old woman. In this paper however we aim to introduce another perspective in which claims Sylvia Plath's mirror seeks mysticism and finding the true self. The narrator in the poem, first a mirror and then a lake, thinks its reflections out loud. This paper also aims to relate this matter to Forough Farrokhzad's poem the bird may die, a poem believed by critics to state the sufferings from social injustice of her time, though now seen through mystical spectacles. In the poem Farrokhzad declares her sorrow of darkness, and seeks an invitation to the birds’ feast. Furthermore, this paper briefly introduces the troubled life of the two poets demonstrating the similarities of their situation and circumstances, and the effect of these difficulties on their poetry. On this paper first mysticism, it’s definition and theoretical studies by William James and Frederick Crossfield Happold are introduced, followed by a brief biography of Sylvia Plath and Forough Farrokhzad, stating the difficulties and problems they encountered, and then the mystical analysis of the two poems, analyzing each line for elements, metaphors, and symbolic features through a mystical point of view, are indicated accordingly. The bird, mirror, lake, night, water, fish, moon, and sun are all signs and symbols the poets used to demonstrate seeking mysticism, reality, and finding the true self, and also the obstacles which prevents them to do so. These two poems were the latest works of the poets, before they committed suicide.
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Egorova, L. V. "Ivanova, E., ed. (2018). The biography in cultural history: Collected papers. Moscow: Ruteniya." Voprosy literatury 1, no. 1 (February 20, 2020): 270–75. http://dx.doi.org/10.31425/0042-8795-2020-1-270-275.
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A review of the collective monograph by researchers of the A. M. Gorky Institute of World Literature of the RAS into the origins and evolution of the biography as a genre. The first section of the book discusses composing a writer’s biography with the examples of Shakespeare and Samuel Johnson, the myth and the truth in Camões’ biography, as well as the specific features of this genre in the Latin American tradition. The second section of the monograph covers the history of the genre in Russia. Here, the authors discuss a wide range of problems, from the historical and cultural context of Simeon Polotsky’s biography to attempts of the genre’s theoretical interpretation. Also considered is P. Furman’s project, a series of biographies adapted for children’s reading. The third section focuses on documents at the source of poets’ biographies, criminal proceedings of the Decembrists, and case files of our contemporaries who fell victim of the Stalin terror.
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Schaffenrath, Florian. "Johann Engerds (1547–?) Neolatin Epic Poems on Important Noble Families (Johann Engerds (1547–?) neulateinische epische Dichtungen auf bedeutende Adelsfamilien)." Daphnis 46, no. 1-2 (March 15, 2018): 65–84. http://dx.doi.org/10.1163/18796583-04601015.
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During the 16th century, Neo-Latin epic poets in Germany strove for protection and patronage by means of their work, just as their precursors in the Italian Quattrocento. An example par excellence of such a poet – who, however, eventually failed – was Johann Engerd (born in 1547), professor for poetics at the university of Ingolstadt. In the following paper, the author presents Engerd’s biography and gives a general overview of his literary production. In a second step, the author discusses in more detail his epic poems which celebrate particular powerful families whose protection Engerd was seeking: the Montfort, the Fugger, and the Madruzzo families. The special focus in our discussion rests on the literary technique and the self-fashioning of the author in his works.
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Rostami, Fatemeh. "The Poets Condition of the Timurid Period in Majales-al Nafis." Asian Social Science 12, no. 11 (October 13, 2016): 29. http://dx.doi.org/10.5539/ass.v12n11p29.
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Timurid era is the era of Persian culture and literature efflorescence. Amirs Timuri’s attention to culture has provided base literature for breeding scholar. In Timurid period, a large number of poetry and literature people were commuting in the court of Timur. Eyewitness of two important literary biographies is as a biography of the poet Samarkandi and more importantly Amir Alishir Navai’s Tazkara Majale-Al Nafis. The importance of the second work is that the author had both Divan and Persian literature expertise. Checking presented poets from Navai in Majales Al Nafis is the most important objectives of the present study. The main question is that, which group had higher share in the categories of poets in Majales Al Nafis, and what was the reason? The results show that, poets whom Navai had referred to in his work, have not been outside the three groups, poets agreed with the government, or the opposition and exile, and the third group were also in average. The reason for this division is that, firstly, the desire of Timurid was to ordinary and popular poets, and secondly, selection and anthology of poets in Majales-Al Nafis book has a meaning from the author. This study is intended to explain the poets of the era in Navai’s work with statistical and comparative method.
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Dembińska-Pawelec, Joanna. "Jarosław Marek Rymkiewicz w cieniu Miłosza." Ruch Literacki 53, no. 2 (November 8, 2012): 209–26. http://dx.doi.org/10.2478/v10273-012-0013-3.
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Summary This article tries to assess the influence of Czesław Miłosz on Jarosław Marek Rymkiewicz, whose poetic career - since his very debut - has developed in the shadow of his great predecessor. The complex bond and dialogically changeable relationship between the two poets are examined here with help of conceptual tools supplied by antithetical criticism, especially Harold Bloom’s ‘anxiety of influence’ theory. The article maps successive phases of Rymkiewicz’s poetic biography by matching them against a string of Miłosz’s poems. Already the poems in Rymkiewicz’s debut volume Konwencje (1957) (which includes a poem entitled ‘Czesław Miłosz’) show that his attitude towards his mentor is no means uniform. His responses range from a fascination which spurs creative effort, borrowings and imitation, to ironic dialogue, polemics, and gestures of rejection. Yet even in Rymkiewicz’s antithetical reactions one may detect traces of his youthful fascination with Czesław Miłosz’s Rescue (1945).
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Rampersad, Arnold. "AFRO-AMERICAN POETS SINCE 1955. (Dictionary of Literary Biography, Volume 41)." Resources for American Literary Study 16, no. 1 (January 1, 1989): 244–47. http://dx.doi.org/10.2307/26366372.
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Rampersad, Arnold. "AFRO-AMERICAN POETS SINCE 1955. (Dictionary of Literary Biography, Volume 41)." Resources for American Literary Study 16, no. 1 (January 1, 1989): 244–47. http://dx.doi.org/10.2307/resoamerlitestud.16.1.0244.
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Paleou, Matrona. "Constructing the poet's image in Ritsos's Δώδεκα Пοιήµατα για του Kαβάφη." Byzantine and Modern Greek Studies 29, no. 1 (2005): 53–69. http://dx.doi.org/10.1017/s0307013100015160.
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This article explores the various elements on which Yannis Ritsos based his approach to construct C.P. Cavafy's image in and focuses on his twofold reading, using his predecessor's biography and poetry.The poem ‘On Form’ clearly depicts the ‘encounter’ between the two poets and provides the guidelines to explore it. The other eleven poems are built up around it and together they stress: (a) the path that brought Ritsos close to Cavafy and the problems generated during this course, (b) the external features that gradually lead deeper to his predecessor's poetics, and (c) the importance of poetic appreciation and the difficulties involved.The following account, therefore, not only explains why Ritsos dedicated Twelve Poems to Cavafy but also underlines their role in his own oeuvre at that time. Formal features and thematic aspects that characterise Cavafy's poetry are incorporated but also elaborated upon in this collection. The younger poet nevertheless retained his independence, foreshadowing his creative assimilation of Cavafy's poetry in the 1960s.
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Osiński, Dawid. "Krasicki’s positivists and modernists." Masuro-Warmian Bulletin 299, no. 1 (April 6, 2018): 165–200. http://dx.doi.org/10.51974/kmw-134918.
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The author of the article demonstrates the ways of functioning of the biography, intellectual thought and work of Ignacy Krasicki in the literature of the second half of the nineteenth century. References to the literary, ideological and biographical heritage of the poet by positivists and modernists reveal Krasicki’s importance to cul�ture and literature during the second half of the 19th century. The basic goal is to extract from different texts (poet’s biographies, portraits, profiles, studies, synthetic approaches as well as literature - poetry, novels, drama) written by writers, critics and historians of Polish literature, positivism and modernism of modes of references to the shape and heritage of the prince’s poets. The return of positivists and modernists to Krasicki means the possibility of diagnosing one’s own present, and also facilitates defining the identity of culture with its limitations and deficits
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Branco, Priscila Nogueira. "'Palavra de mulher' e Alsina Alves de Lima: antologia, poeta e reabertura de arquivo." Elyra, no. 18 (2021): 155–68. http://dx.doi.org/10.21747/2182-8954/ely18a9.
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Based on the opening of the archive of the anthology Palavra de Mulher (1979), organized by poet and fiction writer Maria de Lourdes Hortas, which contains 45 women poets, this article inter-laces the idea of archiving as an act of historical choice and the conception of anthology as formator of memory, of canons and, also, of archives. The poetry and biography of the poet Alsina Alves de Lima, a woman, from the south of Brazil and black, present in the anthology, are rescued and discussed, bring-ing together some poems and information found in the works Cadernos literários 6 (1982) and Nossa Geração. Publicação do diretório estadual de estudantes do Rio Grande do Sul (1966). Finally, we reflect on the process of re-editing Palavra de mulher, by Macabéa Edições, as a form of re-archiving and rewrit-ing History.
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Kotova, Eleonora. "«I Would Like to Leave a Mark on Poetry»: Creative Biography of Boris Burshtyn." Izvestia of Smolensk State University, no. 3(59) (December 30, 2022): 19–29. http://dx.doi.org/10.35785/2072-9464-2022-59-3-19-29.
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The article is based, first of all, on the archival materials of the Literary
Museum of the Smolensk State University. The paper reconstructs the life and
creative path of Boris Sergeyevich Burshtyn, a poet, literary and theater critic,
translator of the people’s poets of the USSR. Much attention is paid to his Smo-
lensk period of life. In the early 1920s, Burshtyn was an organizer of the Arena
Artel of Word Artists and the Club of Poets, that played an important role in the
development of Smolensk poetry. As a critic, he collaborated with local and na-
tional magazines. Smolensk forever made friends with the poet Mikhail Isakovsky
and Alexander Tvardovsky, who considered Burshnyn their literary mentor.
In 1938, in connection with the repressions of the state security agencies,
he moved to Moscow, where he began to engage in literary translation, highly
appreciated by his contemporaries.
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Kamińska, Karolina. "Schwarze Katze – podwójna biografia Karin Wolff w świetle badań nad tłumaczką." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 22 (December 31, 2022): 332–39. http://dx.doi.org/10.24917/20811853.22.19.
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The aim of the above article is to reconstruct the biography of Karin Wolff, a distinguished translator of Polish literature in Germany (more than 90 translations), who was active in the opposition in the GDR and the Polish People’s Republic. The author presents Wolff’s activities to popularize Polish culture (including the organization of a Polish literate salon in Frankfurt/Oder), her contacts with Polish poets (e.g. Jan Twardowski, Jerzy Ficowski) and her numerous publishing initiatives.
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Terekhina, Vera N., and Nikolai V. Kotrelev. "“…Given to Comrade V.V. Mayakovsky”: An Unknown Letter by Lunacharsky to Dzerzhinsky." Literary Fact, no. 21 (2021): 185–95. http://dx.doi.org/10.22455/2541-8297-2021-21-185-195.
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The article presents the historical context of the first-published document from the GARF foundations — A.V. Lunacharsky's letter of recommendation about V.V. Mayakovsky, addressed to F.E. Dzerzhinsky on April 13, 1918. In this regard, Mayakovsky was recommended to Dzerzhinsky as well-in knowledge of “artists, poets and other actors, in one way or another associated with anarchist groups”, for their “rehabilitation and termination of persecution”. The article establishes a link between the two events related to the published letter, namely, the release of the first and only issue of “Futurist Newspaper” on March 15 and the closing of “Cafe of Poets” on April 14, 1918. Based on the published letter, the article establishes a connection between the two events, namely, the release of the first and only issue of “Futurist Newspapers” on March 15 and the closing of “Cafe of Poets” on April 14, 1918. It concludes that there is a need for an in-depth examination of the anarchist period in Mayakovsky's creative biography. In this context, Lunacharsky's letter of recommendation to Dzerzhinsky is the earliest official document of Mayakovsky’s soviet period.
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Markova, E. A. "THE TRADITION OF ENGLISH-LANGUAGE ELEGY AND J. BRODSKY’s POETRY." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (December 25, 2019): 1030–36. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1030-1036.
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In the present article J. Brodsky’s poetry is analyzed in the context of a particular elegiac tradition associated with some key figures of English-language poetry of the mid-to-late 20th century. These are W.B. Yeats, T.S. Eliot, W.H. Auden and S. Heaney. The aim of the article is to examine the continuity of the 20th century English poetry by the example of a sequence of dedication poems (elegies), in which each subsequent poem alludes to the previous one(s). The comparative method allows us not only to show the features of modern English-language poetry (for instance, the link between elegiac mood and reflection on the purpose of poetry), but also to analyze the influence of poets’ interpersonal contacts on their works. Special emphasis is put on J. Brodsky’s poetry as it may seem extraneous to the English-language tradition in question. The analysis of Brodsky’s personal and creative biography, his particular dedication poems and essays allows us to find the links between the Russian poet and the literary tradition of Great Britain, Ireland and the USA.
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Marahayu, Nila Mega, Octaria Putri Nurharyani, and Bivit Anggoro Prasetyo Nugroho. "HABITUS DAN LINTASAN DHARMADI DALAM EKSISTENSI KEPENYAIRAN SASTRA BANYUMAS." Bahtera Indonesia; Jurnal Penelitian Bahasa dan Sastra Indonesia 7, no. 2 (September 1, 2022): 378–91. http://dx.doi.org/10.31943/bi.v7i2.161.
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literature’s treasures. Therefore, it is necessary to study in full by examining the poet's biography, relations and acknowledgement, as well as awards and ideological thoughts of the poets. Dharmadi is a part of the local literature of Banyumas’ poet by instilling and determining his position as a poet with a long process to gain legitimacy. The purpose of this study is to perpetuate the assets of Banyumas' local literary treasures and provide the alternative resources in viewing Banyumas literature from the genre of poem and poetry. This study uses a qualitative descriptive method with the theory is the sociological literary criticism of the cultural production arena by Pierre Bourdieu. The results of this research show that the habitus and trajectory are strong supporting factors in Dharmadi's existence of the literary poetry in Banyumas arena. Dharmadi's habitus consists of three elements; historical products habitus, preconscious habitus, regular and patterned habitus. In addition, finding the trajectory of Dharmadi which is individual as a route in the poet's journey to reach the position of the poet in the arena of Banyumas cultural production.
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Pogorelaya, E. A. "Secret vacancy: Cherubina de Gabriak, Anna Akhmatova and Marina Tsvetaeva." Voprosy literatury, no. 4 (August 22, 2019): 159–80. http://dx.doi.org/10.31425/0042-8795-2019-4-159-180.
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A chapter from the forthcoming biography of Cherubina de Gabriak, the paper discusses personal and artistic relationships between the three principal female poets of early 20th c. Russia. In reality, the age of female lyrical poetry began with the publication of Cherubina de Gabriak’s works in Apollonin 1909; the story influenced A. Akhmatova and M. Tsvetaeva. While Akhmatova, due to biographical circumstances, cared very little for the personality and works of de Gabriak, and ostensibly distanced herself from de Gabriak’s lyrical protagonist, Tsvetaeva, by contrast, expressed keen interest in Cherubina’s poems and even drew on her poetic subjects and imagery: e. g. in ‘On a Red Steed’ [‘Na Krasnom kone’]. On the whole, both Akhmatova and Tsvetaeva saw Cherubina as a precursor who had a good ear for the main symbols and questions of the time, but left some of those questions unanswered for others to finish the task.
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Alewi, Najla' Adul-Husein. "The Influence of the Glorious Qur'an on Abi Nu'as's Poetry." JOURNAL OF LANGUAGE STUDIES 2, no. 2 (August 20, 2023): 58–80. http://dx.doi.org/10.25130/jls.2.2.4.
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The Glorious Qur'an is the speech og Almighty God.This paper is a studyof the influence of the Glorious Qur'an on Abu Nu'as's poetry. He was chosenfrom the Abasyd poets for his love of wine till he was cold 'the poet of wine'.The paper begins with an introductory section on te influence of the Qur'anon Arabic language in general, then it gives a brief biography of the poet andhow he came under the influence of the glorious Qur'an.
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Timenchik, Roman D. "From the Index to Akhmatova’s Notebooks: Two Persons from Bogomolov’s List." Literary Fact, no. 19 (2021): 362–81. http://dx.doi.org/10.22455/2541-8297-2021-19-362-381.
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The article from the author's cycle “From the Index to Akhmatova's Notebooks” demonstrates the attempt of an extensive commentary on Akhmatova's working notes, organized around the characters present on the pages of her notebooks, a kind of free Akhmatova encyclopedia, where different periods of her long life are combined in the onomasticon. A comment of this kind snatches out representative fragments of Akhmatova's epoch, but the degree of presence of different persons in the list, or even their absence, does not always reflect their weight in Akhmatova's biography. The present article is devoted to two poets – Yuri Verkhovsky and Aleksandr Tiniakov (the latter was also a literary critic and published essays about Akhmatova’s poetry). Some publications and studies by late Nikolay A. Bogomolov were dedicated to these two poets. The present article is in memoriam N.A. Bogomolov.
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T o x i r o v a, S. "RUSSIAN ORIENTALISTS AND LITERARY CRITICS’ CONTRIBUTION IN THE RESEARCH OF THE TAJIK LITERATURE." 2022-yil, 3-son (133/1) ANIQ FANLAR SERIYASI 2, no. 132/2 (March 2, 2022): 1–7. http://dx.doi.org/10.59251/2181-1296.v2.1322.59.
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The article is devoted to the role and status of Persian and Tajik poets and writers among Western writers, their influence and contribution to the development of World Literature, the translation of invaluable treasures of Persian and Tajik writers in the West.The name of Sadriddin Aini crossed the borders of Central Asia and spread among readers throughout Europe. Sadriddin Aini’s biography and a list of his works are given in the English encyclopedia «Britannica» and available in more than 30 different languages.
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Litovchenko, Vera P., and Alyona N. ZHIVOTOVA. "WAR-INFLUENCED BIOGRAPHY OF TYUMEN MEN OF LETTERS, THE ALUMNI AND FACULTY OF THE UNIVERSITY OF TYUMEN." Tyumen State University Herald. Humanities Research. Humanitates 6, no. 4 (2020): 165–80. http://dx.doi.org/10.21684/2411-197x-2020-6-4-165-180.
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In the face of increasing falsification of the Great Patriotic War facts, the evidence of contemporary witnesses and the objective coverage of those events are becoming increasingly important. In this regard, the creative writing by Russian writers and poets is especially significant, especially first and foremost by those who personally took part in combat during the military operations against the Nazi aggression or worked on the home front. The following article is devoted to writers and poets of Tyumen, namely to the alumni and faculty from the University of Tyumen, on whose fate and creative writing the Great Patriotic War left its deep trails, becoming the major topic of their writing. Their names and biographies were revealed in the course of research in 2015-2020. The authors have collected the students’ and academic staff’s stories about their parts in the war and their meditations, which has substantially supplemented the data about the University’s history during the war and its contribution to the Victory. Using the historical biographical and comparative approaches, the authors have studied war-time biographies of the Tyumen authors, presented little known facts of their frontline and working life, as well as analyzed their reflections in the following literary creative work of the Tyumenians, of which memoirs and non-fiction prose have become the most prolific genres. This article comprises biographical data on eleven war veterans, home front workers, and children of war — writers and poets, closely related to one of the leading university of Tyumen and the Tyumen Region.
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Teńczyńska, Anna. "Émigrés on an émigré: Poetic portraits of Chopin." Chopin Review, no. 2 (April 27, 2023): 8–25. http://dx.doi.org/10.56693/cr.109.
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This article is devoted to analysis of the mechanisms behind the creation of the cultural image of Fryderyk Chopin in selected verse by twentieth-century Polish poets in exile, such as Kazimierz Wierzyński, Jan Lechoń, Stanisław Baliński and Czesław Miłosz. Verse (and excerpts from autobiographic texts) by those poets helps to forge and renew the ‘Chopin legend’ in various ways, through references to the most important moments in the composer’s biography and selected features of his music. From analysis of this verse, we learn that these poets looked at Chopin and his music primarily through the prism of the role assigned to them by history – similar to the role in which Chopin had tried to find his bearings a hundred years earlier on his departure from Poland. The attitude adopted by émigré writers towards Chopin and his music, representing one of the most important symbols in Polish culture, is not unequivocal. Its distinct affirmation is accompanied by reflection on the conditions and limitations of émigré mythology. The poems discussed show the significant currency in émigré circles especially of that aspect of the Chopin legend which refers to the image of a distant and enslaved homeland. That currency distinguishes the émigrés from their peers back home, who wished to see a different symbolism in Chopin and his music, especially one that was free from conventionalised patriotic references. This last observation may also be referred to the analysed poem by Miłosz, which from the proposed comparative perspective comes across as the reverse of the other works discussed in the article. An interesting perspective could no doubt be opened up by comparative studies of a broader scope, showing how this theme functioned and was functionalised in the output of foreign writers, within the constellation of other cultural, social and historical relations.
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Koroleva, Vera Vladimirovna. "Literary portraits of N. Gumilev and A. Blok as part of the myth about a Russian poet in G. Ivanov’s memoirs." Ethnic Culture 5, no. 1 (March 28, 2023): 28–33. http://dx.doi.org/10.31483/r-105938.
Full textAbstract:
The article deals with the problem of mythologized perception of the names of the poets of the Silver Age N. Gumilev and A. Blok in the works of G. Ivanov «Chinese Shadows» and «Petersburg Winters». The purpose of this study is to determine, based on a comparative analysis of the literary portraits of N. Gumilev and A. Blok, which are created using the contrast technique, the specifics of the myth about the Russian Poet in the memoir prose of G. Ivanov. The two poets are contrasted on the basis of a number of criteria: appearance, character, attitude to creativity, their political position, etc. In conclusion, the article concludes that N. Gumilev and A. Blok, acting as antipodes in the eyes of contemporaries, nevertheless, have similar qualities inherent in the Russian poet: love for the Motherland, dreaminess, nobility, chivalry, romantic nature, inner dualism, hatred of falsehood, lies and willingness to sacrifice for the sake of creativity. G. Ivanov, creating a literary portrait of poets, combines real features in their images with an artistic perception of their personality, thereby making their biography part of the myth of the Russian poet – prophet, for whom life, Russia and creativity are one.
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STASІUK, Oleksandra. "POETRY OF MYKHAILO DYACHENKO IN UKRAINIAN LEGAL PUBLICATIONS DURING 1939–1944." Contemporary era 11 (2023): 277–91. http://dx.doi.org/10.33402/nd.2023-11-277-291.
Full textAbstract:
The article provides a characterization of the pre-war creative work of Mykhailo Dyachenko (better known under the pseudonym of the insurgent poet «Marko Boyeslav»). It presents facts from his biography related to the creative development of the talented young man during the period of II World War. The poetic heritage of M. Dyachenko from the interwar period and the times of II World War is described. It is noted that his early attempts at writing did not yet have independent artistic value but already showed literary talent. On the other hand, the poetry of the II World War era, which was included in the collection «They Will Come» (1941, Prague) and published in the pages of contemporary press, was more mature in terms of content and form. However, the poet was not able to completely rid himself of imitating the creative style of poets such as Bohdan Kravtsiv, Yevhen Malaniuk, and others. The article collects and publishes the poems that were printed in the pages of legal Ukrai nian magazines such as «Silsky Hospodar» («Countryman»), «Krakovski Visti» («News of Krakow»), «Doroha» («Road»), «Mali Druzi» («Little Friends»), «Ilustrovani Visti» («Ilustrated News»), «Studentski Prapor» («Student Flag») and others. It is noted that these poems did not make it into the poet’s collections and were not known until recently, not only to the average reader but also to researchers of his work. A brief literary analysis of these poems is provided. It is emphasized that throughout his life, the main motif of M. Dyachenko’s creativity remained reflections on the fate of the Motherland and calls to fight for its liberation. Keywords Mykhailo Dyachenko («Marko Boyeslav»), poetic heritage, Ukrainian legal magazines, II World War.