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Journal articles on the topic 'Romantic motifs'
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1
Deguy, Michel. "Motifs towards a Poetics." Royal Institute of Philosophy Lecture Series 21 (March 1987): 55–67. http://dx.doi.org/10.1017/s1358246100003477.
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Contemporary poetry—true to the changes brought about by the poetics of modernity at the turn of the century—far from glorifying the ‘lyrical illusion’ and from favouring ‘romantic’ identifications with heroes standing ‘alone against all’, that madness of a subject believing himself to be the only exception to the law, had in fact to tone down its song, had to pull down its hopes, had to interiorize its failures in order to turn them into paradoxes … What failures? The failures of the poets who thought they were failing. Contemporary poetry has therefore to meditate the different figures of paradoxical failure (the failure that is in no way a simple failure); namely, to distinguish the failures of Baudelaire from that of Rimbaud, from that of Mallarmé …
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Deguy, Michel. "Motifs Towards a Poetics." Royal Institute of Philosophy Lecture Series 21 (March 1987): 55–67. http://dx.doi.org/10.1017/s0957042x00003473.
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Contemporary poetry—true to the changes brought about by the poetics of modernity at the turn of the century—far from glorifying the ‘lyrical illusion’ and from favouring ‘romantic’ identifications with heroes standing ‘alone against all’, that madness of a subject believing himself to be the only exception to the law, had in fact to tone down its song, had to pull down its hopes, had to interiorize its failures in order to turn them into paradoxes … What failures? The failures of the poets who thought they were failing. Contemporary poetry has therefore to meditate the different figures of paradoxical failure (the failure that is in no way a simple failure); namely, to distinguish the failures of Baudelaire from that of Rimbaud, from that of Mallarmé …
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Лобзова, С. Л. "ТРАНСФОРМАЦИЯ РОМАНТИЧЕСКИХ МОТИВОВ В РОМАНЕ ПАТРИКА ЗЮСКИНДА «ПАРФЮМЕР»." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 3, no. 93 (2019): 117–28. http://dx.doi.org/10.34142/2312-1076.2019.3.93.10.
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The article attempts to highlight the main romantic motifs that the modern German writer Patrick Süskind used in his novel Perfume: The Story of a Murderer. Symbolic for the contemporary cultural context figurative semantic constants (genius, loneliness, rejection, godlessness, etc.) are assigned to such motifs. The ways and means of rethinking romantic motifs in a modern novel are determined, the specifics of their transformation in a postmodern text is analyzed. The similarities between the work of Süskind and popular upbringing novels in the Enlightenment are noted: the main character of the modern German writer goes through the thorny path of formation, he improves his gift, thanks to which he hopes to change the world, subjugate other people to himself. The parody evangelical allusions that contribute to the deconstruction of the romantic figure of an unrecognized genius are analyzed. The postmodernist writer debunks and ridicules the hero, turning the imaginary king into a jester. Unlike the romantic hero, whose main function was to broadcast the divine will, Jean-Baptiste Grenouille refutes the truth of the Absolute by his existence and the ingenious gift inherent in him by nature. The article concludes that Süskind refers to a stable romantic model, implemented many times in literature and art, setting his own accents in his own way, bringing the romantic structure to its limit. This model goes through the second stage in its development, according to the Hegel’s triad, namely, the negation of negation, when any phenomenon turns into its opposite. Refuting the well-known Pushkin’s claim that “genius and villainy are two incompatible things”, the writer at the same time comes to the conclusion that evil, even without meeting a worthy opponent, is destructive to himself. We see further research prospects in the study of the novel in the context of the work of Süskind and modern German-language literature from the point of view of transforming the romantic tradition in the post-modern text.
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Mniсh, Roman. "MAGDALENE, A POEM BY INNOKENTY ANNENSKY: GOSPEL TEXT AT THE CROSSROADS OF LITERARY TRADITIONS." Проблемы исторической поэтики 19, no. 1 (February 2021): 308–27. http://dx.doi.org/10.15393/j9.art.2021.9022.
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The article offers an interpretation of Innokenty Annensky's poem Magdalene written in 1885, but published only in 1997. This early work of the poet differs significantly from his poetry, known from published collections (Quiet Songs and Cypress Box), which are not characterized by an appeal to biblical images and motifs. In the poem Magdalene Annensky offers his interpretation of the Gospel story, depicting the conflict and struggle between human feelings (Mary Magdalene) and divine vocation (Jesus) in the dialogues between Magdalene and Jesus. Analysis of the structure of the poem allows us to determine the presence of three literary traditions in it: 1) ancient Greek tragedy and the chorus as one of its main actors; 2) a romantic poem about unrequited love (first of all, The Demon by Mikhail Lermontov) and the concept of romantic duality; 3) Faust by Johann Wolfgang Goethe. The combination of antique concepts (fate, destiny, metamorphosis) with the ideas of Christianity, as well as allusions to the works of Russian romantics, allowed the author to combine three aspects in the image of Mary Magdalene: ancient fate (destiny), Christian (Orthodox) holiness and romantic alienation from the world. The combination of these three aspects in the poem by I. Annensky forms a new quality: the romantic poem did not provide for the chorus as a character, and the ancient Greek tragedy did not allow for such lyrical digressions typical for a romantic poem. The Gospel text in the poem by I. Annensky is transformed in line with the three mentioned traditions, and thus the theme “grows” into a dramatic poem.
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Bogatyrova, K. V., and A. P. Rozum. "PRE-ROMANTIC MOTIFS IN VASYL RUBAN’S “ODE IN PRAISE OF LOVE”." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 4, no. 4 (2020): 1–6. http://dx.doi.org/10.32838/2663-6069/2020.4-4/01.
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Philippovsky, German Y. "N. A. Nekrasov and the English pre-Romanticists (to the origins of the poetic motif of Night)." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 8–18. http://dx.doi.org/10.20323/2499-9679-2021-2-25-8-18.
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The paper investigates the literary roots of «night-motifs» in N. Nekrasov`s epic «Who is Happy in Russia?» and his «night» poems «Knight for an Hour» and «Railroad» down to English poetry of XVII–XVIII cc.: metaphysical poetry by H. Vaughan (XVII c.) and greater didactic poem by E. Young (XVIII c.). Both mythological and lyrical «night» motifs of H. Vaughan`s poetry owed to ancient folk traditions of the poet`s Motherland – Wales, with its archaic Celtic language, rituals and sacred festivals (such as Samhein). E. Young`s poem «Complaint or night thoughts on life, death and immortality» (1743–1745) is closely related to later baroque culture, stressing the night-motif in the context of the poet`s contemplation of life, death and christian immortality of human soul. H. Vaughan`s and E. Young`s «night» poetry influenced greatly the sentimentalist and preromantic trends in European poetic traditions of XVIII–XIX cc. N. Nekrasov`s main epic poem with its profound night motifs, though continuing pre-romantic European traditions of H. Vaughan and E. Young, remains greatly indigenous and rooted deeply in both folk and poetic Russian orthodox culture.
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Krstic, Predrag. "Unwanted parenthood: Romanticism and Kant." Filozofija i drustvo 26, no. 1 (2015): 88–108. http://dx.doi.org/10.2298/fid1501088k.
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Over the Romantic reception of Kant, the author attempts to show a relationship between the Romanticism and the Enlightenment. First part of the paper reconstructs the social conditions that created the strange path of transformation of parts of Kant?s teachings in the romantic motifs. The second part follows the theoretical precomposition of Kant?s thought in Fichte and expressly deviation from it in Novalis and Schlegel. Third section presents the key moments of the Romantic critique of the Enlightenment mind, and fourth its ambiguous pracital-political effects. In conclusion, it is suggested that Romanticism tested and testified the transcending of limits of the very freedom for which Kant believed that man becomes worthy of only if it is used in a lawful and purposeful manner.
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Heinapuu, Ott. "Agrarian rituals giving way to Romantic motifs: Sacred natural sites in Estonia." Sign Systems Studies 44, no. 1/2 (July 5, 2016): 164–85. http://dx.doi.org/10.12697/sss.2016.44.1-2.10.
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Semiotic mechanisms involving sacred natural sites – or areas of land or water with special spiritual significance – that have been focal points in agrarian vernacular religion have been transformed in modern Estonian culture. Some sites have accrued new significance as national monuments or tourist attractions and the dominant way of conceptualizing these sites has changed.Sacred natural sites should not be presumed to represent pristine nature. Rather, they are products of complex culture-nature interactions as they have been formed in the course of traditional land management as well as different semiotic practices, including ritual and conservationist ones. The existence of sites encompassed by the term defies and blurs the rigid distinction between nature and culture.Individual sacred natural sites and categories of such sites can act as signifiers for a variety of different signifieds concurrently, acting as confluences of different sign systems and thus exemplifying the creolization of these systems as well as bringing about the hybridization of different landscape traditions in certain loci.Estonian literary culture has adopted motifs and narratives that define sacred natural sites more readily from other literary traditions than from the Estonian vernacular tradition; in turn, the vernacular tradition has also adopted and assimilated literary Romantic motifs.
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Khandarova, Olga V. "Персонажная система и мотивная структура повести Г. Башкуева «Убить время»." Oriental Studies 14, no. 2 (July 20, 2021): 384–92. http://dx.doi.org/10.22162/2619-0990-2021-54-2-384-392.
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Introduction. Gennady Bashkuev’s works attempt to comprehend the late Soviet and post-Soviet eras, and To Kill Time proves a most significant prose work of the writer. Goals. The article seeks to identify and analyze the relationship between the system of characters in the novel and its motif structure, which helps clarify the underlying idea of the work, eclectic in structure and close in form to a short story cycle. Methods. The study rests on the theses about a relationship between semantics of motif and character, predicativity of motif, and on the concept of motif complexes and leitmotif construction of the narrative. Results. The main character of the novel is the narrator, the narrative proper divided into childhood memories and those of recent past. The characters of childhood can be clustered into three groups: family, friends, adults —motifs of happiness, celebration, romantic dreams and that of loss are associated with them. The characters of adulthood are women and childhood friends who are associated with motifs of marginal life, betrayal, guilt, and that of romance. The motifs of ‘childhood’ and ‘adulthood’ memories are intertwined, and it is the motif structure that ensures the integrity of the narrative. The key role in the novel is played by the binary image — the saleswoman Inga and the city madwoman — that combines two main themes for the narrator’s self-reflection: childhood and women. The plot structure partly fits into the universal mythological scheme: a series of trials — sketches-events from the life of the autobiographical narrator — is built into somewhat a ‘mythological journey’ to finally end with the acquisition of ‘elixir’ — catharsis and spiritual liberation. Conclusions. The image of the protagonist, the narrator, is explicated in the text and is revealed in the system of motifs associated with characters of his memories. Analysis of the character system proves instrumental in revealing key ideas of the novel and interpreting its title: those are reflections about time that become a focus of the author’s viewpoint uniting the seemingly disparate stories.
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Filatova, Natalia. "Wizerunek Rosji w powieści Jana Czyńskiego Cesarzewicz Konstanty i Joanna Grudzińska, czyli Jakubini polscy: problem ewolucji stereotypów romantycznych." Roczniki Humanistyczne 67, no. 1 (July 4, 2019): 75. http://dx.doi.org/10.18290/rh.2019.67.1-6.
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The article focuses on the novel by Jan Czyński Cesarzewicz Konstanty i Joanna Grudzińska, czyli Jakubini polscy, analysed in the context of the Romantic cultural stereotypes concerning Polish-Russian relations formed after the November Uprising. While presenting the novel’s plot (the ambivalence surrounding the figure of Grand Duke Constantine, political life in the Kingdom of Poland, the opposition patriots vs. conformists, the operation of secret police services in Warsaw), the author proves that the pamphlet character of the novel (correlated with Czyński’s personal political involvement) makes it an instructive compendium of motifs constituting the image of Russia in Polish literature within the Romantic paradigm.
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Efimov, Anton Sergeevich. "The novella “Fatal Sacrifice” by A. A. Dyakov (A. Nezlobin) and motif of the “counsel of the wicked”." Litera, no. 3 (March 2020): 34–40. http://dx.doi.org/10.25136/2409-8698.2020.3.32711.
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This article explores the impact of the elements and techniques of romantic and gothic literatures of the XVIII – XIX centuries upon anti-nihilistic novella “The Fatal Sacrifice” (1876) by A. A. Dyakov (A. Nezlobin). Attention is focused on the gothic-romantic motif of the “counsel of the wicked” and its adaptation to the relevant sociopolitical context of Russia and Russian émigré of the 1870’s. It is demonstrated that a mythological image of “witches’ sabbath” and characteristic to it motifs of “sacrifice”, “veneration of idols”, etc. become the techniques for depicting in the “Fatal Sacrifice” of a Swiss “club” of nihilists, revolutionists-socialists, and Narodniks. The author applies the biographical, comparative and historical methods of research, motif analysis, as well as analysis of storyline and characterology. The ideological component of nihilistically oriented Russian society of the 1860’s – 1870’s is taken into account. The novella “Fatal Sacrifice”, which is included into the cycle “Kruzhkovschina” (1876-1879) is being analyzed for the first time, since there is no special scientific literature on these works within the Russian or foreign literary studies. The novelty of this research also consists in raising a question of the influence of romantic and gothic prose upon the works of A. A. Dyakov. Such influence is related to the two common to Russian anti-nihilistic literature semantic lines: eschatological and prophetic.
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S., Linda, and Cherkes B. "KASTELIVKA: ROMANTIC TRENDS IN THE DEVELOPMENT OF THE HISTORICISN ARCHITECTURE IN LVIV." Architectural Studies 6, no. 1 (September 1, 2020): 76–86. http://dx.doi.org/10.23939/as2020.01.076.
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The article analyzes the formation of the architecture of Katelivka in urban, typological and stylistic aspects. It is determined that the building of Kastelivka, created at the turn of the 19th and 20th centuries, became an exceptional creative experiment, which implemented new urban principles of ensemble building, the integrity of which was emphasized by unique stylistic solutions based on interpretations of folk motifs.
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Segal-Rudnik, Nina. "«Вечный муж» и традиция мениппеи." Roczniki Humanistyczne 69, no. 7 (August 11, 2021): 171–86. http://dx.doi.org/10.18290/rh21697-11.
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The article examines the motif structure of the main characters in Dostoevsky’s The Eternal Husband against the background of menippea and its various genres. The parodic transformations of the images and motifs of Dostoevsky's previous texts, especially the novel The Idiot, modify the traditional love triangle of the short story. The relationship between the protagonist and the antagonist reflects the ambivalence of the archetypal scheme “king vs jester” and the way it appears in Hugo’s romantic drama Le Roi s’amuse and Verdi’s opera Rigoletto. The plot of revenge and vindication of trampled dignity dates back to the genre of medieval mock mystery (R. Jakobson) and its narrative of the Easter resurrection, posing the problem of Christianity and its values in the Russian society of the time.
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Soleymanzadeh, Alireza. "Arabic-Persian Motifs of ʿUd̲h̲rī Love in the Georgian Romantic Poem of "The Man in the Panther's Skin"." International Journal of Linguistics, Literature and Translation 3, no. 5 (May 31, 2020): 113–20. http://dx.doi.org/10.32996/ijllt.2020.3.5.13.
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"The Man in the Panther's Skin" is the masterpiece of Shota Rustaveli (c. 1160—after c. 1220), the greatest Georgian Christian poet, who has been translated into nearly 45 languages in the world so far. In this article we are going to study the Motifs of ʿUd̲h̲rī Love (AR: al-ḥubb al-ʿud̲h̲rī) in Rustaveli's book. The Ghazal (ode) of Ud̲h̲rī is a literary product of the Islamic-Arab community in which love derives its principles from religion of Islam and the like. In fact, during the era of the Umayyad caliphate (661-750 BCE) was born ʿUd̲h̲rī as a new kind of ode in the Arabic poetry in the Arabian Peninsula and has made its way into other lands, including Iran, and this kind of love poem penetrated through Iran into Rustavli's poetry.ʿUd̲h̲rī poem was narration of true, intense and chaste love between lover and a beloved far from sensuality, debauchery and lechery. Therefore, their lifestyles were very similar to mystic. The main purpose of this study is to find out the extent to which Rustaveli was influenced by ʿUd̲h̲rī poem. The research method in this article is to compare the specific and objective features which inferred from the Arabic-PersianʿUd̲h̲rī literature with the narrative in the Rustaveli's work. This does not mean, of course, that we will examine all the ʿUd̲h̲rī poetry works written before Rustaveli's book in the world; rather, we mean matching the specific Motifs of Arabic-Farsi works with the Rustaveli's poem. The results of this study show that there is a complete similarity between the motifs in the poems of Rustaveli's work and the motifs of the ʿUd̲h̲rī poets in all its components. This study also confirms that if we omit some details of the story in Rustaveli's book, we will find that Rustaveli was thoroughly familiar with Islamic ʿUd̲h̲rī literature and implemented it in his book "The Man in the Panther's Skin".
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Heringman, Noah. "Essay review: Geology's youthful romance with the landscape." Earth Sciences History 29, no. 2 (December 1, 2010): 346–52. http://dx.doi.org/10.17704/eshi.29.2.m614m0772907t225.
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Dean's Romantic Landscapes documents the influence of rapid advances in the nascent geosciences on literature and the arts during an especially dynamic phase of British and European history. His ten substantive chapters, along with numerous illustrations and appendices, provide exceptionally rich documentation of verbal and visual motifs that we can now recognise as geological. More than this, he argues that ‘the geological’ itself arose together with ‘the sublime’ and ‘the picturesque’ as a new way of understanding landscapes as changing over time. Dean uses the element of time to distinguish ‘the geological’—as it occurs in poems, travel narratives, and paintings, as well as in works more commonly held to belong to the history of geology—from the other two categories. Numerous chapters are geographically based, skillfully interweaving travel journals of major Romantic writers with popularising geological works on the Harz, Vesuvius, and Fingal's Cave, among other sites. Other chapters are organised around concepts such as ‘Time and Chance’ and ‘Relics of the Flood’. The book concludes, fittingly, with a chapter on extinction—the culmination of the ‘naturalistic’ worldview that Dean traces throughout this book as a contested but ultimately triumphant legacy of Romantic thought.
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임병필. "A Study on the Romantic Mood in the Motifs and Forms of Abu Shadi’s Poetry." Journal of Mediterranean Area Studies 12, no. 3 (August 2010): 73–97. http://dx.doi.org/10.18218/jmas.2010.12.3.73.
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HIRSCH, MARJORIE. "The Spiral Journey Back Home: Brahms's ““Heimweh”” Lieder." Journal of Musicology 22, no. 3 (2005): 454–89. http://dx.doi.org/10.1525/jm.2005.22.3.454.
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ABSTRACT Considering Brahms's ““Heimweh”” Lieder (op. 63 nos. 7––9) together rather than individually is indispensable to their interpretation. In each song, Brahms conveys the protagonist's longing for lost childhood by introducing the folklike qualities of Kinderlieder within the frame of a Kunstlied. The expression of nostalgia also takes places across the minicycle as a whole. The recurrence and transformation of musical patterns and motifs enhances the retrospective nature of the three songs, which seem to reflect on childhood from successively greater temporal distances. Despite the overt despondency of the poetic speaker in each text, the musical settings together convey a positive message: Death is a welcome refuge from life's afflictions. In offering this consolation, Brahms draws upon the Romantic concept of Heimweh, including its characteristic spiral-like pattern of expression, but tempers it in accordance with the scaled-back artistic goals of the post-Romantic period.
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Berkan-Jabłońska, Maria. "On Several Polish Poems From 1829–1870 with Venice in the Background." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 9 (December 30, 2020): 101–37. http://dx.doi.org/10.18778/2299-7458.09.05.
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The subject of the article is a review of images of Venice recorded in Polish poetry between the years 1829–1870. The paper deliberately stops in the 1870s in the selection of the literary material to be analysed, focusing on the Romantic and post-Romantic tradition. Due to the different artistic value of the works, the author adopted the formula of a historical and literary “catalogue” ordered chronologically and partly problematicised according to the functions which Venetian scenery or culture perform in them. Attention is drawn to the fact that Venetian motifs present in the poetry of Polish artists tend to be related to particular phenomena and topics, such as Byronism, Gothicism, political and national camouflage, love and existential masks, conflict between people and power. The authors referred to in the paper include, among others, Adam Mickiewicz, Józef Ignacy Kraszewski, Zygmunt Krasiński, Edward Dembowski, Edmund Chojecki, Karol Baliński, Mieczysław Gwalbert Pawlikowski, Teofil Lenartowicz, Feliks Wicherski, Teofil Nowosielski, Aleksander Michaux and Wiktor Gomulicki.
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Dimitrova, Elka. "Bulgarische Nietzsche-Reminiszenzen romantisch und modern: Christo Botev und Penčo Slavejkov." Zeitschrift für Slawistik 64, no. 1 (March 2, 2019): 81–109. http://dx.doi.org/10.1515/slaw-2019-0006.
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Abstract The approach of this text is a comparative reading of particular thematic and ideological similarities and differences between two emblematic Bulgarian poets: Hristo Botev (1848–1876) and Pencho Slaveykov (1866–1912). As they are also representative figures of two significant cultural periods – the National Revival (in its Romantic appearances) and Modernism – the current study develops wider analytical parallels. A number of Friedrich Nietzsche’s concepts and conceptions are selected as a basis for these comparisons. Although Botev did not have direct access to Nietzsche’s works, while Slaveykov, by contrast, was the first active and committed supporter of the German philosopher in Bulgaria, Botev’s views are often surprisingly close to Nietzsche’s, while Slaveykov sounds at times more like a cultural missionary than an organic continuator. Thus, while in the course of the study hidden dialogues and invisible motifs — especially in Slaveykov’s cultural argument with Botev — were revealed, valid starting points were also unearthed for new interpretations of this well-researched literary period. Such points include the romantic characteristics of the Bulgarian National Revival, the connections between the Revival and Modernism, based on the “Romantic common ground” in both movements, and intentions regarding the assertion and/or construction of a native genealogy of Bulgarian Modernism.
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Roosevelt, Priscilla R. "Tatiana's Garden: Noble Sensibilities and Estate Park Design in the Romantic Era." Slavic Review 49, no. 3 (1990): 335–49. http://dx.doi.org/10.2307/2499982.
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In “Baryshnia-krestianka” Aleksandr Pushkin introduces us to Grigorii Ivanovich Muromskii, a “nastoiashchii russkii barin” reduced to living on his one remaining estate, who squanders his remaining wealth creating an “Angliiskii sad.” The gardening revolution of eighteenth century England, inspired by the overgrown ruins of Rome and Naples and by a new feeling for untrammeled nature, set in motion a vogue for informal, picturesque landscaping that swept across Europe, altered garden design in the United States, and reached Russia in the reign of Catherine as the harbinger of a later, more pervasive aristocratic Anglomania. As Muromskii's landscaping proclivities suggest, by the early nineteenth century the English or “irregular” garden had become a universal form for the Russian country estate, its basic motifs carried out on whatever scale an estate owner could afford.
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Kolbuszewski, Jacek. "Z dziejów tematyki górskiej w literaturze czeskiej. František Palacký i Milota Zdirad Polák." Góry, Literatura, Kultura 12 (August 1, 2019): 121–47. http://dx.doi.org/10.19195/2084-4107.12.9.
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On the history of mountain-related topics in Czech literature: František Palacký and Milota Zdirad PolákThe literature of the Czech national revival produced a unique type of cestopis travel account, which, from a Polish point of view, could be regarded as an equivalent of accounts of Polish Romantic travels of fellow countrymen across their country. In the Czech literature we can distinguish a clear thematic group associated with the Karkonosze mountains. It includes M.S. Patrčky’s O Krkonošských horách 1823, Josef Myslimír Ludvík’s Myslimír, po horách krkonošských putující 1824, Karel Slavoj Amerling’s Cesta na Sněžku 1832, Karel Hynek Mácha’s Pouť Krkonošská 1833–34, František Tomsa Přátelské dopisy z cesty na Sněžku 1845, Josef Frič’s Cesta přes Friedland na Krkonoše 1846, and Karel Hanuš’s Cesta na Sněžku 1847. These works testify to an expansion of themes tackled by literature during the so-called national revival. Characteristic forms of the period conformed to the Classical, pre-Romantic and Romantic conventions. One of the most interesting themes tackled by literature in those days were the mountains. In line with the spirit of national revival, the Czech cult of the domestic was expressed in the linking of the homeland and its landscape with important aspects of Czech national identity. This convention of referring, as means of self-identification, to spatial symbolism and its vocabulary was visible in the Czech and Slovak culture in several aspects. The vocabulary of Czech national symbols now included the Karkonosze mountains, Šumava or the Bohemian Forest, the Tatras and the Blanik hill. František Palacký referred to landscape-linked symbolism in his ode Na horu Radhošť, added to his youthful work, written together with Pavel Josef Šafařík, Počátkové českého básnictví obzvláště prosodie 1818. The poem formally served as an example illustrating theoretical analyses of poetry included in the study in question. Using the fact that Radhošť was a mountain in Moravia, Palacký included the mountain as a motif in a rather unique founding myth associated with the local Moravian patriotism. Thus mountains became a representative motif of the literature of the Czech national revival. When it comes to Czech poetry, mountain motifs were introduced into it on a broader scale for the first time by Milota Zdirad Polák Matěj Polák, 1788–1856 in his descriptive poem Vznešenost přírody 1819. Polák’s novelty lay in his introduction into Czech literature of a new genre, descriptive poem, as well as linguistic experiments neologisms thanks to which he developed his own poetic language. Using the category of the sublime as a tool to interpret the natural phenomena he described, Polák sought to demonstrate the richness of the forms of the world, their complexity and diversity. That is why the catalogue of motifs he used is vast. It accorded an appropriate place to the mountains with a brave attempt to concretise their motif: fragments of the poem deal with the Alps, a description of the Karkonosze mountains is highlighted and there is also a motif of volcanic eruption. Undoubtedly the most interesting and artistically the most valuable is an extensive fragment of the poem devoted to the Karkonosze mountains. The fear of the horror of high mountains, the Alps, described in the poem, found its equivalent in the writings of Jan Kollár 1793–1852, who presented his emotions associated with his stay in the Alps in an account of an 1841 journey to Italy Cestopis obsahující cestu do Horní Italie a odtud přes Tyrolsko a Bavorsko, se zvláštním ohledem na slavjanské živly roku 1841 konanou, Budin 1843. Both writers, Polák and Kollár, were hugely impressed by the mountains, but this did not lead to any Romantic reflection on their part.
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Boginskaya, Anna. "Мотив смерти в романтическом любовном дискурсе современной польской и русской прозы на материале произведений Пастух и пастушка Вик- тора Астафьева, Хроника любовных происшествий Тадеуша Конвицкого." Slavica Wratislaviensia 167 (December 21, 2018): 397–409. http://dx.doi.org/10.19195/0137-1150.167.34.
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The motive of death in romantic discourse of love in modern Polish and Russian literature in the novels A Chronicle of Amorous Accidents by Tadeusz Konvitski and A Shepherd and a Shepherdess by Viktor AstafievThe motive of death belongs to the most essential motifs in romantic discourse of love. Death-wish is the force that drives and explains the literary and cultural history of romantic love from the Middle Ages to the present. The first part of the article brings together historical, religious, philosophical, and cultural appearance of romantic love and its connection with the motive of death. The second part of the work presents the analyses of that motive in romantic discourse of love in modern Polish and Russian literature.With the use of fragments established by Roland Bart in A Lover’s Discourse: Fragments, the author demonstrates the necessity of distinguishing the death as a fragment of romantic discourse of love. In A Chronicle of Amorous Accidents and A Shepherd and a Shepherdess a motive of death is connected with love stories, and becomes a metaphor of the triumph of love over death.Motyw śmierci w dyskursie miłości romantycznej współczesnej literatury polskiej i rosyjskiejna materiale powieści Pasterz i pasterka Wiktora Astafjewa i Kronika wypadków miłosnych Tadeusza Konwickiego Motyw śmierci można uznać za jeden z najbardziej istotnych motywów romantycznego dyskursu miłosnego. Żądza śmierci jest siłą, która napędza i wyjaśnia literacką i kulturową historię romantycznej miłości od średniowiecza do współczesności.Pierwsza część artykułu łączy historyczne, religijne, filozoficzne i kulturowe warunki pojawienia się romantycznej miłości i jej związek z motywem śmierci. Druga część artykułu poświęcona jest analizie tego motywu w dyskursie miłości romantycznej we współczesnej literaturze polskiej i rosyjskiej. Posiłkując się ustaleniami Rolanda Barthes’a z książki Fragmenty dyskursu miłosnego, autorka dowodzi, że śmierć można uznać za fragment romantycznego dyskursu miłosnego. W Kronice wypadków miłosnych i Pasterze i pasterce motyw śmierci towarzyszy historiom miłosnym, staje się metaforą triumfu miłości nad śmiercią.
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Grabias, Magdalena. "Droga, podróż, wędrówka w Tylko kochankowie przeżyją Jima Jarmuscha." Humaniora. Czasopismo Internetowe 30, no. 2 (June 15, 2020): 91–100. http://dx.doi.org/10.14746/h.2020.2.7.
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Two first decades of the 21st century have revealed an increasing popularity of the horror genre. In particular, we have been witnessing the renaissance of Gothic cinema, especially the vampire sub-genre. It is conspicuous that the original vampire story formula has lately undergone numerous significant alterations. Vampires have evolved from cold and soulless monsters to humanised romantic heroes. In the new millennium, a static Gothic diegesis gets frequently replaced by a dynamic reality, in which movement is a predominant feature. This article is devoted to the motifs of the road, journey and travels in Jim Jarmusch’ film Only Lovers Left Alive.
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Armstrong, Charles. "“Never Some Easy Flashback”." American, British and Canadian Studies Journal 19, no. - (December 1, 2012): 6–26. http://dx.doi.org/10.2478/abcsj-2013-0001.
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Abstract This paper provides a close reading of Paul Farley’s 160-line poem, “Thorns.” The poem is read in dialogue with William Wordsworth’s celebrated Romantic ballad “The Thorn.” Special attention is given to Farley’s treatment of memory and metaphor: It is shown how the first, exploratory part of the poem elaborates upon the interdependent nature of memory and metaphor, while the second part uses a more regulated form of imagery in its evocation of a generational memory linked to a particular place and time (the working-class Liverpool of the 1960s and 1970s). The tension between the two parts of the poem is reflected in the taut relationship between the poet and a confrontational alter ego. Wordsworth’s importance for Farley is shown to inhere not only in the Lake Poet’s use of personal memory, but also the close connection between his poetry and place, as well as a strongly self-reflective strain that results in an interminable process of self-determination. Farley’s independence as a poet also comes across, though, and is for instance in evidence in his desire to avoid the “booby trap” of too simple appropriation of the methods and motifs of his Romantic predecessor.
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SARRAZIN, NATALIE. "Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film." Popular Music 27, no. 3 (October 2008): 393–411. http://dx.doi.org/10.1017/s0261143008102197.
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AbstractIn Hindi cinema, love songs comprise the vast majority in an industry in which almost every film contains song and dance numbers. Often incorrectly characterised as narrative interruptions, these celluloid creations contain indigenous aesthetics and self-identifying cultural values, and employ contemporary cinematic techniques which impact film song content and context. How do these cinematic techniques intensify the viewing experience and allow traditional aesthetic ideals to coexist with contemporary codes relevant to a burgeoning Indian middle class and diaspora?Beginning with an examination of traditional sources and contemporary values regarding music and emotion, I address the particularly important notion of displaying heart, often the centrepiece of thematic and dramatic tension as well as the love song soundtrack. As the primary emotional genre, I analyse the use of heart in romantic films and suggest a general typology of romantic film songs and their aesthetics, including commonly used musical motifs and codes.Finally, I compare musical, cinematic and narrative components of the Indian romantic genre with those aspects of the American film musical, particularly in relation to cultural values and ideological differences. The iconic use of a couple-centric narrative is examined in relation to Indian displays of emotion, and love song duets are contextualised through description of several pervasive cinematic techniques used to heighten the emotional impact of songs on the audience. I conclude with a focus on the relationship between the song sequence and the narrative structure, particularly how this serves to intensify the narrative flow rather than interrupt it.
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Heung-Kyu Kim. "Uneasy Love Motifs in the Sijo Poetry of Late Chosun Period and the Prehistory of Romantic Love Age’." Korean Classical Poetry Studies 24, no. ll (May 2008): 21–50. http://dx.doi.org/10.32428/poetry.24..200805.21.
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Scullion, Val. "‘Kinaesthetic, Spastic and Spatial Motifs as Expressions of Romantic Irony in E.T.A. Hoffmann’s The Sandman and Other Writings’." Journal of Literature and Science 2, no. 1 (2009): 1–22. http://dx.doi.org/10.12929/jls.02.1.01.
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Mekhtiev, Vurgun Georgievich. "The semantics of Lermontov's poetic myth of the Demon N. S. Leskov’s “The Islanders”." Litera, no. 3 (March 2021): 1–9. http://dx.doi.org/10.25136/2409-8698.2021.3.35024.
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The subject of this research is the negative-axiological, satirical layers of the novel “The Islanders”, associated with the image of the demonic character, which M. Y. Lermontov turned into the archetype and poetic myth in the Russian literature. The object of this research is the stylistic techniques and ideological motifs of N. S. Leskov underlying “desacralization” of the romantic myth. The author meticulously examines the following aspects: 1) role of Lermontov's poem “The Demon” and romantic poetry of the 1840s in creation of the myth of the demonic character; 2) semantic deformations that led Leskov to wander from the conventional meanings of the myth ; 3) satirical modus used as the key technique in creation of the the image of Istomin. Particular attention is given to Leskov’s satire in its function of “recoding” of the myth. The conclusion is made that the image of the painter Istomin is appointed with the task to dispel the romantic myth. Therefore, the axiological-emotional lexis, as well as elements of satire that reflect the point of view of the “subjective” narrative are arrayed around him. All of that imparts semantic transparency to the character, which contradicts the “mysterious code” of the myth of romanticism. The author’s special contribution consists in the establishment of correlation between the myth of about the demon and the myth of Prometheus, which is important for assessing the complexity and multifacetedness of the semantic core of the phenomenon under review. The novelty of this research lies in revelation of underlying motif of the satirical style of N. S. Leskov. Its point is not to create a “myth about the myth” or an “anti-myth”; the novel forms the “non-myth” to achieve complete elimination of the literary myth of the demonic character. The writer uses satire for typification, rather than individualization of the character.
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Cucarella-Ramon, Vicent. "The black female slave takes literary revenge: Female gothic motifs against slavery in Hannah Crafts’s "The Bondwoman’s Narrative"." Journal of English Studies 13 (December 15, 2015): 19. http://dx.doi.org/10.18172/jes.2786.
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The Bondwoman’s Narrative is a novel that functions as a story made up from Hannah Crafts’s experiences as a bondwoman and thus merges fact and fiction giving a thoroughly new account of slavery both committed to reality and fiction. Following and taking over the Gothic literary genre that spread in Europe as a reaction toward the Romantic spirit, Crafts uses it to denounce the degrading slavery system and, mainly, to scathingly attack the patriarchal roots that stigmatize black women as the ultimate victims. It is my contention that Hannah Crafts uses the female Gothic literary devices both to attack slavery and also to stand as a proper (African) American citizen capable of relating to the cultural outlets that American culture offered aiming to counteract the derogatory stereotypes that rendered African American women at the very bottom of the social ladder.
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Anokhina, Yu Yu. "The «metaphysics» of emptiness in Boratynsky's poetry." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 154–66. http://dx.doi.org/10.17588/2076-9210.2019.4.154-166.
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The paper is devoted to the late lyrics of E. A. Boratynsky (1800-1844), namely his final book of verses Twilight (1842). The question of how the motif of emptiness functions in this work is considered. The study of this issue uses the philological method of motifs analysis, as well as the possibility of hermeneutic and structural-semantic methods of research. It is shown that one of the functions of the motif of emptiness is that it appears as a property of objects of the immaterial world: emptiness is understood as the absence of value and cognitive meanings. The author considers the question of how these types of values are interrelated. The article demonstrates that the motif of emptiness is involved in the structuring of the artistic space of Boratynsky's book, and analyzes the idea of emptiness as a property of spatial images embodied in the book. It is shown that the image of the desert is one of the most significant in the book, in the article it is considered in relation to the image of the desert. In addition, in "Twilight" the idea of emptiness is embodied as a property of time, emptiness appears as characteristic of the individual-personal being of the sub-ject in the book of poems by Boratynsky, the motif of emptiness is ontological, since emptiness is correlated with the category of non-existence. The author shows that the analysis of the motif of emptiness allows us to better understand the essence of the romantic conflicts reflected in the book: the opposition of the poet and society, and at the same time, the internal conflict of the lyrical hero of Twilight. As a result of the analysis, the author concludes that one of the foundations of the artistic philosophy reflected in the work is the search for ways to overcome the emptiness- meaninglessness of being.
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Assa, Sonia. "« Dans un pleur assidu »: champs lexicaux de l'émotion dans la poésie de Marceline Desbordes-Valmore." Nottingham French Studies 59, no. 1 (March 2020): 15–33. http://dx.doi.org/10.3366/nfs.2020.0269.
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Wishing to express emotion, Desbordes-Valmore created one of the most sensual lexicons of French romantic poetry. In her poems the world of feelings opens on to the world of physical sensations. Certain words trigger each other, forming semantic chains which convey the unique inflection of her personality. I will show how the feminine poetic subject she creates expresses and communicates emotion through the use of three semantic motifs: quivering or throbbing, loosening of bonds, and taking flight, each provided with an eminently personal and sensual lexicon. These lexical combinations allow Desbordes-Valmore to express her passionate nature, giving voice to feminine desire and feminine pleasure. In spite of her imprecise, vague or even poor vocabulary, in spite of the ubiquity of such words as ‘soul’, ‘flowers’, ‘angel’ and ‘heart’, she succeeds in referencing the body without actually naming it.
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DiBona, Christopher D. "Religion and Reconnecting with Nature." Worldviews: Global Religions, Culture, and Ecology 24, no. 3 (May 20, 2020): 213–44. http://dx.doi.org/10.1163/15685357-20201003.
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Abstract Attention to the work of American pragmatist philosopher John Dewey and Native American novelist, poet, and essayist Leslie Silko reveals what are in many ways remarkably similar and complementary conceptualizations of religion, as both authors situate religion in the human’s experienced alienation from and reconnection with the natural world, draw heavily on Romantic motifs in literary art to convey the “religious” dynamics of these experiences, and suggest that readers who sincerely engage with certain literary works of art can come to share in these dynamics in a way that has the potential to help reorient their everyday relations with and attitudes toward the natural world. Reading Dewey alongside Silko thus offers us an interdisciplinary set of resources to articulate and promote an ecological conception of religion founded on a mutualistic-symbiotic mode of human dwelling on the earth.
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BELAVINA, Ekaterina M. "MOTIFS TRANSFORMATION OF M. DESBORDES-VALMORE LYRICS IN THE WORKS OF MARINA TSVETAEVA." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 1 (2021): 128–43. http://dx.doi.org/10.21684/2411-197x-2021-7-1-128-143.
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The influence of French culture on the poetry of M. Tsvetaeva was noted by her contemporaries (B. Pasternak, S. Bobrov), and also became the subject of scientific research (for example, N. Strelnikova). However, the relationship of her poetry with the French writer work of the romanticism era, M. Desbordes-Valmore (1786-1859), which is almost forgotten in our days, is analyzed for the first time, which seems relevant in light of the growing interest in the role of women in European culture. The article uses a biographical method, with the involvement of the poetics of the rhythm of H. Meshonnik. The article examines the mentions of M. Desbordes-Valmore in M. Tsvetaeva’s poetry and in correspondence with B. Pasternak, provides a brief comparison of biographies in terms of their influence on the formation of a poetic voice. Their tragic fates have a lot in common: both survived revolutions, as a consequence the ruin of the family nest, extreme poverty, the loss of loved ones. The main similarity between M. Tsvetaeva and M. Desbordes-Valmore lies in the auditory imagination, in intonational rhythmic expressiveness and in vivid metaphor. Both M. Desbordes-Valmore and M. Tsvetaeva left evidence of a moment preceding the moment of writing, “music” preceding verbal expression. They often rely on the song as a precedent text (O. Revzina), a precedent rhythm. The autobiographical nature of the lyrics and the musicality bring together so dissimilar authors at first glance. M. Tsvetaeva read M. Desbordes-Valmore in the original, probably having become acquainted with her work at the summer courses in the history of French literature at the Sorbonne. The analysis of the transformations of M. Desbordes-Valmore’s poems motifs in M. Tsvetaeva’s lyrics clearly show not only a deep knowledge and understanding of the French romantic tradition, but also the innovation of her own poetic language.
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Marinelli, Luigi. "Polish Dantism: between the Epic and Ethics." Roczniki Humanistyczne 66, no. 1 SELECTED PAPERS IN ENGLISH (October 23, 2019): 33–71. http://dx.doi.org/10.18290/rh.2018.66.1-3e.
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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 60 (2012), issue 1.
This essay proposes a synthesis of the major themes and issues of Polish Dantism, with a particular reference to the 20th century and beyond. The author retraces the traditional motifs which connect 20th-century authors to the Romantic tradition, and discusses some examples (Gombrowicz, Vincenz, Miłosz) in a broader comparative context (referring specifically to Eliot, Mandelstam, Brodsky). The author argues that the Modernist ethical idea of “necessary Dante” tends to be gradually replaced by a Postmodernist notion of “aesthetic Dante,” with a flowering of new translations—not only of the Divina Commedia. These works restore a balance between Polish literary Dantism and Dante studies. In this sense, the Polish situation displays a lot of similarity to the European and international context, abundant with trends and concerns which go far beyond those of a national language and literature.
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Riestra-Camacho, Rocío. "Analysis of Class-as-Race and Gender Ideology in the US Young Adult Sports Novel Racing Savannah (2013)." International Journal of English Studies 20, no. 3 (December 30, 2020): 129–44. http://dx.doi.org/10.6018/ijes.402031.
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Equine fiction is an established genre in the English juvenile literary canon. Current works in the field appeal to adolescent readers thanks to their interface between classic motifs of vintage and contemporary forms of equine narratives. Performing a close reading of selected passages in Miranda Kenneally’s Racing Savannah (2013), this paper acknowledges how this novel is a revitalization and a challenge to this pattern. Savannah, who is more gifted than her companions, is subordinate to the decisions of the junior of the household where she works. Jack Goodwin, the protagonist’s romantic lead, educated in a neocolonialist background of male jockeying, becomes Savannah’s marker of difference according to her sex and lower socioeconomic status, which lay at the root of her later racialization despite her being a white character. My analysis attempts to expose how these difficulties encountered by the protagonist to become a professional jockey articulate past and present constraints of the horse-racing ladder.
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Shalev, Donna. "Muḍṭariban maǧnūnan: A Case of Phraseology and Evolving Motifs of Literary and Medical Love-Sickness in the Tale of Salāmān and Absāl." Arabica 61, no. 3-4 (April 23, 2014): 219–51. http://dx.doi.org/10.1163/15700585-12341301.
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Abstract The Tale of Salāmān and Absāl presented as a translation from Greek, attributed in the text’s opening lines to Ḥunayn b. Isḥāq, is saturated with references from a wide-ranging variety of sources with an array of religious, cultural and textual orientations; these, as well as its generic affiliations, ideological leanings, location on the spiritual-metaphysical spectrum and Vorlagen have been studied by many. In this paper, I focus on the wording and literary forms of the text, some of which have been glossed over in the rendition of Henry Corbin, by which this text is often known. My point of departure is a collocation which draws on motifs and phraseology from popular sources, the canons of poetry and poetry in prose (including belles lettres elements in the Qurʾān), as well as terminology in medical literature in Arabic and Greek traditions. Through an analysis of phrasing drawing on philological methods of Blachère, Von Grunebaum, Arazi and others, a contextualization of this Tale (which is not covered in research on “profane love theory” e.g. by Lois Giffen) may lead to a reading of this Hermetic text within a repertoire of “romantic” commonplaces and innovations of expression.
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Dickie, John. "Antonio Bresciani and the sects: conspiracy myths in an intransigent Catholic response to the Risorgimento." Modern Italy 22, no. 1 (February 2017): 19–34. http://dx.doi.org/10.1017/mit.2016.51.
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Antonio Bresciani’s notorious trilogy of novels about the revolutions of 1848, starting withL’Ebreo di Verona, first appeared in the earliest issues of the Jesuit periodicalLa Civiltà Cattolicafrom 1850. They constitute an intransigentist attack on the Risorgimento, and portray the events of 1848–1849 as the result of a satanically inspired conspiracy by secret societies. This article re-analyses those novels by placing Bresciani in the context of the ‘culture war’ between lay and religious world views across Europe from the middle of the nineteenth century. The article argues that Bresciani represents a significant case study in the intransigent Catholic response to the kind of patriotic motifs identified by the recent cultural historiography on the Risorgimento. The ‘paranoid style’ of Bresciani’s conspiracy myth is analysed, as is Bresciani’s portrayal of Garibaldi, female fighters, and Jews – in particular the tale of Christian conversion presented inL’Ebreo di Verona. The article argues that, despite its polarising, reactionary intentions, Bresciani’s fiction betrayed many influences from the Romantic culture of the Risorgimento that he claimed to despise.
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Aguilar, Ananay. "Distributed Ownership in Music." Social & Legal Studies 27, no. 6 (October 30, 2017): 776–98. http://dx.doi.org/10.1177/0964663917734300.
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Following criticisms of British copyright law that it is influenced by Romantic ideals of authorship, I ask whether it makes sense to distinguish between music composers and performers in law. Drawing on interviews with classical and popular music performers and relevant case law, I examine how performers negotiate and exploit different rights in order to determine ownership. Evidence suggests that rather than a binary, musicians’ creative work can best be represented as moving along a continuum between composition and performance with both concepts socially much in use. Musicians position their work on this continuum according to three motifs: composer–performer discourses and careers, genre and power relationships. I argue that the legal categories of joint or individual authorship, adaptation and performance protect most contributions to a musical work and align with the social understandings of different types of contributions. Yet I also note that, viewed more normatively, a recasting of the rights could help shift those social understandings and alter the inequalities inherent in both musical practices and the law.
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Gould, Rebecca Ruth. "Russifying the Radīf: Lyric Translatability and the Russo-Persian Ghazal." Comparative Critical Studies 17, no. 2 (June 2020): 263–84. http://dx.doi.org/10.3366/ccs.2020.0362.
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Building on Earl Miner's insight that the lyric is a ‘foundation genre’ of world literature, this article develops this idea in the context of thinking about lyric translatability. I do this by examining the Russo-Persian lyric, a hybrid literary genre that developed within Russian literature of the nineteenth and twentieth centuries. Radically unlike its classical Persian prototype, the Russo-Persian ghazal is a case study in lyric translatability. I explore the development of this hybrid genre from its appropriation by the Russian Romantic poet Afanasy Fet (d. 1890) to its influence on Sergei Esenin's Persian Motifs (1925), a text that adds a new dimension to the Russian-Persian encounter. Moving beyond historicist treatments that focus solely on direct impact or empirical encounters, this exploration of the Russo-Persian lyric traces the movement of literary form as a process of cultural translation that sometimes misunderstands the original, but which also transforms it, generating new literary form for a receptive audience. Broadly, this research sheds light on how the ghazal and its adaptations modifies and extends our understanding of lyric form, and on what is and is not translated through the lyric genre.
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Biryulov, Yuri. "NEW JEWISH STYLE IN LVIV ARCHITECTURE: THE HISTORIC TRANSFORMATION IN THE URBAN SPACE." Architecture and Engineering 5, no. 4 (2020): 18–27. http://dx.doi.org/10.23968/2500-0055-2020-5-4-18-27.
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Introduction: The phenomenon of expressing national identity in architecture is manifested in many countries and cities. In this article, it is considered in the context of Lviv with the main focus on Jewish architects. Purpose of the study: We are planning to study the process of the emergence of a new Jewish style in the architecture of Lviv from the mid-19th century to the first decades of the 20th century in the context of urban development, and consider the formation of a characteristic art language, together with the corresponding symbolic elements of décor. Methods: We use a comprehensive art approach, which involves the method of systematization for material processing, comparison and synthesis. In the course of the study, we applied comparative analysis, as well as elements of systematic analysis of the Jewish architecture evolution. Results and discussion: We conclude that the architects used several strategies and theories to express Jewish cultural identity in their works, in particular, neo-romantic transformations of medieval, Renaissance and Oriental architecture, rethinking in the spirit of Art Nouveau of the Neo-Moorish style, incorporation of old regional architecture motifs, applying decor saturated with Jewish symbols.
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LIVINGSTONE, DAVID N. "Text, talk and testimony: geographical reflections on scientific habits. An afterword." British Journal for the History of Science 38, no. 1 (March 2005): 93–100. http://dx.doi.org/10.1017/s000708740400648x.
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A surge of spatial imagery is sweeping across wide stretches of the academy. Spheres of scholarly endeavour hitherto seemingly immune to matters of space and place have been exploiting the geographical lexicon and appending to it ever more imaginative adjectives. Thus literary critics, cultural historians, psychologists, poets and many others have been uncovering geographies that are variously depicted as ‘tender’, ‘neural’, ‘fabulous’, ‘romantic’ and ‘distracted’. Geographers too have added to this adjectival efflorescence with their staging of ‘hybrid’, ‘malevolent’, ‘phobic’ and ‘sensuous’ geographies – to name but a very few. The analytic power of geographical readings has thus been felt across a broad terrain. Thomas Kaufmann, for instance, has recently developed a ‘historical geography of art’ – or what he calls a ‘geohistory of art’ – in which he mobilizes geographical motifs to explore artistic identity, diffusion, circulation and transculturation. Steven Harris, Peter Burke and many others now routinely speak of the ‘geography of knowledge’. And in her recent account of nineteenth-century American expansionism along the western frontier, Amy DeRogatis has found inspiration in the idea of ‘moral geography’ to throw light on the means by which New England ways of life were transferred to the Western Reserve.
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Kim, Yoo. "Crossing Borders: Korean Nationalism and Contemporary Theatre." New Theatre Quarterly 25, no. 4 (November 2009): 363–78. http://dx.doi.org/10.1017/s0266464x09000657.
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In October 2007 South Korean President Roh Moo-hyun walked across the inter-Korean border for a summit with the North Korean leader, Kim Jong-il. Although adhering to the primordialist view of nationhood, this state-led border-crossing also indicates the effects of globalization. As the heavily militarized inter-Korean border is permeated by interaction between ethnic nationalism, the nation's anti-colonialist history, and the transnational forces, the image of border-crossing becomes a metaphor for a contested space of national unification. This article examines a selection of works by three contemporary South Korean playwrights who, from a post-nationalist perspective, have emerged to contest the contradictory aspects and trajectories of the past ten years of populist nationalism. Yoo Kim focuses on the ways these post-nationalist plays employ the motifs of border-crossing and borderland encounter to challenge the romantic and exclusionary narratives of the conventional nationalist theatre. Yoo Kim is an Associate Professor in English at Sungkyunkwan University, Seoul, Korea. His recent article, ‘Mapping Utopia in the Post-Ideological Era: Lee Yun-taek's The Dummy Bride’, was published in Theatre Research International in 2007.
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Päll, Janika. "Meremotiiv üleva pildikeeles: paari näitega eesti luulest." Baltic Journal of Art History 11 (November 30, 2016): 37. http://dx.doi.org/10.12697/bjah.2016.11.03.
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The article begins by explaining the background of sea motifs, which can be understood as sublime in the classical theory of arts, beginning with Pseudo-Longinus and continuing with Boileau and Burke, and the re-visitation of Aristotelian theory by the latter. This part of the article focuses on the observations of grandeur, dramatic change and danger in nature, which were defined as sublime in antiquity (based on examples from Homer and Genesis in Longinus or the Gigantomachy motifs in ancient art), as well as on the role of emotion (pathos) in the Sublime. The Renaissance and Early Modern Sublime reveal the continuation of these trends in Burke’s theories and the landscape descriptions of Radcliffe in the Mysteries of Udolpho. In the latter, we also see a quotation from Beattie’s Minstrel, whose motif of a sea-wrecked mariner represents the same type of sublime as Wordsworth’s Peele Castle (which, in its turn, was inspired by a painting by Sir George Beaumont). This sublimity is felt by human beings before mortal danger and nature’s untamed and excessive forces. In German poetry and art such sublimity can be seen in the works of Hölderlin or Caspar David Friedrich. However, 16th and 17th century poetry and painting rarely focused on such sublimity and preferred the more classical harmonia discors, in which ruins or the sea were just a slight accent underlining general harmony.The article continues, focusing on the sea motifs in Estonian art and poetry. In Estonian art (initially created by Baltic Germans), the reflections of the magnificent Sublime in the paintings by August Matthias Hagen can be seen as the influence of Caspar David. In poetry, we see sublime grandeur in the ode called Singer by the first Estonian poet, Kristjan Jaak Peterson, who compared the might of the words of future Estonian poets to stormy torrents during a thunderstorm, in contrast to the Estonian poetry of his day, which he compared to a quiet stream under the moonlight. The grandeur, might and yearning for sublimity is reflected in the prose poem Sea (1905) by Friedebert Tuglas, who belonged to the Young Estonia movement. This movement was more interested in modernity and city life than in romantically dangerous or idyllic landscapes. However, the main trends of Estonian poetry seem to dwell on idyllic landscapes and quietly sparkling seas, as for example, in a poem by Villem Ridala or sea landscape by Konrad Mägi. We also see this type of sublimity at the end of the 20th and beginning of the 21st centuries in the soundscapes of the sea by Ester Mägi or paintings by Aili Vint.After World War II, the influence of the romantic ode genre and sublime can be seen in a translation of Byron’s Stanzas for Music (1815) by Minni Nurme (1950). In Byron’s gentle, sweet and serene picture of a lulled and charmed ocean, the underlying dimension of the divine, and the grandeur and power of the music is not expressed explicitly. Nurme tries to bring the translation into accord with the ode genre, thereby causing a shift from the serene to the grand sublime, by focusing on the depth of water and feelings, the greatness of the ocean, and most of all, the rupture of the soul, which has been the most important factor in the sublime theory of Pseudo-Longinus. Her translation also seems influenced by her era of post-war Soviet Estonia (so that Byron’s allusions to the divine word have been replaced by the might of nature). In the same period, Estonia’s most vivid description of the romantic sublime appears in the choral poem Northern Coast (1958) composed by Gustav Ernesaks, with lyrics by another Estonian poet, Kersti Merilaas.Coastline in a leap, on the spur of attacking; each other tightly the sea and the land here are holding The rocky banks, breast open to winds, are hurling downwards the pebbles and chunks. Its adversary’s waves now grasp for its feet, gnawing and biting into the shores. Stop now! No further from here, neither of you can proceed any more! Full of might is the sea, more powerful is the land.
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Дерій, М. А. "ТЕМА «ЗОЛОТОЇ ЛИХОМАНКИ» У ЗБІРЦІ ДЖЕКА ЛОНДОНА «ПІВНІЧНІ ОПОВІДАННЯ»." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 3, no. 93 (2019): 43–53. http://dx.doi.org/10.34142/2312-1076.2019.3.93.04.
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Jack London's «Northern Stories» is the conventional name of the early writer's works, with which he entered the world literature. The collection is composed of a system of motifs related to the theme of «gold rush». The theme of «gold rush» raises serious problems for barbaric looting of nature to satisfy greed. Jack London reproduced beautiful pictures of nature and at the same time the terrible consequences of human activity in Alaska. The testing theme was the central theme in Jack London’s «Northern Stories». The writer consistently reproduced situations in which a person, remaining alone with danger, was given the opportunity to test their own forces in a difficult struggle against circumstances threatening its existence. Reproducing the realities of everyday life of goldsmiths, Jack London, of course, could not escape the naturalistic detail. But the writer’s proposed interpretation of man strongly opposed the leading concepts of naturalists. In particular, he freed characters from biological dependence: even under the worst circumstances, the heroes of the «Northern Stories» are not helpless – they overcome physical deterioration due to solid positions and moral stability. Characters that Jack London frankly sympathizes with embody the romantic ideal of the author: they are strong personalities who adhere to the laws of brotherhood and justice. One of the main features that permeates all Jack London’s writings about the North is the adventure motif, it unites people of different professions and nationalities, includes the danger, uncertainty and romanticism. Jack London wrote his «Northern Stories» based on his practical experience, in which the cruelty of «white silence», on the one hand, and the romance of the struggle for life, on the other hand, and, moreover, the preservation of the moral person’s face and kindness in situations where could stand only a person who has a strong spirit.
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Bazhenova, Yana. "«Climbing The Alps»: Symbolic Toponymy as aFactor of the Cycles Formationin I.A. Bunin’s Oeuvre." Izvestia of Smolensk State University, no. 2(50) (July 2, 2020): 34–47. http://dx.doi.org/10.35785/2072-9464-2020-50-2-34-47.
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The article analyzes the unassembled cycle of I.A. Bunin’sthree texts with the same title «In the Alps». The poem and the chronologically first short story with the same title were written at the beginning of the writer’s literary career. At that time Bunin learned from outstanding predecessors in order to find his own poetic voice and place in the field of literature. The result of the searches showed the invention of a unique genre – the genre of prosaic miniature. Then, half a century after publication of the first texts «In the Alps»,the third short story with the same titleappeared. The meaning of the toponym «The Alps» in the title of the short stories is
explained by appealing to Bunin’s memoirs and self-describing notes. The concept «The Alps» in his literary works is initiated, on the one hand, by the writer’s first trip to Switzerland, and, on the other hand, by the parallel reception of the so-called
«Swiss myth» in the works of European and Russian romantic poets and writers: G. G. Byron and V.A. Zhukovsky. While the motifs and imagery system of Bunin’s «alpine » cycle is inherited from his predecessors, the innovations of his literary method
are demonstrated in the narrative organization of the texts.
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Kosintseva, Е. V. "The theme of love in the lyrics of M. I. Novjukhov." Bulletin of Ugric studies 10, no. 3 (2020): 472–78. http://dx.doi.org/10.30624/2220-4156-2020-10-3-472-478.
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Introduction: the article is devoted to the development of Finno-Ugric literature actual problems. The subject of the analysis is the features of M. I. Novjukhov’s love lyrics. Objective: to reveal the originality of the love lyrics of the Khanty poet Matvey Ivanovich Novjukhov. Research materials: the works of M. I. Novjukhov included in the book «With Hope for Happiness» (2012). Results and novelty of the research: for the first time the article analyzes the love lyrics of the Khanty poet. The focus of the work is on the presentation of the theme of love in the poetry of M. I. Novjukhov. The study of the author’s poetic heritage has shown that the poet, conceptualizing the concept of love, focuses on the intimate experiences of the lyrical hero, whose emotions are manifested in both romantic and cynical forms. The image of a beloved is inextricably linked with the lyrical hero and is presented through his perception. He can acquire both individual features and to abstract. The theme of love is supplemented in the creative work of the Khanty poet by the motifs of waiting for a beloved, separation, sorrow, loneliness, and unrequited feelings. In the Khanty love lyrics, M. I. Novjukhov begins to develop the genre of the love message.
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Sørensen, Anders Ravn. "At designe danskhed: Forestillinger om nationen på danske pengesedler." Kulturstudier 4, no. 1 (May 29, 2013): 118. http://dx.doi.org/10.7146/ks.v4i1.8143.
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To design Danishness: performances of the nation on Danish banknotes In this article, I analyse four different banknote-design competitions that were hosted by Denmark’s National Bank (Nationalbanken) between 1908 and 2007. The proposals for new banknotes have evoked different narratives about the national community, and I describe how these proposals were characterised by two opposing trends: one style alluded to a romantic national narrative by using ancient relics, barrows and classical landscapes to highlight a common history of origin; the other included more popular and commonplace motifs, such as foodstuff, industry and leisure activities. Historically, Nationalbanken has struggled to balance these different trends while preserving the notes’ legitimacy, and it has endeavoured to make the notes reflect contemporary Danish values. However, as the design processes unfolded over 100 years, the bank’s governors seemed to reconsider such ideas and, despite being given different suggestions, they have always chosen the most conservative iconography. I suggest that decision-makers within the bank have been reluctant to innovate banknote designs and make the notes reflect contemporary values, out of fear that such motives might jeopardise the trustworthiness of Danish paper currency. In maintaining this attitude, Nationalbanken has ultimately reinforced a romanticist narrative about the Danish nation.
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Giżka, Ewelina. "Motywy maryjne w twórczości Zygmunta Szczęsnego Felińskiego." Prace Literackie 56 (June 29, 2017): 51–69. http://dx.doi.org/10.19195/0079-4767.56.4.
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Marian themes in works of Zygmunt Szczęsny FelińskiThe purpose of this article is to present the Marian motifs appearing in works of Zygmunt Szczęsny Feliński 1822–1895 — son of exiled to Siberia mother, astudent of mathematics in Moscow, archbishop of Warsaw, a patriot. On the basis of analysis of: Nowy wianuszek majowy z tajemnic życia Maryi przez arcybiskupa Szczęsnego Felińskiego na Jej cześć uwity, poems published in magazines Prośba o natchnienie, Miesiąc maj, Tęcza, Oskar and Wanda and Prakseda, which content alludes to romantic poetic novel, the following ideas of Feliński are highlighted and discussed as follows: verse life of the Virgin Mary, the legend of the miraculous defense of Poczajów, painter creating his artistic work with the figure of Mary, pictures which operates in the ,,presented world” of the individual works with the image of the Virgin Mary, the symbolism of blessed flowers lily, rose, violet, person playing the lyre proclaiming the honor of the Mother of God, Queen of Polish, prayer of heroes, the praise of the month of May combining an idyllic descriptions of nature with religious values and admiring the sculptures. This article describes creative output of Feliński dedicated to the Virgin Mary. It reveals personal piety of archbishop and emphasizes enormous contribution of the achievements of the author in the development of Marian issue in Polish literature.
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Kaziyeva, Almira M., and Anna A. Pliss. "Motive as Transhistorical Phenomenon in the Story of the Adyghe-Russian Bilingual-Educator of the Nineteenth Century Khan Girey “Circassian Legends”." Polylinguality and Transcultural Practices 16, no. 2 (December 15, 2019): 276–88. http://dx.doi.org/10.22363/2618-897x-2019-16-2-276-288.
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The article presents the study of the motive structure of the “Caucasian text” in the works of the North Caucasian literature of the first half of XIX. The following task is defined: to determine the motives specific for the “Caucasian text” of the North Caucasian literature. During the period of national recovery associated with the Decembrist movement, literature was supplemented by a number of works about the Caucasus, written by talented and educated mountaineersCaucasians, such as Sultan Khan Girey, Sultan Kazy Girey, Adil Girey Keshev, Costa Khetagurov, etc. There was a whole literary tradition, which not only poetized the Caucasian world, but also tried to study it ethnographically. The relevance of the article is also connected with the fact that the Caucasian motifs are easily read both in the works of authors writing in Russian, for whom this region is a historical homeland, and Russian writers, gravitating in their own artistic preferences to a variety of trends and stylistic principles - from romantic to postmodern. For some of them, interest in the motives of the Caucasus is determinative for all the creative work. The scientific novelty of the article is that the author for the first time made an attempt to consider the motives typical for the works of Russian and North Caucasian literature about the Caucasus in the context of dialogue of the cultures.
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Лунг, Кэтрин З. "The Scythian Stag in Contemporary Arts and Craft: Tuva and Abroad." New Research of Tuva, no. 1 (March 17, 2021): 91–106. http://dx.doi.org/10.25178/nit.2021.1.5.
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The article examines the interest in Scythian imagery and motifs in contemporary arts and crafts, both in Tuva and outside Russia, on a surge after the excavation of Arzhan II burial site. As proved by numerous references, the most popular of the Arzhan II finds was the stylized image of the Scythian stag on a golden hair pin. It has since appeared on the photo taken by Russian photographer Andrei Bronnikov, whose main subject is jewelry. Tattoo artists in English-speaking regions have seen an uptick in customers requesting Scythian stag tattoo designs, due in large part to the discovery of the popularly dubbed “Ukok Princess” and increase in interest in prehistoric fantasy media. Russian-speaking fashion designers redefine textile and ornament in the twenty-first century, influenced by the golden accents of the looped stag in their work, at times inventing an embellished narrative of the past. Folk crafters have created costume and jewelry designs for a different world they wish to inhabit, even creating alter-egos and stories that accompany Scythian-inspired pieces. Finally, within Tuva, wood carving continues thanks to trailblazers that promote folk handicrafts through education and archival work. Artists around the world are fascinated by this unique relic of the past and employ the symbol in romantic imaginings of their past and present.