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Journal articles on the topic 'Sacred poem'
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1
Koshelev, V. A. "“In the East God has sacred places…”." Solov’evskie issledovaniya, no. 4 (December 15, 2020): 108–18. http://dx.doi.org/10.17588/2076-9210.2020.4.108-118.
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The author analyses A.A. Fet's poem “The Nightingale and the Rose”, included in the collection “Poems” (1850). He points out that the collection aroused the interest of leading critics of the second half of the 19th century such as Apollo Grigoriev, Lev May and Osip Senkovsky. A.A. Fet's poem “The Nightingale and the Rose” particularly attracted their attention. The most significant characteristics of the poem are identified in the present study from the point of view of these critics; similarities and differences in its assessment are noted, and their reasons are explained. In particular, attention is drawn to the lively interest of the romantic era (both in European and Russian art culture) for the East. Characteristics of the image of the East are given, as well as names of writers and titles of their works. The author points to a foreign source of A.A. Fet's poem “The Nightingale and the Rose”, which turned out to be an inaccurate translation of Hafiz, reflecting not so much the specifics of Hafiz's ghazals as their interpretation by the translator with his European vision of the East. The text of A.A. Fet is a version of the Eastern ghazal in Russian. A digression about the historical and philological study of the word “rose” in the works of A.N. Veselovsky, and the tradition of using the theme of love between the Nightingale and the Rose in the poetry of A.S. Pushkin, N.M. Yazykov, A.V. Koltsov are presented. The author notes the original features in the interpretation of these images in the poetic text of A.A. Fet and points out the programmatic nature of the poem “The Nightingale and the Rose”, as testified by the poet's repeated references to the text and the corrections he inserted in view in a new publication.
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Chia, Roland. "Theological Aesthetics or Aesthetic Theology? Some Reflections on the Theology of Hans Urs von Balthasar." Scottish Journal of Theology 49, no. 1 (1996): 75–95. http://dx.doi.org/10.1017/s0036930600036619.
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The theology of Hans Urs von Balthasar can be described as an attempt to provide an exposition of a verse in one of Gerard Manley Hopkin's most memorable poems in which the Jesuit poet declared that ‘The world is charged with the grandeur of God’. This verse, and indeed the poem as a whole, affirms the Christian's cosmic experience of God. Just as the mythological view of the relationship between god and the world is that the world is a sacred theophany, the world is, for the Christian, the theophany of God's glory and beauty.
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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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Anderson, C. T. "Sacred Waste: Ecology, Spirit, and the American Garbage Poem." Interdisciplinary Studies in Literature and Environment 17, no. 1 (2010): 35–60. http://dx.doi.org/10.1093/isle/isp155.
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Van Zuydam, S. W. "‘De Regenkoning’ van Hugo Claus." Literator 7, no. 1 (1986): 1–20. http://dx.doi.org/10.4102/lit.v7i1.872.
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The investigation in this article comprises the analysis of a poem by the Flemish author Hugo Claus, namely "De regenkoning". It is one of the poems in a sequence entitled "De ingewijde" (The initiated) which forms part of his volume of poetry "De Oostakkerse Gedichten” (1955). These poems are extremely esoteric and an attempt is made here to “decode” the "hidden mysteries” in this particular poem. Claus’ method of using a kind of secret language corresponds to a basic feature of (universal) initiation ceremonies, namely that everything that takes place is shrouded in secrecy. It was found that the nucleus of traditional initiations, namely sexual and mental maturation, likewise form a fundamental characteristic in Claus’ poem. Yet his "neophyte” is not (re)born into a "new” (sacred) world, but initiated into the broken (profane) realities of modern society.
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Seiler, Thomas. "«Den verkliga festen, som är dödstyst»." Folia Scandinavica Posnaniensia 30, no. 1 (2021): 4–14. http://dx.doi.org/10.2478/fsp-2021-0001.
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Abstract Tranströmer’s prose poem Blåsipporna (“The Liverleafs”) is rather cryptic. By reading the text in the light of Kant’s theory of the sublime and by focusing on its mysterious and paradoxical aspects, this essay seeks to unveil the poem’s hidden eschatology. The poem’s transcendence is the result of the rhetorical and literary devices the poet is using to depict an ecstatic experience. Such an experience is beyond rationality, hence the wording’s irrationality. In addition, the poem addresses silence, as the experience of ecstasy can never be expressed by words. Thus, Blåsipporna is a piece of art and a sacred text at the same time.
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White, Roger. "Poetry and Self–Transformation." Journal of Bahá’í Studies 1, no. 2 (1988): 61–69. http://dx.doi.org/10.31581/jbs-1.2.414(1988).
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Recognizing that the central figures of their Faith wrote poems, members of the Bahá’í community rightly honor poetry. Unlike non-Bahá’í artists who may feel unappreciated and estranged from society because they have no shared view of the universe and whose poetry may become increasingly obscure, private, and difficult, the Bahá’í who writes poems enjoys a sense of family with an international audience made up of people who hold similar spiritual values and aspirations, and the Bahá’í poet can joyfully restate the eternal themes traditionally addressed in poetry, taking care to avoid imitating the Sacred Texts. In the process of engaging in this craft, the Bahá’í poet will be performing an act of worship which should not only transform the writer but also hold before readers the possibility of their being transformed too. White’s poem, “Rescue,” is cited to illustrate the point that transformation must originate from within the individual.
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Machado, Silvio. "I Surrender to the Sacred Ways and Walk the Inner Places: Donovan’s Poem." Qualitative Inquiry 26, no. 10 (2020): 1244–47. http://dx.doi.org/10.1177/1077800419898488.
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The following is a poetic transcription presented as a 12-part poem. The author constructed the poem from an email interview conducted with “Donovan,” a 61-year-old, White, gay man. The interview was part of a larger study on the experience of LGBTQ+ identity as spiritual identity, which focused on individuals who believe their LGBTQ+ identity is imbued or imbues their life with spiritual qualities. Donovan is a monk in a tradition that blends Hinduism, Buddhism, Native American Spirituality, and Paganism and that honors the “Hayamoni,” a Pali word for Two-Spirit people. The narrative poem reflects his perspective on the experience and meaning of LGBTQ+ spiritual identity in his life. The poem is presented without a literature review in an effort to privilege Donovan’s lived experience and perspective.
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Ishchenko, Nina S. "Donbass Hierotopy in Elena Zaslavskaja’s Poem “Novorossia of Thunderstorms. Novorossia of Dreams” (2020)." Almanac “Essays on Conservatism” 64 (June 30, 2021): 464–70. http://dx.doi.org/10.24030/24092517-2021-0-2-464-470.
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The article is devoted to the analysis of the creation of the hierotopy of modern warring Donbass in the poem by Elena Zaslavskaja “Novorossia of Thunderstorms. Novorossia of Dreams” (2020). The article shows how the archetypes of cultural memory are actualized under the wartime circumstances and in the situation of extreme existential choice. One of the most ancient cultural archetypes of Russian culture is the image of Russia as a sacred space, which synthesizes the archaic image of the holy kingdom and Christian ideas of holiness as the feat of self-sacrifice. The author analyzes the mechanisms of creation in the poem of the image of Lugansk-Svyatograd included in the sacred Christian space due to the self-sacrifice of its inhabitants during the war with the Ukraine since 2014.
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Peinado Elliot, Carlos. "Alianza y comunión: la poesía como sacramento en la obra de Andrés Sánchez Robayna." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 29 (January 31, 2018): 38–58. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2018292548.
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Andrés Sánchez Robayna entiende la poesía como una forma de conocimiento, siguiendo la tradición que procede del Romanticismo. La poesía se presenta como liberación del poder espiritual de la palabra, capaz de reunificar al hombre con el mundo. El poema brota movido por el deseo de lo desconocido, que es el fondo invisible de lo visible. Este misterio que late en la realidad es lo sagrado para el poeta, quien experimenta el sentimiento de pertenencia a la tierra que remite al lugar de origen. El poema se muestra como una «auscultación del lugar» que procede del deseo: la belleza del lugar suscita el canto de celebración. De este modo la palabra convoca una presencia que toma cuerpo en la palabra; y al mismo tiempo este nombrar se ahonda en lo invisible, unificándolo con lo visible. Este construir y habitar la imagen-cuerpo del mundo mediante la obra poética constituye una liturgia que reúne a los hombres, el mundo y lo sagrado. La alianza tiene lugar en el símbolo-imagen, que unifica lo escindido y es el cimiento de la liturgia. El artículo concluye con un breve acercamiento a «La alianza», poema perteneciente a La sombra y la apariencia. Andrés Sánchez Robayna understands poetry as a way of knowledge, following the tradition that comes from Romanticism. Poetry is presented as a liberation of the spiritual power of the word, which is able to reunify the man with the world. The poem springs up moved by the desire of the unknown, which is the invisible depth of the visible. This mystery that beats in the reality is the sacred for the poet, who experiences the feeling of belonging to the earth that refers to the place of origin. The poem is shown like an “auscultation of the place” which comes from the desire: the beauty of the place arouses the chant of celebration. In this way, the word summons a presence that is embodied in the word , and, simultaneously, this calling deepens in the invisible, merging it with the visible. This scaffolding and inhabiting the image-body of the world using the poetic work, constitutes a liturgy that congregates humans, the world and the sacred. The covenant takes place in the symbol-image, which unifies what is torn and is the foundation of the liturgy. The article concludes with a brief approach to “La alianza”, a poem belonging to La sombra y la apariencia.
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Challab, Hussein Kadhum. "The Discussion of Language and Poetry in A.R. Ammons's Garbage." Journal of the College of languages, no. 46 (June 1, 2022): 63–79. http://dx.doi.org/10.36586/jcl.2.2022.0.46.0063.
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A.R. Ammons's Garbage is a unique poem in all measures, starting from the title to the subject matter of the poem. Though it discusses the ecological repercussion of waste management, the long poem is written to shed light on the correlation between language\poetry and garbage. The paper argues that in his examination of language\poetry and garbage as both reflectors of human life and experience, Ammons claims that redemption is possible through both language and garbage by scrutinizing human experience whether low or high, mundane or sacred. This paper tries to examine Ammons's efforts to use the farfetched metaphor of garbage to discuss language and poetry-writing.
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Chakravarti, Srinjay. "Hrishikesh: A Poem on Corrupted Landscape." eTropic: electronic journal of studies in the Tropics 21, no. 1 (2022): 388–91. http://dx.doi.org/10.25120/etropic.21.1.2022.3845.
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This poem on the pilgrimage center of Hrishikesh set in a humid subtropical niche of the scenic Uttarakhand state, aims to capture the corruption of its cultural, religious and natural landscapes. Here, modernity — with its concomitant technologism — jostles for space with Hindu leitmotifs and traditions, causing pollution, ecological damage and environmental degradation. These are outcomes not just of distorted economic policies and skewed technological and developmental paradigms, but also the residuum of religious rituals, pollutants and garbage dumped into the holy Ganges. Named after a form of the Hindu deity Vishnu, Hrishikesh, in Sanskrit, means “Lord of the Senses”. Nowadays, the town is more popularly known as Rishikesh (which means “the hair of a sage or ascetic”). This name, though etymologically erroneous, is not grammatically incorrect; it is, however, yet another pointer to the degeneration of the region’s pristinity. Here, not only is the natural environment under threat, but the rich traditions of Hinduism, too, are under assault from popular culture and mass consumerism. Such corruption is partly caused by the global yoga movement and the draw of international tourists who smoke cannabis on sacred riverbanks.
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MILLER, ANDREW. "Favoring Nature: Herman Melville's “On the Photograph of a Corps Commander”." Journal of American Studies 46, no. 3 (2012): 663–79. http://dx.doi.org/10.1017/s0021875811001381.
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This paper involves a close reading of Herman Melville's poem “On the Photograph of a Corps Commander,” published in Melville's 1866 collection Battle-Pieces. Realizing that Melville's poem is one of the first descriptions (ekphrases) of a photograph in verse, the paper explores how Melville's poem uses physiognomy to describe the subject of the photograph: an American Civil War general, who is only identified as “the Corps Commander.” In this way, Melville's poem reflects the nineteenth-century philosophical and popular notions of photography. These notions came to regard photography as a Neoplatonic medium capable of recording and revealing the inner character of its subjects. Relying on these conceptions of photography, Melville's poem describes the photograph of the Corps Commander as having the power to reveal the Platonic absolute of American masculinity, and thus it comes to hail the photograph as a semi-sacred image that has the power to draw Anglo-Saxon American men into a common brotherhood.
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Osborn, Marijane. "The Xtabay: From Forest Guardian to Hungry Demon." Humanities 11, no. 4 (2022): 96. http://dx.doi.org/10.3390/h11040096.
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The Xtabay is a legendary Mayan forest entity associated with the sacred ceiba tree. The prose-poem by native ethnologist Antonio Mediz Bolio, translated here, represents the version of her story that he knew a century ago, where she appears as a temptress who lures young men under the tree to become her slaves. Behind the romantic sensibility that pervades this poem may lurk the combined shadow of two avatars, an ancient goddess of the hunt and a hybrid bird-woman who regards as prey those who threaten her forest or the creatures that call it their home.
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Tebegenov, Т., and S. Asilbekuli. "ARTISTIC CHARACTER OF ZHUMEKEN NAZHIMEDENOV'S POETRY." BULLETIN Series of Philological Sciences 74, no. 4 (2020): 344–52. http://dx.doi.org/10.51889/2020-4.1728-7804.70.
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The article analyzes the artistic features of lyrical and ethical works in the poetry of the outstanding poet, laureate of the State prize of the Republic of Kazakhstan Zhumeken Nazhimedenov. The poet's poetry is dominated by civil-Patriotic lyric poetry, psychological and philosophical integrity of the sung questions: the native land of the great Steppe, the sacred homeland, the continuity of generations, respect for ancestors, etc. At the same time, the author analyzes the poetic and aesthetic semantic features of artistic images in lyrical poems about nature in the poet's poetry (personification, metaphor, epithet, comparison, symbol, allegory, psychological parallelism, etc.). the Lyrical and psychological nature of civil dedications to things and phenomena in nature is determined by text analysis. We also analyzed critical motives expressed by images of irony and sarcasm in the poet's poems, which assessed gaps and shortcomings in the system of relations in the domestic and social environment. Differentiated features of the historical-philosophical, aesthetic-poetic artistic solution of the poem in the epic poetry of the poet in the generalization and reflection of the reality of life with artistic reality. The research is highlighted in the context of a new consideration of the text analysis of the poetic features of works in the poet's poetry.
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Kaczor, Idaliana. "The Sacred and the Poetic: The Use of Religious Terminology in Ovid’s Words." Symbolae Philologorum Posnaniensium Graecae et Latinae 29, no. 2 (2019): 17–35. http://dx.doi.org/10.14746/sppgl.2020.xxix.2.2.
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The article investigates Ovid’s use of religious terminology and imagery, in particular in the Fasti and the Metamorphoses. As an educated Roman citizen, Ovid was conversant with Roman ritual practices and frequently drew on facets of the Roman religious experience in his writing, exploring topics such as ritual performance, religious nomenclature, festivals, customs and traditions. In the article, I argue that Ovid’s treatment of religious material is deliberately uneven. The poet, well-versed in the Roman ritual nomenclature, nevertheless flaunted his technical competence only in the rite-oriented Fasti: in his other works, above all in the myth-laden Metamorphoses, he abandoned drier technical details for artistic flair and poetic imagery, unconstrained by traditional practices of Roman piety. The mythological setting of the latter poem gave Ovid a chance to comment upon universal truths of human nature, espousing the prevailing Roman belief that maintaining good relations with the gods (pax deorum) through collective piety would win Rome divine favour in all her initiatives.
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Tolmatchoff, Vassily M. "To the Symbolism of T.S. Eliot's Anthological Poem." Literature of the Americas, no. 13 (2022): 61–108. http://dx.doi.org/10.22455/2541-7894-2022-13-61-108.
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The paper examines in detail the history of the creation of “The Love Song of J. Alfred Prufrock”, as well as the methods of its research in Western and Russian literary studies. The author proposes to combine a careful reading of this text with the notion of this poem as a spiritual autobiography of Eliot, which has various dimensions: from personal, proper poetic to esoteric. Based on the analysis of the biography of the young Eliot, the poet's relationship with J. Verdenal, the history of the poem, the drafts, the final text, the title of the poem, the epigraph, the poem's place in the poet's work, Eliot's statements about “Prufrock” the paper identifies the parameters of the symbolism of this work, which, playing on Eliot's complex relationship with the inexpressible (having an ambivalent nature), extends to its composition (the relationship of “I” and “you”; the paradoxical nature of the ending), the system of images and motifs (Prufrock as a theatrical person, the opposition of the male and female world), the special sense of reminiscences from Dante, Shakespeare, Goethe, Walter Pater, Oscar Wilde, the philosophy of creativity as a mystery (Prufrock as a poet, combination of eroticism and mysticism, the theme of sacred crime) and love (homoerotic theme), genre (elusiveness of genre, Faustian beginning in it), symbolism and esoterics (“Prufrock” as a Masonic text on initiation, on life as theatre). The author gave a special place to the concretization of ekphrases (Michelangelo, Leonardo da Vinci, Burne-Jones), the content of which confirms the thesis that the poem has a text in the text.
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Moore, Michael. "Dante’s Sacred Poem: Flesh and the Centrality of the Eucharist to the Divine Comedy." European Legacy 21, no. 8 (2016): 862–65. http://dx.doi.org/10.1080/10848770.2016.1211412.
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Pavlenko, Olena, and Natalia Gorodnuk. "SEMIOTICS OF THE UNNAMED IN LESYA UKRAINKA’S POEM “ONE WORD”." Ezikov Svyat (Orbis Linguarum), ezs.swu.v.21.1 (February 26, 2023): 143–50. http://dx.doi.org/10.37708/ezs.swu.v21.i1.14.
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The poem “One Word” (1903) by Lesya Ukrainka appears to be one of the least known and appreciated amongst the poetess’ literary works. So far, there has been a Soviet interpretation of the poem with the researchers’ claim that the image of a political prisoner depicted in the poem is inspired by a Ukrainian revolutionary poet and political exile Pavlo Grabovsky. Furthermore, the key version to define the term “unnamed word” was established by Agatangel Krymsky’s in his first review of the poem (“Critical and Philological Remarks on Flies in the Ointment”, 1906) regarding the word “will” commonly used in the Yakut language. To avoid unambiguous reading, the author foresees the possibility of replacing the subtitle of her poetry, i.e., instead of “Tales of the Old Yakut” she suggests a subtitle “A Tale of the Native from the North”. Thus, it will be more than obvious to claim that the poetess had to focus on the uncertainty and definite ambiguity of a sacred word which an enlightened scribe could hardly explain to the illiterate natives. As such, the plot scheme of the poetry in question is based on the structural-semiotic mechanism of ancient children’s game based on guessing the word (real terms or abstract concepts) conceived by the presenter (or a group of people) by means of describing them without direct naming. For that reason, we find it challenging to trace how the author creates a pseudo-imagological effect of “misunderstanding” and “misinterpretation” through the phenomenon of an unnamed word.
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Bogdanova, O. V., and E. A. Vlasova. "Gospel of Joseph (I. Brodsky’s poem “Gorbunov and Gorchakov”)." Nauchnyi dialog, no. 12 (December 28, 2021): 180–204. http://dx.doi.org/10.24224/2227-1295-2021-12-180-204.
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The article traces the intertextual layers of I. Brodsky’s poem “Gorbunov and Gorchakov” (Shakespeare, Goethe, Dante, A. Chekhov, L. Andreev, M. Bulgakov, etc.), establishes a connection with the sacred texts of the Old and New Testaments. The hidden disciple (apostolic) plot is revealed and, as a result, a different arrangement of characters is proposed than is traditionally accepted in Russian studies: the heroes Gorbunov and Gorchaks are considered not as opponentsantipodes, but as heroes closely connected, in particular, by the relations of the teacher and the follower. The three-part (conditional) composition of the poem, focused on the three days and three nights depicted in the text, with its symbolic trinity emphasizes the progressive apostolic path of Gorchakov and emphasizes his special role in the fate of Gorbunov (after L. Andreev, not Judas the traitor, but Judas the disciple). The inner “follower” layer of the poem allows Brodsky to move to the archetypal plot, metaphorizing details and symbolizing situations, translating them to a higher level, saturating them with a capacious philosophical and poetic meaning. The well-thought-out chronotopic structure of the poem — Easter Eve, Holy Week, madhouse — is based on complex allusions and the “internal semantics” of the sign, number, and letters. The theological function in Brodsky’s poem is assumed by the Word, the divine Verb.
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Jones, Russell. "Leigh Hunt's Oriental Motifs – Abou Ben Adhem." Journal of the Royal Asiatic Society 7, no. 3 (1997): 389–97. http://dx.doi.org/10.1017/s1356186300009421.
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On an October day in 1869 Lord Houghton, friend of Thackeray and Tennyson, appeared in the cemetery at Kensal Green, in West London. He was there to unveil a tomb memorial to the poet Leigh Hunt; this was surmounted by a bust, and bore the legend:It is not really surprising that place of honour on Leigh Hunt's tomb is taken by a quotation from “his exquisite little fable ‘Abou ben Adhem’” which “has assured him a permanent place in the records of the English language”,1 and whose “touch of glory, like a sacred flame on a clear and graceful altar, has captured the succeeding generations”.2 The poet himself, Leigh Hunt, regarded this poem as one of his best.3 It is recorded that a friend presented to him an illuminated copy of it, which he hung above his writing table.4
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Kampāne-Štelmahere, Sintija. "Latvju dainu atbalsis Veltas Sniķeres lirikā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 124–34. http://dx.doi.org/10.37384/aplkp.2020.25.124.
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The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as a source of ancient knowledge and as a path to the Indo-European first language, prehistoric time, which is understood only in a poetic state. Often, the montage of Latvian folk songs or their fragments in the lyrics of Sniķere is revealed as a reflexive reverence that creates a semantic fracture and opposition between profane and sacred view. The insertion of a song in the poem alters the rhythmic and phonetic sound: a free and sometimes dissonant article is replaced by a harmonic trochee, while an internationalism saturated language is replaced by a simple, phonetically effective language composed of alliterations and assonances. The montage of folk songs in a poem is justified by the necessity to restore the Latvian identity in exile, to restore the memory of ancient, mythical knowledge, to represent the understanding of beauty and other moral-ethical values and to show the thought activity. Common mythical images in the lyrics of Sniķere are snake, wind, gold, silver, stone etc. The Latvian folk song symbolism and lifestyle of the poet are organically synthesized with the insights of Indian philosophy.
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Morrow, Lisa. "Crossing the Sacred/Secular Divide; Unraveling Turkish Identities." Linguaculture 2016, no. 1 (2016): 41–49. http://dx.doi.org/10.1515/lincu-2016-0006.
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Abstract This paper unpacks the ideas in the poem “Pull Down My Statues” by Süleyman Apaydın, to examine some common descriptors in use about modern Turkey. Taking his inspiration from Mustafa Kemal Atatürk, the founder of the modern Turkish republic, Apaydın ponders the success of Atatürk’s vision, based on the idea of a secular/sacred divide. Combining this with the way travel in Turkey is heavily promoted using the same themes, I explore how this divide, with its underlying connotations of West versus East and modernity versus tradition (as found in Turkey’s Ottoman past), is applied to Turkish identity. Turks are commonly portrayed as a homogenous people only differentiated by their degree of religiosity, but I argue that this analysis is too simplistic. Turkish identity has never been based on a single clear cut model, and this is becoming obvious as more traditional Islamic ways of life are being reworked by new forms of Islam based on capitalism. Consequently, although it is important to acknowledge Turkey’s past, looking to history for a way to steer through the complexities of the present is no longer useful or even relevant.
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DuBois, Raoul. "Calendar Poems: Variances in Vernacular Versified Calendars as Expressions of Individual Perceptions of Time." KronoScope 22, no. 1 (2022): 30–49. http://dx.doi.org/10.1163/15685241-20221506.
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Abstract Cisiojanus is what we call a medieval mnemonic device designed to provide temporal orientation by transforming the sequence of immovable religious feast days into a short and memorable poem. Mapping the sacred calendar onto a textual surface enabled its user to determine dates by counting the poem’s syllables, words or lines. As an integral part of elementary education, the cisiojanus is believed to have been one of the most popular poems of the Middle Ages. It survived in hundreds of copies all over Europe and was translated into numerous languages. While the cisiojanus formed what could be one of the largest premodern, text-based temporal communities, it also adapted to the requirements of its users, leading to an astonishing amount of nearly identical, yet significally different poems. This article explores different cisiojani as individual perspectives on time. While some make adjustments for regional and local variants of the calendar, some even bear witness to personal interpretations of the calendar.
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Dudareva, M. A. "Sophia or Apophatic reality in Alexander Blok’s poem «A girl was singing in a church choir»." Solov’evskie issledovaniya, no. 3 (September 30, 2020): 129–39. http://dx.doi.org/10.17588/2076-9210.2020.3.129-139.
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The paper presents a coherent analysis of the famous poem by Alexander Blok «A Girl Was Singing in a Church Choir...» in an extensive historical and cultural context. Much attention is paid to the poetics of color, the colorative «white», which is characterized by semantic tension and brings the reader into the ontological space of the text. In the poem, the image of the girl is associated with white color and light, which shows that the heroine belongs to the higher, heavenly world and is opposed to «everyone» from the temple, which is in darkness. The play of light and shadow acquires a sacred nature and makes it possible to raise the question of the apophatic tradition, the appearance of «evening light» and «unfading light». The image of the heroine is also viewed from the perspective of the teaching on Sophia by Vladimir Solovyov, whose legacy was addressed by the poet. Blok draws parallels with the Russian folklore tradition, analyzing the last stanza, the image of a crying child. The appeal to folklore is fruitful, since Blok was well acquainted with oral folk art, as evidenced by the fact that he was the author of the article «Poetry of Conspiracies and Spells», written in the same period as the object of the current study, the poem «A Girl Was Singing in a Church Choir...». However, the authors of this paper interpret folklore not narrowly, but include in its field rituals, ceremonies, and pre-genre formations. The work is based on a holistic analysis of the artistic text using structural-typological, comparative, and systematic-comprehensive (culturological) research methods. These methods allow highlighting the ontological dimension in the poem, revising the views on the images of the girl and the child that have established in literary studies, avoiding unambiguousness in interpretation.
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Prozorova, Natalya A. "Female images and trauma visualization in the blockade text of Olga Bergholz." Sibirskiy filologicheskiy zhurnal, no. 4 (2021): 110–23. http://dx.doi.org/10.17223/18137083/77/9.
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This work investigates the role of female images in the representation of trauma in the blockade narrative by O. F. Bergholz. Her poetic texts for propaganda posters “Okna TASS” and the poem “Conversation with a neighbor” portray realistic images of women. The poem “The February Diary” conveys the blockade trauma through the aesthetics of silence, filled with existential semantics. In “Leningrad Poem,” the poet emphasizes the loss of sacred traditions: the disconsolate mother cannot bury her child. In “Leningrad Autumn,” Bergholz reproduces real everyday life and religious-mystical being: the figure of a woman holding a board with nails visualizes a graphic symbol - a cross, manifesting the burden of people’s ordeal. In the novel “Day Stars,” the chapter “Smoke Break,” the author depicts the emotional and moral threshold crossed by two Leningrad women, sitting on a sled with a coffin and having a smoke break. In the passage “Banya” from the unfinished second part of “Day stars,” Bergholz breaks through to the “existentially uncomfortable writing” and visualizes the blockade trauma in the category of physicality traditionally tabooed in the literature of the Soviet period. The naked female body becomes exceptionally expressive and serves as a sign to reveal new meanings in the literary text. Skinny bodies being the norm, the appearance of a buxom beauty in the bathhouse caused anger: the blockade women identified her as an enemy. The author of the paper defines Leningrad women, considered in the framework of trauma studies, as a “community of loss” of female identity.
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Oroskhan, Muhammad Hussein, and Hossein Jahantigh. "T. S. ELIOT AND EMILE DURKHEIM: SACRED AND PROFANE IN "THE LOVE SONG OF J. ALFRED PRUFROCK"." Folia linguistica et litteraria XIII, no. 39 (2022): 31–46. http://dx.doi.org/10.31902/fll.39.2022.2.
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Along history, sociology and literature have formed various associations with each other. From the sociology of literature that has considered literature as a social production to the usages of sociological perspectives as literary theories or the usage of literature as illustration of sociological abstract notions, literature and sociology have been constantly and interrelatedly studied. Nevertheless, this study aims at revealing another interrelation between literature and sociology by referring to the beginning of the twentieth century when the replacement of religious thinking with secular ideas was dominant in modern society. Sociologists like Emile Durkheim detected and studied this shift in modern society and later on literary authors of the time followed the promotion of secularism in their literary works. However, T.S. Eliot reacted to this replacement in his poem "The Love Song of J. Alfred Prufrock". He wrote the poem while he was reviewing Durkheim’s The Elementary Forms of the Religious Life in the journal the Westminster Gazette. This paper argues that T.S. Eliot’s "The Love Song of J. Alfred Prufrock" is written with a mindset loaded by Durkheim’s sociological perspectives such as the notions of the sacred and the profane to further conclude that T. S. Eliot’s creation of Prufrock is consistent with the view that the modern man is unable to establish himself in a society which is devoid of the notions of sacred and profane and that he may consider committing suicide to save himself as the final resort.
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Chevtaev, A. A. "The Poem “Hagia Sophia” by I. Bunin: Architectural “Cosmism” in the Structure of Lyrical Plot." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 191–206. http://dx.doi.org/10.25205/2410-7883-2020-1-191-206.
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The article is devoted to the poetics of the poem “Hagia Sophia” (1906) by I. A. Bunin in the aspect of the plot representation of artistic ontology. The ontological basis of I. Bunin’s poetry and prose is the cosmic worldview, which determines the specifics of the construction of his artistic universe. The formation of the ideology of “cosmism” in Bunin’s work occurs at the beginning of the 20 th century, when the poet intensively learns the experience of other religions and cultures. The feeling of being as a cosmic unity of the world order is affirmed in his “oriental” lyrics of 1903–1907. At the same time, the East appears as a unified semantic space that equalizes various religious and historical and cultural formations in terms of values. The poem “Hagia Sophia” is included in the corpus of “oriental” poems by the poet and reveals his creative perception of the Constantinople Cathedral of Hagia Sophia (mosque). Structural-semiotic analysis of this poetic text shows that its plot construction explicates the logic of Bunin’s “grasping” of the being essence of the temple space. In the process of unfolding the lyrical plot of the poem, the contemplated process of the “evening” Muslim worship, the “morning” solar pacification of the temple and the “dove” appeal to the life forces of the universe are combined in an integral system of the world order. The convergence of these vital manifestations of the universe in the space of the temple becomes the central event in the plot structure of the text, which explicates the lyric subject’s awareness of the cosmic unity of the created world. The reception of the lyrical subject of Hagia Sophia is aimed at understanding not so much the Islamic religious and cultural identity as the fullness of life that testifies to itself in the sacred space of the temple. The eternity of the cosmos, which appears in the architectural locus, is thought of as an axiological peak in self-determination on the axis “man – universe”. The unfolding of the text’s plot structure, which represents through the oppositions “evening – morning”, “darkness – light”, “speech – silence”, “man – dove” the events of striving for the transformation of being, confirms the idea of the ontological unity of the vital manifestations of the world order. It is concluded that in the poem “Hagia Sophia” by I. Bunin the architectural world of the temple embodies the ideology of “cosmism” as a convergence of anthropological and natural principles, revealing one of the aspects of the movement of Bunin’s poetics to the concept of “unified soul of the universe”.
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YANPOLUMI M SANGMA, C. SANTHOSH KUMAR,. "Commercialization of Religion in Galway Kinnell's Poem The Avenue Bearing The Initial Of Cross Into The New World." Psychology and Education Journal 58, no. 1 (2021): 5821–27. http://dx.doi.org/10.17762/pae.v58i1.1991.
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Since the Bible, the Christian religion has been deeply rooted in the commercialization of religion in society. The poem The Avenue Bearing the Initial of Cross into the New World is an attack on the Church and its followers for practising commercialization in society. Ironically, it also attacks Christian beliefs and practices. Kinnell presents shops, market places, restaurants, and bars to link with religious marketing. He portrays the characters as sellers and buyers, a product, and income. He even presented Christ as income to boost the Roman taxes. Marketing in religion affects both the spiritual and emotions of the followers. The religious sacred is regarded as a product that is exchanged by prices and goods. Kinnell rejected the Christian worshipping of idols. Thus, this paper presents the commercialization of religion in Galway Kinnell's poem The Avenue Bearing the initial of Cross into the New World
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Grafstein, Robert, and Darrell Dobbs. "Rationalism or Revelation?" American Political Science Review 82, no. 2 (1988): 579–87. http://dx.doi.org/10.2307/1957402.
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Are there appropriate limits to the application of rational choice in political decision making? Does rationalism in politics lead to absolutism? Is there a “pressing threat” to liberal democracy “posed by the irreverent conviction of the hegemony of reason”? In the June 1987 issue of this Review, Darrell Dobbs drew lesson from Homer's epic poem, the Odyssey, to argue the limits of rationalism in politics. In this Controversy, Robert Crafstein argues that Dobbs's case against rationalism is not proved. In turn, Dobbs holds to his construction of the relevance of Odysseus' nod to sacred values.
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Koptelova, Natalya G. "THE IMAGE OF THE OLD MAN IN ALEXANDER BLOK’S POETRY OF THE 1900S." Vestnik of Kostroma State University 28, no. 3 (2023): 109–16. http://dx.doi.org/10.34216/1998-0817-2022-28-3-109-116.
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The article makes a certain contribution to the study of the typology of Alexander Blok’s characters, which arose as a result of the “theatricalisation” of the lyrical subject. We examine examples of some lyrical monologues written on behalf of the old man. Their aesthetic nature is revealed, poetics and functions are characterised. It is proved that the lyrical monologues of the old men” created in Alexander Blok’s poems of the 1900s (“Under old age, forgetting the sacred...”, “When I began to grow decrepit and get cold...”, “Years have passed, but you are still the same...”, “The Double”) form a special local artistic integrity within his poetic “trilogy”. It is shown that in the spontaneously formed ensemble unity, the image of the old man turns out to be Alexander Blok’s “lyrical mask“, his tragic double and in many respects expresses autopsychological experiences associated with the idea of “betrayal“ of the mystical ideal of Eternal Femininity. The article emphasises that the poems (“Under old age, forgetting the sacred...”, “When I began to grow decrepit and get cold...”, “Years have passed, but you are still the same..” form an intersubjective paradigm. In these works, the image of the old men correlates not only with the personality of Alexander Blok and Dmitry Merezhkovsky, but also allows us to perceive the character as a completely independent hero with a unique character. The paper concludes that the “theatricality” of poetics is most clearly and clearly manifested in the poem “When I began to grow decrepit and get cold...”, as if oriented towards oral pronunciation and stage incarnation.
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Aksenova, A. A., and K. V. Sinegubova. "Joke and Horror in the Self-Identy of the Lyrical Hero in <I>The Mummers</I> by V. F. Khodasevich." Bulletin of Kemerovo State University 24, no. 1 (2022): 35–41. http://dx.doi.org/10.21603/2078-8975-2022-24-1-35-41.
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This article features V. F. Khodasevich’s poem The Mummers and explains why horror replaces humor in the main character’s self-analysis. According to M. M. Bakhtin, the voice of the Persona fades or becomes distorted if it sounds alone, outside the Chorus. In this particular case, falling away from the Chorus provokes the fear of losing self-identity. The speaker identifies himself as Me / Not-Me based on the sacred boundaries between Mine and Someone Else’s. This situation is most clearly manifested in the line when the eyes of the speaker meet those of the mummer in a certain "uncoordinated" way, which can be interpreted as separation. The Yuletide chronotope makes the artistic world of the poem unfamiliar and alien. The masquerade blurs the boundaries between the worlds, and the speaker discovers that participation in this ritual requires personal responsibility. The open meeting of Me and The Other is anything but one-sided, and the ritual game appears to have a deep and serious meaning.
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Koloshuk, Nadiia. "The triad Faith — Hope — Love as a symbol in the lyrics of the representatives of the 1960s generation — Bulat Okudzhava and Yevhen Sverstiuk." Synopsis: Text Context Media 26, no. 4 (2020): 138–44. http://dx.doi.org/10.28925/2311-259x.2020.4.4.
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The inquiry is focused on two poems of the Sixties Poets: “Three Sisters” by B. Okudzhava and “Faith — Hope — Love” by Ye. Sverstiuk. They are united by the symbolic image of a triad of Christian martyrs. The aim of the study is an interpretation of texts, associated with a common cultural tradition, as well as an indication of differences in the development of national cultures of the former USSR, that cause further divergence in the modern mentality of citizens in the country that had divided. The research adheres to comparative hermeneutic methodology. Problem Statement. Personalized images of Faith, Hope, Love in the poem by B. Okudzhava appear before the lyrical hero as the most important principle of his personal existence at the time of ordeal. They express the ethical foundations of life; their faithfulness justifies the poet, who feels indebted to life and his contemporaries. The poem by Ye. Sverstiuk “Faith — Hope — Love” reveals a profound social and historical connotation in the light of memoir evidence about the tragic fates of Ukrainian dissidents of the 60s. The motif of the tragic inevitability of choice on the Via Dolorosa is the main one in its figurative and semantic structure. The results of the study. In comparison with Okudzhava’s song, the symbolic parabolic plane in Ye. Sverstiuk’s verse is more tangible and more clearly connected with the religious tradition. Lyrical voice of the Ukrainian dissident is woven from echoes of no everyday cultural text in Soviet Ukraine — from hagiography, from the persecuted and the underground church life, from the insurgent poetry of World War II, from banned journalism fighters for national revival. Ukrainian dissidents saw their mission differently than their contemporaries in Russia, hence there is the deep meaning of the sacred images of martyrs of the triad, and prayerful spirit, and tragic pathos in the poems by Sverstiuk which are devoted to the dissidents.
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Godunova, Olesya A. "Poem "The Passion for Anna" by V. Khodosh: On the problem of dialogical relations in sacred music." South-Russian musical anthology, no. 3 (2021): 133–40. http://dx.doi.org/10.52469/20764766_2021_03_133.
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Carlson, Donald. "Of Lunatics, Lovers, and Poets: The Conversation about Poetry in Shakespeare's A Midsummer Night's Dream." Ben Jonson Journal 25, no. 2 (2018): 194–213. http://dx.doi.org/10.3366/bjj.2018.0224.
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Individual works of poetry and drama often contribute to a conversation that spans centuries, but A Midsummer Night's Dream contains a very specific dialogue in which Shakespeare takes the Jesuit priest-poet Robert Southwell for an interlocutor. Shakespeare creates this conversation by echoing Southwell's published work. By the first staging of A Midsummer Night's Dream, around 1595 or 1596, Southwell had endured a martyr's death; but that didn't stop Shakespeare from responding to the prescriptions laid down by Southwell about the proper way for Christian poets to write. His prefatory letter and introductory poem to the posthumous volume St. Peters Complaint make clear that Christian poets whose poems are not overtly devotional are squandering their talent. He remonstrates with such poets – one in particular, whom Southwell addresses as his “belov'd cousen” – to chasten themselves and to write poetry more in the vein of the reverent and improving verses included in Southwell's own volume. Through the character of Theseus, especially, and in the structure of the play, more generally, Shakespeare replies to Southwell. Shakespeare doesn't simply reject Southwell, but rather evokes an understanding of piety and poetry consistent with the pre-Reformation, late medieval Church. This understanding is one that allows room for juxtaposing the sacred and the profane as opposed to championing one at the expense of the other.
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Meulenbeld, Mark. "The Peach Blossom Spring’s Long History as a Sacred Site in Northern Hunan." T’oung Pao 107, no. 1-2 (2021): 1–39. http://dx.doi.org/10.1163/15685322-10701001.
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Abstract Though long seen uniquely from the perspective of the Chinese literary canon, Tao Qian’s 陶潛 (365?–427) famous “Record of the Peach Blossom Spring” (“Taohuayuan ji” 桃花源記) may find an even more fruitful disciplinary home in religious studies. The story refers itself to a grotto at Wuling 武陵 (present-day northern Hunan province), a site that has been associated with Daoist transcendents (shenxian 神仙) at least since the middle of the sixth century. A Daoist monastery on that same site, the Peach Spring Abbey (Taoyuan guan 桃源觀) or Peach Blossom Abbey (Taohua guan 桃花觀), became officially recognized in 748 and received imperial support not long after. This article studies the long history of Peach Spring as a sacred site, or, as Tao Qian referred to it in his poem, a “divine realm” (shenjie 神界).
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Berendeeva, M. S., та M. I. Rybalova. "“My Sight, My Strength, Dims...ˮ by Arseny Tarkovsky in the Feature Film “Nostalghiaˮ: The Ways of Poetical Quotation Embedding in the Cinematic Text". Philology 17, № 9 (2018): 90–104. http://dx.doi.org/10.25205/1818-7919-2018-17-9-90-104.
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The article reveals the ways of poetical quotation embedding in the cinematic text using the example of the poem My sight, my strength, dims... by Arseny Tarkovsky in the feature film Nostalghia by Andrei Tarkovsky. The scene from Nostalghia which includes the poem My sight, my strength, dims... is analyzed from the points of view of the main factors of transformation of a poetic text when it is cited. These factors include: the place of the quotation in the structure of the cinematic text, mechanical transformations of the text, background information, the way of the quotation embedding, visual and sound accompaniment. The analysis shows that the episode when the poem is read is one the key scenes in the film. It reveals different characteristics of the concept of FATHER in the individual worldview of the film director. The main transformation of the text boils down to its translation into Italian. The quotation is embedded into the text via audio channel. As a result of the study we arrive to the following conclusions: 1) Poetic quotations in the film Nostalghia create numerous variants of the image of father interpretation. 2) The translated Italian text Si oscura la vista. La mia forza… preserves the main idea of the poem My sight, my strength, dims... and emphasizes the motives of the lost house and dying. 3) The embedding of the poem mentioned above into the cinematic text of Nostalghia is not plot-driven, unlike the integration of the text As a child I once fell ill. 4) The poetic texts As a child I once fell ill and My sight, my strength, dims... by Arseny Tarkovsky are united in the cinematic text of Nostalghia to create a binary system making the transition from the empirical level of the text to the sacred one.
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Prozorova, Natalya. "THE STATUS OF THE DOUBLE EPIGRAPH TO THE POEM “YOUR WAY”." Проблемы исторической поэтики 20, no. 2 (2022): 213–31. http://dx.doi.org/10.15393/j9.art.2022.11162.
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Epigraphs to the works of O. F. Bergholz have not been studied specifically until now. The two-part epigraph to the poem “Your Way” (1945) was not approved for publication during the poet’s lifetime and was first published in 1989. In the initial position of the epigraph is a biblical quote from Psalm 136, which begins with the words “If I forget you, Jerusalem...”; in the second — the line “Die and become!” from the poem “Blissful longing” by Goethe. The biblical quote was a precedent text and a core attitude for the poetess long before the poem “Your Way” was written. The besieged Leningrad was interpreted as the “Leningrad Jordan.” The image of the besieged Jordan (later excluded by editors and/or censors) is the most important sign indicating the semantic connection of the biblical epigraph with the text of the poem. Bergholz built a single spiritual space and set the “Jerusalem” — “Leningrad Jordan” vector; familiarization with the “burning” waters of the river meant an assimilation of the bitter blockade experience. At the same time, Bergholz built a vertical context: the sacred waters of the Jordan symbolized the rebirth to a new life (baptism), the self-discovery of man. The image of the Leningrad font correlated with the epigraph from Goethe, in which the theme of initiation is explicitly stated. The author of the article suggests that epigraph “Die and become!” was intended by Bergholz for the poem “February Diary” (1942), but was excluded from the text by A. P. Grishkevich, head of the press sector of the Leningrad City Committee of the CPSU(b). Goethe’s dictum has become the motto of the poetess since the time of the “Averbach case” repressions (1937). The double epigraph gave a semantic and philosophical perspective to the poem “Your Way.” The editorial intrusion (the exclusion of epigraphs and lines about the “Leningrad Jordan”) destroyed the connection of the title with the epigraph and the text, and impoverished the perception of the poem by contemporary readers. The two-part epigraph correlates with Bergholz’s entire blockade narrative, emphasizing the themes of memory and initiation as the spiritual formation of a Leningrad blockade runner.
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Westerhold, Jessica. "OVID'S EPIC FOREST: A NOTE ONAMORES3.1.1–6." Classical Quarterly 63, no. 2 (2013): 899–903. http://dx.doi.org/10.1017/s0009838813000402.
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As the first poem of the last book of Ovid'sAmores, 3.1 parallels the programmaticrecusatioof the first two books, which present the traditional opposition of elegy to epic. InAmores3.1, the personified Elegy and Tragedy compete for Ovid's poetic attention, and scholars have accordingly scrutinized the generic tension between elegy and tragedy in this poem. My study, by contrast, focusses on the import of the metapoeticlocusin which Ovid sets his contest between the two genres, by considering the linguistic and allusive play in the opening lines. Ovid exploits the metaphor of literary tradition as an ancient and sacred forest to transform an author's choice of poetic genre into a walk in the woods. Moreover, allusions to Virgil'sAeneid6.179 and Ennius'Annales175 (Sk.) in the first line guide Ovid's audience to expect the more traditional opposition of elegy and epic. The less conventional contest between the genres of elegy and tragedy soon overturns this expectation; nevertheless, elegy's customary opposite, epic, maintains a presence in the form of a woodland context for Ovid's innovative generic opposition.
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Cantuário, Victor André Pinheiro. "Os devaneios filosóficos de Hilda Hilst: o caso do poema XVI de Balada de Alzira / Hilda Hilst’s Philosophical Reveries: The Case of the Poem XVI from Balada de Alzira." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 4 (2020): 214. http://dx.doi.org/10.17851/2358-9787.29.4.214-228.
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Resumo: O objetivo deste artigo é demonstrar a presença de elementos filosóficos nos poemas de Hilda Hilst, principalmente naqueles publicados nos livros da década de 1950. Nos poemas contidos nessas obras, a escritora paulista tratou de questões estritamente filosóficas e que identificariam sua produção literária, como o amor, o sagrado, a busca pelo princípio gerador dos primeiros filósofos gregos, o ideal platônico, a morte, o drama da existência, os limites e usos da linguagem, entre outros. Como representativo do que se pretende comprovar, selecionou-se o poema XVI de Balada de Alzira (1951) para análise e discussão, de modo a se tornar evidente a relação entre ambos os campos, literário e filosófico, e se comprovar que nas obras de juventude, Hilda Hilst, caminhando para a maturidade de sua escrita e estilo poéticos, propôs exercícios de pensamento e reflexões profundamente filosóficos.Palavras-chave: Hilda Hilst; Balada de Alzira; Poesia brasileira contemporânea; Filosofia ocidental.Abstract: The objective of this paper is to show the presence of philosophical issues in Hilda Hilst’s poems, mainly in those published in the books of the 1950s. In those poems, the Paulista writer discussed strictly philosophical questions that would identify her literary production as love, the sacred, the searching for the first principle of the Ancient Greek philosophers, the platonic ideal, death and the drama of existence, the limits and uses of language, and so on. As representative of what has been intended to do, it was selected the poem XVI, from Balada de Alzira (1951) to analyze and comment, to be evident the relation between both the fields of literature and philosophy, and to demonstrate that in those early works, Hilda Hilst, wanting to achieve the maturity of her writing and poetical styles, has written poems in which are evident exercises of thinking and deeply philosophical reflections.Keywords: Hilda Hilst; Balada de Alzira; Contemporary Brazilian Poetry; Western Philosophy.
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Yu.V., Moskvych. "SYNCRETISM OF THE SACRED IN ANNA BAGRYANA’S LYRICS." South archive (philological sciences), no. 86 (June 29, 2021): 22–27. http://dx.doi.org/10.32999/ksu2663-2691/2021-86-3.
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The article presents an analysis of sacred syncretism as one of the leading motifs of the work of the modern Ukrainian writer Anna Bagryana. It is noted that the phenomenon of this transcendent phenomenon is interpreted by modern Ukrainian literature based on the aesthetic practices of postmodernism and traditionalism in culture.It is emphasized that Ukrainian poetry of the XXI century, having absorbed these opposite trends, uses them, on the one hand, to formalize the linguistic and communicative shell of the poem, on the other, to reflect the exclusivity of the national character, creating a type of new worldview not on differences, but on syncretism, the interpenetration of various trends, in which the whole diversity of the world is revealed.With the help of cultural, phenomenological, comparative-historical methods that study the philosophical perception of the sacred by the author, as well as using aesthetic, biographical approaches and psychoanalysis to understand the artistic world of her poems, the research has achieved its purpose: the eclectic nature of the sacred in the lyrics of Anna Bagryana is revealed.The article notes that, following the main trends of postmodernism, including the loss of the highest meaning of human life, reflection, relativism and internal confusion, the manner of presentation of the writer is also characterized by specific features: a certain theocentricity, religiosity, the desire to preserve spiritual values. In the conflict of these polarities, a synergistic transformation of the sacred matures, its so-called illogical form, characterized by the sublimity of the supernatural and at the same time its ordinariness.The results of the work are implemented tasks: the concept of the sacred in the poems of Anna Bagryana is clarified, its syncretism is revealed and the change in the aesthetics of the transcendent is reflected; the eclecticism of the feeling of the supernatural by the lyrical heroine is characterized; the protective function of the sacred in the artistic work of the poetess is analyzed. Conclusions. The sacred, which is a common motif of Anna Bagryana’s poetry, is perceived by her in the context of a scientific approach. This understanding implies a distinction between the human and otherworldly worlds. The traditional aesthetics of the sacred is based on beauty as a means of sensory-spiritual worldview, which led to the replacement of the material worldview with a value one. Postmodern stylistics reproduces the syncretism of the sacred, adding to its interpretation the illogical nature of used images, the search for new meanings, and internal expression. Recognizing the specifics of Ukrainian literature, which in modern social theory does not break with the achievements of previous eras, the writer retains the human-centered and imaginative richness of her lyrics.Key words: sacrum, eclecticism, postmodernism, tradition, symbolism. У статті подано аналіз синкретизму сакрального як одного із провідних мотивів творчості сучасної української письменниці Анни Багряної.Зазначено, що феномен цього трансцендентного явища сучасна українська література інтерпретує, виходячи з естетичних практик постмодернізму та традиціоналізму в культурі.Підкреслено, що українська поезія ХХІ ст., увібравши ці протилежні тенденції, послуговується ними, з одного боку, для оформлення мовно-комунікативної оболонки вірша, з іншого, щоб відобразити винятковість національного характеру, створюючи тип нового світовідчуття не на розбіжностях, а на синкретизмі, взаємопроникненні різних тенденцій, у якому розкри-вається вся багатоплановість світу.За допомогою культурологічного, феноменологічного, порівняльно-історичного методів, що досліджують філософське сприйняття сакрального авторкою, а також послуговуючись естетичним, біографічним підходами та психоаналізом для розуміння худож-нього світу її поезій, у розвідці досягнуто поставлену мету: розкрито еклектичну природу сакрального в ліриці Анни Багряної.У статті зауважено, що, наслідуючи основні тенденції постмодерну, серед яких втрата вищого сенсу життя людини, рефлексія, релятивізм і внутрішня розгубленість, манера викладу письменниці характеризується й специфічними рисами: певною теоцентричністю, релігійністю, прагненням зберегти духовні цінності. У конфлікті цих полярностей визріває синергетична трансформація сакрального, його т.зв. алогічна форма, що характеризується піднесеністю надприродного та водночас його буденністю.Результатами роботи є реалізовані завдання: з’ясовано поняття сакрального у віршах Анни Багряної, розкрито його синкретизм і відображено зміну естетики трансцендентного; схарактеризовано еклектику відчуття надприродного ліричною героїнею; проаналізовано захисну функцію сакрального в художній творчості поетеси.Висновки. Сакральне, яке є поширеним мотивом поезії Анни Багряної, сприймається нею в контексті наукового підходу. Таке розуміння передбачає розрізнення світу людського та потойбічного. Традиційна естетика сакрального ґрунтується на красі як засобі чуттєво-духовного світогляду, що спричинило заміну матеріального світосприйняття ціннісним. Постмодерна стилістика відтворює синкретизм сакрального, додаючи до його інтерпретації алогічність уживаних образів, пошук нових смислів, внутрішню експресію. Визнаючи специфіку української літератури, яка в сучасній соціальній теорії не пориває з надбаннями попередніх епох, письменниця зберігає антропоцентричність та образне багатство своєї лірики. Ключові слова: sacrum, еклектика, постмодерн, традиція,символізм.
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Campos López, Ronald. "Dos ecopoemas homoeróticos y otras voces // Two homoerotic ecopoems and other voices." Ecozon@: European Journal of Literature, Culture and Environment 8, no. 2 (2017): 209–16. http://dx.doi.org/10.37536/ecozona.2017.8.2.1494.
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Resumen Por un lado, “Cósmica habitación” y “Velar tu desnudez” pertenecen al poemario inédito Depravación de la luz, el cual buscan abrir de nuevo el espacio de enunciación de la voz homoerótica en la poesía costarricense. Para ello, se apoya no solo en la herencia cultural de las místicas hispano-musulmana, hispano-judía, indoamericana e hispano-cristiana y otras perspectivas filosóficas y estéticas, sino también en una consciencia ecológica, con el fin de configurar un mundo íntimo e interconectado donde las metáforas conducen lo erótico desde una corporalidad dinámica y reflexiva plena hasta las vivencias cotidianas y cósmicas de lo sagrado. De ahí que la cósmica habitación, esa suprarrealidad habitada por estos dos varones amantes, se convierta poema a poema en un espacio vivido de luminosa resistencia, en un espacio transparente, desde donde se lucha simbólica y performativamente contra la injuria ejercida sobre los sujetos gays en el ámbito nacional y mundial. Por otra parte, los poemas I, II y III son muestras de un proyecto poético también inédito en el que se pretende, siguiendo a Roberto Fonrs-Broggi, dar voz a “grietas”: a esas materias vivas no humanas, consideradas tradicionalmente inertes; grietas que, en todo caso, se encuentran interconectadas, por ejemplo: el escarabajo, la calima sahariana o el cedro.Abstract On one hand, “Cosmic room” and “Veil your nudity” belong to Depravity of the Light. This unpublished poetry-book seeks to open again the space of enunciation of homoerotic voice in Costa Rican poetry. For that purpose, it is based not only on cultural heritage of Hispanic-Muslim, Hispanic-Jewish, Indo-American and Hispanic-Christian mystiques and another philosophical and aesthetic perspective, but also on an ecological awareness. According to these, an intimate and interconnected world, where metaphors lead the eroticism from a dynamical and reflexive full corporeality to the daily and cosmic experiences of the sacred. Thus, the cosmic room, this supra-reality dwelled by these two lover men, is poem by poem turned into a space of life, of luminous resistance, where they symbolical and performatively fight against homophobic injury nationally and worldwide. On the other hand, the I, II and III poems are samples of an unpublished poetic project, which pretends, according to Roberto Forns-Broggi, gives a voice to “cracks”: those living no human material, traditionally considered as inert; “cracks” that, in any case, are interconnected, for example: the beetle, the Saharan haze or the cedar.
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Nendza, Elena. "“Smash, shred, crush!” (“Zerhaut, zerreißt, zerschmettert!”)." Daphnis 45, no. 1-2 (2017): 250–73. http://dx.doi.org/10.1163/18796583-04502012.
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The Massacre of the Innocents of Matthew 2,16–18 is a famous motif of Early Modern European art and transcends borders of genre and confession. This article explores an example of its cross-confessional use looking at the sacred poem La Strage degli Innocenti (1632) by Italian poet Giambattista Marino, its German adaptation Verdeutschter Bethlehemitischer Kinder-Mord (1715) by Hamburg Protestant poet Barthold Heinrich Brockes and the influence of paintings from the Dutch milieu. Die biblische Episode des Bethlehemitischen Kindermordes aus Matthäus 2,16-18, ist ein prominentes und überaus beliebtes Motiv der frühneuzeitlichen Künste in Europa. Sein Erfolg ist derart groß, dass bei seiner Rezeption nicht nur die verschiedenen Genres und Gattungen, sondern auch die Konfessionsgrenzen überwunden werden. Dieser Artikel untersucht einen fruchtbaren Austausch von Katholiken und Protestanten am Beispiel von zwei geistlichen Epen: La Strage degli Innocenti (1632) des italienischen Dichters Giambattista Marino sowie die deutsche Adapation Verdeutschter Bethlehemitischer Kinder-Mord (1715) des protestantischen Hamburger Dichters Barthold Heinrich Brockes. Bis heute jedoch ist das italienische Opus dem literarischen Kanon kaum bekannt, obgleich es inmitten der konfessionellen Auseinandersetzung zu einer kulturellen Schnittstellte Europas avanciert. Der folgende Beitrag diskutiert also nicht allein den interkonfessionellen Gebrauch des Motivs, sondern veranschaulicht darüber hinaus die kulturhistorische Relevanz von Marinos geistlichem Epos über den Vergleich mit Kindermord-Gemälden aus dem niederländischen Milieu.
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Proskurina, A. V. "Phenomenon of Fasting in the Early Christian Anglo-Saxon Tradition." Bulletin of Kemerovo State University 24, no. 5 (2022): 635–53. http://dx.doi.org/10.21603/2078-8975-2022-24-5-635-653.
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: The Old English poem Seasons for Fasting was written in the X century and consists of 230 lines. This article describes it through the prism of fasting in the Old English tradition. Like any other Old English Christian sermon, Seasons for Fasting focused on the moral rules of Christian life. It represented the first procedures for seasonal fasts. The author translated the poem and performed an interdisciplinary study of the phenomenon of fasting against the background of the indisputable position of faith in the Anglo-Saxon culture. The Old and New Testaments, as well as the Indo-European myths, showed the deep cultural interconnection of archaic traditions. A detailed idea of divinely revealed truth was reflected already in the earliest Christian texts where references to commandments from the Old Testament intertwined with the moral principles of the New Testament. The goal of the study was to determine the complex nature of the traditional methods used for philological analysis of texts and the semiotic approach to texts. The view of food as sacred and profane was manifested already at the early stages of the religious consciousness development. Traditionally, fasting issues were considered as part of prayer appeals. Seasons for Fasting stressed the New Testament idea that sinners could not enter the Kingdom of God without repentance and awareness of their unrighteous life. The paper highlights the symbolism of fire, mountains, cosmos, sacrifice, submersion, burial, and the Kingdom of Heaven. The article also provides a list of variant addresses to God used in the poem: the Old English period saw a well-developed Christian tradition, which had no direct naming for the devil.
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Absolon, Kathleen E. "Wholistic and Ethical: Social Inclusion with Indigenous Peoples." Social Inclusion 4, no. 1 (2016): 44–56. http://dx.doi.org/10.17645/si.v4i1.444.
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This paper begins with a poem and is inclusive of my voice as Anishinaabekwe (Ojibway woman) and is authored from my spirit, heart, mind and body. The idea of social inclusion and Indigenous peoples leave more to the imagination and vision than what is the reality and actuality in Canada. This article begins with my location followed with skepticism and hope. Skepticism deals with the exclusion of Indigenous peoples since colonial contact and the subsequent challenges and impacts. Hope begins to affirm the possibilities, strengths and Indigenous knowledge that guides wholistic cultural frameworks and ethics of social inclusion. A wholistic cultural framework is presented; guided by seven sacred teachings and from each element thoughts for consideration are guided by Indigenous values and principles. From each element this paper presents a wholistic and ethical perspective in approaching social inclusion and Indigenous peoples.
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VUILLEMIN , Alain. "LA DOULEUR DANS MÉMORIAL POÉTIQUE (1945-1972) DE LUBOMIR GUENTCHEV." Analele Universității din Craiova Seria Ştiinte Filologice Langues et littératures romanes 26, no. 1 (2022): 155–69. http://dx.doi.org/10.52846/aucllr.2022.01.10.
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In Mémorial poétique, Lubomir Guentchev, a French-speaking Bulgarian author, states that “poetry [...] has experienced much more pain than joy” (our translation). Pain could be said to be the main source of his inspiration. This collection has as dedication "In memory of V.", Valentina Dimitrova Guitcheva, a young woman with whom he was allegedly deeply in love and who had disappeared in 1946. This grief was overwhelming. In 1975, at the end of Mémorial poétique, Eucharistia, a prose poem, recalls the memory. A bond of sacred communion existed between Valentina's memory and the author's "inner self". He was convinced of that. He transposes this suffering into Mémorial poétique, turning it into art. How does he do that? How does he transform this pain? What literary models is he inspired by? What aesthetic research does he also engage in?
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Faithful, George. "A More Brotherly Song, a Less Passionate Passion: Abstraction and Ecumenism in the Translation of the Hymn “O Sacred Head Now Wounded” from Bloodier Antecedents." Church History 82, no. 4 (2013): 779–811. http://dx.doi.org/10.1017/s0009640713001145.
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When nineteenth-century American Presbyterian pastor James Waddel Alexander wrote the lyrics of the hymn “O Sacred Head Now Wounded,” he created what has become the most popular of numerous English translations of seventeenth-century German Lutheran pastor Paul Gerhardt's hymn “O Haupt voll Blut und Wunden.” That text was, in turn, a translation of part of an anonymous thirteenth-century cycle of passion poems, one dedicated to each of Christ's wounds. From the medieval original through Gerhardt to Alexander, each subsequent translation has diminished its depictions of blood and rendered its narrator's interaction with the crucified body of Christ less passionate, dictated by the theological needs and aesthetic sensibilities of the translator's religious tradition. At the same time, both Gerhardt and Alexander included significant elements from the original that were anomalous in their own contexts. The inclusion of a medieval poem in the worship of seventeenth-century Lutherans and nineteenth-century Presbyterians may reveal an ecumenical bent on their part, albeit with clear limits. A comparison of the various versions of the hymn demonstrates the complex interrelationship between an original text and translations of it, some of which may properly be called versions of it and some of which may have become something altogether different.
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Sewell, Frank. "“Going Home to Russia”? Irish Writers and Russian Literature." Studia Celto-Slavica 1 (2006): 239–51. http://dx.doi.org/10.54586/vrzx4817.
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The poet Josef Brodski once wrote: ‘I’m talking to you but it isn’t my fault if you can’t hear me.’ However, Brodski and other Russian writers, thinkers and artists, continue to be heard across gulfs of language, space and time. Indeed, the above line from Brodski forms the epigraph of ‘Travel Poem’, originally written in Polish by Anna Czeckanowicz. And just as Czeckanowicz picks up on Brodski’s ‘high talk’ (as Yeats might call it), so too do Irish writers (past and present) listen in, and dialogue with, Russian counterparts and exemplars. Some Irish writers go further and actually claim to identify with Russian writers, and/or to identify conditions of life in Ireland with their perception of life in Russia. Paul Durcan, for example, entitled a whole collection of poems Going Home to Russia. Russia feels like ‘home’ to Durcan partly because he is one example of the many Irish writers who have listened in very closely to Russian writing, and who have identified with aspects of what they find in Russian culture. Another example is the poet Medbh McGuckian who has looked to earlier Russian literature for examples of women artists who ‘dedicated their lives to their craft’, who ‘never disgraced the art’, who created timeless works in the face of conflict and suffering: she refers particularly to Anna Akhmatova and, especially, Marina Tsvetaeva. Contemplating and dialoguing with her international sisters in art, McGuckian finds a means of communicating matters and feelings that are ‘closer to home’, culturally and politically (including the politics of gender). Ireland’s most famous poet Seamus Heaney has repeatedly engaged with Russian writings: especially those of Anton Chekhov and Osip Mandelstam. The former is recalled in the poem ‘Chekhov on Sakhalin’, a work taut with tension between an artist’s ‘right to the luxury of practising his art’, and the residual ‘guilt’ which an artist may feel and only possibly discharge by giving ‘witness’, at least, to the chains and flogging of the downtrodden. On the other hand, Mandelstam, for Heaney, is a model of artistic integrity, freedom and courage, a bearer of the sacred, singing word, compared by the Irish poet to an on-the-run priest in Penal days. In this conference paper, I will outline some of the impact and influence that Russian writers have had on Irish writers (who write either in English or in Irish). I will point to some of the lessons and tactics that Irish writers have learnt and adopted from their Russian counterparts: including Cathal Ó Searcaigh’s debt to Yevgenii Yevtushenko, Máirtín Ó Cadhain’s to Maxim Gorki, Máirtín Ó Direáin’s to Aleksandr Blok, and Padraic Ó Conaire’s to Lev Tolstoi, etc.
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Coffman, Christopher K. "“It’s all by someone else!”." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 3, no. 1 (2008): 57–76. http://dx.doi.org/10.1558/post.v3i1.57.
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James Merrill’s The Changing Light at Sandover is the outstanding visionary long poem of late twentieth-century American literature. Despite its somewhat unusual mode of composition and the rather eccentric heavenly pantheon with which Merrill claims to have communicated, Sandover is presented as the transmission of an authentic prophetic message and the narrative of the manner in which that message was received. One of the more intriguing aspects of the text is its self-reflexive nature. A substantial amount of the poem’s dialogue and a number of narrative manipulations interrogate the technologies of the poem’s composition and the relation of Merrill’s medium and method to his task as the author of a sacred text in a skeptical age. These internal tests ultimately confirm his efforts by celebrating the most basic element of any author’s craft—language—as not only the medium for the message but also the mechanism of humankind’s redemption.
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Betancourt, Sofía. "Between Dishwater and the River." Worldviews 20, no. 1 (2016): 64–75. http://dx.doi.org/10.1163/15685357-02001006.
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The ground of ecowomanist ethics is watered by multigenerational responses to racial and gender stereotypes in relation to communal knowledge of the land. This wisdom survived through centuries of violence and the daily lived experience of bigotry and abuse in a white supremacist world, and rests on pluralistic understandings of the sacred relationship between human and non-human nature. It remains today as part of the womanist call to accountability and spirit defined in Alice Walker’s writings. Emergent ecowomanist thought is uniquely situated to interrupt many of the stereotypes that serve to maintain a separation between black communities and environmental engagement. This article argues that a robust ecowomanist ethics should situate itself in the interplay between ecojustice and environmental justice approaches to environmental devastation. It draws on the poem “No Images,” written by William Waring Cuney at the beginning of the Harlem Renaissance period, centering on the lived experiences of black women as expressed through black women’s musical appropriations of his work. The clear lamentation and grief interwoven between the words of this short poem are given new life in the voices of Nina Simone and Ysaye Maria Barnwell with the women of Sweet Honey in the Rock. Engaging questions of environmental ethics through the lens of black women’s lived experiences of agency and struggle can create a theological foundation for ecowomanist thought that promotes the preservation of both nature and human dignity.