Relevant bibliographies by topics / Symbolist poetry

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Symbolist poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Symbolist poetry"

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Lombard, M., and H. Viljoen. "Die verdonkerende spieël: Simbolistiese trekke in Wilma Stockenstrom se eerste drie bundels." Literator 14, no. 3 (May 3, 1993): 21–36. http://dx.doi.org/10.4102/lit.v14i3.709.

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This article is an attempt to relate the first three of Wilma Stockenstrom's collections of poetry to international Symbolism. First we discuss possible links between her work and Symbolism. The mam emphasis then falls on Stockenstrom’s method of Symbolism, the possible symbolist tone of her work and prominent symbolist motifs in her work. Finally we consider some manifestations of the symbolist oilier world in these collections. The conclusion arrived at is that Stockenstrom's earlier work shows many of the main characteristics of Symbolism so that her work can be regarded as a continuation of the symbolist tradition. This tradition undergoes three important transformations in her work: the European world of symbolist poetry is replaced by an archeologically rich but mute African world, modern science and technology replaces the medieval system of reference of Symbolism, and sound and musicality p la y a much smaller part in Stockenstrom's poetry. Stockenstrom's cynical, ironic tone, the use of opaque kafkaesque symbols, her emphasis on tentative visions, her distrust of language and her tendency to relativize frames of reference in the endings of her poems, show that Stockenstrom's poetry has already crossed the boundary to Modernism.
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Viljoen, H. "Breyten Breytenbach en die Simbolisme - ’n voorlopige verkenning." Literator 13, no. 1 (May 6, 1992): 15–28. http://dx.doi.org/10.4102/lit.v13i1.720.

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This article is an attempt to outline the difference between Breytenbach's poetic method and that of the Symbolists. Although it touches on aspects of the symbolist poetic method like the rich suggestiveness, the creation o f a meaningful alternative world (and the effort of doing this), it focuses mainly on Breytenbach’s use of metaphor to create an impossible alternative world in a poem, only to relativize and destroy it again in the end. This process is illustrated in an analysis of poem 8.1 from Lotus. This analysis also shows up five well-known cardinal traits of Breytenbach’s poetry, viz. its carnality, the universal analogy between body, cosmos and poetry and the great emphasis on journeys, discoveries and transformations by means of language. It is also claimed that the Zen-Buddhisi Void plays an analogous role in Breytenbach's poetry to the theory of correspondances in the Symbolists: it is a rich source of metaphor. Breytenbach's poetry shows a strong duality between the present world and a meaningful alternative sphere. Being in and of this alternative sphere only aggravates the poet’s isolation (a typically symbolist trait), making him literally and figuratively an exile, as exile poems like "tot siens, kaapstad" (see you again, cape town) and "Walvis in die berg" (Whale on the mountain) and, of course, his prison poetry, clearly show.
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Bosmart, M. "Simbolistiese trekke in die poësie van C. Louis Leipoldt." Literator 13, no. 2 (May 6, 1992): 97–110. http://dx.doi.org/10.4102/lit.v13i2.748.

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Due to Leipoldt's long stay abroad as well as his extensive reading of European literature, there is a strong possibility of Symbolist influence on his poetry. However, the large volume of Leipoldt’s poetry cautions against concluding too much from symbolistic traits in isolated poems. Rather, the presence of a symbolistic world view, encompassing the acknowledgement of a transcendental world, and a conception of poetry as having to represent this world, should be traced as a background against which individual poems could be read. Critics have identified a number of characteristics of Leipoldt’s poetry which might bear on Symbolism. These include the poet's individualism, a dualistic tension between various oppositions, an interest in the exotic and the occult and a consciousness of beauty. An overriding theme in Leipoldt’s work seems to be the search for meaning. Rejecting traditional Christian religion, Leipoldt tries to fin d meaning elsewhere. An awareness of some transcendental world can be shown in a number of poems. This world seems to be identified gradually with Nature as an eternal and omnipotent force. Against this background, certain repetitive motifs in Leipoldt’s poetry attain symbolic status, alluding to meanings hidden in the transcendental world.
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Stoljar, Margaret. "Mirror and Self in Symbolist and Post-Symbolist Poetry." Modern Language Review 85, no. 2 (April 1990): 362. http://dx.doi.org/10.2307/3731816.

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Ezerova, Daria V. "Shifting Peripheries: The Case of Russian Symbolism and the Pre-Raphaelite Brotherhood." Slavic Review 78, no. 2 (2019): 481–505. http://dx.doi.org/10.1017/slr.2019.98.

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The influence of the Pre-Raphaelite Brotherhood on Russian symbolism has not been adequately explored in the significant body of scholarship dedicated to it. To give but a few examples, Pre-Raphaelite motifs such as the enigmatic female figure, a jewel-toned palette, and elements drawn from a mythical European past widely appear in Russian symbolist poetry and painting. Drawing upon archival research, this article demonstrates that the symbolists did not simply borrow these motifs in passive imitation, but that they arose out of the symbolists' substantive engagement with modernity itself. Tracing the genealogy that links symbolism to the Pre-Raphaelite Brotherhood, the article develops a transactional model of influence that encourages us to think of the development of Russian modernism with greater nuance. By destabilizing the notion of the Russian symbolists' marginal position in relation to western Europe, this investigation provides a theoretical challenge to the notion of Russia's peripheral modernity.
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Pack, R. "Symbolism in French literature." Literator 11, no. 1 (May 6, 1990): 67–76. http://dx.doi.org/10.4102/lit.v11i1.794.

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To talk of Symbolism in French literature may be ambiguous, as two different categories of writers have been grouped under this generic term: the symbolists stricto sensu, such as Moréas or Viélé-Griffin, who were mostly minor poets, and some great figures of French literature. The aim of this article is to show that, although Symbolism as an organized movement did not produce any important contribution, the nineteenth century witnessed indeed the emergence of a new trend, common to several poets who were inclined to do away with the heritage of the classical school. These poets - of whom Baudelaire, Verlaine, Rimbaud and Mallarmé are the most renowned, although they did not really associate with the symbolist school, created individualistic poetry of the foremost rank.
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Piantoni, Antoine. "Silentiaires fin-de-siècle : émergence et épuisement d’un motif poétique." Quêtes littéraires, no. 7 (December 30, 2017): 93–104. http://dx.doi.org/10.31743/ql.161.

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The parallel urge of introspection and meditation which comes with the evocation of silence acts as landmark for a whole current of fin de siecle literature. The symbolist era gives the impression that its actors were obsessedwith silence. Symbolist poetry took possession of silence as a way to encapsulate the ineffability of feelings and the various states of mind it explored, leaning towards an aesthetical mysticism. Yet that tendency soon turned into a form of cliché that opened a path towards parody, silence becoming a stigma of the ideological shortcomings of symbolism in the eye of its detractors. The attempt to seize the silence led to a harsh confrontation with void.
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Peeters, L. "Digterskap en poëtíkale besinning by vier Franse Simboliste." Literator 13, no. 1 (May 6, 1992): 119–34. http://dx.doi.org/10.4102/lit.v13i1.729.

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When one studies the influence of French Symbolism on contemporary Western poetry it is necessary to define both Symbolism and influence. The first term is problematic not only because it is difficult to delimitate the reality it designates but because of the nature of the movement itself Rather than defining from the outside we will try to understand the genesis of the work of the four great 'symbolist’ poets in France, namely Nerval, Baudelaire, Rimbaud, and Mallarme. We do not consider the notion of influence as causal but as a confrontation from one poet’s work with that of another, the presence of poets of the past in the thinking of later poets. The structural genesis of the poetics of the four poets shows a marked resemblance in as far as they' all overestimate the creative capabilities of imagination and language. Their poetry is not so much a meditation about the essence of poetry as an interrogation about its power to change reality. Modem poetry develops thus inside a tension between dream and action, but it is only now, in the work of the most lucid contemporary' poets, and after the sometimes draconian claims of theory in the human sciences, that attention has focused on a possible solution of poetry's dilemma which was already present in the French poet's work: this solution can be indicated with the word caritas in the strong sense of the word namely the acceptation of contingency, the need of incarnation and the pursuit of universality through poetic language.
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Sécardin, Olivier. "Mallarmé et la poétique de l’hybridité." Quêtes littéraires, no. 6 (December 3, 2016): 35–45. http://dx.doi.org/10.31743/ql.209.

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The hybridity that is seen everywhere in symbolist poetry is not so much evidence of a temporary trend of the era following the interest in the crossing of species in nature as much as it is an attempt to confront the very nature of “art” itself. The time of the “quarrel of monsters” has passed, and the hybrids of contemporary poetry – competing for a place in the mythological scene that is symbolism – roam guiltless. And yet, beyond literary conventions, this mythological bestiary is anything but innocent and outdated; in fact, it embodies a genuine mythopoetic repertoire. For Mallarmé in particular, this hybrid bestiary reflects the illusive “Chimera” of poetry.
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Taho-Godi, E. A. "Pre-Symbolist Poetry International Research Conference." Russkaya Literatura 4 (2018): 253–55. http://dx.doi.org/10.31860/0131-6095-2018-4-253-255.

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Dissertations / Theses on the topic "Symbolist poetry"

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Hsu, James Stephen. "Orpheus' Lyre : a study of symbolist and post-symbolist music and poetry /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488195633517853.

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Romer, S. C. M. "T.S. Eliot : post-symbolist." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.355282.

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Tidwell, Christopher A. ""Mingling Incantations": Hart Crane's Neo-Symbolist Poetics." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001490.

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Pietrykowski, William. "From Poe to Rimbaud a comparative view of Symbolist poetry /." Connect to resource, 2009. http://hdl.handle.net/1811/37218.

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Frendo, Maria. "T.S. Eliot and the music of poetry." Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4565/.

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This thesis is a study of T.S. Eliot's poetry in the light of the different ways in which it can be considered 'musical'. Two concerns central to the thesis are: (1) Eliot's enduring interest in the musical quality of poetry; (2) the critical usefulness and viability of drawing analogies between his poetry and music. The thesis considers three important related topics: (1) Eliot's preoccupation with language, its inevitability and its inadequacy; (2) the figure of the seeker in his poetry; (3) his interest in mysticism. The thesis begins by exploring affinities between music and literature in the context of Wagner’s ideal of the 'Gesamtkunstwerk' and its influence on French Symbolist writers. It goes on to trace the development of T.S. Eliot's poetic style as influenced by the French Symbolist poets, by Dante and the mediaeval mystics, and by the music of Wagner, Stravinsky and other composers. Throughout, Eliot's poetry presents variations on the theme of detachment and involvement in relation to the figure of the seeker: consciousness is most engaged and challenged when it journeys. In the early poetry, music serves to emphasize failed relationships: the closer the physical proximity between protagonists, the greater the psychological distance. From The Waste Land on, Eliot makes use of myth and leitmotif to portray consciousness in the role of seeker urged on by the need for meaning. After his conversion to Anglo-Catholicism in 1927, Eliot's characters embark on a journey inward, where music, now "unheard", no longer signifies neurosis and despair, but becomes the only language for the ineffable.
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Grigorian, Natasha. "The use of myth in European Symbolism, with reference to selected examples of Symbolist poetry and painting in France, Germany and Russia." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424886.

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Culpepper, Abigail. "Towards an Ethic of the Lyric: Taking on the Other in “La Mort de Cleopatre” by Marie Krysinska." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564684012184959.

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Kostetskaya, Anastasia G. "The Water of Life and the Life of Water: the Metaphor of World Liquescence in Russian Symbolist Poetry, Art and Film." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1367511847.

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Xiang, Zheng. "La poésie française moderne (Baudelaire, Rimbaud, Lautréamont) et son influence sur la nouvelle poésie chinoise dans les années 1920-1930." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2012. http://tel.archives-ouvertes.fr/tel-00713100.

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Ce travail de recherche porte sur la poésie française moderne et son influence sur la nouvelle poésie chinoise au cours de la première vague d'introduction et d'interprétation des littératures occidentales en Chine dans les années 1920-1930. Nous cherchons à montrer comment les " Trois Grâces " de la poésie française moderne : Baudelaire, Rimbaud et Lautréamont ont été introduits en Chine et quelle est leur influence sur l'élaboration de la nouvelle poésie chinoise. Ainsi, nous montrons d'abord comment expriment Baudelaire, Rimbaud et Lautréamont par leur poésie le culte du moi, le culte du Beau et le jeu de dépersonnalisation et de pluralisation du moi. Nous examinons ensuite l'influence des littératures occidentales sur la construction de la nouvelle littérature chinoise dans les années 1920 ; et l'introduction et l'interprétation de la poésie symboliste française et son influence au niveau théorique aussi bien que pratique sur la nouvelle poésie chinoise et les poètes dits symbolistes chinois : Li Jinfa, Mu Mutian, Wang Duqing, Dai Wangshu. Enfin, nous montrons le cas Lautréamont en Chine, son absence dans les années 1920-1930 et l'état de la recherche lautréamontienne en Chine dans les trois dernières décennies. Notre thèse conduit donc à montrer que les " Trois Grâces " de la Poésie nouvelle ne jouissent pas tous du même prestige auprès du monde poétique chinois dans les années 1920-1930 et que son interprétation de la poésie française moderne n'est pas une adoption de toute une attitude de création poétique de celle-ci, mais une transformation du dynamisme poétique imposé de l'extérieur en dynamisme créateur interne de la poésie chinoise. Elle correspond aux intentions claires et guidées par le système de valeurs littéraires et morales des traducteurs-interprétateurs chinois des différentes époques.
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Falguera, García Enric. "L'obra de Jaume Agelet i Garriga. Estudi i edició." Doctoral thesis, Universitat de Lleida, 2013. http://hdl.handle.net/10803/131996.

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El present treball és un estudi de la vida i l'obra del poeta lleidatà Jaume Agelet i Garriga. Una vida, lluny de Catalunya, que cal reseguir a través de la correspondència amb algunes de les principals personalitats del país, com ara Tomàs Garcés, Pau Casals, o Marià Manent. La seva poesia, d'herència romàntica, és una cruïlla de camins d'influències simbolistes, postsimbolistes i surrealistes, que té en el món infantil el pilar bàsic. A partir de l'enyorat món de la infantesa el poeta construeix una obra solida que té en el símbol i la imatge els seus recursos principals. Al costat de l'estudi de la poesia, el treball vol oferir una edició crítica de tots els poemaris ageletians a partir de les primeres edicions i anotant en aparat l'evolució del text per constatar el procés constant de revisió que Agelet sotmet a la seva obra i l'extraordinari grau de fidelitat a uns mateixos principis poètics.
El presente trabajo es un estudio de la vida y la obra del poeta leridano Jaume Agelet i Garriga. Una vida, lejos de Cataluña, que hay que reseguir a través de la correspondencia con algunas de las principales personalidades del país, como Tomás Garcés, Pau Casals, o Marià Manent. Su poesía, de herencia romántica, es un cruce de caminos de influencias simbolistas, postsimbolistas y surrealistas, que tiene en el mundo infantil el pilar básico. A partir del añorado mundo de la infancia el poeta construye una obra sólida que tiene en el símbolo y la imagen sus recursos principales. Junto al estudio de la poesía, el trabajo quiere ofrecer una edición crítica de todos los poemarios ageletianos a partir de las primeras ediciones y anotando en aparato la evolución del texto para constatar el proceso constante de revisión que Agelet somete a su obra y el extraordinario grado de fidelidad a unos mismos principios poéticos.
The present work is a study of the life and work of poet Jaume Agelet i Garriga. A life away from Catalonia, which can be followed through his correspondence with some of the leading national personalities such as Tomàs Garcés, Pau Casals, and Marià Manent. His poetry, of romantic inheritance, is a crossroads of symbolist, post-symbolist and surrealist influences. His poetry is built from children's world, symbols and imagery. Apart from the study of poetry, the work aims to provide a critical edition of all poems by Agelet.
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Books on the topic "Symbolist poetry"

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Nouveau, Germain. Germain Nouveau's symbolist poetry, 1851-1920: Valentines. Lewiston: E. Mellen, 1989.

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Ezra Pound and the symbolist inheritance. Princeton, N.J: Princeton University Press, 1992.

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A poetics of being-two: Irigaray's ethics and post-symbolist poetry. Lanham, Md: Lexington Books, 2010.

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The silver mask: Harlequinade in the symbolist poetry of Blok and Belyi. Oxford: Peter Lang, 2008.

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Torrance, Robert M. Ideal and spleen: The crisis of transcendent vision in romantic, symbolist, and modern poetry. New York: Garland Pub., 1987.

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The fiction of the poet: From Mallarmé to the post-symbolist mode. Princeton, N.J: Princeton University Press, 1992.

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1963-, Day Patrick L. Saint-Georges de Bouhélier's naturisme: An anti-symbolist movement in late nineteenth-century French poetry. New York: P. Lang, 2001.

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Symbolist landscapes: The place of painting in the poetry and criticism of Mallarmé and his circle. London: Modern Humanities Research Association, 1989.

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Symbolist aesthetics and early abstract art: Sites of imaginary space. Cambridge: Cambridge University Press, 1995.

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Waking the face that no one is: A study in the musical context of symbolist poetics. Amsterdam: Rodopi, 2004.

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Book chapters on the topic "Symbolist poetry"

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Zhou, Gang. "Modern consciousness and symbolist poetry." In Routledge Handbook of Modern Chinese Literature, 143–54. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-12.

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Faulk, Barry J. "Symbolism and Decadence." In A Companion to Modernist Poetry, 144–56. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch12.

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Zhirmunsk, Viktor. "Two Tendencies of Contemporary Lyric Poetry." In From Symbolism to Socialist Realism, edited by Irene Masing-Delic, 56–63. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618111449-007.

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Robinson, Alan. "Symbolism, Impressionism and ‘Exteriority’." In Poetry, Painting and Ideas, 1885–1914, 15–57. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07190-6_2.

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Kennedy, Miles. "The Politics of Space: Poetical Dwelling and the Occupation of Poetry." In Spatiality and Symbolic Expression, 209–28. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137488510_11.

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Lewis, Kathleen, and Harry Weber. "Zamyatin’s WE, the Proletarian Poets and Bogdanov’s Red Star." In From Symbolism to Socialist Realism, edited by Irene Masing-Delic, 187–205. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618111449-022.

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Stokes, John. "The Symbolist Dog." In Victorian Pets and Poetry, 172–87. Routledge, 2021. http://dx.doi.org/10.4324/9781003168782-8.

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"The Symbolist with Two Careers." In Poetry and Psychiatry, 26–34. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618116963-005.

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"1. Poetry and Painting." In Wallace Stevens and the Symbolist Imagination, 1–24. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400867233-004.

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"5. Poetry and Alchemy." In Wallace Stevens and the Symbolist Imagination, 109–40. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400867233-008.

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Conference papers on the topic "Symbolist poetry"

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Koryčánková, Simona. "POETIC TEXTS IN TEACHING OF RUSSIAN ON B1 LEVEL (ON THE EXAMPLE OF WORKING WITH VOCABULARY DENOTING PERCEPTION IN THE POEMS OF O. BŘEZINA AND V. S. SOLOVYOV)." In Aktuální problémy výuky ruského jazyka XIV. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9781-2020-5.

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The author of the article aims to introduce Russian poetic texts into the teaching of Czech students on B1 level. The chosen teaching methodology is based on motivating the students with the use of Czech symbolist poetry by O. Březina and a subsequent analysis of a poem by V. S. Solovyov. Work with the poetry of both authors focuses on perceptual lexicon, which plays key role in uncovering the meaning of a symbolist text. Students can thus gain knowledge of polysemous words and their different author’s connotations in an enticing and creative way. This enhances not only their knowledge of the content and language, but also of the aesthetic component related to the main function of an artistic text
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Chystiak, D. O. "Verbalization of cosmology in the conceptual system of Ukrainian and French Speaking Belgian Symbolist poetry." In PHILOLOGICAL SCIENCES, INTERCULTURAL COMMUNICATION AND TRANSLATION STUDIES: AN EXPERIENCE AND CHALLENGES. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-073-5-1-74.

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"SYMBOLISM IN TED HUGHES’ POETRY." In 2nd National Conference on Translation, Language & Literature. ELK Asia Pacific Journals, 2015. http://dx.doi.org/10.16962/elkapj/si.nctll-2015.17.

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"Symbolism In Contemporary Persian Poetry." In International Conference on Humanities, Literature and Economics. International Centre of Economics, Humanities and Management, 2014. http://dx.doi.org/10.15242/icehm.ed0114011.

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Chonpairot, Jarernchai. "Pha Nya: A Folk Cultural Treasure." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.9-1.

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Pha nya, a type of folk poetie, has played many important roles in Northeast Thailand and in Laos PDR throughout its history. The poetic was used as a medium by young boys and girls for courting, as as a set of proverbs to remind people to adhere to accepted codes of conduct. Many pha nya poems contain multiple entendres in the form of surface and deep meaning. This paper will investigate these meanings and the roles of pha nya in Northeast Thailand and Laos PDR societies. The data were obtained from written document and interviews. The results of the study indicate that the meaning of words in pha nya poems have presented themselves as ambiguous, depending on the intention of the speaker and the way the listener’s interpretation. Here, the spaker has significant agency in the symbolism of the poems.
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Cao, Thi Hao. "Research on Tay Ethnic Minority Literature in Vietnam Under Cultural View." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-3.

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The Tay people are an ethnic minority of Vietnam. Tay literature has many unique facets with relevance to cultural identity. It plays an important part in the diversity and richness of Vietnamese literature. In this study, Tay literature in Vietnam is analyzed through a cultural perspective, by placing Tay literature in its development from its birth to the present, together with the formation of the ethnic group, and historical and cultural conditions, focusing on the typical customs of the Tay people in Vietnam. The researcher examines Tay literature through poems of Nôm Tày, through the works of some prominent authors, such as Vi Hong, Cao Duy Son, in the Cao Bang province of Vietnam. Cao Bang is home to many Tay ethnic people and many typical Tay authors. The research also locates individual contributions of those authors and their works in terms of artistic language use and cultural symbolic features of the Tay people. In terms of art language, the article isolates the unique use of Nôm Tay characters to compose stories which affect the traditional Tay luon, sli, and so forth, and hence the use of language that influences poetry and proverbs of Tay people in the story of Vi Hong, Cao Duy Son. Assuming a symbolic framework, the article examines the symbols of birds and flowers in Nôm Tay poetry and the composition of Vi Hong, Cao Duy Son, so to point out the uniqueness of the Tay identity. The above research issue is necessary to help us better appreciate the cultural values preserved in Tay literature, thereby, affirming the unique cultural identity of the Tay people and planning to preserve and develop these unique cultural features from which emerges the risk of falling into oblivion in modern social life in Vietnam. In addition, this is also a research direction that can be extended to Thai, Mong, Dao, etc, ethnic minorities in Vietnam.
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7

Ulya, C., and N. Wardani. "The Islamic Symbols in Indonesian Anti-Corruption Poetry." In First International Conference on Advances in Education, Humanities, and Language, ICEL 2019, Malang, Indonesia, 23-24 March 2019. EAI, 2019. http://dx.doi.org/10.4108/eai.23-3-2019.2284911.

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Ma, Qingjun. "Reproduction of Symbolic Representation in Translating Chinese Classical Poetry." In 2015 International Conference on Social Science, Education Management and Sports Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/ssemse-15.2015.488.

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Khetagurova, D. K. "The theme of prayer in the poetry of symbolism (KD Balmont and A.I. Tokayev)." In ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2019. http://dx.doi.org/10.18411/lj-02-2019-97.

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Hadzantonis, Michael. "Shifting the Semangat: Parallelism in the Central Indonesian Mantra." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.1-2.

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The Javanese mantra, is a communicative act, and a spiritual dialogue. During the mantra ritual, the shaman Orang Pinter and supplicant receiving the intervention select become equal agents, as they intervene for change in the cultural and spiritual disposition of the supplicant. But in this paper. The presentation discusses ethnographic work over 10 years during which over 1500 mantras were documented throughout central to east Java, Indonesia, To effect the documentation process, I engaged with a range of communities and individuals throughout Java, that is, Yogyakarta, Solo, Surabaya, Alas Purwo, Salatiga, Bali, and other localities, Spiritual interventions were witnessed, and we suggest religious affiliation tells only part of the story. Drawing on frameworks of symbolic interactionism, and phenomenological nominalism, the synopsis discusses how a poetic discourse analysis of mantras can describe a system employed by these shamans and the supplicants to discursively facilitate the spiritual process, by altering the dissociative state of the supplicant. The talk concludes by presenting a model for the mantra in Java, and possibly in other global regions. Within this model, several overlapping processes mediate the drawing on cultural symbolisms, and overlap in strategic designs, to to effect change in the supplicant. The paper draws on work by Rebecca Seligman, who has conducted similar ethnographic and theoretical work in the South American context.
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