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Journal articles on the topic 'Symbolist poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Greenberg, Meg. "Synesthesia and Literary Symbolism." Forum Italicum: A Journal of Italian Studies 43, no. 2 (September 2009): 362–84. http://dx.doi.org/10.1177/001458580904300203.

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‘Synesthesia and Literary Symbolism’ broadens the well-established relationship between synesthesia and French Symbolist poetry to include Marinetti's experimentation with sensory blurring. Synesthesia was a recognized medical condition that came to public awareness by the end of the nineteenth-century both because of work made available to the public as well as there being a general sense associated with modernity of nervousness. The Symbolist poets beginning with Baudelaire applied the scientific concept of synesthesia as a metaphor to describe the modern condition. The feeling of the interconnectedness of the body and the city was picked up on most notably by Jules Romains, the founder of Unanimism and by Gustave Kahn and Gian Pietro Lucini, who helped to breathe new life into poetry by freeing verse of its traditional meter. Marinetti followed the example of his predecessors with the invention of the parole in libertà, which allowed for the representation of sensory overload.

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12

Rad, E. A., and A. V. Stavskaya. "ARTISTIC ORIGINALITY OF ORNITHOLOGICAL SYMBOLISM IN THE POETRY OF A. A. BLOK." National Association of Scientists 3, no. 26(53) (2020): 48–50. http://dx.doi.org/10.31618/nas.2413-5291.2020.3.53.172.

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The article considers the semantics of the symbol of the bird in the poetic world of A.A. Blok. The artistic meaning of ornithological symbolism is revealed by the example of the meanings of the images of mythical birds of Sirin, Alkonost, Gamayun, represented in the poet’s symbolist lyrics by bearers of “things of truth” and fulfilling the function of a prophecy about the future of Russia and civilization as a whole.

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13

Jackson, Earl. "The Heresy of Meaning: Japanese Symbolist Poetry." Harvard Journal of Asiatic Studies 51, no. 2 (December 1991): 561. http://dx.doi.org/10.2307/2719288.

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14

Zulumyan, Burastan S. "Poetry Collection of Marietta Shaginyan “First Meetings”." Proceedings of Southern Federal University. Philology 2021, no. 1 (March 30, 2021): 154–70. http://dx.doi.org/10.18522/1995-0640-2021-1-154-170.

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The article is devoted to the initial period of creativity of the poet of the Silver Age Marietta Shaginyan in 1906-1909, when the poetry collection “First Meetings” (1909) was created, her acquaintance and friendship with V. Khodasevich, A. Bely, Z. Gippius. The structure and poetics of the debut collection, the originality of the creative manner and the principles of symbolist aesthetics are analyzed. Reminiscences from V. Bryusov’s poetry are revealed. The title of the collection and the epigraph “The Great Feast of the First Meetings”, preceding the cycle, is a line from the poem “At Noon” from the cycle “From Hell Expelled” “Wreath”, the intertextual correspondent of structure and composition is the poetry collection “Urbi et Orbi”. Here we can talk about the creative interpretation of symbolism, and the last cycles of the collection Ynterieurs and The Enchanted Castle, written after they met in 1908, bear the direct influence of the poetry of Z. Gippius.

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15

Schmid, Ulrich. "A Symbolist under Soviet Rule: Sologub's Late Poetry." Slavic and East European Journal 43, no. 4 (1999): 636. http://dx.doi.org/10.2307/309417.

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16

Dayan, P. "French Symbolist Poetry and the Idea of Music." French Studies 62, no. 3 (July 1, 2008): 352. http://dx.doi.org/10.1093/fs/knn034.

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17

Grant, Michael. "Fulcis Waste Land: Cinema, Horror and the Abominations of Hell." Film Studies 5, no. 1 (2004): 30–38. http://dx.doi.org/10.7227/fs.5.3.

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Beginning from a consideration of some ideas on aesthetics deriving from R. G. Collingwood, this essay sets Dreyer‘s Vampyr beside Fulcis The Beyond. The article then goes on to suggest something of the nature of the horror film, at least as exemplified by these two works, by placing them against the background of certain poetic procedures associated with the post-symbolist poetry of T. S. Eliot.

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18

Tarcov, Marianne. "Fragrant Spaces between Words: Prolonging Shōjo Liminality into Adulthood in the Poetry of Yonezawa Nobuko." Japanese Language and Literature 53, no. 2 (October 10, 2019): 183–201. http://dx.doi.org/10.5195/jll.2019.77.

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This essay argues that, in 1920s Japanese Symbolist poetry and perfume advertising, women inhabit a space of ambiguity, where bodily experience is elevated as the highest form of creativity and knowledge. Yonezawa’s poems prolong the liminality of the shōjo, or girl, archetype into adult womanhood, thereby transgressing the border between womanhood and girlhood. In her poetry, Yonezawa uses fragrance to portray the inherent sexuality of poetic creation, creating a feminine, sexual creative voice. Yonezawa uses the idealized homosocial relationships found in shōjo culture to imagine a world determined by the creativity and community of women. The relationships between women feature ecstatic sensory pleasure and shared poetic inspiration, brokered by the sense of smell.

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19

Kotelevskaya, Vera. "Paul Celan and Osip Mandelstam: Poetry under the Critique of Language." Literatūra 62, no. 2 (November 2, 2020): 47–58. http://dx.doi.org/10.15388/litera.2020.2.2.

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The dialogue of Paul Celan, a reader and translator, with the poetry and the whole complex poetic views of Osip Mandelstam demonstrates an important general condition: both poets worked in the context of the modernist language crisis and language critique. Mandelstam takes on the task of creating a pure language of poetry in the struggle against the symbolist “code,” in the “resurrection” of words (V. Shklovsky) by means of a “defamiliarizated” intermixture of meanings and contexts, in intentional semantic oblivion and, among other things, by immersing himself in foreign languages (“An alien speech will be my warming ear husk”). Paul Celan’s work, under the conditions of “poetry after Auschwitz” (T. Adorno), aiming at clearing up the German language of the terror of history, was influenced, among other things, by his strategy of creating a non-figurative, hermetic poetry language comparable to the so-called “absolute music” (K. Dahlhaus). This paper identifies the common poetic motifs in the works of Celan and Mandelstam, as well as individual solutions for overcoming the lingual crisis.

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20

Chystiak, D. O. "Mythopoeic cosmology in the symbolist poetry of Volodymyr Svidzinskyi." Science and Education a New Dimension VI(159), no. 46 (April 27, 2018): 18–20. http://dx.doi.org/10.31174/send-ph2018-159vi46-04.

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21

Broome, Peter. "The Sound of Silence: French Symbolist Poetry and Music." Australian Journal of French Studies 42, no. 2 (May 2005): 192–206. http://dx.doi.org/10.3828/ajfs.42.2.192.

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22

Lees, Heath. "French Symbolist Poetry and the Idea of Music (review)." Nineteenth-Century French Studies 36, no. 1 (2007): 152–53. http://dx.doi.org/10.1353/ncf.2007.0079.

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23

Kryukova, Larisa B., and Irina Dulebova. "Perceptual Images in the Poetry of Slovak Symbolists (Based on the Original and Translated Poems by Ivan Krasko)." Tekst. Kniga. Knigoizdanie, no. 25 (2021): 5–21. http://dx.doi.org/10.17223/23062061/25/1.

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The article provides an analysis of perceptual images in the aspect of text-related activities based on the poems by the Slovak symbolist poet Ivan Krasko. The focus is placed on the linguistic means of expressing perceptual semantics which allow exploring the artistic picture of the author’s world within the given literary direction. The problem of artistic perception is examined in the context of current research in the field of lin-guistic semantics and philological analysis of literary texts. In the first part of the article, the authors give a definition of a perceptual image, understood as one of the forms of an artistic image that is filled with a specific lexical and semantic content in the author’s individual worldview. A review of the works of Slovak researchers who discuss the features of the symbolist poetry of Ivan Krasko is given. It is emphasized that the creativity of the Slovak symbolist is characterized by poetic parallelism between the internal state of the lyrical hero and their surrounding nature. Sensory perception in the poetry of Ivan Krasko is focused on the awareness and classification of “perceived” objects and phenomena. The second (main) part of the article deals with a comparative linguistic analysis of the original poem “My Songs” and its poetic translation by Anna Akhmatova. The most significant artistic image in the original and translated text is všednosť/ordinariness (everydayness), which reflects the internal state of the lyrical hero and is represented by a wide range of linguistic units with perceptual semantics. The analyzed perceptual images are fog, haze, poplar, mountains, flowers, etc. At the lexical level, there are similar features in the description of the landscape: nouns and adjectives with semantics of visual perception are used – greenness, whiteness, blue-ness. The differences at the formal-syntactic level are due to the peculiarities of the syntactic structure of the Slovak language and the Russian language, while the proposi-tional semantics generally corresponds. At the stylistic level, minor differences are explained by the author’s worldview: in case of Krasko, it is a symbolist worldview; in case of Akhmatova, it is the acmeist worldview. In the original text, the main images are represented by expressions with an abstract meaning: božie muky dole v cintoríne, striebro riavy, v dolinu, vzkvetlú tisícerým kvetom; in translation, the images are more specific: crucifixion, a rose hip, a crest, a cliff. As a result of the comparative analysis of the original and translated texts, the peculiarities of the representation of the percep-tual picture of the world of the author and the translator, realized at different text levels, were revealed. Poetic transformations testify to the “special type of perception” charac-teristic of the Slovak poet as a representative of the symbolist trend.

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Alhaj Mohammad, Sumaya M. "“Sniffing the Trace of Air”: The Creativity of Influence in Ezra Pound’s “The Return”." Asian Social Science 13, no. 7 (June 23, 2017): 62. http://dx.doi.org/10.5539/ass.v13n7p62.

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This study aims at exploring the concept of influence in modernity, based on Ezra Pound's perception of composing modernist poetry. Pound insightfully regards modernist poetry as connected to other previous texts due to the poets’ entangled web of ideas inspired by their readings. The study focuses on Pound’s poem "The Return (1912), which consciously imitates “Medailles d’Argile," (1900); a poem by the French symbolist Henri de Régnier. The study proves that this technique is intentional, as it enriches the poem by returning readers to previous works. It also affirms that Pound's influence is a process of creativity rather than "anxiety" as Harold Bloom suggests. This creativity is realized because Pound alters the impact of the French poem from a symbolist to an imagistic one through the uncanny use of imagery and rhythm, as well as presenting an image that amalgamates the abstract and the concrete, rather than representing an abstract thought.

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25

Chystiak, D. O. "COSMOLOGICAL CONCEPTUAL SYSTEM IN THE SYMBOLIST POETRY OF MAX ELSKAMP." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 1, no. 2 (2020): 192–97. http://dx.doi.org/10.32838/2663-6069/2020.2-1/34.

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26

Nicolescu, Carmen. "One Theoretical Synthesis Approach of Romanian Symbolist Poetry–Modernism Dawn." Procedia - Social and Behavioral Sciences 46 (2012): 3696–700. http://dx.doi.org/10.1016/j.sbspro.2012.06.129.

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27

Wanner, Adrian. "Populism and Romantic Agony: A Russian Terrorist's Discovery of Baudelaire." Slavic Review 52, no. 2 (1993): 298–317. http://dx.doi.org/10.2307/2499924.

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Charles Baudelaire (1821-1867) has been hailed by followers in many countries as a forerunner of symbolism, if not as the father of modern poetry tout court. In Russia, Andrei Belyi celebrated him together with Nietzsche in 1909 as a "Patriarkh Simvolizma"; and Valerii Briusov wrote in the same year: "Is it possible to question the importance of Baudelaire's Fleurs du mal for the formation of the whole worldview of modernity?" Ellis (L.L. Kobylinskii), the most zealous of all Russian symbolist "Baudelaireans," even tried to convince the menshevik social democrat, N. Valentinov, that Baudelaire was "the greatest revolutionary of the nineteenth century, in comparison with whom all Marxes, Engelses, Bakunins, and the rest of the brotherhood which they created, are simply nothing."

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28

Serova, M. V., and A. M. Vakhnina. "OPTION OF OVERCOMING SYMBOLISM IN THE EARLY WORKS OF BORIS PASTERNAK." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 325–29. http://dx.doi.org/10.35634/2412-9534-2021-31-2-325-329.

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The article presents a comparative analysis of Annensky's poem “Black Spring” and Pasternak's poem “February”; it helps to show how symbolist attitude is overcome by recoding “set of images” of the first text in the second text. First, the topic of “transition” that is important for Pasternak is developed. The “transition” is rebirth of a person into a poet by writing poetry. Watching of the state of the world (especially nature) becomes important, the world is associated with the feelings and sensations of the poet, the process of rebirth is inscribed in the calendar cycle. Then the artistic systems of Pasternak and Annensky are compared. A prerequisite for this is the image of the “black spring” found in Pasternak's text and which is a direct reference to Annensky's text. We find the philosophical polemic of the two authors when we are comparing the two poems. If there is no creation in Annensky's world, all of images are endowed with the semantics of death, then Pasternak's world is formed and charged with poetry that is born in a continuous life cycle. In Pasternak's poetic system, Annensky's images are rebuilt and endowed with the semantics of birth, thereby expressing the author's life-affirming attitude. The poem "February" shows the overcoming of the drama of non-incarnation faced by the second generation Symbolists.

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Lebbe, Pauline. "Symbolisme en het kunstlied in België (1884 ‐ 1950). Een nieuwe esthetiek voor muziek op symbolistische gedichten / Symbolism and the art song in Belgium (1884 ‐ 1950): A new aesthetics for music accompanying symbolist poetry." Forum+ 26, no. 2 (June 1, 2019): 3–12. http://dx.doi.org/10.5117/forum2019.2.lebb.

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Abstract In de periode tussen de jaren 80 van de negentiende eeuw en de Tweede Wereldoorlog was België een belangrijk internationaal kunstcentrum. In het bijzonder vond de symbolistische stroming er toen vruchtbare grond. Wereldwijd erkent men de hoge kwaliteit van de Belgische symbolistische literatuur en schilderkunst, maar ook in de muziek speelde het symbolistische gedachtegoed een belangrijke rol. In dit artikel bespreekt Pauline Lebbe het repertorium aan liederen van Belgische componisten, gecomponeerd op teksten van Belgische symbolistische auteurs. Ze heeft daarbij aandacht voor de creatieve werkomgeving van de muzikanten. De nauwe samenwerking tussen kunstenaars, kunstcritici en -theoretici en de organisatoren van concerten en muziekverenigingen vormt een belangrijk maar weinig onderzochte context van die muziek. Het corpus aan liederen blijkt verrassend verfijnd en origineel. In the period between the 1880s and the Second World War, Belgium was an important international hub for the arts. Especially the symbolist movement found the fertile soil in this country, which is renowned all over the world for its high-quality symbolist literature and paintings. But in music, too, symbolism reigned supreme. In this article, Pauline Lebbe discusses songs Belgian artists composed to accompany texts by Belgian symbolist authors. She devotes attention to the musicians' creative work environment. The close collaborations between artists, art critics, art theorists and concert organisers and music groups is a crucial aspect of this kind of music that remains underexplored. The corpus of songs turns out to be surprisingly refined and original.

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Zulumyan, Burastan S. "From the Classical Tradition to the Symbolist Poetry: Tumanyan, Teryan, Charents." Studia Litterarum 4, no. 4 (2019): 252–79. http://dx.doi.org/10.22455/2500-4247-2019-4-4-252-279.

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31

Steinman, Lisa M. "Unexpected Affinities: Modern American Poetry and Symbolist Poetics by Lisa Goldfarb." Wallace Stevens Journal 42, no. 2 (2018): 278–80. http://dx.doi.org/10.1353/wsj.2018.0034.

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32

Stone, Jonathan. "Poetry and psychiatry: essays on early twentieth-century Russian Symbolist culture." Slavonica 22, no. 1-2 (July 2, 2017): 81–82. http://dx.doi.org/10.1080/13617427.2017.1382657.

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33

Nicolescu, Carmen. "Statistics Regarding the Occurrence of the Epithet in Romanian Symbolist Poetry." Procedia - Social and Behavioral Sciences 46 (2012): 4524–28. http://dx.doi.org/10.1016/j.sbspro.2012.06.289.

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34

Machado, Lino. "Notas sobre um hermético “Jardim”: (ou a poesia como mistério programado)." Aletria: Revista de Estudos de Literatura 13, no. 1 (June 30, 2005): 105–11. http://dx.doi.org/10.17851/2317-2096.13.1.105-111.

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Resumo: Discussão do hermetismo do poema “Jardim”, de Carlos Drummond de Andrade. Enfoque do texto por meio da estética do Simbolismo.Palavras-chave: poesia modernista brasileira; hermetismo; Carlos Drummond de Andrade.Abstract: A discussion of hermeticism in the poem “Jardim”, by Carlos Drummond de Andrade, undertaken in terms of Symbolist aesthetics.Keywords: Brazilian modernist poetry; hermeticism; Carlos Drummond de Andrade.

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Walden, Lauren. "Transmediality in Symbolist and Surrealist Photo-Literature." Open Cultural Studies 1, no. 1 (November 27, 2017): 214–31. http://dx.doi.org/10.1515/culture-2017-0020.

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Abstract The fin de siècle period throughout Europe undoubtedly cultivated the “interdisciplinary principle of la fraternité des arts” (Genova 158). Literature, poetry, visual art and music superseded former hierarchical structures favouring the painterly. Correspondence between intellectuals would cross-fertilise between disparate realms through publishing in interdisciplinary cultural journals that were distributed internationally across cosmopolitan cityscapes. The ability for the photograph to be mechanically reproduced, postulated by Walter Benjamin in 1936, allowed for one of the first transmedial aesthetics, to become known as photo-literature. Previously, reproduction had been confined to the textual realm. Bruges La Morte by Georges Rodenbach was the first ever work of photo-literature to commingle these respective art forms, sixty-five years after the invention of photography in 1827. Rodenbach’s novella was first published in 1892 at the height of the symbolist movement which spanned literature, painting, photography and more. Its pseudo-progeny, Andre Breton’s surrealist text Nadja was published in 1928 depicting the author’s meandering through the Parisian cityscape. In these works, text and image engender a sense of cosmopolitanism through the function of transposition.

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Simeonova-Konach, Galia. "Предмети на културата (музикални инструменти) и музиката в Библията. Към въпроса за музикалността на поетическото слово, за химнографията и лириката на Николай Лилиев." Slavia Meridionalis 16 (October 21, 2016): 399–421. http://dx.doi.org/10.11649/sm.2016.019.

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Cultural artefacts (musical instruments) and music in the Bible: On the question of the music of poetry, hymnography and the lyric poetry of Nikolay LilievThe present paper is dedicated to the symbols of musical culture in semiotic and cultural discourse, as reflected by the category “cultural artefacts” (musical instruments) in the Bible. At the same time, it is as an attempt to demonstrate the literary critical and musicological potential of the problem. The category “musical instruments” in biblical texts has been discussed in a historical perspective. Another issue analysed in the paper are the rhythmic and metric structures of Byzantine and Bulgarian hymnography. Both these questions are viewed from the perspective of musical and poetical homology in Bulgarian symbolist poetry, specifically in the lyric poetry of Nikolay Liliev, and of the connections of Orthodox hymnography with broadly understood musicality of poetry. Artefakty (instrumenty muzyczne) i muzyka w Biblii. O muzyczności tekstu literackiego, hymnografii i liryki Nikołaja LiliewaArtykuł poświęcony jest roli symboli kultury muzycznej w dyskursie semiotycznym i kulturowym na podstawie kategorii artefaktów kulturowych (instrumentów muzycznych) w Biblii oraz stanowi próbę ukazania literacko-krytycznego i muzykologicznego potencjału zagadnienia. Kategoria „instrumenty muzyczne” w tekstach biblijnych została omówiona w perspektywie historycznej. Tekst analizuje również problematykę struktur rytmicznych i metrycznych hymnografii bizantyjskiej i bułgarskiej. W drugiej części artykułu oba zagadnienia rozpatrywane są w aspekcie muzycznej i poetyckiej homologii poezji symbolistów bułgarskich, na podstawie liryki Nikołaja Lilijewa. Inną kwestię podejmowaną w wyżej wymienionym kontekście są niektóre związki i relacje pomiędzy hymnografią prawosławną a szeroko rozumianą muzycznością poezji.

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Abbate, Carolyn. "Debussy's phantom sounds." Cambridge Opera Journal 10, no. 1 (March 1998): 67–96. http://dx.doi.org/10.1017/s0954586700005334.

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Towards the end of a life spent meditating on music, philosopher Vladimir Jankélévitch wrote that ‘music is the silence of words, just as poetry is the silence of prose’. With this lapidary remark, he bottled up essences of French symbolist musical doctrines, their elevation of music above language, their impulse to urge poetry towards the condition of musical sound, and their sense that music is ineffable. ‘And the ineffable’, Jankélévitch wrote, ‘cannot be expressed because there are infinite and interminable things to be said of it’. Denying that music was inarticulate – that what it invokes isindicible, unable to be said – he saw instead a hall of sonorous mirrors, saturated with implications and suggestions diat draw the mind on to a vanishing point that can never be reached. Music has the perfect apparitional quality that others would deem characteristic of symbolsper se, as that which materialises in the distance and cannot be caught when we journey towards its meaning: it will always recede, leaving us with our glowing trail of assumed connotations. Thus symbolist literature, with its rhapsodies to musical mystery, dealt profitably in poetic images of suggestive but unimaginable sound. Such sounds have their most famous incarnation in the melody of Mallarmé's faun's flute, repository for all that cannot be thought, said or remembered. Mallarme created a poetic symbol, verbally couched, which as symbolper seborrows the ineffability of music. It is a mirage, which we approach and lose even as we imagine its meaning. By choosing amusicalobject (a flute melody), Mallarmé drew doubly on music's apparitional quality — as if to say: even if the impossible could occur and we were to grasp the symbol and its single luminous meaning, hearing what the flute plays, that sound, like all music, would merely send us wandering onwards again.

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BERGERON, KATHERINE. "A Bugle, A Bell, A Stroke of the Tongue: Rethinking Music in Modern French Verse." Representations 86, no. 1 (2004): 53–72. http://dx.doi.org/10.1525/rep.2004.86.1.53.

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ABSTRACT The synesthetic quality of timbre——referring to the ““color”” of an instrument or voice——held special appeal for French symbolist poets in the years before 1900. This essay explores the writings of Rimbaud and Mallarméé, as well as those of their younger disciples, to ponder the meaning of timbre, and what it might have to say about the ““music”” of French poetry. If the concept of timbre encourages us to hear a different kind of music in the poem, it also encourages us to rethink song. The essay concludes with a brief reflection on the poetic music produced by French composers of the same generation, in the form of mute and expressionless méélodies.

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Wright, Barbara. "French Symbolist Poetry and the Idea of Music Debussy and the Fragment." Irish Journal of French Studies 7, no. 1 (December 1, 2007): 119–21. http://dx.doi.org/10.7173/164913307818418619.

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Dernie, David. "The Symbolist interior and crystal imagination." Architectural Research Quarterly 17, no. 2 (June 2013): 157–66. http://dx.doi.org/10.1017/s1359135513000511.

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Transparency, translucency and surface reflectance are material qualities that underpin modernist aesthetics. The lightness and transparency of buildings remain manifestly contemporary and the walls of our cities continue to open up, as the default material of choice is glass. From London to Los Angeles, from the Shard to the Crystal Mall, the potency and immateriality of the crystal image is a liberation of the modern imagination. This paper concerns the crystal imagination as represented in the architectural interiors and poetry of Belgian symbolism. During the last decade of the nineteenth century, aesthetic theory and output in Brussels was, remarkably, more developed than that of other European capitals. For the Symbolist artists, coloured and patterned glass, mirrors and rare stones were deeply fascinating as they were at once transparent (see-through) and also contained an interior mysteriously closed to the world outside. As a reflection on the dominance of the visible in contemporary architecture, this paper explores the dual aspects of the crystal image – as both open and closed - and the notion of interior as it matures in the work of the architect Victor Horta. Here, a highly subjective taste for the artificial is combined with themes that surround the crystal and which continue into the materialism of modernist movement through German expressionism. Bruno Taut's Cologne Werkbund Exhibition Glashaus (1914) embodied Scheerbart's crystal visions, and went on to inspire the activist movement that was to deliver such dreams into political action. The paper comments on the development of Taut's ideas in modernism, and the correlation of glass and crystal to the singular experience of vision. It suggests that the crystal imagination of the late nineteenth century, and the potential for those crystal metaphors to disclose worlds not available to sight, still may provide rich inspiration for tomorrow's architectural visions.

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Сапожков, С. В. "Poetry of the 1880s–1890s through the Prism of the Narodnik and Symbolist Criticism." Вестник Рязанского государственного университета имени С.А. Есенина, no. 2(67) (July 23, 2020): 91–103. http://dx.doi.org/10.37724/rsu.2020.67.2.010.

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В статье предпринята попытка сопоставить критерии, которые господствовали в оценках поэзии двух последних десятилетий XIX века в критике народнического направления и раннесимволистской критике 1890-х годов, и на основе оценки этих заведомо амбивалентных суждений определить суть «переходной» модальности поэзии 1880–1890-х годов, осуществлявшей в это кризисное время движение от классики к модернизму. Материалом сопоставления послужили критические выступления С. Я. Надсона и П. Ф. Якубовича, с одной стороны, и В. Я. Брюсова — с другой. Автор статьи показывает, как одни и те же особенности содержания и стиля поэтов конца XIX века получали диаметрально противоположное истолкование представителями этих течений критики, наполняя различным смыслом оппозицию «классика — модернизм». На основе этих суждений автор статьи намечает критерии «переходности» метода и стиля поэзии 1880–1890-х годов. The article attempts to juxtapose the criteria which prevailed in critical assessments of poetry of the two final decades of the 19th century in the Narodnik criticism and the Symbolist criticism of the 1890s and, relying in theses assessments, to define the principle of the transitional modality of poetry of the 1880s-1890s, which signified a transition from classics to modernism. The article analyzes V. Ya. Bryusovʼs critical works and critical works written by S. Ya. Nadson and P. F. Yakubovich. The author of the article shows that the representatives of classical criticism and modernist criticism treated 19th-century poetsʼ literary style from different perspectives. Relying on these conclusions, the author of the article suggests some criteria for assessing the transitional method and style of poetry of the 1880s–1890s.

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Petryk, Yanina Yurievna. "The Russian Symbolist Poetry of the Silver Age: Philosophical Lyrics as Aesthetic Phenomenon." Manuskript, no. 2 (February 2021): 306–11. http://dx.doi.org/10.30853/mns210064.

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Wittenberg, F., and H. Wittenberg. "The trace of Jewish suffering in Johannes Bobrowski’s poetry." Literator 30, no. 3 (July 16, 2009): 49–76. http://dx.doi.org/10.4102/lit.v30i3.87.

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Johannes Bobrowski (1917-1965) is a significant German modernist poet and novelist whose work directly engages the problematic question of German “Schuld” (guilt) in respect of the Holocaust. Although Bobrowski’s poetry not only deals with the German-Jewish question, but with universal themes of history, memory and trauma, he is largely unknown in the Anglophone world, partly because of his isolation in communist East Germany at the time. This article seeks to trace Bobrowski’s nuanced and complex engagement with German history and his own personal implication in the genocide through a detailed analysis of his most significant “Jewish” poems. A key idea for Bobrowski was the need for memory and direct engagement with the traumatic past, as this offered the only hope for redemption. The article presents a number of original English translations of these symbolist and hermetic poems, and thereby makes Bobrowski’s writing available to a wider range of readers.

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Shcherbina, V. V. "PHONETIC EXPRESSIVE MEANS AS A FEATURE OF YURGIS BALTRUSHAITIS’ POETIC WORLD IN THE CONTEXT OF RUSSIAN SYMBOLIST POETRY." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications, no. 3 (2020): 180. http://dx.doi.org/10.32838/2663-6069/2020.3-2/29.

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Shcherbina, V. V. "THE COLOUR PARADIGM AS A FEATURE OF YURGIS BALTRUSHAITIS’ POETIC WORLD IN THE CONTEXT OF RUSSIAN SYMBOLIST POETRY." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 2, no. 2 (2021): 157–64. http://dx.doi.org/10.32838/2710-4656/2021.2-2/28.

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Abdi, Marwan M., and Hogar N. Abdullah. "Preternatural Landscapes in Hardy’s Darkling Thrush and Yushij’s It is Night." Academic Journal of Nawroz University 8, no. 4 (November 21, 2019): 222. http://dx.doi.org/10.25007/ajnu.v8n4a465.

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This piece of research studies Thomas Hardy’s “Darkling Thrush” and Nima Yushij’s “It is Night” and highlights some of the avant-garde strategies these writers have used in their poems. It analyzes these works’ diction and figurative and symbolic language which are used as devices to elucidate and depict the speakers’ subjective states through natural landscapes. Through utilizing a comparative approach the paper examines the similarities between two poems to suggest that Nima Yushij’s familiarity with the symbolist trends and innovative approaches of Thomas Hardy, inspired him to model his Modernist Movement in Persian poetry after Hardy’s style.

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Čiočytė, Dalia. "The Literary Experience of God in Death’s Vicinity in the Works of Freedom Fighter Bronius Krivickas." Literatūra 62, no. 1 (December 28, 2020): 73–86. http://dx.doi.org/10.15388/litera.2020.1.5.

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Bronius Krivickas (1919–1952), a Lithuanian poet and fiction writer, a fighter against the Soviet occupation of Lithuania, reflects carefully the main ideas of existentialism: Søren Kierkegaard’s concept of individual freedom, Martin Heidegger’s notion of being-toward-death, the concept of a limiting situation developed by Karl Jaspers. In the worldview of B. Krivickas’s literary works, these ideas are associated with the context of Catholic philosophy and theology.This article investigates the notion of God within the existential limiting situation (especially the situation of death) in the literary works by B. Krivickas. The main critical perspective is the theology of literature. In the context of the dramatic experience of World War II, B. Krivickas’s short stories, a symbolist play A Tale About a Princess, and poetical prose works interpret God as being perceived through human conscience and a human longing for spiritual harmony. God is being thought of as the ultimate metaphysical mystery.In the period of Lithuanian fights for freedom, B. Krivickas’s poetry reveals an intense partisan self-consciousness. The poetry interprets the fight against the Soviet aggressor as a sacrifice for the nation’s freedom and compares it indirectly with the ultimate sacrifice of Jesus Christ. According to the logic of existentialism, B Krivickas’s poetry claims that a human being is absolutely free, even if this means to choose freedom at the cost of life.God becomes the personal you for the fighter seen in B. Krivickas’s poetry. The main theme of the fighter’s dialogue with God is an existential complaint. The fighter experiences deep theodic dilemmas. He has no doubts about the righteousness of the war against the Soviet occupation, but he has deep doubts about the divine permission for evil to exist in the world. The faith of the poetic fighter is just his will to believe, his desire to believe. Thus the poetic figure of the fighter acquires both patriotic and religious heroism.

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Čiočytė, Dalia. "The Literary Experience of God in Death’s Vicinity in the Works of Freedom Fighter Bronius Krivickas." Literatūra 62, no. 1 (December 28, 2020): 73–86. http://dx.doi.org/10.15388/litera.2020.1.5.

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Bronius Krivickas (1919–1952), a Lithuanian poet and fiction writer, a fighter against the Soviet occupation of Lithuania, reflects carefully the main ideas of existentialism: Søren Kierkegaard’s concept of individual freedom, Martin Heidegger’s notion of being-toward-death, the concept of a limiting situation developed by Karl Jaspers. In the worldview of B. Krivickas’s literary works, these ideas are associated with the context of Catholic philosophy and theology.This article investigates the notion of God within the existential limiting situation (especially the situation of death) in the literary works by B. Krivickas. The main critical perspective is the theology of literature. In the context of the dramatic experience of World War II, B. Krivickas’s short stories, a symbolist play A Tale About a Princess, and poetical prose works interpret God as being perceived through human conscience and a human longing for spiritual harmony. God is being thought of as the ultimate metaphysical mystery.In the period of Lithuanian fights for freedom, B. Krivickas’s poetry reveals an intense partisan self-consciousness. The poetry interprets the fight against the Soviet aggressor as a sacrifice for the nation’s freedom and compares it indirectly with the ultimate sacrifice of Jesus Christ. According to the logic of existentialism, B Krivickas’s poetry claims that a human being is absolutely free, even if this means to choose freedom at the cost of life.God becomes the personal you for the fighter seen in B. Krivickas’s poetry. The main theme of the fighter’s dialogue with God is an existential complaint. The fighter experiences deep theodic dilemmas. He has no doubts about the righteousness of the war against the Soviet occupation, but he has deep doubts about the divine permission for evil to exist in the world. The faith of the poetic fighter is just his will to believe, his desire to believe. Thus the poetic figure of the fighter acquires both patriotic and religious heroism.

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Poljakov, Fedor B. "Early Edition of Ellis’ Collection Cross and Lear: A Study in Reconstruction." Literary Fact, no. 19 (2021): 312–24. http://dx.doi.org/10.22455/2541-8297-2021-19-312-324.

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The paper is dedicated to the last period in creative work and biography of Ellis (Lev L’vovich Kobylinsky, 1879–1947), a symbolist poet and theoretician of art. In 1930s Ellis was actively writing on various historical, literary, religious, philosophical and esoteric subjects and continued to work on his poems and translations. The article provides excerpts from the Ellis’ letters to the artist Nikolai Zaretsky, on the basis of which the stages of Ellis’ work on his third and last book of poetry and translations titled Cross and Lear during the 1930s can be clarified in some detail. In the Addendum Ellis’ poem “Death and a Knight (Old Engraving)” is published.

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Bou, Enric. "«Temeritats enlluernadores»: La ciutat en la poesia de Bartomeu Rosselló-Pòrcel." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 5, no. 5 (June 12, 2015): 265. http://dx.doi.org/10.7203/scripta.5.6389.

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Resum: La poesia de Rosselló-Pòrcel és una obra de dimensió limitada, però d’una gran diversitat. En els últims anys s’ha estudiat amb precisió la presència d’un llegat postsimbolista. En aquest article s’analitza un aspecte menystingut: el sentit de la presència de mons urbans en la poesia de Rosselló-Pòrcel. El poeta experimenta amb un nou concepte de la metàfora i incorpora els elements que componen l'escenari urbà nomenats amb ajuda d'un lèxic despullat del tabú del prosaisme. L’adjectivació, a més, farà possible unir l'experiència del que és descriptiu amb la desrealització de l'objecte contemplat. L’anàlisi detinguda de tres poemes complementa la reflexió. Paraules clau: Poesia urbana, postsimbolisme Abstract: Rosselló-Pòrcel’s poetry is a work of limited extension, but of great diversity. In recent years critics have studied with precision the presence of a post-symbolist legacy. In this article I take a look at an undervalued aspect of it: the meaning and uses of urban worlds in his poetry. The poet experimented with a new concept of metaphor and incorporates elements from the urban scene using a lexicon that includes prosaic elements. Adjectives make possible the combination of description with object contemplation. The thorough analysis of three poems completes the re-evaluation. Keywords: Poetry City PostSymbolism

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