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Journal articles on the topic 'War Poet'
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Jeffrey Meyers. "Ted Hughes: War Poet." Antioch Review 71, no. 1 (2013): 30. http://dx.doi.org/10.7723/antiochreview.71.1.0030.
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Seiler, Claire. "Francis O’Hara, War Poet." Contemporary Literature 54, no. 4 (2013): 810–33. http://dx.doi.org/10.1353/cli.2013.0038.
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Tanter, Marcy L. "Martha Dickinson Bianchi: War Poet." New England Quarterly 80, no. 2 (2007): 317–21. http://dx.doi.org/10.1162/tneq.2007.80.2.317.
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The article recovers poet Martha Dickinson Bianchi, niece of Emily Dickinson, who served in the Amherst, Massachusetts, branch of the Red Cross and tended wounded soldiers in New York City at the end of World War I. Two previously unpublished poems reflect American despair in the aftermath of the war.
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Banerjee, A. "Isaac Rosenberg the War Poet." Sewanee Review 122, no. 2 (2014): 313–18. http://dx.doi.org/10.1353/sew.2014.0065.
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Shoham, Reuven. "Kovner vs. Kovner: “A Parting from the South” vs. “Combat Page”." AJS Review 22, no. 2 (1997): 223–42. http://dx.doi.org/10.1017/s0364009400009600.
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The poet Abba Kovner was a partisan and freedom fighter during World War II (1942–1945), made aliyah in 1945, and published his first long poem, ‘Ad lo ’or (“Until There Was No Light”), in 1947. At the outbreak of the Israeli War of Independence he fought on the Egyptian front (1947–48), serving as a cultural officer, or politruk in the Giv'ati Brigade. Preda me-ha-darom (“A Parting from the South”), his second long poem and one of the pivotal works by a modern Hebrew poet, was written against the background of the War of Independence. However, critics have not yet been able to find a fitting place for it in the canon of Hebrew poetry and culture, although several serious attempts have been made. The present study does not refer to every aspect of this complex poem but focuses on one particular point. I contend that “A Parting from the South” implies an attempt by the visionary speaker of the poem to compel the young country, soon after the war, to part from the world of death, from cultic memories of the dead and guilt feelings toward them (the dead in the 1948 war in Israel and the dead in the ghettos of Nazi Europe in World War II). Abba Kovner tries to detach himself, and his readers, from death, to liberate them from the old perspectives.
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Marecki, Mateusz. "A Debate on the Relationship between Poetry and Politics in W.H. Auden’s In Memory of W.B. Yeats and A. Ostriker’s Elegy before the War." Journal of Education Culture and Society 2, no. 1 (2020): 50–58. http://dx.doi.org/10.15503/jecs20111.50.58.
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W.H. Auden’s In Memoriam W.B. Yeats and A. Ostriker’s Elegy Before the War are two pre-war elegies, in which personal and political dimensions are juxtaposed. W.H. Auden’s poem portrays the death of a celebrity against the background of the perplexing 1930s when there was evident growing anxiety about Facism and its repercussions. In her long, 7-section work, A. Ostriker not only commemorates her dead mother, she also formulates a very powerfully articulated anti-war manifesto, in which she both denounces American imperialism during the 2nd Iraq war and questions the meaning of war and violence. W.H. Auden’s elegy serves as a starting point for a debate A. Ostriker sparks over the role of poetry and its relationship with politics. When analysed together with the author’s essays on poetry, their other famous poems and their post-war elegies (The Shield of Achilles and TheEight and Thirteenth), the two poems taken under examination display that the poets’ stance concerning the role of poetry is neither explicit nor consistent. It is interesting also how the debate can be perceived in the context of a dilemma signaled in A. Ostriker’s Poem Sixty Years After Auschwitz where the poet deliberates over what should be the appropriate shape and tone of poetry after the Holocaust.
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Cho, Kyutaek. "A Reading of the War Poet, Robert Graves’s War Poetry." British and American Language and Literature Association of Korea, no. 131 (December 31, 2018): 141–61. http://dx.doi.org/10.21297/ballak.2018.131.141.
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Colla, Elliott. "Badr Shākir al-Sayyāb, Cold War Poet." Middle Eastern Literatures 18, no. 3 (2015): 247–63. http://dx.doi.org/10.1080/1475262x.2016.1199093.
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Lynch, Éadaoín. "‘The Poet Slanders’: Stevie Smith’s War Poetry." Journal of War & Culture Studies 11, no. 2 (2017): 167–80. http://dx.doi.org/10.1080/17526272.2017.1355633.
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Ustinov, A. B., and I. E. Loshchilov. "The Great War and Siberian Memory: Georgy Vyatkin in an American Poetry Anthology of 1916." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 106–28. http://dx.doi.org/10.25205/2410-7883-2020-2-106-128.
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The essay is dedicated to a rather extraordinary episode in the literary biography of the Siberian poet Georgy Vyatkin (1885–1938), when one of his poems was translated by the American social worker Alice Stone Blackwell (1857–1950) and published in 1916 in the magazine “The Russian Review.” The authors carefully reconstruct political and ideological contexts of this publication, directly linked to the United States’ entry into the Great War. They pay special attention to the literary and social activities of Alice Stone Blackwell. They discuss what place Vyatkin’s poem “To the Descendants’ took in Vyatkin’s literary biography in the time of the Great War. In 1914 he became a front-line correspondent for the Kharkov newspaper “Utro.” By 1915 he was drafted as a “ratnik” (soldier) by the army, and further served as an assistant within the medical and nutritional detachment under the command of another poet, Sasha Chernyi (Alexander Glikberg; 1880‒1932). Throughout the Great War, Vyatkin created an œuvre of literary works in verse and prose, which also includes his poem “To Descendants,” that was published in the magazine “Europe’s Messenger” and translated into English. Vyatkin revised some of his war poems after the Revolution, and adapted them to the circum- stances of the Civil War, from the perspective of the “White” press. At the same time, he became the Secretary of the War Archives Commission, which was created in 1918 under the leadership of the folklorist Ivan Ulyanov (1876–1937), who collected evidence of the modern memory of the Great War.
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Friedlander, Benjamin. "Emily Dickinson and the Battle of Ball's Bluff." PMLA/Publications of the Modern Language Association of America 124, no. 5 (2009): 1582–99. http://dx.doi.org/10.1632/pmla.2009.124.5.1582.
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Emily Dickinson's response to the Civil War—once discounted as nonexistent or negligible, now embraced as part of the canon of Civil War writing—gives evidence of a conscious testing of alternatives. Among these alternatives, the most surprising, perhaps, is her potentially public positioning of herself as a war poet in works that celebrate military heroism. One such celebration, “When I was small, a Woman died—,” written in the aftermath of Ball's Bluff—a disastrous Union loss—revises the scenarios presented in two other Ball's Bluff poems and transforms the horrific death of a local soldier into a glorious ascent into the heavens, an uncharacteristically joyous response to an event that others (including Herman Melville) experienced as entirely mournful. Since the two other poems appeared in her local newspapers and since the soldier was Amherst's first casualty, Dickinson's poem is likely a carefully crafted bid for publication. Read in this way, moreover, “When I was small” reminds us that war presents a poet with unique rhetorical problems but also with opportunities, and that these opportunities can be tempting even for a writer as resistant to the literary marketplace as Dickinson.
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Penny, William Kevin. "A tragic harp: Ritual, irony and myth in the war poetry of Wilfred Owen." Language and Literature: International Journal of Stylistics 20, no. 2 (2011): 151–67. http://dx.doi.org/10.1177/0963947010397846.
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Wilfred Owen stands out as one of the foremost poets writing on the theme of war and the pity of war. This article examines Owen’s innovative use of Romantic, biblical, and Classical language in conjunction with specific literary and rhetorical devices as a way of developing irony in his work. Also central to the poet’s stylistic approach was his deliberate collapse of conventional literary modes of expression, which included the traditional sonnet form. The enquiry which follows examines how Owen’s use of antiquated language and literary patterning — which the poet relied on to undercut established ritual and myth and their associated symbolism — served to juxtapose the classically ‘heroic’ with the sacrificial ‘heroes’ he had encountered on the battlefields of Europe. To assist him in this the poet — somewhat paradoxically — relied on a mythopoeic approach that mirrored later Modernist attempts to address issues of personal nobility amidst the perceived dissolution of society. Close stylistic analysis contributes to an understanding of the intricate ironic patterning in Owen’s war poetry, which defamiliarizes, yet also heightens, a reader’s intuitive response to the poet’s work.
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Abdulsalm, Hamid B. "Demystifying the Other." Koya University Journal of Humanities and Social Sciences 3, no. 1 (2020): 63–68. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp63-68.
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This paper harnesses the term Other, though not in a strictly postcolonial sense, to uncover an essential role war poetry played to reveal a hidden side often overshadowed by war propaganda. The two poems, Hardy’s “The Man He Killed” and Owen’s “Strange Meeting,” serve as effective counter war propaganda tools that demystify a crucial element of war ideology that the enemy is an Other: The enemy is unlike me. Wilfred, an outspoken poet of the evils of war, and Thomas Hardy, who penned in some of his poems his abhorrence to war, show that the Other which stands for their enemies could have been a friend had the spatiotemporal factors been different. Both poets enact an imaginary meeting between the speakers and their enemies. Moreover, the paper traces the various poetic techniques that are employed by those poets to achieve this goal. Whereas Owen, for instance, uses pararhyme to depict the fallacy of war claims by drawing attention to the unlikelihood of the meeting in real life, Hardy resorts to punctuation marks to probe the sense of guilt his speaker endures as a result of killing his “enemy.” The form of the two poems contributes to the sense that war propaganda fails to sustain itself in legitimizing the act of killing and thus providing a shield against the feeling of remorse. Throughout the two poems, the Other is no longer a stranger nor is an enemy in the first place. Owen finds that his enemy is a poet who has had similar dreams and ambitions. Thomas Hardy, on the Other hand, reflects how he could have offered the man he killed in battle a drink or even lent him money had they met elsewhere.
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Fadli, Zaki Ainul, and Luqyana Salsabila. "Struktur Fisik Dan Batin Puisi Kimi Shinita Mou Koto Nakare Karya Yosano Akiko." KIRYOKU 4, no. 2 (2020): 110–17. http://dx.doi.org/10.14710/kiryoku.v4i2.110-117.
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(Title: Physical and Inner Structure of the Poetry of Kimi Shinita Mou Koto Nakare by Yosano Akiko) This research examines Japanese poem shintaishi, Kimi Shinita Mou Koto Nakare by Yosano Akiko using structural and feminism approach. This research aims to understand the structurally context and the meaning of feminism contained in the poem. Yosano Akiko, whose real name is Shou Hou, is the first famous Japanese female poet in the late Meiji era. At that time when Japan was struck by war, the position of women in social and political life had shifted the view that physically women are not strong enough to contribute to the war that reduced the role of women. Women do not see war with an objective view but rather see it subjectively, which they associated with the author’s own condition. The results showed that in addition to convey her aspirations as a woman after the war, there were several images which are contained in Kimi Shinita Mou Koto Nakare.
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Chernikova, N. V., та A. A. Podolskaya. "Lexical representation of the concept "Honor" (Сhest’) in A. T. Tvardovsky’s works about the war". Russian language at school 82, № 2 (2021): 29–35. http://dx.doi.org/10.30515/0131-6141-2021-82-2-29-35.
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One of the eternal problems raised in Russian literature is the problem of honour and dishonour, which becomes particularly urgent during wartime periods. The front-line poet A. T. Tvardovsky, who participated in two wars as a war correspondent – the Soviet-Finnish (Winter War) and the Second World War, could not remain indifferent to this topic. In order to find out how the concept of "Honour" (Chest ̓ ) is understood in his poems about war and the poem "Vasily Terkin", we analysed the contextual semantics of the lexeme honour (chest) and its derivatives using the method of continuous sampling of language units, methods of structural-semantic and functional-stylistic analysis of language signs. The article shows that the concept of "Honour" (Chest ̓ ) is one of the important cognitive units in the concept sphere of Tvardovsky. This concept is embodied in the lexical units of honour (chest ̓), honest (chestnyi), honour (pochest )̓ . According to the poet, it is the indomitable spiritual resilience and loyalty to the person̓s moral principles that characterise Russian people. Tvardovsky repeatedly expressed the idea that dishonour for a man is worse than shame and more terrifying than death. He believed that there was no excuse for fighters betraying honour and the sense of self-respect. This understanding of the concept "Honour" (Chest ̓) – not only in line with Pushkin̓s tradition but wider – lies in the spirit of the national mentality.
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Taleghani, R. Shareah. "‘Personal Effects’." Middle East Journal of Culture and Communication 13, no. 1 (2020): 49–62. http://dx.doi.org/10.1163/18739865-01301003.
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Abstract Solmaz Sharif’s debut poetry collection, Look (2016), has been hailed by critics for its formal experimentation and as a searing indictment of war. Using various words from the 2007 Department of Defense (DOD) Dictionary of Military and Associated Terms, Sharif highlights the sterility of the official vocabulary of the US military machine and the ‘war on terrorism’. The poet juxtaposes the DOD’s lexicon with reflections on personal relationships, family, love and loss along with traces of the multiple sites of home of an Istanbul-born, Iranian-American poet. In this essay, I argue that throughout the collection, the poet engages in a subversive, translative act; Sharif presents an intralingual mode of translation in which her poems destabilize the seeming neutrality and sanitizing effect of military vocabulary by consistently juxtaposing it with representations of the effects and consequences of violence, as well as images of intimacy, in order to articulate an anti-war stance.
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Olesiejko, Jacek. "The Tension between Heroic Masculinity and the Christian Self in the Old English Andreas." Anglica Wratislaviensia 56 (November 22, 2018): 87–107. http://dx.doi.org/10.19195/0301-7966.56.7.
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The article’s aim is to elucidate the religious transformations of the secular notions of identity and masculinity in Andreas. Andreas is a religious poem composed in Anglo-Saxon England around the ninth century. It is an adaptation of the Latin recension of the Acts of the Apostle Andrew, but the poet uses heroic diction borrowed from Old English secular poetry to rework the metaphor of miles Christi that is ubiquitous in Christian literature. The poet uses the military metaphor to inculcate the Christian notion of masculinity as the inversion of the secular perception of manliness. He draws upon a paradox, attested in the early Christian writings, that spiritual masculinity is true manliness, superior to military masculinity, and that it is expressed through patient suffering and the acknowledgment of defeat. The poem inverts the notions of war and victory to depict the physical defeat of the martyr as a spiritual victory over sin and the devil.
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Karavas, Orestis. "Immobility and Motion in Colluthus’The Abduction of Helen." Trends in Classics 12, no. 1 (2020): 126–33. http://dx.doi.org/10.1515/tc-2020-0008.
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AbstractThe poets of that time seek to find a way to engrave their names on the wall of immortality through their works. One way of achieving this was by “filling in the gaps” Homer left in his poems, or continuing through them the stories he started. Colluthus, a Greek poet of Egypt, who lived under the reign of Anastasius (5th-6th centuries AD), is known as the author of the short poem The Abduction of Helen. This “prequel” to the Iliad comes after a very long tradition of legends concerning the beginning of the war of Troy. In the present paper I will study how Colluthus uses his characters’ immobility and motion in The Abduction of Helen. I will show that motion always causes a catastrophe, whereas immobility is a synonym for forced inaction or imprisonment.
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Bharadwaj, S. "Dylan Thomas’s “In Country Sleep”: His Paradoxical Sensibility." Studies in Linguistics and Literature 4, no. 4 (2020): p12. http://dx.doi.org/10.22158/sll.v4n4p12.
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In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.
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Bharadwaj, S. "Dylan Thomas’s “Fern Hill”: The Poets’s Passion for Auden’s Greatness." International Journal of Applied Linguistics and English Literature 6, no. 6 (2017): 174. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.174.
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The poem “Fern Hill” is interpreted as autobiographical and reminiscent of Dylan Thomas’s boyhood holidays. A reading of the figurative language of the poem, the process of playing with its tropes can be the basis of right interpretation independent of the poet’s life or an historical context. As the poem seeks to be persuasive and objective, it relies more on rhetorics suggesting the sufferings of the fallen poets of the thirties and the war poet of the forties owing to their wild love of the transcendental art of W.H.Auden’s Poems (1930) considered as touchstone of great poetry and a hope for self-advancement in life. However, it is the paradoxical poems of Thomas and his vicarious poetical character that have rehabilitated and revamped the depressed poets. “Fern Hill” reaffirms and reassures the continuation of the same sceptic poetic tradition and culture which Thomas has cherished in all the preceeding and the succeeding poems. What this paper, keeping the contemporary poets’s passion for Auden’s greatness and glory, their dreams and destinations as focal point, strives to convey is the liberating power of Thomas’s moral disinterestedness, his vicarious comic vision and his poetic process of life-in-death contrasted with the amoral aesthetic disinterestedness of Auden, his historic tradition and his poetic process of death-in-life.
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KUZUBAS, Muhammet. "The Lehıstan War Accordıng To 17. Century Poet Mezâkî." Journal of Turkish Studies Volume 1 Issue 2, no. 1 (2006): 236–48. http://dx.doi.org/10.7827/turkishstudies.24.
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Ho, Tai-Chun. "Tyrtaeus and the Civilian Poet of the Crimean War." Journal of Victorian Culture 22, no. 4 (2017): 503–20. http://dx.doi.org/10.1080/13555502.2017.1340904.
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Pieri, Giuliana. "Gabriele d’Annunzio and the self-fashioning of a national icon." Modern Italy 21, no. 4 (2016): 329–43. http://dx.doi.org/10.1017/mit.2016.49.
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This article charts the rise to fame of Gabriele D’Annunzio by focusing on a number of key moments in his life and the strategies he employed to shape his public image. The Roman years and the 1890s saw the writer’s first iconic transformation into Italy’s aesthete par excellence, a myth and related iconography that still shapes our view of the poet. The years in Florence, spent at the Villa Capponcina, coincided with the time in which d’Annunzio re-fashioned himself into a self-appointed national poet. The war years were central to the creation of an entirely new figure, the poeta soldato, whose military heroics and charismatic leadership provided novel and dubious models of engagement with contemporary politics and culture. Finally the years of the self-imposed exile at Gardone focus on the late, and as yet undocumented, use of photographs employed by d’Annunzio to keep the myth of the national poet-soldier alive under Fascism. These subsequent transformations resulted in a highly successful and thoroughly modern staging of his personality which turned him into a national icon.
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Bershadskaya, Marianna, and Boris Babkin. "Voeslav Mole and Yuri Verkhovsky. Double portrait on the background of the Civil War." Russian-Slovenian relations in the twentieth century, no. IV (2018): 244–60. http://dx.doi.org/10.31168/2618-8562.2018.4.3.3.
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The article focuses on the friendly and creative relations between the Slovenian art historian, poet and essayist Vojeslav Mole (1886– 1973) and the Russian prominent poet, interpreter, literary historian and theorist Yuriy Verhovskiy (1878–1956). Being recruited to army in 1914 Mole got captured almost at once and spent practically six years in Siberia. In 1919 in Tomsk he met Verhovskiy, who translated several of his poems and published them in his book «Sun in captivity» (1922). One of the Mole’s poems in «Tristia ex Siberia» (1922) is devoted «To the friend ― poet Yuriy Nik. Verhovskiy».
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Weinfield, Henry. "The Mystery of the Charity of Geoffrey Hill." Religion and the Arts 16, no. 5 (2012): 581–88. http://dx.doi.org/10.1163/15685292-12341241.
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Abstract This essay is essentially an analysis of Geoffrey Hill’s long and difficult poem of 1983, “The Mystery of the Charity of Charles Péguy,” a poem that confronts the advent of modernity and the ambiguities of history by focusing on the dilemmas that the French poet and journalist named in its title faced on the eve of World War 1. Hill sees Péguy as embracing a version of Christian fatalism, and so too his own attitude toward history is deeply fatalistic in the poem. If there is a saving grace for Hill, it is not in history, which remains forever unresolved, but in poetry.
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Kudryashov, I. V., and S. N. Pyatkin. "What is Nikolai Klyuev’s “Hung Upside Down” Crying for? (On Poetic Epitaph to Victims of White Terror)." Nauchnyi dialog, no. 8 (August 24, 2021): 185–206. http://dx.doi.org/10.24224/2227-1295-2021-8-185-206.
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The article is devoted to the problems of historical and cultural commentary, as well as the interpretation of the ideological-figurative content and genre attribution of N. A. Klyuev’s poem “Hung upside down...”, created by the poet during the Vytegorsk period of his life (1918—1922). The analysis showed that the facts of Klyuev’s Vytegorsk life at the time of his creation “Hung upside down...” and the poet's deeply felt fear of being subjected to a cruel execution prompted him to literally perpetuate the memory of the victims of the White Terror who were martyred by hanging during the Civil War. The authors of the study come to the conclusion that references to the Bible and L. I. Palmin’s poem “Requiem” make it possible to attribute this work of Klyuev to one of the most ardent works of the poet of that time, calling on the living to selflessly serve the ideals of the proletarian revolution, and to identify its genre as a literary epitaph to the victims of the White Terror, which stands out for its monumentality and the timelessness of its valuable message to descendants. The authors of the article are convinced that the failed attempt by Klyuev to republish the poem “Hung upside down...” in 1927 betrays the poet, who is experiencing criticism of the counter-revolutionary content of his works, a desire to demonstrate the continuity of his later work with his “communard” past.
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Amzallag, Nissim. "Psalm 120 and the question of authorship of the songs of Ascents." Journal for the Study of the Old Testament 45, no. 4 (2021): 588–604. http://dx.doi.org/10.1177/0309089220963429.
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As the first of the songs of Ascents, Psalm 120 might be seen as key to understanding the whole corpus, but its content remains poorly understood. This study suggests that its author was a smith-poet committed to the Edomite/Qenite traditional worship of YHWH, here complaining about participating, through the fabrication of iron weapons, in the demise of Edom (553 BCE). On this reading, the poem becomes a lament on the irremediable demise of traditional (metallurgical) Yahwism after the rise of iron metallurgy and its transformation of war. Introducing the Ascents, this song might express the search for an alternative form of Yahwism emancipated from the original metallurgical dimension. Expressed in Israel, this alternative Yahwism becomes praised in the other songs of Ascents. This interpretation corroborates the rise of a group of Edomite poets (Ezrahites) in Jerusalem in the early Persian period and its integration within the temple staff.
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Jastrzębska, Marta. "(...) what we past through in Walhynia 1943 and 1944." Tekstualia 2, no. 33 (2013): 149–60. http://dx.doi.org/10.5604/01.3001.0013.6590.
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This article tells about the the wartime fate of the Volyn Gypsies from the Vajs’s musical fl eet. The text includes the records of the Vajs family memories, collected by Jerzy Ficowski, and the comments of researchers. There is an important problem of an ahistorical consciousness of Gypsies, which resulted in the silencing of their Holocaust experience. References are made to a poem by the Gipsy poet Bronislava Vajs–Papusha, which is the only comprehensive Gipsy testimony about the time of war.
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Shuchi, Israt Jahan, and A. B. M. Shafiqul Islam. "Reading Allen Ginsberg’s September on Jessore Road: An Attempt to Ruminate over the Horrific Reminiscences of the Liberation War of Bangladesh." Advances in Language and Literary Studies 10, no. 1 (2019): 41. http://dx.doi.org/10.7575/aiac.alls.v.10n.1p.41.
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Allen Ginsberg’s ‘September on Jessore Road’ captures the blood-stained history of the creation of Bangladesh through highlighting the unflinching struggle of the Bangladeshi people and their appalling plight that they went through during the country’s war of independence in 1971. This poem mainly reports on Ginsberg’s visit to the refugee camps located in the bordering areas of Jessore of Bangladesh and Kolkata of India in mid-September, 1971. Those camps sheltered millions of Bengalis who fled their homes fearing persecution and violence inflicted by the Pakistani occupation forces during the liberation war of Bangladesh. Ginsberg’s first-hand experience of encountering the refugees in those camps is reproduced in this poem where the poet very meticulously pens the untold sufferings that every individual experienced during that war time. The poem also criticizes the US government and all its state apparatus for not supporting the freedom loving Bengalis in that war. His original intent of composing this poem was to express solidarity with the Bengalis’ resolute craving for freedom on the one hand and to create awareness among the masses and form public opinion against Pakistani atrocities on the Bengali people on the other. This paper thus attempts to depict how Ginsberg puts all these aspects into words with a view to reminding us of the gory history behind the establishment of the modern state of Bangladesh.
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Christiano. "Labor Poet Ralph Chaplin: Resister to the “Great War,” Prisoner of the “Class War”." Journal for the Study of Radicalism 14, no. 2 (2020): 157. http://dx.doi.org/10.14321/jstudradi.14.2.0157.
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Kowalczyk, Adam. "Czarny humor w twórczości Władysława Szlengla ze szczególnym uwzględnieniem wiersza „Mała stacja Treblinki”." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 121–29. http://dx.doi.org/10.24917/3927.
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Black humor in Władysław Szlengel works, with particular focus on Mała stacja Treblinki (A small station called Treblinki) Władysław Szlengel (1914–1943), was a Jewish poet writing in Polish. His works are the best example of the use of black humor in Polish poetry of World War II. War caused him to change his worldview, which is reflected in the change of humor in his works. The shift was so powerful that in fact Szlengel-commentator replaced Szlengel-satirist. He did not hesitate to use the sharpest irony both against his enemies and against other victims of the system. His poem A Small Station Called Treblinki is the most shocking instance of black humor.Key words: Władyslaw Szlengel; black humour; holocaust; humour; risus sardonicus;
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Medina Calzada, Sara. "Wars and heroes: the romantic representation of Spain in "Don Juan; or the Battle of Tolosa" (1816)." Journal of English Studies 15 (November 28, 2017): 155. http://dx.doi.org/10.18172/jes.3271.
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This paper examines “Don Juan; or the Battle of Tolosa”, an anonymous poem published inLondonin 1816. This metrical tale set in medievalIberiaat the time of the so-called “reconquista” recreates the Battle of Las Navas de Tolosa (1212), in which the Muslim forces were defeated by a Christian coalition near Sierra Morena. The poet clearly sides with the Christians, who are depicted as brave warriors struggling to recover their land and their freedom. The emphasis on their patriotic heroism against foreign usurpation creates an implicit analogy between the medieval battle and the recent events of the Peninsular War (1808-1814). The representation ofSpainas a land of war and romance echoes the Romantic figurations of this country appearing in British print culture in the early nineteenth century.
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Boutan, Jean. "A War Poet in Absentia: the Year 1918 in Jaroslav Hašek’s Literary Output." Przegląd Humanistyczny 63, no. 1 (464) (2019): 81–96. http://dx.doi.org/10.5604/01.3001.0013.4977.
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This article purports to give an outline of the major evolutions in Hašek’s literary output around the year 1918, a year that saw not only the end of the world war, but also, for the writer himself, the start of the Russian civil war. The Russian Revolution meant for Hašek, as he wrote in 1918, the transition from a “war between States” – or “war between Empires” – to a “war of the proletariat against capitalism”. The lack of safe information about Hašek’s biography during this short, yet crucial, period of his life does not still prevent us from retracing the repercussions of the great events of 1918 on the east front – the fall of the Austrian-Hungarian Empire, the founding myth of the Czechoslovakian Legion and the beginnings of the Soviet Union – in the literary works of an author who has been taxed for being a renegade to each of the three aforementioned causes. The particular issue of Švejk’s maturation during the war may help us to put the year 1918 into a perspective with the end (though, only to some extent) of the conflicts and the beginning (however protracted) of the post-war period. Whereas the novel was about the Good Soldier’s bursting into the conflict, this article observes Hašek himself, walking out of the world war.
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Hollington, Michael. "HOME THOUGHTS, FROM ABROAD: THE FANTASY OF “BLIGHTY,” THE REALITY OF HOME." HOME-THOUGHTS, FROM ABROAD XI, no. 31 (2020): 11–26. http://dx.doi.org/10.31902/fll.31.2020.2.
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This paper examines the frequent use of the word ‘blighty’ in First World War poetry and prose to signify from the frontline trenches the longedfor world of home. A word of Anglo-Indian origin, the product of folk etymology, as unlettered soldiers convert ‘bilayati’ meaning ‘foreign’ into something that sounds more familiar in English, it retains its association with the speech of the common soldier in First World War poetry. It modulates in meaning, as the war gets increasingly desperate, and starts in poetry and elsewhere to refer to a relatively minor wound that will get you back home and out of the war. I examine this shift in a number of poets, notably Owen, Sassoon, and Gurney. I also examine the experience of ‘blighty’ from the other end of the telescope, so to speak. That is to say, from the perspective of women writers receiving their men at home and bidding them farewell for the last time. I illustrate such writing in the distinguished novel World Without End by Helen Thomas, the widow of the war poet Edward Thomas.
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Szmeskó, Gábor. "The History of the Poetic Mind of János Pilinszky." Hungarian Cultural Studies 13 (July 30, 2020): 98–110. http://dx.doi.org/10.5195/ahea.2020.390.
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One of the most important poets of postwar Hungarian literature, János Pilinszky’s (1921-1981) poetry represents the problems of connecting with the Other, the imprints of Second World War trauma and the struggle with God’s distance and silence. Although, unlike the case of most of his contemporaries in Eastern bloc Hungary, his poetry has been translated into several languages, he is hardly known in English-speaking countries. The metaphysically accented lyrical worldview and creator-centered aesthetics—which shows parallels with the Christian poetry of Michael Edwards—of this Hungarian poet are difficult to link or to bring into discourse. On the occasion of the most recent publication (Pilinszky 2019) of Pilinszky’s non-literary publications which are practically unknown to non-Hungarian scholars, I attempt to outline the major attributes of Pilinszky’s poetry and aesthetics in order to highlight—with a mystical approach in mind—the intertwining presence of said lyre and aesthetics in his poem, In memoriam F. M. Dosztojevszkij [‘In Memoriam F. M. Dostoevsky’].
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Studniarz, Sławomir. "The forgotten poet Samuel Beckett." Tekstualia 4, no. 55 (2019): 137–56. http://dx.doi.org/10.5604/01.3001.0013.3466.
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The article is devoted to the poetic output of Samuel Beckett, particularly from the pre-war period. It primarily offers a close analysis of three poems: The Vulture, Alba and Dortmunder, from the fi rst printed collection of Beckett’s poetry Echo’s Bones. These texts raise the issue of the place of art and poetic creation in the world, fi lled as it is with suffering inherent to the human condition. The valorization of nighttime and music and the pain-relieving aesthetic contemplation form the major premises of Alba and Dortmunder. And The Vulture, an artistic credo of the young Beckett, defi nes the relations between macrocosm, the objective world, and microcosm, the rich inner life of the subject, vis-à-vis the tasks of poetry. Noting the striking neglect of Beckett’s poetry by the critics, the article undertakes to show that his poetic production merits attention both of scholars and of his devoted admirers.
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O'Brien, Dan. "The War Reporter Paul Watson Gives the Poet Some Advice." Missouri Review 36, no. 2 (2013): 34. http://dx.doi.org/10.1353/mis.2013.0054.
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Ali-Asghar Seyed-Gohrab. "A Modern Persian Poet on Iran-Iraq War: Qayṣar Amīnpūr". Zeitschrift der Deutschen Morgenländischen Gesellschaft 166, № 2 (2016): 347. http://dx.doi.org/10.13173/zeitdeutmorggese.166.2.0347.
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Whale, John. "Tony Harrison: The Making of a Post-War English Poet." English Studies 99, no. 1 (2018): 6–18. http://dx.doi.org/10.1080/0013838x.2017.1405322.
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Grudzińska-Gross, Irena. "Miłosz, wojna i poezja cywilna." Studia Litteraria et Historica, no. 1 (December 31, 2012): 1–8. http://dx.doi.org/10.11649/slh.2012.016.
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Miłosz, war and civilian poetryThe article addresses the reaction of the Polish population during Second World War towards the military resistance to the occupier. The author offers a case study of the life choices of Czesław Miłosz, the poet. Considering them hopeless and counterproductive, Miłosz decided not to participate in military actions. He had no confidence in the Polish government in exile and its military decisions. Instead, the poet concentrated on writing and publishing; he also criticized what he viewed as unjustified sacrifice of life in the Warsaw Uprising of 1944. His attitude was criticized then, and today continues to be a source of attacks against the poet. The article analyses the logic of national solidarity in the times of foreign occupation and the arguments of the poet’s critics. The author of the article comes to the conclusion that Miłosz’s stand was beneficial not only for himself but also for the community as a whole.
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Bayguzhin, Islam Gizzatovich. "Genres maktub and hitap in Bashkir literature of the early XX century." Litera, no. 6 (June 2020): 92–100. http://dx.doi.org/10.25136/2409-8698.2020.6.33086.
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This article examines the works of the enlighteners, innovator, and agitators in Bashkir literature of the early XX century. The author analyzes the motifs, images and ideological-thematic aspects of poets in the genres maktub and hitap. It is determined that in form of appeals, they raise the problems of freedom, enlightenment, suppression of people, protest of war, etc. Literary examples of poetic works that reflect the motifs of that time are subjected to analysis. Agitational, manifestational, publicistic, and revolutionary ideas are revealed in the images of war, since the agitators called people to seek freedom and development. Namely the genres maktub and hitap contributed to explication of thoughts, desires and aspirations of the innovators of the early XX century. The struggle for freedom, equality, and education intertwined with the ideas of revolution and enlightenment. Some poets claimed that namely illiteracy and unprofessionalism of the people impede social development. Therefore, the appeals played a crucial role in works of the poets, which were filled with humanistic spirit, strive for perfection and ideals. The scientific novelty consists in detailed examination of the genres maktup and hitap in the works of Bashkir writers of the early XX century, as well as consideration of modern approaches towards assessment of aesthetic aspect of these genres. It is concluded that the genres maktub and hitap possess a quality to manifest an opinion or stance on various problems and situations of that time. They are fused with deep and tense thoughts and feelings that can form the worldview and experiences of the poet-citizen, poet-fighter, who have active approach to life and their time.
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Al-Rifai, Nada Yousuf. "Exile and homesickness in the poetry of Ahmad Shawqi." Advances in Social Sciences Research Journal 8, no. 2 (2021): 425–75. http://dx.doi.org/10.14738/assrj.82.9741.
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Ahmad Shawqi was raised in the royal palace, where his maternal grandmother – who sponsored him after the death of his mother – was a favoured maid at Khedive Ismail. Shawqi studied law in Egypt and Paris, and when he returned to Egypt, he became poet Laurette for Khedive Abbas Helmy II. Although Shawqi was brought up in the royal palace, as a poet, he felt the pulse of the Egyptian people and felt their pain and dreams. After the First World War broke out, in 1915, Shawqi was exiled to Spain where he was swept away by longing for his homeland. During his exile, the 1919 revolution erupted in Egypt, and his longing for his homeland intensified, and obsessed his heart and soul. Exile was the greatest ordeal that Shawqi went through in his life. In exile, he did not find relief except when resorting to his poetry, to which he revealed the pains of his heart. He also visited the memorials of the Muslims and their reign and civilization in Seville, Cordoba, and Granada. This resulted in Shawqi composing his lengthy poem “Arab countries and the greats of Islam”. Shawqi’s poems are considered masterpieces for their sincerity of emotion and beauty of description. Perhaps the most famous of these is The Seeniya; rhyming with the letter S, entitled “The Journey to Andalusia”, and his other longing poem, “The Nouniya; rhyming with the letter N”, in which he opposed the famous medieval Arab Andalusian poet, Ibn Zaidoun.
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Węgrzyniak, Anna. "Tuwim: Years After." Acta Universitatis Lodziensis. Folia Litteraria Polonica 36, no. 6 (2017): 7–23. http://dx.doi.org/10.18778/1505-9057.36.02.
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The subject of the article is to present an outline of the reception of Julian Tuwim’s works in the last decade. “The Prince of Poets” of the interwar period, well known in the post-war era, is less and less known today. Post-war generations of poets made no particular references to Tuwim and his poetry, and even though many critical works are being published about him, Tuwim’s works do not engage critics who would be able to reconnect his writing with the contemporary world. Tuwim is disappearing from school literary curricula, contemporary readers remember only his children’s poems and one can doubt whether this situation can be changed by an extensive, multifaceted work by Piotr Matywiecki Twarz Tuwima (Tuwim’s face), the comprehensive and readable biography of the poet. It is an important book which tackles a number of vital questions concerning for instance the tragic alienation of the Polish Jew who lived between two cultures and wanted to be excluded from neither.
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Furaih, Ameer Chasib. "‘Let no one say the past is dead’: History wars and the poetry of Oodgeroo Noonuccal and Sonia Sanchez." Queensland Review 25, no. 1 (2018): 163–76. http://dx.doi.org/10.1017/qre.2018.14.
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AbstractThe histories of Australian Aboriginal and African American peoples have been disregarded for more than two centuries. In the 1960s, Aboriginal and African American civil rights activists addressed this neglect. Each endeavoured to write a critical version of history that included their people(s). This article highlights the role of Aboriginal Australian poet Oodgeroo Noonuccal (formerly Kath Walker) (1920–93) and African American poet Sonia Sanchez (born 1934) in reviving their peoples’ history. Using Deleuze and Guattari's concept of ‘minor literature’, the essay shows how these poets deterritorialise the English language and English poetry and exploit their own poetries as counter-histories to record milestone events in the history of their peoples. It will also highlight the importance of these accounts in this ‘history war’. It examines selected poems from Oodgeroo's My People: A Kath Walker Collection and Sanchez's Home Coming and We A BaddDDD People to demonstrate that similarities in their poetic themes are the result of a common awareness of a global movement of black resistance. This shared awareness is significant despite the fact that the poets have different ethnicities and little direct literary impact upon each other.
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Douglas Olson, S. "The comic poet Pherecrates, a war-casualty of the late 410s BC." Journal of Hellenic Studies 130 (November 2010): 49–50. http://dx.doi.org/10.1017/s0075426910001151.
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Petrovic, Goran J. "EXISTENTIAL NIHILISM IN WILFRED OWEN’S ANTI-WAR POEM “FUTILITY”." Lipar, no. 72 (2020): 157–67. http://dx.doi.org/10.46793/lipar72.157p.
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This paper analyzes “Futility”, one of the best poems by Wilfred Owen, a renowned British poet-soldier of the First World War. It shows that, in philosophical terms, the poem is based on existential nihilism as a view that human existence is intrinsically non-teleological. As the paper argues, Owen does not develop such a pessimistic world-view because of his great knowledge of Darwin’s or Nietzsche’s work as being emblematic of late nineteenth and early twentieth century pessimism, but because of his firsthand experience with the horrors of history’s first mechanized war. Owen’s nihilistic philosophy is viewed in contrast with the ideology of progress and utopianism as being prevalent over pessimism up until the outbreak of WWI and as being equally propounded by the secular philosopher Herbert Spencer and the Protestant liberal theologians. In brief, “Futility”, as a poem which presents the demise of a nameless British soldier, ends in the poet’s rhetorical question which explicitly doubts the purposefulness of human history. The paper also deals with “Futility’s” stylistic traits, and in doing so comes to the conclusion that the poem’s mood is for its most part temperate and elegiac with, in emotional terms, a somewhat more intense ending, just as it reveals that its irregular rhyming and metre reflect the poet’s reaction to the spiritual emptiness and chaos of war.
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Pavlović, Tomislav M. "Rupert Brooke’s Neo-Paganism." Issues in Ethnology and Anthropology 10, no. 2 (2016): 487. http://dx.doi.org/10.21301/eap.v10i2.10.
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Rupert Brooke (1887-1915) embodies the myth of the Great War but after his sudden death his war poems tended to be disapproved of. His pre war Georgian lines are also dismissed on account of their effete pestoralism and alleged escapism. It seemed as if both the critics and the audience simply failed to understand the subtext of his poems that reveals a magnificent spiritual pilgrimage undertaken by a poet in the age of anxiety. In search of the calm point of his tumultuous universe Brook varies different symbolic patterns and groups of symbols thus disclosing the lasting change of his poetic sensibility that range from purely pagan denial of urban values and the unrestrained blasphemy up to the true Christian piety. Our analysis affirms him the true modernist poet, a cosmopolitan mind, always apt to accumulate new experiences and it is certain that his work will be seen in quite a new light in the decades to come.
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Sokolova, O. V. "War and Language in Italian Futurism, Russian Cubofuturism and British Vorticism (Cognitive-Discursive Approach)." Critique and Semiotics 37, no. 2 (2019): 229–48. http://dx.doi.org/10.25205/2307-1737-2019-2-229-248.
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The paper explores the conceptualization of war in the texts of different avant-garde movements. The article considers the case of manifestos, articles, journal issues and poetic collections of Italian Futurism, Russian Cubofuturism and British Vorticism, primarily, texts by F. T. Marinetti, V. Mayakovsky and W. Lewis. The war served as a trigger for artistic and language experiments. That is why Benjamin’s conception of “politicization of aesthetics” and Deleuze and Guattari’s conception of the “war machine” are relevant for the analysis. The text analysis is based on discourse-pragmatic and cognitive-linguistic approaches. These approcaches make it possible to reveal the specifics of avant-garde experiments aimed at the formation of a new artistic language with the help of a fundamental transformation and activation of cognitive, communicative and linguistic resources. Avant-garde movements formulated the conceptions underlying their communicative strategies: Marinetti’s performance-actional strategy “Art as action” (l'Arte-azione), Mayakovsky’s linguistic-creative strategy “Cacophony of war” as “sermon of new beauty”, and Lewis’s performance-contextual “Blast and Bless-strategy”. Cognitive approach reveals the overcoming of the border between art and reality, artistic and conceptual metaphors, as well as bridging the “source area” and “target area” in conceptual metaphor. In Italian Futurism, the target area can be both Art and War, which affects the choice of source area: Art is War, but War is Medicine, War is Holiday. Russian Cubofuturists formed a special type of “introvertive” (Jakobson’s term) conceptual metaphors: Poetry is War. War is Poetry; Art is War. War is Art. In British Vorticism both “traditional” (Art is War, War is Game) and “introvertive” conceptual metaphors meets: Enemy / Poet is Ally / Soldier. Ally / Soldier is Enemy / Poet.
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Naumenko, Kseniya S. "Allusions of Christian culture in V. Mayakovsky’s poem “War and Peace”." Science and School, no. 3, 2020 (2020): 38–43. http://dx.doi.org/10.31862/1819-463x-2020-3-38-43.
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The article analyzes the functions of an allusive plan in the poem „War and Peace”. The author considers reminiscences and allusions of Christian culture, which makes it possible to find in V. Mayakovsky’s work features peculiar to Russian literature of the XIX century, to consider the work not from the generally accepted point of view of the poet’s futuristicism and innovation, but from the position of inheritance of classical traditions of national history and culture. Attention is paid to rethinking the canonical and established images by Mayakovsky. The study of the exclusive plan of the work allows to consider the text as a part of Russian culture without relation to the personal views of the poet, which defines the relevance of the work. When analyzing the poetic text, general scientific and philological methods are used, such as comparative, biographical method, intertextual approach, which helps to consider the work in relation to earlier literature and events that influenced the formation of the author’s position in the text.
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Hutchinson, George B. "Whitman's Confidence Game: The "Good Gray Poet" and the Civil War." South Central Review 7, no. 1 (1990): 20. http://dx.doi.org/10.2307/3189211.
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