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1
Sokolov, Oleg A. "Unsheathing Poet’s Sword Again: The Crusades in Arabic Anticolonial Poetry before 1948." Vestnik of Saint Petersburg University. Asian and African Studies 14, no. 2 (2022): 335–51. http://dx.doi.org/10.21638/spbu13.2022.211.
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Both Arab and Western scholars agree that, starting in the mid-20th century, the correlation of Western Europeans with the Crusaders and the extrapolation of the term “Crusade” to modern military conflicts have become an integral part of modern Arab political discourse, and are also widely reflected in Arab culture. The existence of works examining references to the theme of the Crusades in Arab social thought, politics, and culture of the second half of the 20th century contrasts with the almost complete absence of specialized studies devoted to the analysis of references to this historical era in Arab culture in the 19th century and first half of the 20th. An analysis of references to the era of the Crusades in the work of Arab poets before 1948 shows that, already in the period of the Arab Revival, this topic occupied an important place in the imagery of anti-colonial poetry, and not only in Egypt, Syria, and Palestine, historically attacked by the Crusaders, but also in other regions of the Arab world. If, before World War I, Arab poets only praised the commanders of the past who defeated the Crusaders, then afterwards the theme of the Crusades was also used to liken the European colonialists to the “medieval Franks”. The authors of the poems containing images from the era of the Crusades were, among others, the participants of the Arab Uprising of 1936–1939 and the Arab-Israeli War of 1947–1949, who set their goal with the help of poetry to mobilize the masses for the struggle.
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Khaybullina, Angelina Airatovna, Elvira Firdavilevna Nagumanova, and Kadisha Rustembekovna Nurgali. "Genre Strategy of Modern Russian-Language Poetry in Kazakhstan." International Journal of Criminology and Sociology 9 (April 5, 2022): 2609–15. http://dx.doi.org/10.6000/1929-4409.2020.09.321.
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At the end of the 20th century, the poetry of Kazakhstan made a great stride forward, which can be compared with the ideas of the cultural revolution. Unlike Russian poetry being changed throughout the 20th century, Kazakh poetry has made a breakthrough in its development only for the last two decades, allowing it to fit the conventions of modern world poetry. The present article aims at revealing the features of the functioning of the Russian-language poetry of Kazakhstan at the end of the 20th – the beginning of the 21st century. The authors of the article define those changes that have occurred in the genre strategy of modern poetry in Kazakhstan. The genre canon is generally accepted as one of the essential manifestations of the dialogue between different texts, being a kind of recognizable quote; simultaneously, it is deformed in the works by poets of the beginning of the 21st century. The transformation of genre traditions and canons engenders a unique phenomenon in modern poetry of Kazakhstan – "the poetry of philosophers." The poets such as Sergei Kolchigin, Indira Zaripova, Zhanat Baimukhametov tend to be attributed to this category. Also, modern Russian-language poetry is distinguished by the aspiration for collecting incredibly lyrical emotion and the same "extreme" interest in extra-literary events within the boundaries of one text. All these features bespeak the formation of another poetics in modern literature of Kazakhstan.
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Lo, Vivienne. "How can we redefine Joseph Needham’s sense of a world community for the 21st century?" Cultures of Science 3, no. 1 (March 2020): 58–61. http://dx.doi.org/10.1177/2096608320919525.
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In the middle of World War II, my father, Kenneth Lo, accompanied Joseph Needham on a lecture tour to Colchester Co-operative Society dedicated to the support of China’s war effort and to boycotting Japanese goods. They were comrades-in-arms, soft-left socialists, inspired by the Spanish Civil War, George Orwell and WH Auden alike to take up the pen and the campaign circuit. This article is a reflection on the politics and aesthetics of research, on decentring the Eurocentric narrative of the history of science, but also on the role of poetry in the quest for a better world. Grounded in socialist, Christian and 20th-century scientific utopian belief, All under Heaven was to be One Community. Post Needham, but in the Needham spirit, I ask what shared vision drives our research?
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Mulligan, Joseph. "Mediating Andean Modernity: The Literary Oracular in Muerte por el tacto by Jaime Saenz." Bolivian Studies Journal 26 (December 10, 2021): 83–106. http://dx.doi.org/10.5195/bsj.2021.252.
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Upon his return from Berlin in 1939, Jaime Saenz started working in La Paz for intelligence agencies and public relations offices of Bolivia and the United States, which led to correspondent positions with Reuters and McGraw-Hill World News. His trajectory into Cold War Bolivian state nobility seemed all but guaranteed. However, on the brink of this breakout moment, he renounced his job —and professionalism altogether— committing himself to a life of literature and alcoholism as his marriage unraveled. In response to repeated interventions, he justified his every loss with a further indictment of the precautious, which was an outgrowth of his belief in the existence of a higher truth that was both accessible and impervious to analytical reason. In this article, I ask how Saenz’s poetry from the 1950s metabolized the rhetoric of indictment which it had inherited from the Tellurism of the Chaco generation. How might Muerte por el tacto (1957) be symptomatic of a broader aim of restoring to modern poetry its oracular legitimacy? On what grounds did Saenz indict precautious defenders of historical culture? And how did such an indictment mediate “national energy” (Tamayo) as it came into language through the nativist discourse of the land? Paying focal attention to regimes of revelation in Saenz’s early poetry and the historical conditions of its production, this article updates a discussion among Transatlanticists about the legitimization of irrationalism in 20th-century poetics and politics by assessing the socio-symbolic value of the oracular in the regionalist discourse of modernism.
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Garbuzarova, Elena G. "Iran’s Soft Power Tools in Kyrgyzstan." RUDN Journal of Political Science 22, no. 1 (December 15, 2020): 22–31. http://dx.doi.org/10.22363/2313-1438-2020-22-1-22-31.
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The article examines the use of “soft power” tools used by Iran in relation to Kyrgyzstan. The analysis of the evolving fundamental concepts of Iranian foreign policy in Central Asia allowed us to trace a shift in the Islamic Republic’s international priorities in the region. Objective logic prompted the Iranian leadership to move from “exporting the Islamic revolution” to the pragmatic model of pursuing its national interests. Iran has consecutively incorporated soft power tools into its foreign policy activities in Central Asia. Given the pressure from the sanctions imposed by the United States, Iran attaches particular importance to improving the effectiveness of its soft power in order to expand cooperation horizons with the outside world. By the end of the 20th century, Iran’s leadership had already laid the foundations of its cultural diplomacy in the region, which mainly served to promote influence through the export of cultural values. The Iranian approach to soft power in world politics is based on the principles of reciprocity between different civilizations and peaceful coexistence of all countries and peoples. Through the Persian language, philosophy, literature and poetry, Iran influences the population of the Central Asian region, mainly the peoples sharing certain features with the Turkic-speaking world. Iran’s cultural and educational activities in Kyrgyzstan have demonstrated noticeable dynamics: the spread of soft power of the Islamic Republic of Iran in Kyrgyzstan is carried out through cultural institutions and educational projects. Despite the fact that Kyrgyzstan is culturally more inclined towards the Turkic world, the experience shows that Iran’s cultural values also find support among the population of the republic.
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Vinogradov, Igor. "“Romantic” Poprishchin: History of the Concept of N.V. Gogol Story “Diary of a Madman”. Part 1." Stephanos Peer reviewed multilanguage scientific journal 65, no. 3 (May 31, 2024): 34–70. http://dx.doi.org/10.24249/2309-9917-2024-65-3-34-70.
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The article is devoted to the study of the hardest for interpretation N.V. Gogol’s works the “St. Petersburg” story “Notes of a Madman.” The diary of a hero going crazy presents the combination of the elements of madness, comedy, romantic alogism, authorial irony, satire and high tragic pathos that gives this work the character of an artistic riddle, the solution of which is possible only with the help of a consistent integrated approach. Numerous reminiscences in the work of images from world literature, contemporary journalism and artistic literature are examined in detail. The long-term observations of researchers on the poetics of Gogol’s story are summarized. A connection is established between “Notes of a Madman” and the poem “Dead Souls” and “Reflections on the Divine Liturgy.” Gogol’s polemic with European romanticism developed in this work is explored in detail. Gogol contrasts the playful “spirituality” of the romantics, which leaves a person to the mercy of imagination and subjective opinions, with a truly spiritual understanding of life, based on the Holy Scriptures and church tradition. The article is a continuation, based on new material, of a research work begun in 2022 – “German romantic V.G. Wackenroder and the 20th century: artistic foresight N.V. Gogol” (published in the collection of the IWL RAS “Literary process in Russia in the 18th–19th centuries. Secular and spiritual literature”). An attempt has been made to present a holistic concept of the work and a wide range of fruitful research thoughts in its interpretation. The work consists of fifteen sections: 1. Problems of interpretation of the story; 2. Background and history of the creation of “Notes of a Madman”; 3. “Soulful City” “Notes...”; 4. Idleness, bribery, threat of “scolding”; 5. Diktat of fashion, red tape; 6. Neglect of spiritual growth; 7. Vanity and the possibility of repentance; 8. From “Notes of a Madman” to “Dead Souls” and “Reflections on the Divine Liturgy”; 9. Pseudoculture; 10. “Donquixoticism”; 11. Cervantes and Ariosto; 12. The circle of romanticism: poetry, politics, philosophy, mysticism; 13. “Notes of a Madman” and romantic madness; 14. Poprishchin and music; 15. “Popular theology”. Eleven of the fifteen sections are presented in this publication. The continuation of the article and the list of references will be published in the next issue of the journal.
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Pipes, Daniel. "The dictionary of 20th-century world politics." Orbis 38, no. 2 (March 1994): 323. http://dx.doi.org/10.1016/0030-4387(94)90057-4.
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Simic, Predrag. "World politics, globalization and the crisis." Medjunarodni problemi 65, no. 1 (2013): 24–41. http://dx.doi.org/10.2298/medjp1301024s.
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In the early 21st century, globalization and the world economic crisis changed the balance of powers between the old (declining) and new (emerging) industrial states replacing the unilateral with a multilateral system of international relations and changing the way in which world politics was functioning. Globalization has increased the number of transnational problems (protection of human environment, international traffic and communications, flows of capital, energy, migrations, etc.) that require global governance. However, these trends also indicate that in the 21st century, international relations and world politics will function in a significantly different manner than they did within the bipolar and unipolar order, which characterized the second half of the 20th century.
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Shamilova, Shahnaz. "MODERN FRENCH AND AZERBAİJANİ POETRY AT THE LEVEL OF COMPARATİVİSTİCS." Scientific Journal of Polonia University 62, no. 1 (July 8, 2024): 104–14. http://dx.doi.org/10.23856/6214.
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In the article, the stages of development of Azerbaijani poetry from the 19th century to the 20th–21st centuries, which were accompanied by fundamental changes, were reviewed. It has been noted that the wars that took place at the beginning of the 20th century and the strict rules and regulations applied by the Soviet regime had an undeniable influence on our literature. It was at that time, during the years of Repression, prominent representatives of Azerbaijani poetry were subjected to political oppression and persecution, exiled and shot. The names of the poets who played a special role in the development of Azerbaijani poetic thought during the Soviet period were mentioned, and at the same time, the genre and form innovations they brought to our poetry were shown. Starting from the 60s, poets and writers began to deepen their view of man and his spiritual world. This movement, which began in literature for the sake of freedom of speech and thought, political thought, pluralism, national independence, and social justice, was continued in the 70s and 90s, and finally achieved its prospective goals with the acquisition of political sovereignty and state independence of Azerbaijan. The trend of critical realism that prevailed in Azerbaijani poetry in the 19th century was replaced by socialism- realism in the 20th century. The names of the leading representatives of this current have been mentioned. The article compares the similarities and differences of both French and Azerbaijani poetry of the 20th century in terms of literary trends, form, content, and genre, citing the names of poets and showing examples. In particular, the poems of the French surrealist poet Jacques Préver are compared to the poems of Rasul Rza and Huseyn Javid and Adil Mirseyid. The article also examines the form and content of the newest poets distinguished by their innovation in 21st century Azerbaijani poetry.
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Darenskiy, V. Yu. "Orthodox Poets of the Soviet Era: Aleksandr Solodovnikov, Vasily Nikitin, Sergey Averintsev, Elena Pudovkina." Orthodoxia, no. 2 (December 25, 2023): 136–69. http://dx.doi.org/10.53822/2712-9276-2023-2-136-169.
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The article explores the work of Orthodox poets during the Soviet era, particularly focusing on Aleksandr Solodovnikov, Vasily Nikitin, Sergey Averintsev, and Elena Pudovkina. It formulates a general principle of the poetic style of these authors as the principle of soul, word, and world transformation, realized through prayerful and confessional expressions. The distinctive feature of the resurging Orthodox poetry in the 20th century primarily lay in its pursuit of maximum immediacy, simplicity, and originality, deliberately transcending “literariness,” which was particularly burdensome for individuals of the 20th century. In turn, the analysis reveals that due to this aspiration for the primacy of the word, it unexpectedly proves to be far more complex than it appears at first glance. It carries not only profound meanings of Orthodox faith but also the deep tradition of Christian “literariness” in the best sense of the term—an active continuity with the texts of predecessors, reaching back to ancient Russian and Byzantine heritage. Moreover, it strives to reproduce the spirit of the Gospel’s word, as far as it is humanly possible. Literary creation for an Orthodox person is justified and beneficial only when it constitutes a part of their spiritual self-improvement and transmits the experience of this work to others. It represents the work of soul transformation by the grace of God, captured in the word. Spiritual poetry is traditional not only in content but also in form, oriented toward classical poetry of the 19th century as its model. In cases when it diverges from this model, it does not tend toward the modernism of the 20th century but, conversely, delves into the deep archaism of the early centuries of Christianity, sometimes directly aligning with the structure of the Gospel’s word and canonical church hymns. This is logical since the breakdown of classical poetic structure in the 20th century was a consequence of secularization—the despiritualization of the world and language. Accordingly, the reverse process inevitably led to the revival of the style of classical poetry and even its earlier form—the church poetry.
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Kuttybaev, Sh, and Е. Abdimomynov. "TRADITION AND INNOVATION IN MODERN KAZAKH POETRY (XX century and independence)." BULLETIN Series of Philological Sciences 76, no. 2 (September 15, 2021): 118–28. http://dx.doi.org/10.51889/2021-2.1728-7804.15.
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The article analyzes views on innovation in the literary science of the early twentieth century and the work of Alash representatives in an era that is a period filled with profound changes and large-scale innovations in Kazakh society. In addition, works related to freedom, enlightenment, politics, spiritual values, the position of the people as a whole and social changes are considered the idea of independence and continuity. On the way of evolutionary development of the Kazakh literature, artistic power, thematic and ideological character, substantial and stylistic features of poetry of poets in the beginning of the XX century and during the Great Patriotic War, in subsequent years and years of independence are discussed in detail. In addition, on the basis of literary traditions and novelty, the works of prominent poets of Kazakh poetry of the 20th century and Independence are considered and comprehensively characterized, i.e. internal motives, the content of life phenomena in national poetry are analyzed in close connection with the works of poets. The original vision of the traditional and differentiated in the literature of the Soviet period in the works of poets from a new perspective, from the point of view of today. In addition, the works of outstanding poets of Kazakh poetry in the period of the 20th century and independence are considered on the basis of classical tradition and novelty in literature.
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Gaszyńska-Magiera, Małgorzata. "Literatura y política. Notas sobre la recepción de las traducciones de la poesía hispano-americana en Polonia en la segunda mitad del siglo XX." Estudios Hispánicos 24 (March 31, 2017): 49–62. http://dx.doi.org/10.19195/2084-2546.24.4.
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Literature and politics. Notes on the reception of translations of Hispano-American poetry in Poland in the second half of the 20th centuryThe main objective of the article is to describe the main trends in the reception of the Hispano-American poetry in Poland in the second half of the 20th century. The analysis carried out on the basis of the bibliographical data demonstrated that political factors were more important than artistic ones when the decisions concerning the choice of works to be published were made. Therefore, the most well-known Hispano-American poet in Poland was Pablo Neruda, presented to the Polish reading public as a communist activist who used his poems as a weapon in the struggle for a better future. For the same reason the Cuban post-revolutionary poetry became popular in Poland. In general, Hispano-American poetry did not arouse much interest of critics nor readers.
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Kucia-Kuśmierska, Katarzyna. "Głos poety odzyskuje głos. O książce The Sound of Polish Modern Poetry: Performance and Recording after World War II Aleksandry Kremer." Konteksty Kultury 20, no. 1 (July 14, 2023): 58–73. http://dx.doi.org/10.4467/23531991kk.23.009.17912.
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The article summarizes the most important theses and interpretations contained in the book The Sound of Polish Modern Poetry: Performance and Recording after World War II by Aleksandra Kremer. First of all, it places the research achievements of the Polish-American literary scholar on the map of reflection related to sound studies and “philology of the ear”. Then, it points out what is particularly new and revealing in Kremer’s proposal for voice-oriented literary research and the audiosphere in Polish poetry of the second half of the 20th century. The following parts of the article are a recapitulation of individual chapters devoted to the author’s “vocal performance” (Kremer coined the term to describe an author’s reading of their own poetry) of works from the post-war period: Miron Białoszewski, Zbigniew Herbert, Czesław Miłosz, Tadeusz Różewicz, Julian Tuwim, Aleksander Wat, as well as poetesses: Anna Kamieńska, Krystyna Miłobędzka, Halina Poświatowska, Wisława Szymborska and Anna Świrszczyńska. Kremer uses excellent literary and linguistic skills, supplying traditional humanistic methods with conclusions from the calculations of the Praat program, which analyzes pronunciation parameters. The author of The Sound of Polish Modern Poetry: Performance and Recording after World War II reveals to the reader the hitherto unrecognized world of sounds of Polish poetry of the second half of the 20th century. The poet’s physical voice is treated here as an element revealing the poetic “I” and illustrating the attitude towards his own poetry in general.
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Scheyer, Lauri, and Zanyar Kareem Abdul. "THE FUNCTION OF POETRY IN THE MODERN WORLD: A CASE STUDY OF WALT WHITMAN AND AUDRE LORDE’S POEMS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 6, no. 2 (December 27, 2022): 245–50. http://dx.doi.org/10.30743/ll.v6i2.5226.
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Lyric poetry has historically referred to a genre that we think of as brief, musical, and personal as well as subjective. This article addresses the role of lyric poetry in the modern world, and how critical analysis enables us to better appreciate the potential impact of poetry today. Specifically, we will offer brief contrastive assessments of two landmark exemplars of American poets, Walt Whitman and Audre Lorde. These two figures demonstrate some of the varied ways of the American poetry tradition. We compare Walt Whitman, a canonical white male poet from the 19th century, with an equally important 20th century African American woman poet, Audre Lorde. These American poets differ in historical periods, sex, race, and other factors, yet both uphold the conventional functions of lyric poetry and prove its continuing relevance to a global readership. The results show that as the reflection of human life, poetry could represent honesty, realism, democracy and even power.
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Mair, Peter. "Representation and participation in the changing world of party politics." European Review 6, no. 2 (May 1998): 161–74. http://dx.doi.org/10.1017/s1062798700003203.
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The 20th-century has been the century of mass politics, and the mass parties that emerged at the beginning of this century became deeply rooted within wider society. The passing of this golden age of the party has now been marked by two distinct processes of change. On the one hand, parties have become more distant from society and more closely linked to government and the state. On the other hand, there has been a decline in the political identities of the parties, such that voters now find it increasingly difficult to distinguish between them. These changes, and the related transformation of politics into administration, have led to a growth in popular indifference to parties and to politics in general, as well as to a declining sense of engagement. Should this trend continue, it is mass spectacle rather than mass involvement that is likely to characterize the future of mass politics.
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Cerny, Philip G. "Capitalism, Democracy and World Politics in the 21st Century." European Review of International Studies 10, no. 2 (October 20, 2023): 205–13. http://dx.doi.org/10.1163/21967415-10020016.
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Abstract World Politics is undergoing a range of crucial structural changes in the 21st century. The relationship between the states system that evolved since the Peace of Westphalia in 1648 and became predominant in the 19th and 20th centuries is being increasingly challenged in a number of complex ways. The core problématique, as addressed in different ways in these books, is whether states are still predominant hierarchical structures in an anarchical world system – “nodes” or building blocks – as argued in particular by realist and neo-realist theorists exemplified by Kenneth Waltz, or whether they are increasingly criss-crossed and undercut by what are sometimes called “heterarchical” structure and processes. These include macro-, meso-, and mini-hierarchies that are turning states from “proactive” institutions and processes to “reactive” or even or even “residual” ones. The core of these analyses is whether and how states are still the main independent variables in what has been called International Relations or whether and how far they are increasingly dependent variables in a changing World Politics. These books all make interesting and useful contributions to this question.
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Roane, J. T. "Queering Growth in Mid-20th Century Philadelphia." Review of Black Political Economy 47, no. 2 (May 4, 2020): 194–211. http://dx.doi.org/10.1177/0034644620916909.
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In this essay, I highlight a critical, if under-examined, dialectic between dominant urbanism and Black queer urbanism. First, I demonstrate the ways that dominant urbanists drew on a sedimented historical imaginary of the slum as a racialized site of debilitation and death in their articulation of and support for new urban infrastructures designed to support long-term stability through capitalist growth. Anti-blackness formed a fundamental aspect of the syntax and grammar of urban renewal and redevelopment. Next, I examine the efforts of the adherents of Father Divine’s Peace Mission Movement to build a world centered in spiritually appropriated, communal architectures wherein their disruptive forms of social-geographic life challenged heteronormative futurity and segregation through the haptic politics of touch and what I term ecstatic consecration.
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Aynura, Suyarova. "THE ENDURING LEGACY: EXPLORING THE PLACE OF SHARAF RASHIDOV'S POETRY IN WORLD LITERATURE." International Journal of Advance Scientific Research 4, no. 3 (March 1, 2024): 211–18. http://dx.doi.org/10.37547/ijasr-04-03-39.
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Sharaf Rashidov, a distinguished Uzbek poet of the 20th century, remains a pivotal figure in the landscape of world literature. His works, characterized by profound introspection, cultural richness, and universal themes, have left an indelible mark on literary traditions beyond the borders of Uzbekistan. This article examines the significance of Rashidov's poetry in the context of world literature, delving into the themes, influences, and enduring legacy that position him as a revered voice in global literary discourse.
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Navdaeva, M. E. "Conceptualisation of Sea Power in Global Politics." Bulletin of Irkutsk State University. Series Political Science and Religion Studies 47 (2024): 80–92. http://dx.doi.org/10.26516/2073-3380.2024.47.80.
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The article studies the formation of the sea power theory and its influence on world politics. Although seas influenced the rise and fall of states since ancient times, they acquired strategic importance only after the beginning of the Age of Discovery. From that moment, sea turned into a global transport network and also became a political instrument for transforming the balance of power in the world. After that the formation of the sea power of states began, which led to the rise of the British colonial empire. The research of the success of Great Britain formed the theory of sea power, which developed in the works of Western geopoliticians A. Mahan, F. Colomb, J. Corbett, and others, including Russian theorists N. L. Klado, S. G. Gorshkov, etc. Despite the fact that initially the founder of the theory, American Admiral Mahan, studied the experience of Great Britain to apply it to American politics for the rise of the United States on the world stage, at the end of the 19th and beginning of the 20th centuries the theory quickly gained popularity among many other countries. According to some researchers, this was one of the reasons for the beginning of the “naval arms race” in Europe that rose contradictions in the distribution of the balance of power, which subsequently led to the First World War. It is indicated that the theory of sea power determined the global politics throughout the 20th century, and also led to the emergence of the United States not only as a great sea power, but also a superpower. Therefore, the main purpose of the article is to study the influence of sea power on the world politics of the 20th century. The theory also remains relevant today, because the relevance of using the World Ocean in achieving economic and political goals does not decrease, and therefore the study of the theory can be useful for the development of the maritime and naval strategies of countries.
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Sumera Perveen and Dr. Sadia Tahir. "Social Awareness In The Poem Of Majid Siddique." Dareecha-e-Tahqeeq 3, no. 4 (February 22, 2023): 16–21. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i4.78.
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Nazm is a popular form of poetry in Urdu literature, especially in 20th century, this form got progress rapidly. Allama Iqbal geared up in such a way that this placed parallel to Ghazal. As modernism spread across the world, sub-continent also adopted it because this literary form had the capacity to narrate all matters of life. Progressive Writer Movement contributed a lot in this regard. After partition, in Pakistan “Nazm” as literary form took all problems of society as its subjects.
From Josh MalihAbadi to Faiz Ahmad Faiz and from Noon Meem Rashid to Meera Jee many poets portray the real picture of their era. Majid Siddiqi is renown poet of 20th century. In the decade of seventy, he started his poetry as Ghazal-go poet but soon he chose “Nazm” to cover all matters of society. He painted the true pictures of individual and collective living through his art. In this article, efforts have been made to point out social anxiousness in his Nazm.
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Gevorkian, Armen. "Valery Bryusov and the musical world of Russia in the late 19th — early 20th centuries (Introduction)." Literary Fact, no. 15 (2020): 213–36. http://dx.doi.org/10.22455/2541-8297-2020-15-213-236.
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While there are many studies on biography, literary work, and the epistolary heritage of V.Ya. Bryusov, his connections with the musical world of Russia in the late 19th — early 20th centuries remain on the periphery of research interest. Significantly less attention was paid to the historical and literary study of the poet’s personal and creative contacts with composers, music critics, and musicologists. In the late 19th — early 20th centuries V.Ya. Bryusov’s poetry as a source of musical compositions attracted composers of various creative and aesthetic principles, from realistic to modernist, each of whom found in Bryusov's works related images, themes and motifs. Today, the names of more than thirty composers, who addressed both original works and translations of the head of Russian Symbolism, are known. Among them are composers who by the beginning of the 20th century had become original figures of Russian musical culture — A.T. Grechaninov, S.V. Rachmaninov, N.K. Metner, R.M. Glier, S.I. Vasilenko — and less known today V.I. Rebikov, A. Kankarovich, A.G. Shaposhnikov et al. One of the first works devoted to this topic was an article by the poet’s sister, Nadezhda Bryusova, “Music in Valery Bryusov’s works” (Iskusstvo, 1929, no. 3 – 4), outlining two main areas of research: historical and literary and theoretical, philosophical and historical. O. Tompakova, V. Dronov, E. Etkind et al. also researched Bryusov’s connections with the musical culture of Russia at the beginning of the 20th century. Interest in Bryusov’s work did not fade even after the poet’s death, many Soviet composers turned to his poetry in the new socio-political environment. The Appendix contains materials for the annotated bibliography of music editions related to Bryusov
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Т. Андрејевић, Даница. "TРАДИЦИОНАЛНО И МОДЕРНО У ПОЕЗИЈИ РАДОСЛАВА ЗЛАТАНОВИЋА." ИСХОДИШТА 1, no. 7 (July 8, 2021): 25–33. http://dx.doi.org/10.46630/ish.7.2021.2.
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The lyrical profile of Radoslav Zlatanović marked the second half of the 20th century in the Serbian poetry of Kosovo and Metohija. The Kosovo myth and the cult of woman in his poetry are imbued with pagan and modern elements. This paper follows the traditional and modern layers of this poetry, that make a lyrical symbiosis. Zlatanović represents the ecstasy of life’s joy and youth, by which he can be related to the avant-garde Serbian poet between the two world wars Rastko Petrović. His poetry carries the traditional archetypal images, but also the modern sensibility and authentic poetic expression. The poetry of Radoslav Zlatanović influenced the forming of the entire generation of contemporary Serbian poets in Kosovo and Metohija.
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Ardashnikova, Anna. "On the Way to Modern Society: the Shia Clergy in Early 20th Century Iranian Politics." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015888-5.
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Social and political events of the early 20 century caused the emergence of new concepts for the development of Iran, the relevance of which over time not only did not diminish, but increased. The agents of new ideology were both intellectual reformers of the secular circle and the Shia clergy, who actively participated in politics. The article, within the framework of an interdisciplinary study, examines the interaction of innovation and tradition at the stages of socio-political transformations that are crucial for Iran and highlights the arsenal of propaganda tools that were used in this process. Archival documentary materials and poetry of journalistic nature, which are first introduced into scientific circulation, allow to hear the “real voice” of the direct participants and witnesses of the events of this period.
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Maver, Igor. "The possibilities of verse translation: the reception of American poetry in Slovenia between the two wars." Acta Neophilologica 21 (December 15, 1988): 31–37. http://dx.doi.org/10.4312/an.21.0.31-37.
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Contemporary American poetry was more or less terra incognita in Slovenia throughout the first half of the 20th century. The thesis question, then, is why are there so few translations of American poetry into Slovene in the discussed period between the two world wars? Although this subject has not been treated in detail, the best critica1 reference is to be found in the study »American Poetry in Slovene Translations« by Mirko Jurak, Janez Stanonik's research of American-Slovene relations, and Velemir Gjurin's work on Griša Koritnik, one of the foremost verse translators of the period, and his translation of E. A. Poe's poem »The Raven«.
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Maver, Igor. "The possibilities of verse translation: the reception of American poetry in Slovenia between the two wars." Acta Neophilologica 21 (December 15, 1988): 31–37. http://dx.doi.org/10.4312/an.21.1.31-37.
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Contemporary American poetry was more or less terra incognita in Slovenia throughout the first half of the 20th century. The thesis question, then, is why are there so few translations of American poetry into Slovene in the discussed period between the two world wars? Although this subject has not been treated in detail, the best critica1 reference is to be found in the study »American Poetry in Slovene Translations« by Mirko Jurak, Janez Stanonik's research of American-Slovene relations, and Velemir Gjurin's work on Griša Koritnik, one of the foremost verse translators of the period, and his translation of E. A. Poe's poem »The Raven«.
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Makhortova, Varvara. "The Image of Sea-shell in the Poetry of Sophia de Mello Breiner Andresen." Stephanos Peer reviewed multilanguage scientific journal 51, no. 1 (January 31, 2022): 173–80. http://dx.doi.org/10.24249/2309-9917-2022-51-1-173-180.
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The article analyses the image of a seashell as a part of poetry and prose of Sofia de Mello Breyner Andresen, one of the key-figures of the 20th century Portuguese literature. The research was carried out using the methods of contextual, stylistic and semantic analysis. The results of the study indicate that the image of a seashell occupies a significant place in the work of Sophia de Mello due to a wide range of meanings associated with it. In poetry and prose of the writer, the shell is presented not only as a detail of the seascape, but also as a symbol of harmony, poetry, soul and the manifestation of the divine in the real world.
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Sargsyan, Nara. "V. Davtyan as the Interpreter of Western Armenian Poetry of the Beginning of the 20th century." JOURNAL FOR ARMENIAN STUDIES 1, no. 60 (March 27, 2023): 85–99. http://dx.doi.org/10.24234/journalforarmenianstudies.v1i60.35.
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The results of the research allow us to outline the following conclusions; In the history of Armenian poetry V. Davtyan newly evaluates and underlines the importance of Western Armenian lyric poetry of the beginning of the 20th century, which differs with its high artistry, intertwinement of the national and universal and upgrades Armenian literature to the level of the world literature. The articles of V. Davtyan reveal him as a literary critic of Western Armenian poetry. They illustrate the philosophical-aesthetic, theoretical understandings and principles of the theorist, which clearly define the aesthetic creed and the worldview of the writer. Davtyan's articles are the generalizations of profound analysis distinguished with subtle observations, brief and accurate descriptions, high literary value and relevance. The articles are differentiated with a stunning imagery based on individual and national dramas. Davtyan supports the continuous reverberation of the classical poetry created in Western Armenia from generation to generation. The Armenian critic reveals the artistic value and the hidden beauty of the tiny masterpieces of Western Armenian lyrical poetry of the beginning of the century, The critic touches upon the question of the identity of the Western Armenian poet, his national image and socio-political activities. The personal tragedy of the Western Armenian poets was accompanied by their creative accomplishments which acquired universal significance. The literary greatness of the Western Armenian poet is measured by his individualism, national and universal perception, love and understanding. Davtyan in his research juxtaposes the ideal and the reality. The critic focuses on the essence of the Armenian writer, aiming at preservation of the literary traditions and intertwining them with the modern periods.
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MAJEED, JAVED. "GEOGRAPHIES OF SUBJECTIVITY, PAN-ISLAM AND MUSLIM SEPARATISM: MUHAMMAD IQBAL AND SELFHOOD." Modern Intellectual History 4, no. 1 (March 8, 2007): 145–61. http://dx.doi.org/10.1017/s1479244306001090.
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This essay focuses on the oppositional politics expressed in the historical geography of the Persian and Urdu poetry of Muhammad Iqbal (1877–1938), showing how it emerges from, and breaks with, Urdu and Persian travelogues and poetry of the nineteenth century. It explores the complex relationships between the politics of Muslim separatism in South Asia and European imperialist discourses. There are two defining tensions within this politics. The first is between territorial nationalism and the global imaginings of religious identity, and the second is between the homogenizing imperatives of nationalism and the subjectivity of individual selfhood. These tensions are reflected in the composite geography of Iqbal's work, which contains three elements: a sacred space, a political territoriality and the interiority of subjectivity. But these elements are in conflict with each other; in particular, the space of interiority in his poetry conflicts with the realm of politics in the external world.
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Guslin, Guslin, and Amarulla Octavian. "The impact of the Bolsheviks Revolution on the political development and system of government of the new state of the 20th century." Politik Indonesia: Indonesian Political Science Review 6, no. 2 (August 20, 2021): 145–57. http://dx.doi.org/10.15294/ipsr.v6i3.31484.
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The Bolshevik Revolution forced the end of Tsar Nicholas II's imperial rule in Russia. Furthermore, under the leadership of Vladimir Lenin, Russia formed a new government in the form of the Republic. The main power of this government is entirely under the Dictatorship of the Proletariat. Subsequent changes in the form of government in Russia, especially after World War I, inspired newly independent countries in the mid-20th century to follow the same system of government. Through theories about the state, politics, and government system, this study will analyze the influence of the Bolshevik revolution on the new system of government for new countries in the world in the 20th century. To analyze the effect of changes in the form of government, the authors use an exploratory qualitative research method with a historical approach through a literature study. After the Revolution, based on a common view of colonialism, human rights, ideology, and the strong understanding of Marxism-Leninism, several countries in the world that were newly independent in the mid-20th century were inspired by the Bolshevik Revolution by forming countries with a Republican system of government, including Indonesia.
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Moghadam, Valentine M. "What is Revolution in the 21st Century? Towards a Socialist-Feminist World Revolution." Millennium: Journal of International Studies 47, no. 3 (May 30, 2019): 470–82. http://dx.doi.org/10.1177/0305829819838607.
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I consider prospects for revolution in the 21st century, defined here as a thorough-going world revolution that replaces the capitalist world-system with a feminist-inflected democratic socialism. An overview of 20th century revolutions and more recent uprisings suggests distinctive contemporary features, including women’s participation and the diffusion of feminist agendas, but also constraints. In the face of reactionary social movements, and given the limits of ‘horizontalist’ politics, activists could learn from past revolutionary strategies to build a powerful global alliance of progressive forces.
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Twose, Nigel. "World in crisis: the politics of survival at the end of the 20th century." International Affairs 73, no. 3 (July 1997): 576–77. http://dx.doi.org/10.2307/2624304.
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Zou, Luwei, and Maria V. Mikhaylova. "The Phenomenon of “Podakhmatovki”: Akhmatova’s Discourse in Women’s Poetry of the First Third of the 20th Century." Studia Litterarum 6, no. 4 (2021): 198–223. http://dx.doi.org/10.22455/2500-4247-2021-6-4-198-223.
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The article mainly deals with the role of Akhmatova’s discourse in women’s poetry of the first third of the 20th century. After the publication of Akhmatova’s first collections of poems characterized by “the superior simplicity,” women’s poetry got access to the new opportunities for self-presentation. There emerged such phenomenon as “podakhmatovki” (e.g. female poets influenced by Akhmatova), the list of which, however, varies in different studies. We argue that the most representative “podakhmatovki” were L.F. Kopylova, N.G. L’vova, and V.M. Inber. For the first time, the article proposes a specific analysis of the poems by these three female poets which allows us to discover their ways of absorbing and developing Akhmatova’s insights from a psychological stand. We claim that Kopylova almost duplicates Akhmatova’s methods of comprehending the inner world of women being, to a certain extent, an imitator; L’vova is trying to combine the image of Akhmatova’s female characters and futuristic poetics; and Inber prefers a dialogue and exhibits “rivalry” of a kind with Akhmatova in her poetry.
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Soini, Helena. "The motif of the way in the work of the poets of Finland in the 20th century." Scandinavian Philology 21, no. 2 (2023): 374–94. http://dx.doi.org/10.21638/11701/spbu21.2023.211.
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The path motif is one of the major dominants in the works of prominent 20thcentury poetsof Finland, both Finnish and Swedishnative speakers. Understanding life as a road is what Eino Leino shares in common with Uuno Kailas, Paavo Haavikko, Risto Ahti, Heli Laaksonen, Edith Södergran, and Ralf Nordgren. Their position coincides with the creative concepts of Alexander Blok and the ideas of pilgrimage in European literature and in Kalevalian poetry. 20th-century Finnish poetry falls into all- European line. But in Finnish poetry, the path motif has existed since the epic songs: Lemminkäinen’s escape, folklore heroes’ journey in search of a bride, and Kalevalians’ quest to recover the Sampo. Furthermore, travelers’ purposes ranged from noble and holy to everyday and mundane. In the early 20th century, Finnish neo-Romanticists, referring to the history of national culture, travelled frequently to Finnish and Russian Karelia. Since the 1920s, poets have been referring to the road image as the “holy road of calling” (Uuno Kailas) a singer has no right to turn away from. In post-World War II poetry, moving in a circle or “back and forth” (Risto Ahti) is, in any case, moving forward. The important thing is not to get stranded, not to run into a wall. The path dominant becomes deeply intertwined with the image of a home, as the path motif does with the image of time, life cycle, and biography. A real, geographical, biographical, and spiritual path become one, and on that path high is combined with low or even vile. In modern Finnish poetry, the path theme found a new life with different, sometimes not matching nuances, while still remaining relevant and arguably primary.
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Mustafayeva, Nailya B. "Stanza form of mukhammas in Azerbaijan lyrics in 20th century." Neophilology, no. 21 (2020): 76–84. http://dx.doi.org/10.20310/2587-6953-2020-6-21-76-84.
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In Azerbaijan literature of the early 20th century mukhammas were created, they were distinguished by the search for new forms and the problematic range. For example, Sabir began mukhammas with beit (couplets) of tarji, repeated it at the end of each stanza. Many other poets repeated a similar technique afterwards. There are other features of the mukhammas of the specified period; the topic in general covered lyric and poetic, patriotic, social and political, philosophical, and religious issues. The patriotic mukhammas included a description of the nature beauties, the motherland defenders courage, the impulses of those who strove for the progress of the country, for its freedom. The number of satirical mukhammas increased. Takhmis (imitations) were written on classical poems, including Fuzuli’s ghazals. At the early 20th century in Azerbaijan, as well as in other places of the Russian Empire, political activity grew among the population. The famous poet Mahammad Hadi wrote in his mukhammas about the need to achieve freedom. After all, only free people can achieve true progress and prosperity. In Soviet times, a number of poets continued to write their poems in the classical style. Poets such as V. Abbaszade Hammal, M.S. Ordubadi, A. Nazmi, Mikayil Rafili, Ali Nazim, Suleiman Rustam, Mikayil Mushfig praised their native land in their mukhammas, at the same time they did not forget to note the role of the Communist Party in the prosperity of the country. A lot of poems were devoted to international events, criticism of the imperialist forces. During World War II, Aliaga Vahid in his mukhammas predicted German fascism an inevitable defeat, expressed admiration for the heroism of Soviet soldiers. In the second half and at the end of the 20th century, the number of mukhammas on religious themes is growing in Azerbaijan poetry. A number of poets have moved from writing poetry in the classical nazm style to the mukhammas genre.
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Hansen, James T. "The Relevance of Postmodernism to Counselors and Counseling Practice." Journal of Mental Health Counseling 37, no. 4 (October 1, 2015): 355–63. http://dx.doi.org/10.17744/mehc.37.4.06.
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Postmodernism is a broad intellectual movement that has been changing the way people approach art, music, literature, politics, and philosophy since the late 20th century. This article addresses the impact of postmodern thinking on the practice of counseling and its relevance to counselors' approach to understanding clients and their world.
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Spivakovskii, Pavel E. "THE ARTISTIC IMAGES OF POST-DEATH IN THE POETRY BY JOSEPH BRODSKY AND OLGA SEDAKOVA." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2021): 141–65. http://dx.doi.org/10.28995/2686-7249-2021-7-141-165.
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The article analyzes how Joseph Brodsky and Olga Sedakova depict the posthumous existence of a human. Brodsky holds an agnostic view on the world, tending to a positivism. The poet concentrates on depicting the Homeric horror of the very fact of death and its inevitability. Olga Sedakova tends to the Christian view of the world, taking into account the experience of the catastrophes of the 20th century, literature after Auschwitz. Unlike the traditionalist image of Paradise, Sedakova sees in it not only ‘incredible happiness’, but also an experience of tragedy and compassion, which leads her to a very unconventional form of idyll.
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Korchagin, Kirill M. "Bureau “Transatlantic”: French and US Poets on Rendezvous." Literature of the Americas, no. 12 (2022): 261–73. http://dx.doi.org/10.22455/2541-7894-2022-12-261-273.
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Since the middle of the 19th century, American literature has been perceived by French poets as a kind of Other, at the same time alien and attractive, capable of teaching the experience of liberation, which the French poets themselves lack. Nevertheless, the situation is more familiar when other poets of the world are looking for inspiration in French poetry. French poetry for American modernists of the first quarter of the 20th century was synonymous with everything that expands the horizons of literature. At the same time, the reverse situation, when French poetry is saturated with outside influences, in particular, American ones, is studied much worse. Abigail Lang's book tries to fill this gap, considering the transformations that the new, “post-Surrealist” French poetry is experiencing under the impression of the new American poetry. The book is divided into three chapters: the first one deals with the reception of objectivism since the 1970s to the present, the second one deals with the problem of the “transatlantic” poetic community, which manifests itself in various forms and genres, and, finally, the third one tells about the “speech turn,” which, from the author's point of view, takes place in French poetry of recent decades.
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Novella, Enric J. "‘The poetry of psychiatry’: existential analysis and the politics of psychopathology in Franco’s Spain." Medical History 67, no. 1 (January 2023): 74–88. http://dx.doi.org/10.1017/mdh.2023.16.
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AbstractThis article examines the presence and influence of the work of Swiss psychiatrist Ludwig Binswanger and existential analysis (Daseinsanalyse) in Spanish psychiatry in the central decades of the 20th century. First, and drawing on various printed and archival sources, it reconstructs the important personal and professional ties that Binswanger maintained with numerous Spanish colleagues and describes the notable dissemination of his work in Spain through bibliographical reviews, scientific events, academic reports, university lectures and translations. Next, it reviews the incorporation of the postulates of existential analysis into the discourse of Spanish psychiatrists and assesses their most elaborate and original contributions to the foundations of ‘anthropological–existential’ psychiatry or the ‘existential–analytical’ interpretation of certain disorders or clinical conditions. And, finally, it tries to clarify the assessment according to which the (inevitable) instrumentalisation of existential analysis in the context of Franco’s Spain first compromised the critical recognition of its true possibilities (and limits) and later contributed to the discrediting of psychopathological research among Spanish psychiatrists.
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Saif, Mohammad. "Modernism and Romanticism: A Comparative Study of the Selected Poems of W.B. Yeats and John Keats." SMART MOVES JOURNAL IJELLH 7, no. 6 (June 28, 2019): 10. http://dx.doi.org/10.24113/ijellh.v7i6.8849.
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Romantic poetry was especially concerned with the themes of country life which is also known as pastoral poetry; moreover it also employed mythological and fantastic settings. Romanticism focuses more on the individual than society. The Romantics were fascinated especially by the individual imagination and individual consciousness. “Melancholy” was quite the exhortation for the Romantic poets. A firm loosening of the persistent rules of artistic expression, during earlier times, was observed in the Romantic era.
In English literature, modernism has its roots in 19th and 20th century; the age was characterised by an unexpected and sudden release from conventional ways of viewing the world and interacting with it. Individualism and Experimentation, which were often heartily discouraged in the past, became the modern virtues. The modernist period in English literature was an intuitive response towards the prevailing aesthetics and culture of the Victorians culture of the 19th century. At the turn of the twentieth century, artists and intellectuals blamed the writers of earlier generation for misleading the society, thereby resulting in a dead end. They had the ability to predict hence they could foresee that world events were escalating into a mysterious territory.
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Furaih, Ameer Chasib. "A Poetics of De-colonial Resistance: A Study in Selected Poems by Evelyn Araluen Cor." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, no. 02 (2022): 439–56. http://dx.doi.org/10.37648/ijrssh.v12i02.029.
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First Nations peoples in Australia, as in many other colonized countries, were forced to acquired English soon after the arrival of the colonists in their country during the second half of the 18th century. In response to their land dispossession, Indigenous Australian poets adopted and adapted the language and literary forms of colonists to write a politicized literature that tackles fundamental subjects such as land rights, civil, and human rights, to name but a few. Their literary response can be traced back to the early 1800s, and it had continued through the 20th century. One example is the poem “The Stolen Generation” (1985) by Justin Leiber, which has since been considered a motto for the struggle of Aboriginal peoples against obligatory removal of children from Aboriginal families.This paper aims at examining 21th century politicized literary response of Aboriginal poets. It sheds lights on the poetry of Evelyn Araluen as a telling paradigm of decolonial poetics, demonstrating her role in the political struggle of her peoples. Analysing representative poems by the poet, including “decolonial poetics (avant gubba)” and “Runner-up: Learning Bundjalung on Tharawal,” the paper examines the interdisciplinary nature of her poetry, and demonstrates how the poet transgresses the boundaries between poetry and politics, so as to be utilized as an effective tool of political resistance.
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Mielhorski, Robert. "The Topos of Childhood in Modern Poetry (1939–1989)." Tematy i Konteksty specjalny 1(2020) (2020): 364–94. http://dx.doi.org/10.15584/tik.spec.eng.2020.19.
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The paper problematises the literary image of childhood in poetry in relation to external historical and socio-political events. The material analysed covers Polish poetry from 1939 – 1989 (a clearly distinguished segment of the historical-literary process). The choice and ordering of the case studies results from the application of two research paradigms: (i) the paradigm concerned with autobiographical motifs, which refers to such topics of 20th century writings as exile (poetry of return by Łobodowski, Wierzyński etc.) immigration (nostalgic [pansentimentalism] and emotionally neutral motifs), Holocaust (motifs of fear, division between now and then, the role of imagination) and (ii) a generation-related paradigm, which allows us to follow the topos of childhood viewed from the perspective of history according to the order of generations entering Polish literature (from the 1920 Generation to the New Wave Groups) up to the succession of consecutive literary trends in the second half of the 20th century (e.g. soc-realism and soc-plans). Poetic texts concerning childhood in the light of history are viewed as records of “rites of passage” operating from the child’s phase of the pre-personalisation area – the child’s sense of being one with the world, experiencing the harmony of being – to the period of personalisation – when history leaves its mark on this period; characterised by the sense of one’s distinctiveness from reality, individual alienation, the need for rationalisation of one’s own existence and the existence of the surrounding reality. The role of history is to lead the child from the pre-personalistic period to the experience of personalisation.
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Toroš, Ana. "Auto-stereotypes and Hetero-stereotypes in Slovene and Italian Poetry About Trieste From the First Half of the 20th Century." Interlitteraria 21, no. 2 (January 18, 2017): 290. http://dx.doi.org/10.12697/il.2016.21.2.10.
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This article brings to light the socio-political conditions in the Triestine region, at the end of the 19th century and in the fi rst half of the 20th century. Th ese conditions infl uenced the formation of stereotypical, regionally coloured perceptions of Slovenes and Italians in the Slovene and Italian poetry about Trieste from the fi rst half of the 20th century, which were specific to the Triestine area or rather the wider region around Trieste, where the Slovene and Italian communities cohabited. This article also points out that these stereotypes are constructs. The Italian Triestine literature most frequently depicted the Italians (native culture) before the First World War, in accordance to the needs of the non-literary irredentist disposition. In this light, it depicted them as the inheritors of the Roman culture, wherein it highlights their combativeness and burning desire to “free” Trieste from its Austro-Hungarian prison. An increase in auto-stereotypes among the Slovene poetry is noticeable after the First World War and is most likely a consequence of the socio-political changes in Trieste. The Slovene Triestine literature depicted the Slovenes (native culture) after the First World War as “slaves” and simultaneously as the determined defenders of their land, who are also fully aware of their powerlessness against the immoral aggressor and cruel master (Italian hetero-stereotype) and so often call upon the help of imaginary forces (mythical heroes and personified nature in the Trieste region) and God. The Italian Triestine literature mostly depicted the Slovenes before the First World War as an inferior people, often referred to by the word “ščavi”. After the First World War, the Slovenes are depicted merely as the residents of the former Austro-Hungarian Trieste, meaning they were part of the narrative surrounding Trieste, only in when the narrative was set before the First World War. In this case, pre-war Slovene stereotypes appear, also depicted as part of the literary myth of the “Habsburg” Trieste, namely as the folkloric characters from the surrounding countryside.
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Yusup, А., and P. Yusup. "WORKS OF M.ZHUMABAYEV FOR CHILDREN." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 359–63. http://dx.doi.org/10.51889/2020-4.1728-7804.72.
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This article will focus on works of the great Kazakh poet M. Zhumabaev for children. He is one of our poets who left a deep mark in the world of Kazakh poetry, praising the power of the art of words, creating a kind of artistic expression in the theory of poetry, transmitting to descendants a world of deep feelings, lofty dreams and sparkling fantasies. His postures were preceded by stormy adventures and tense situations that took place in the Kazakh steppe at the beginning of the 20th century. The time during which the poet lived was filled with dramatic social changes. Therefore, the poet's work remained in the darkness of the abyss, which for the time being was closed to us. Only after the onset of independence Magzhan, one of the greatest figures of Kazakh culture and literature, returned to his nation.
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Li, Yan. "The Influence of Changes of Islam and Politics Relations in 20th Century on the Strategy of Belt and Road." International Journal of Social Science Studies 6, no. 2 (January 23, 2018): 123. http://dx.doi.org/10.11114/ijsss.v6i2.2945.
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In the early twentieth century, with the independence of the Islamic nations, the religion of Islam withdrew from the traditional unification of religion and state (caesaropapism) to private life. The secularization of Islam has taken its course and its political characteristics have weakened. In the process of globalization of economy, politics and culture, the development of all countries became uneven and imbalanced. In the mid-to-late 20th century, it turned out that the secularization and modernization advocated by the nationalist had failed to effectively solve the development problems which the Muslim countries faced. This made Islam continue to strengthen its position in both domestic and international political life of Muslim countries. The traditional religious identity has become a powerful tool for the domestic cohesion and international fight against power. The analysis of the changes of Islamic religion and politics relations in 20th century can help to understand and reflect on the frequent ethnic and international conflicts in the world at present. Such changes will also affect the development strategy of China’s Belt and Road initiative.
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Roussos, Sotiris. "Introduction—Issues and Debates on Religion and International Relations in the Middle East." Religions 11, no. 5 (May 21, 2020): 263. http://dx.doi.org/10.3390/rel11050263.
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By the end of the 20th century, after great political upheavals, two world wars, the decolonization process and political, social and scientific revolutions, it is hard to miss that the world is in a deep de-secularization process. In the Middle East, this process has taken multiple trajectories and has made geopolitics of religion central in reshaping regional issues and in restructuring modes of international politics and international system’s intervention in the Middle East.
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Oblučar, Branislav. "Avangarda poslije avangarde u hrvatskoj poeziji." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 159–73. http://dx.doi.org/10.14746/pss.2020.18.9.
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The article discusses the problem of the avant-garde in Croatian poetry during the second half of 20th century. It supports the thesis about the continuity of the avant-garde before and after World War II, and perceives the artistic and literary experiments of the neo and post-avant-garde as a part of a long avant-garde tradition. The analysis brings forward the different perceptions of avant-garde in the works of Radovan Ivšić and Josip Sever, and post-avant-garde poets of 1970s and 80s.
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HAVRYLIV, Tymofii. "THE CITY IN THE MODERNIST POETRY. URBAN POEMS BY BOHDAN IHOR ANTONYCH AND GEORG HEYM." Ukraine: Cultural Heritage, National Identity, Statehood 33 (2020): 480–93. http://dx.doi.org/10.33402/ukr.2020-33-480-493.
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For the first time in literary studies, a comparative analysis of the urbanistic poetry of Bohdan Ihor Antonych and Georg Heym is realized. The common and divergent in semantic codes and characteristic practices from which the poetics of both authors grows are investigated. The city is the defining topos of modernist writing and the central category of the modernist worldview. In no other epoch did the city enjoy the attention of writers as at the end of the 19th century and in the first third of the 20th century. The modern city acquires its outlines only in the middle of the 18th century, and the modernist city from the second half of the 19th century, but especially in the early 20th century through dialectical denial and overcoming the «city of enlightenment». The metaphor of the sea and the semantics of the element, usually water, characterize expressionist speech. Expressionist lyrics are imbued with apocalyptic visions. Urban modernist poetry is an extrapolation of the inner world (states of consciousness) to the outer world. Negative fascination is a defining feature of urbanistic discourse in expressionist poetry. Expressionist urbanistic lyricism is a romantic revolt against urbanization as a defining structural element of the civilizational evolution of mankind, and demonization is the main instrument of criticism of the city in expressionist lyricism. Special attention is paid to the function of memory and remembrance in big-city modernist poetry. While in Heym, a representative of early expressionism in German literature, the city appears as a topos of the apocalypse, in Antonych, the picture of the city is significantly more differentiated – and figuratively, and tonally, and substantial. The thematic blurring of Heym's urban landscapes is opposed by Antonychʼs structural urban subtopoi, the key one being the square. Antonychʼs poetics moves from the concrete to the abstract; his apocalypse is more mundane, aestheticized and playful, and the trumpets of the last day trumpet in the squares, which lovers meet. Antonychʼs city is more vitalistic than Heimʼs, even when the lyrical subject inflicts a flood on him. Not only expressionist but also formalistic and cubist melodies are heard in it. The article uses methods of textual, paratext, and contextual analysis, method of distributive analysis, method of poetic analysis, method of semantic analysis, method of stylistic analysis, method of phonological analysis, hermeneutic and post-structuralist methods. Keywords: modernism, expressionism, urbanistic lyrics, urban landscape, memory, remembrance.
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Eamvijit, Suriyaporn. "Modernism and the Gender Trouble: Techno-Utopia and Gender Politics in the 20th Century Design." Journal of Architectural/Planning Research and Studies (JARS) 20, no. 1 (July 26, 2022): 55–72. http://dx.doi.org/10.56261/jars.v20i1.249560.
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Among prominent figures in the architectural field of the twentieth century, Le Corbusier was undoubtedly the most renowned. His key writing Vers Une Architecture (Towards a New Architecture) was received with praise and has been regarded as the manifesto of modern and contemporary architecture ever since. His projects have become symbols of the end of the old regime and the possibility for a new democratic society. However, his revolutionary mission apparently diminishes gender issues. Although there is extensive research about Le Corbusier’s works, only a few investigated the gender aspects of his works or incorporated his artistic works into the analysis. Among several studies on politics of gender in modernist architecture, what is still lacking is the analysis of Le Corbusier’s works that are not architectural. This paper aims at examining the relationship between Le Corbusier’s architectural as well as his artistic works and gender politics through the lens of Henri Lefebvre’s spatial theory and feminist theories. The paper focuses on the modernist aesthetic, technology, and gender politics in spatial arrangements and designs, especially in the domestic sphere, that are discussed mainly in Le Corbusier’s Towards a New Architecture and his poetry collection Poem of the Right Angle. An analysis of spatial representations in both works reveals how the architect’s obsession with purist functionalism and the glorification of technology propagate the conventional concept of femininity and reduces female subjects to a unit of domestic labor. On the other hand, the paper contrasts the work of Le Corbusier with that of Margarete Schütte-Lihotzky to demonstrate how the very same aesthetics can be a design that favours women when it is appropriated by female professionals who think about equality both in terms of class and gender.
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Weismann, Itzchak. "THE POLITICS OF POPULAR RELIGION: SUFIS, SALAFIS, AND MUSLIM BROTHERS IN 20TH-CENTURY HAMAH." International Journal of Middle East Studies 37, no. 1 (February 2005): 39–58. http://dx.doi.org/10.1017/s002074380505004x.
Full textAbstract:
With the advent of the 20th century, Sufism found itself under increasing attack in many parts of the Muslim world. In previous centuries, mystical movements had played a prominent role in the struggle for the revival of Islam and occasionally, where governments were weak or nonexistent, also in actual resistance to European encroachment. In the wake of the increasing consolidation of the state and the spread of Western rationalism, however, Sufis came to be regarded as a major cause of the so-called decline of Islam and an obstacle to its adaptation. In the Arab world, this anti–Sufi feeling was generally associated with the Salafiyya trend. The Salafi call for a return to the example of the forefathers (al-salaf al-**sdotu**āli**hdotu**) amounted to a discrediting of latter-day tradition, which was described as cherishing mystical superstition as well as scholarly stagnation and political quietism. Under the burden of this critique, and as a response to the general expansion of education and literacy, Sufism has been forced to assimilate new ideas and to make room for a new form of organization; the populist Islamic association. These developments culminated in the establishment of the Society of the Muslim Brothers.
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Khaninova, Rimma M. "Благопожелание чаю в калмыцкой лирике ХХ в.: фольклорный аспект." Oriental studies 16, no. 2 (June 1, 2023): 428–43. http://dx.doi.org/10.22162/2619-0990-2023-66-2-428-443.
Full textAbstract:
Introduction. In Kalmyk folklore, the genre of tea well-wishes (Kalm. цәәд тәвх йѳрәл) accompanies many rituals characterized by magic poetry and aimed to secure health, longevity, well-being, human happiness, as well as preservation and prosperity of the surrounding world. Tea is a major meal component to be offered to the spirits of ancestors, deities, and individuals for the fulfillment of well-wishes. In Kalmyk traditional meals, tea remains a basic element. The article is topical enough since tea well-wishes in 20th-century Kalmyk poetry are still somewhat understudied. Goals. The study seeks to identify related examples in terms of genre, consider the folklore tradition and innovations, analyze available Russian translations for adequacy. Materials and methods. The article focuses on representative Kalmyk- and Russian-language (including Russian translations) poems by Kalmyk poets addressed to tea. Methodology rests on historical-literary and comparative approaches to reveal the relation between folklore and poetry, the continuity of this genre throughout Kalmykia’s literary process. Results. The paper attests to the bulk of poetic tea well-wishes — in the folklore aspect — underwent some changes and were created in the mid-to-late 20th century. Conclusions. Tea well-wishes in writings of Kalmyk poets are characterized by genre syntheses, certain plots, inclusions of proverbs and sayings, folklore formulas, praises to the beverage, descriptions of how it be cooked, and its leading role in the ethnic meals model.