We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Poems: 1. "To nie sen" 2. "Polska dziesięć" 3. "Sierpień w mieście" by: Marcin Świetlicki
More...
Poems: 1. "Transcendencja" 2. "Demistyfikacja" by: Andrzej Książek
More...
This article aims to read Forrest Gander’s Pulitzer-winning 2018 volume, Be With, in the context of Judith Butler’s notion of vulnerability and the Buddhist concept of interbeing, introduced by Thích Nhất Hạnh. Gander’s search for a poetics of listening reaches a new intensity in Be With, a poetic lament for a deceased beloved. In this groundbreaking work, grief becomes a means of knowing the world where knowledge is understood “not as recitation but as/ the unhinging somatic event” (Gander 2018, 28). The new way of engaging with the world triggers a subjective reconfiguration that leads to the articulation of a deeply empathic poetics of vulnerability which becomes the basis for telling new stories of human, interspecies, and mineral entanglements.
More...
Poems: 1."Wiadomość" 2. "Jutrznia" 3. "Psiary" by: Magdalena Brzezińska
More...
The article is a preliminary study of contemporary Chechen bard Timur Mutsuraev and texts of his songs. The underground bard and active participant of the First Chechen War has become a legend and symbol of the Chechen struggle for independence and freedom. Despite strong anti-Russian and Islamic message Mutsu¬raev’s songs are popular not only among independence-oriented Chechens but also among Russian youth. Most of Mutsuraev’s works are patriotic war-songs glorifying national effort to defend Chechnya against Russian aggressors. The artist celebrates Chechen national symbols, myths and ethos. Mutsurayev’s songs are particular in¬teresting subject of study in context of postcolonial theory.
More...
Sans attirer pour longtemps l’attention d’Ivan Vazov, la Roumanie a joué un rôle spécial dans sa vie personnelle et artistique: – ses premières poésies et ses trois premiers livres y ont été publiés; – quelques-unes de ses idées générales sont formées parmi de nombreux compatriotes habitants la Roumanie cette époque (un grand nombre de nos phénomènes nationaux ont eu besoin du milieu étranger pour devenir soi-même – un paradoxe qui exige son explication); – des traits physionomiques du poète, évolués en Roumanie, sont restés invariables toute sa vie; – les relations entre les émigrés bulgares et la société roumaine ont été présenté par ses oeuvres avec fidélité; – l’aide discrète de quelques hommes politiques roumains (par exemple Ion Bratianu) a soulevé l’esprit de notre émigration et Vazov a exprimé la reconnaissance qui leur est due; – après la chute de l’Insurection d’Avril plusieurs révolutionnaires bulgares ont cherché abri au-delà du Danube. La Roumanie a été nommée par Vazov “la terre hospitalière de la liberté” – c’est un des rapprochements les plus étroits entre la patrie et un pays étranger. Ce rapprochement devient encore plus catégorique dans le récit “Veliksin”. Son héro – poète, journaliste, homme public – se sentant Bulgare, appartient à la fois à la Bulgarie et à la Roumanie: il a vécu dans les deux capitales, son oeuvre est créé en deux langues, son testament favorise des villes roumaines et bulgares. Veliksin n’est pas “partagé entre” les deux pays – au conraire, il en fait un tout. La construction du personnage historique et littéraire uni les elements nationaux différents, remplaçant leur rivalité par égalité. Le contexte roumain chez Vazov fait naître une vision patriotique plus large et générale, au-dessus des frontières historiques.
More...
The purpose of this article is to study the relations of the neotraditionalist cycle and genre strategies, as applied to Boris Pasternak’s cycle of poems “Wind (Four Fragments about Blok)” (1956). Despite an abundance of research dedicated to Pasternak’s attitude to Aleksandr Blok, still little attention is paid to the poetics of this lyric cycle. The analysis of genre strategies, the concept of which has been developed by Valery Tyupa, and the principles of lyric cycle, proposed by Igor Fomenko, were used as the methodology of this research. The paper is organised around the following points. Firstly, while the main title (“Wind”) and the meter (amphibrachic trimeter with the rhyme scheme AbAb) function as a centripetal force of the cycle, the configuration of various genre invariants becomes a centrifugal force. Secondly, however, the genre repertoire shows a special logic of the lyric cycle, which can be characterised as a movement from the vertical of the ode to the horizontal of the ballad. The first poem follows the strategy of the ode, but cannot be regarded as a traditional one. In the second poem, the lyrical subject uniquely combines the strategy of the idyll with Blok’s radicalness through the image of wind. The third poem also takes up the strategy of the idyll; here, however, signs of an impending catastrophe can be seen in the lines resonant with the first poem of Blok’s cycle “On the Kulikovo Field”. In the final poem, looking at the lines from Bely’s poem “To the Motherland” (“And you, firestorm, / rage and burn me, / Russia, Russia, Russia”) makes it possible to identify the strategy as that of the ballad (“Blok awaited this storm and its lashing. / With flame- -strikes its lashes would hit” [from Don Mager’s verse translation, “Wind”]). Thirdly, the analysis of Pasternak’s cycle from the perspective of genre strategies helps us to reconstruct a dialogue between poets, which is inherent in the neotraditionalist poetics. Finally, the artistic logic of combining genres in this work sheds new light on the poetological characteristics of the neotraditionalist cycle, which should be distinguished from the poetic homage.
More...
This paper analyses and interprets possible sources of the subtext in Genrikh Sapgir’s poem “Parad idiotov” [‘A Parade of idiots’], namely motifs of the road and marching onward, as reflected in the revolutionary parades of the early twentieth century and in the Soviet poetry for children and for the general reader. In the poetry of Aleksandr Galich and Iosif Brodsky the revolutionary fervour of the parade is presented ironically. In it, the distinctions between military and civil parades, between the jubilee parade and a workers’ demonstration are elided: movement to the music itself becomes a characteristic motif of the poetry of the 1960s, so that the motif of the parade becomes not just a literary signifier, but also a feature of everyday life, suggesting on the one hand joy and celebration, and on the other the greatness of the country and the glorification of the Soviet man who strides along “the correct path”. In parallel with the semantics of a holiday, the motif of the procession acquires an additional meaning (also inspired by the era) of a forced movement, the march of prisoners towards their place of imprisonment. Sometimes the parade motif takes on both meanings: the joyous march and the listless marching of puppets become woven into a single whole. It is noteworthy that in children’s poetry, the parade motif is indistinguishable from its counterpart in “adult” poetry. The lyrical subject of Sapgir’s poem, who walks towards the parade of idiots, merges with it: movement is proclaimed to be the goal of life, and death for a dream with a blissful smile – the romantic idea of an idiot. It is probably no coincidence that Sapgir’s text contains no direct quotes from previous “parade” texts nor clear markers of a genetic connections with them: the poet is quoting not texts, but the epoch.
More...
("Август" в българската лирика през 70-те и 80-те години на 20 век)
Thе paper „With Dust in the Soul and Dust on the Feet …“ („August” in Bulgarian Poetry during the 70s and 80s of the 20th Century) presents observations on some thematizations of the Month of August in the context of Bulgarian poetry during the 1970s and 1980s following the appearance of Boris Hristov debut book, part of which is his iconic poem „August“. Based on pivotal studies related to the theory and practice of paratext and title of a literary work, the article offers an opportunity for arrangements and analysis of the empirical set of artistic texts – in the aesthetic and socio-political context of the period.
More...
This is the first publication of a previously unknown version of Osip Mandel’shtam’s poem “Ia vernulsia v moi gorod, znakomyi do slez...” (1930, 1932), which survived in the archive of the famous Russian scholar Arkady Dolinin (1883–1968) (currently located in the Manuscript Division of the National Library of Russia). It has come to us in the spisok (copy) made by an unknown person, who almost certainly met Mandel’shtam in the period between late December 1930 and early January 1931. Although the name of the copyist cannot be established, the text as such is remarkable in the way it differs from the final version.
More...
The dissertation focuses on the – underrepresented in the state of research – subject of metaphor of school in the contemporary Polish poetry. The inspirations drawn from the works on the subject of the cognitive metaphor (Lakoff and Johnson) and the development of this theory on the poetic matter (Lakoff and Turner), from the papers written in the field of anthropology of education, from the partial analyses of the works by poets using the school scenes and terminology and, at last, from philosophical, psychological, pedagogical and sociological studies on mutual connections between education and non-school world allow to see the multifaceted application of the large metaphor LIFE IS A SCHOOL in the poetry. To show this large-scale subject (both in the aspect of the time-frame and poetic diction or genre) in a systematic way, the thesis consists of two parts, which are the result of two complementary approaches. The first part of the dissertation, Stages, is dedicated to the metaphor of school existing in the Polish poetry of two different periods – the years 1945–1989 (the escape from politics into the universal metaphors of school versus the use of school language as the way to beat the Polish People’s Republic system at its own game) and the new Polish poetry (the last works by the Old Masters, the transformation of the anti-system poetry after 1989, the poems forerunningthe latest poetic strategy, the anti-school statements by the authors who emerged after 1989 and their inclination to use the metaphor of school). This chronological conceptualization of the subject allows to present the intergenerational similarities and differences in including the school scenes, characters, objects and terms in the poetry, but at the same time it shows that the metaphor of school is formed partly under the influence of external (historical, political, social) factors, so this figure can be used not only as the universal large metaphor, but also as the instrument of verbalization of the experiences and changes associated with the specific events.The second part of the thesis, Topics, serves as the examination of those elements of school reality that build the metaphors connected with education. The school accessories, the educational institutions and stages, the teachers and the students, the timetable (lessons, tutoring, truancy, summer breaks), as well as the methods of evaluation of the educational performance appear in the contemporary Polish poetry in various forms and turn out to be the way to verbalize a wide range of existential experiences.The timelessness of school as the large metaphor of life and the specific strategies of metaphorization that change with time both contribute to versatility of this kind of poetic practices – the practices that are able to express different aspects of life metaphorically by the means connected with school. Love and death, past, present and future, self-recognition and the knowledge of the Other become more accessible and understandable when they are presented as the elements of “education” – even if the findings drawn from those “lessons”on the human condition can be really disheartening.
More...
In this paper we discuss about cathegory of style marks in literary text. This cathegory was primarly noted in linguistic stylistics and reffers to the status of one linguistic element which is in deflection of the grammatical norm of some language. Her application and formalization in literary stylistics are in the middle of some very problematic points which we discuss in this paper. After discussion of legitimity and possibility of this analytical method in literary stylistics, we propose theoretical model in which we redefine this cathegory and use it in analysis of literary text. Theoretical and methodological frame of this paper is based on linguistic stylistics, literary stylistics, poetics, stylistic critic and estehtics.
More...
A poem by Albert-lőrincz Márton - "(Vers, amelyben a földbe vert bot gyökeret ereszt)"
More...
