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Manastirli Salih Faik was born in Manastir. He is from the Encümen-i Suara poets who lived between 1835-1899. Mr. Faik, who was born in the Manastir, later went to various cities such as Istanbul, Burdur and Gumushane due to his government duties. In addition to his duties, he was also interested in literature. He has four works. These are Aruz-i Turki, Elfiyye-i Seniyye fi’l-Adabi’l-Ahmediyye, Peymane and Divan. His works are important in terms of reflecting the religious, political, literary and social characteristics of his time. In this study, information about the life and works of Mr. Salih Faik. After we will talk about the issues that are found in his divan and which we consider remarkable. At the same time, his poems published in Hazine-i Fünun Magazine, one of the important magazines of his time, will be included.
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ЯВОРОВ КАТО КОЛЕКТИВНА МЕТАФОРА
This article, which may conventionally be classified under the genre philosophy of history, develops two metaphors of high symbolic value. The first is the year 1914, as the start of World War I, the third and last in a se-ries of wars at the start of the 20th century in which Bulgaria was involved. It led teleologically to the year 1919 (Neuilly) which marked the symbolic – therefore absolute – end of the Bulgarian National Revival. The second metaphor is the figure of Yavorov in its his mytho-biographical projection – the poet’s suicide in October 1914 can be seen as a collective metaphor, as a metaphor of a collective ontological loss; but also as an attainment of a qualitatively new state; as the loss of the Revival’s monolithic national aspect and the acquiring of the tragic experience of Modernity and its social fragmentariness.
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This essay addresses issues of periodization, with a specific focus on the importance (or overvaluation) of the reconstruction of the Polish State and its effects and consequences on contemporary Polish culture and literature: in fact, 1918 was perceived as a turning point and as an ideal boundary between an old and a new era. At the same time, different opinions about the “limits of modernity” in Polish culture and literature were discussed, emphasizing the longue durée of such cultural macrophenomena as the “romantic paradigm” or “Sarmatian” mentality and their significant impacts on the processes of continuity and discontinuity of culture. Searching for a merely literary explanation for the periodization of this first troubled period of the “short century”, the author stresses the importance of two texts by Julian Tuwim, Spring (1918) and You All, Go Kiss My Ass (1938), which feature all the euphoria of the beginning and the drama of the end of the period. The article also offers an initial attempt at an Italian translation of the Tuwimian Poem in which the author politely but firmly implores the vast hosts of his brethren to kiss his ass.
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This article analyzes the perception of women’s identity as it was created in the press in the period of Nikita Khrushchev’s rule (in the magazine Tarybinė moteris, “The Soviet Woman”) as well as in the poetry written by both men and women of the so-called 1930s generation. By taking a closer look at discourses across different levels, connections, conflicts, tensions, denials and contradictions were revealed, uncovering the complicated and tense relationship between the ideological, masculine and feminine paradigms that offer different identities. This serves to demonstrate how men and women have tried to accommodate their traditionally inherited, personal relationships with ideological perceptions. After describing the engineering of a woman’s image in the magazine and analyzing the images in male and female poetry, it became clear that this version of Soviet feminism was more regularly and consistently realized by men in their work, who had described the process of creating the Soviet world (the emergence of collective farms and the role of women in this process, ideological connection between the woman and the new order etc.). It was revealed that women were much more likely to be portrayed as negative characters in respect to the system than men, their worldview being based on values inherited from the interwar Lithuania, determining their obscurantism and secretive life. The emancipation of women in men’s discourse is almost without exception based on directly transposed Soviet postulates. A more personal perspective and relationship with a woman emerges as a traditionally inherited patriarchal paradigm of the woman-as-a-mother identity, which is disassociated from the Mother Heroine image by a personal and intimate articulation of the relationship. The images of the emancipation of Soviet women that appear in male poetry are taken up as postulates of the new system, but these images are never incorporated in the articulation of their worldview, always remaining as part of the new society’s architectonics. In the work of J. Degutytė, the only more prominent female poet of the period in question, two directions in the conception of women’s identity are observed: the official one, which shows the adopted image of hyperreality as being at the core of the new woman’s identity, an assumed woman’ self-image as being responsible for social sensitivity, and the stance of the party-appreciating mother. When the self-image of a woman is not thematized but rather manifests itself as the self-awareness of the speaking female subject, the female “I” appears as the acting subject that transforms the female attributes (emotionality, sensitivity etc.), traditionally perceived as restrictive, into opening up opportunities for action and possessing an existential perspective. The most intense exposure of the female subject to the world is portrayed as an act of creativity, whereas the creative aspirations of women in the poetry of men of the same time are associated exclusively with childbirth.
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1. Qesh ngado atdheu im; 2. Flasin fushat flasin malet; 3. Shqipëri e ndritur; 4. Si një trup i vetëm popull e parti; 5. Ju male të larta; 6. Jeta jonë gjithmonë pranverë; 7. Shqipëri-gjerdan me drita; 8. Erdhi drita elektrike; 9. Lavdi vendit ku ti linde; 10. Dhe njëqind, o enver djali
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Poetry written by Andrija Radović ‒ 7 pjesama Andreja Arsenijeviča Tarkovskog koje on nije napisao -izvod iz Kalendara stradanja (Solarni ždralovi, Ptičije pero, Bogočovjek, Hrast, Sloboda ili brkovi, Zatvoreni sanduk, Jednog utorka u avgustu 1975.)
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A clown travels through times and identities. A personage is handed over to different creators and audiences. A voice changes its purpose. This article observes the metamorphoses of Pierrot from Commedia dell’arte through the romantic malheureux, the decadent Dandy to the perpetual loser and peace-seeker of the turn of the century, following the works of three authors: Giraud, Hartleben, and Schönberg. When and where is this journey going to end? – We don’t know.
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The complexity of Lucian Blaga’s poetry is a matter of common knowledge. Part of this complexity is related to the elements of prosody that Blaga skilfully employs, to say nothing of the philosophical vein which infuses his writings, and which derives, understandably, from his philosophical work. Mention should also be made of the lyrical character of Blaga’s dramatic works, which adds significantly to the effort of translating his writings into English, or any other language for that matter. In what follows, we intend to offer a bird’s eye view of the volumes that have been translated into English and to analyse a selection of poems comparatively, in order to signal challenges and discrepancies, born in the process of transferring literary material from Romanian to English, and to point out what has been lost, and, if that be the case, what has been gained in the translation process.
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The aim of this study is to ensure that the cultural dimension discussed among the strategies to cope with the earthquake and to propose the use of this cultural dimension in earthquake education. The documents of the study consist of Turkish folk poems and memorates. In the study, document analysis method, one of the qualitative data collection methods, was used; the data were interpreted with information obtained from descriptive analysis. As a result of the research, it has been observed that Turkish folk poems and memorates have supernatural, mystical, traditional beliefs and thoughts about earthquake. The positive cultural dimension related to the earthquake that is folk poems and in memorates is that unity and solidarity and glorify of the solidarity tradition. On the other hand, the negative cultural dimension is the belief that the earthquake is a punishment due to people violated the religion, tradition and custom. In addition, the social and political disintegrations that occurred during the earthquake were also interpreted as a negative cultural dimension. From this point of view, it is suggested that the cultural dimension of the earthquake is considered as an additional strategy in addition to the known coping strategies and is defined “cultural memory strategy”.
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The aim of the paper is to argue that the scene of the poet’s “duel” with the Kalmyk woman he met (not included in the final text of Pushkin’s “A Journey to Arzrum”) most likely has a literary basis rather than being based on reality. The claim is substantiated by an analysis of the texts that reflect the “Kalmyk” episode of Pushkin’s Arzrum journey (“Caucasian Diary”, 1828; “To a Kalmyk Maiden”, 1829), as well as biographical data on the corresponding period. A number of details about the encounter raise doubt as to its “authenticity”, in particular, the climax — a blow with a dombra on the head of a traveler who has tried to kiss the “Circe of the steppe”. Such an encounter between a stranger and a beauty, culminating in the lady-killer receiving an unexpected and often humiliating rebuff, had been a subject depicted by such eminent writers as Voltaire (the poem The Maid of Orleans, 1762) and Shakespeare (The Taming of the Shrew, 1590–1592). From the late 1810s to 1830, Pushkin himself repeatedly presented such “duels” (in the poems Ruslan and Lyudmila and “Count Nulin”, in his “Caucasian Diary” and the story “The Lady Rustic”). A connection of particular interest is that with Cinq-Mars ou Une conjuration sous Louis XIII by Alfred de Vigny (1826), mentioned in the epistle “To a Kalmyk Maiden”. This novel, mediocre but once very successful, contains a pivotal episode in which the title character punishes an “unjust judge” by hitting him on the head with a red-hot crucifix. A number of inconsistencies, however, turn the scene into a farce against the author’s intention. In “To a Kalmyk Maiden”, de Vigny is contrasted with Shakespeare, who consciously sought a comic effect by having Katherine break a lute on the head of an unwelcome teacher. In Pushkin’s text the scene in the kibitka contains a number of unmistakable references to The Taming of the Shrew. Furthermore, the use of biographical data allows the author of the paper to identify a number of semantic nuances in the epistle “To a Kalmyk Maiden” that have not been noticed earlier by researchers.
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Poems by Szántai János - "1. A búvófolyami térkép", "2. A hely színe és visszája", "3. A dubovai halott", "4. Az álom".
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Poetry of Hellmut Seiler translated by Eszter Benő.
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Louise Glück repeatedly refers to the Bible and classical mythology, even when writing about poignantly personal issues. Far from being mere high-brow literary embellishments, these cultural quotes and intertextual analogs testify to Glück’s consistent attempt to transcend the traditionally personalist scope of lyric poetry. Such a resolutely transpersonal perspective is particularly discernible in her poems dealing with broadly-conceived religious themes, especially that of cultivating the postlapsarian, modern analog of the Biblical Garden of Eden. In A Village Life(2009), for example, the ontological possibility of transcendence is alternately hinted at and questioned, with the poet inhabiting a transition zone between doubt and faith as a questioning believer, so to speak. In the much-earlier The Wild Iris (1992), the axiological status of God is explored in highly unorthodox ways, the poems’ speakers undermining many established images of God in Christian and Jewish traditions. Arguably, what the two volumes share is their Gnostic imagery, purposely veiled in A Village Life and more explicit in The Wild Iris. Already present in Firstborn (1968), Gnostic undertones can also be found in other volumes, e.g. The House on Marshland (1975) and Descending Figure (1980). Iconoclastic and transgressive, Glück’s poems often expose a destructive facet of transcendence or feature some kind of charge against God, explicit or implicit. The Creator for the most part remains irritatingly silent, with the poet constantly bringing this up—sometimes in a tongue-in-cheek, sometimes in a deadly serious manner. A virtuoso of register shifts, Louise Glück plays cat and mouse with the reader, evading any closures. Her personal creed remains a riddle
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