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The technique of the Dimovian oneiric is set up, of course, by using reality data which, by capricious juxtaposition become unrecognizable. It is not the shape perfectly articulated of the object, which causes disquiet, but the unusual relations which objects have with one another, their strange syntax, unusual arrangement, the odd angle from which they are perceived. If we make plastic art for comparison, we can detect similarities between the aggregation of the Dimovian oneiric image and some paintings belonging to Magritte or Dali, in which the objects are sketched with detail elaborateness, with mimetic unyieldingness, the terrifying fascination resulting in these paintings, as in the case of Dimov’s poetry, from the bizarre character of juxtapositions or from the unnatural spatial representation of the oneiric compilations impeccably formulated as entities. Contemplative poet by definition, Emil Brumaru brings in the Romanian lyricism of today the universe of the “boudoir”, of childhood and graceful eros, in a jubilant, carnival-like, refined writing style. Emil Brumaru’s poetry was righteously defined from the perspective of a studied naivety, of a candor frame, of a play that takes itself seriously, all that doubled by a refined finesse of the lyrical drawing.
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This is a partly philosophical, partly personal-reflective, and partly polemical piece addressed to the minimalist composer Philip Glass. It is one of a number of lengthy poems that I have written over the past five years as part of a project to revive that currently neglected literary form, the philosophical verse-essay. This was very much a staple genre during the English eighteenth century but has now falleninto near-total disuse, mainly as a consequence of its not fitting in with prevailing Imagist, Symbolist, Modernist, and other post-Romantic literary modes that reject the whole idea of arguing or reasoning – let alone philosophizing – in verse. If my poem is rather rude about Philip Glass’ music then in my view this is no more than the music deserves for insulting the listener’s musical intelligence. Here again it may be read as a recommendation that we revive something like the eighteenthcentury ethos of robust (on occasion hard-hitting) public debate in criticism of the arts as well as in politics and current affairs. In its mixture of relatively formal style and informal ethos the verse-essay is a natural medium for such communication.
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The aim of this paper is to demonstrate the inviolability of „female creativity” in the works of Sylvia Plath through the symbolism of death and rebirth. „Lady Lazarus” reflects Plath’s recognition that the struggle between death and rebirth must direct every aspect of poetic structure. The woman in the poem is at the same time a victim and tormentor. She is a female Lazarus who died because of great suffering that the poet equates with the suffering of the Jews who were tortured during World War II. She is a victim of male cruelty, but also a new woman who rises from the flames. Using the myth of the resurrection of the Phoenix, Sylvia Plath shows a woman who stands up against all the men who restrain her. The allusions in the poem to the biblical, historical, political and personal take the reader into the center of a personality (of a woman).
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In 1975, I co-edited a book entitled Pesnici Vojvodine (The Poets of Vojvodina). The purpose of the book was to present poems written in the languages spoken in Vojvodina: Serbo-Croatian, Hungarian, Slovak, Romanian and Ruthenian. I may add that – along with Hungarians, Slovaks, Romanians and Ruthenians – Croats represent a minority within Vojvodina. Croatian poets have always claimed they were writing in Croatian – just as their Serbian counterparts have always insisted that they were writing in Serbian. Yet the two languages were – and are – very close, almost identical. Indeed, in 1975, the language was officially designated as Serbo-Croatian.) All poems were published in the language in which they had been written, as well as in English, French and Russian. In addition, poems written in the minority languages were translated into Serbo-Croatian. My task was to select Hungarian poems. I had to find a judicious balance between generations, and I weighed my options, consulted poets and literary critics. One thing was absolutely clear and obvious. I knew – and everybody I talked to knew – that Domonkos’s Kormanyeltoresben (Rudderless) had to be included. The only issue was that of volume. The anthology had to accommodate poems in all languages spoken in Vojvodina, as well as translations into several languages, so we had to work within strict constraints regarding length. Had we decided to publish Rudderless in its entirety, it would have taken almost all the space allotted to Hungarian poets. In this way, we had to content ourselves with excerpts rather than the whole poem. And it worked: we succeeded, at least in part, to make this truly exceptional poem available in other languages. This was in 1975. The excerpts were translated into English by an Irish writer, Alan McConnell Duff. The unabridged poem came out in English 40 years later, translated again by an Irishman, Owen Good. In 2015, the English version was published along with translations into 11 other languages. The full English text is now reproduced in Hungarian Review.
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Through selected examples of Vlado Puljic’s poetry and painting, the paper will offer a new interdisciplinary approach to his art based on the most appropriate theoretical fundament of semiotics. The paper consists of two main parts. The first one is a theoretical view of differences between word and painting whereas the second part gives concrete examples which depict signs as basics of his creativity. Considering Puljic’s art, the meaning of his poetic and painting signs will be explained in the examples which a reader/viewer can understand only by knowing both poetry and painting. As an interdisciplinary approach, it can be used for interpretation of other similar artistic forms.
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The article attempts at capturing a linguistic image of the past in A. Asnyk’s texts and presenting symbolic relations between the abstract meaning and the attributes ascribed to it. The author analyzed not only the metaphors containing the lexeme past but also any synonymic notions, periphrases, phrases and terms referring to olden days. On this basis, several models of the past have been distinguished (the past is a living creature, the past is a plant, the past are different kinds of objects and containers, the past is a natural element, the past is nothingness, death and destruction, the past is a memory, the past is a herald of the future) under the condition that the applied divisions are therefore relative due to elusiveness of the described phenomenon. In reality, the past is never perceived, and therefore it cannot be conceptualized univocally.
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The aim of the present paper is to compare and discuss translations of cultural references to Polish culture texts in Wisława Szymborska’s poem into four languages: English, French, German and Italian. The analysis encompasses intertextual elements from various culture texts, e.g. poems, legends, folk songs, which are explicitly given in poems. The strategies adopted in all versions are compared and evaluated with a view to determining similarities and differences as well as the factors which conditioned the choice of the strategy. Special attention is paid to lacunary connotations evoked by the references at issue.
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The article presents the image of the Holy City of Jerusalem in the poetry of one of the most distinguished Israeli artists, Jehuda Amichai. Here, the imagery includes the dominant motifs of stone, water, and light. Stone, as shown in the images of soaring temples and houses, symbolizes, on the one hand, power and stability; it guards the past and expresses religious zeal. On the other hand, however, it emerges as if from “below” to represent decay, chaos, oblivion, and death. Mourning associates stone with water – through the image of tears or sea – and with artificial light, which again is semantically negative. Furthermore, while the light, for example, helps to reveal the nocturnal glory of ancient architecture, it becomes associated with the lightning – the biblical symbol of God’s wrath. Eventually, it warns us and, at the same time, foresees the impending catastrophe.
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This article utilizes a map as an interpretative tool for Eugeniusz Tkaczyszyn-Dycki poetry. His works are interpreted through his biography and through geographic locations in Lubaczów region. His poetry further becomes a register of the space experienced by the poet.
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Review of: Balázs Imre József, Nopţi în zen, Editura Cartea Românească, 2023, trad. de Kocsis Francisko
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Poems by: Ștefan MELANCU - "Fantasíe". Tatiana ERNUȚEANU Elsa DORVAL TOFAN - "Conspirație", "Batiscaf", "Milcham", "Diorit", "Criteriul tetrastihului". Victoria MILESCU - "Am crezut...", "Desperecheată", "La 40 de grade", "Trezie". Viorel BUCUR - "Oameni fără urme", "Târziu, despre căldură", "Cu o singură atingere", "Goi şi previzibili", "Ura comună", "umilă de sine", "printre visele întrerupte 1", "printre visele întrerupte 2", "printre visele întrerupte 3", "printre visele întrerupte 4", "printre visele întrerupte 5".
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Poems by Anna de Noailles: "Această seară va fi lungă", "Impresie de seară", ""Prieteniei", "Amprenta", ""Tristețe-n parc".
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