Авторские коды Марины Цветаевой в символике Лютни . . .
In the article attention is concentrated on the comprehension of influence of authorial codes on the specific of symbolity of lute on material of the same name poem of M. Tsvetaeva.
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In the article attention is concentrated on the comprehension of influence of authorial codes on the specific of symbolity of lute on material of the same name poem of M. Tsvetaeva.
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The essay expands upon Lesley Saunders‘ poetry, approached via varied cognitive structures/conceptual metaphors and how these enrich readers‘ dimensions of experience. Starting from the assumption that ontological metaphors - the most significant type of George Lakoff ‘ s conceptual metaphors - are grounded by virtue of systematic correlates with our experience, we will then focus on various experiential poems belonging to Lesley Saunders through various cognitive theoretical lenses in order to reveal how they fit and enrich perceptions of the world we live in.
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Pablo Neruda, writer and politician, is considered one of the greatest and most influential poets of the 20th century. Neruda was accomplished in a variety of styles ranging from erotically charged love poems to historical epics, overtly political manifestos and surrealistic poems also, which marked his literary breakthrough. In 1971 Neruda won the Nobel Prize for literature, a controversial award because of his political activism. The Spanish Civil War and the murder of Garcia Lorca, whom Neruda knew, affected him strongly and made him join the Republican movement, first in Spain, and later in France, where he started working on his collection of poems Espana en el Corazon in 1937. He rewrote his Canto General de Chile, transforming it into an epic poem about the whole South American continent, focusing on its nature, its people and its historical destiny. This work, entitled Canto General, was published in Mexico in 1950, and also underground in Chile. It consists of approximately 250 poems brought together into fifteen literary cycles and constitutes the central part of Neruda's production. Shortly after its publication, Canto General was translated into some ten languages. Among his works we can mention Cien sonetos de amor published 1959, which includes poems dedicated to his wife, Memorial de Isla Negra, a poetic work of an autobiographic character in five volumes.
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The concept of totalitarianism can be approached from different perspectives. The idea that totalitarianism can do good is not new, nor that a totalitarian leader can have a good influence. But can Mother Teresa be regarded as a totalitarian leader who dedicated her entire life helping others? In this case we do not speak about a totalitarian state but a totalitarian world as she persuaded those who have to help those who don’t as she put it when awarded the Nobel prize in 1979: “the hungry, the naked, the homeless, the crippled, the blind, the lepers and of all those who feel unwanted, unloved and uncared for throughout society” [1] (see the reference section at the end). The paper focuses on translating religious poetry, analyzing a poem attributed to Mother Teresa. The poem encompasses Mother Teresa tenets of life synthesizing her beliefs although she was not the author but due to her appreciation the poem became famous worldwide.
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The article discusses “experimental” poem by Jan Chykvin “Razmova susvietau”. The meaning of the non-traditional approach and its sources appear in the theory of communicative nature of art. The ideational content of the poem is represented by the belief that aesthetic harmony of poetry is a potential to solve ethical problems of human existence.
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The paper intends to show the way in which Z. Herbert presents in his works the paschal mystery of Jesus Christ, by the virtue of which the Christian redemption took place. Is the meaning of „redemption” in Herbert’s poetry to be identified with the one presented in biblical theology? To answer that question the author of the article discusses five poems that speak about the Passion of Christ (Namarginesie procesu, Męczeństwo Naszego Pana malowane przez Anonima z kręgów mistrzów nadreńskich, Hakeldama, Rozmyślania Pana Cogito o odkupieniu, Domysły na temat Barabasza). There the references to the core of Christian faith are very clear. Special attention should be paid, however, to poetical allusions that also show Herbert’s personal approach to the Christian message.
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The review of: Waldemar Woźniak, „Metodyka pracy resocjalizacyjnej – ze szczególnym uwzględnieniem poezjoterapii“, Fundacja Europejskie Centrum Wspierania Inicjatyw Społecznych im. prof. Kazimierza Twardowskiego, Poznań 2012, ss. 123
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In this article, the author focuses on the subject of poetry used in the Word of God. The forms of poetry presented during ancient times, the middle ages and a short correlation to biblical poetry, which is the basis to Christian poetry, are introduced with clear originality. The reader who is familiar with the forms of poetry used in homiletics as well as in lyrical preaching fragments, beginning from Clement of Alexandria and finishing with today’s Polish poet-preachers, will discover that poetry is a perfect tool to transmit homiletic and dogmatic contents. It represents itself as a privileged instrument to express the Word of God. The subject of poetry at the service of the Word of God has as its goal on one side to call attention to today’s preachers to the richness of Church poetry, and on the other side, to make one more sensitive to the beauty of the Word.
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Emergence of Bosniak epic poems, which are commonly called the heroic songs from Krajina, is explained by the socio-historical conditions of the area where they were made. They occur mostly in the Bosnian Krajina, which is ''krajiste'' (border) of two opposing cultures, two opposing religions and two conflicting world since time immemorial - the Islamic East and the Christian West. The very essence of this type of poems was defined by something which is specific to Krajina, and that is the warrior mentality of Bosnian man who has for a long period hovered on the windswept of constant bloody clashes and conflicts, since the fall of the medieval Bosnian state, through the period of Ottoman rule, and even today. Such ways of life, life on the edge, and on the country border necessarily had to emanate through folk creativity, which is a beautiful way to testify the psycho-social colors and aesthetic standards of the mythical and ancient times on the frontier of the Ottoman empire. Although the Muslim epic songs occur throughout the South-Eastern Europe, and wherever Muslims lived in the Balkans, Bosnian Krajina is a region of great importance for creating exceptionally rich Bosnian epic poems. It is because the epic poems from Krajina have been determined by world literary criticism as an inspiration and a hotbed for most of the recorded and preserved Muslim European epics.
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The poetry of Dritëro Agolli marks the most complete and diverse form in the classical lyrical poetry as brought to the contemporary times. We have come to consider as a typical feature of his poetics the musicality of the verse, which has been analysed in three aspects: on the euphonic plan (the repeated use of one or more sounds in the phrase, verse and stanza or throughout the poem) and the lexical and syntactic plan. After an analysis of several of his poems, we have brought forward the generated patterns of each textual plan. The process of the poetical structure analysis, guided by the concept of prevalence in the text, determined the distinguishing features of the creative individuality of poets and outlined his main creative trends.
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Poetry, alike entire Albanian literature, during ideological times, had not willingly accepted the poetics of socialist realism, for creativity in itself involves freedom, while this kind of poetics was imposed to creators from outside. And despite the pressure to not depart from socialist realism, not uncommonly, during the reign of communist ideology, Albanian poetry has "transgressed" the limits of modern poetry, sometimes openly, and more often afar from the eyes of the public. Thus, in addition to poetry that was compelled to respect the norms of socialist realism, there was created a poetry that not only was out of the norms but also collided with these dogmatic norms on literature. The poetry of drawers, also called "clandestine" poetry, fills the void left by poetry of socialist realism over the half-century of dominance of dictatorship in Albania. Creators such as Zef Zorba, Mihal Hanxhari and Robert Prifti, who wrote during the time of communist ideology but did not publish, as well as other creators like Fatos Arapi who after the Fourth Plenum most of the writings created at a time locked in the drawers until the fall of communist ideology and with it its censorship.
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One of the most explored topics in poetry during all times was and is love. During the romanticism movement this line will be one of the main themes, which will fit into the creativity of almost every writer. In Albanian Romantic literature will also be felt the dominance of love poetry, which will lie somewhere more and somewhere less into the creations of each representative of this period. Zef Serembe is one of the most worthy representatives, which dedicated to love a good part of his poems. These creations can be considered as the most prosperous ones of this poet. He brought in Albanian literature not only a beautiful poetry, but also a creative individuality characterized by a distinctive and representative style. It is his erotic poetry and some of the peculiarities of his style found in his poems that will be the object of our survey. Will be analyzed some of the elements that emerge in these creations, elements that relate not only to the use of motives, but also to the particular ways in which this author's erotic poetry is constructed.
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Ali Podrimja decided to make a highly sensitive poetry, truly stunning, unrepeatable poetry in its originality from one painful event of his life, from a fact. Herein the poem Lum Lumi expresses a peculiarity not only with the thematic motif but especially with its expressive artistic strength. Since his poetry expresses the world of the poetic subject through a rich figurative system, symbol-metaphor, it simultaneously expresses a high degree of sensitivity. The metaphorical and metonymic discourse in Lum Lumi is the author's voice, which is distinguished above all by a special structure of thought and specific linguistic expression, thus this brief overview has aimed to reveal not only the truth and feelings of the poet, but especially the pain, through a peculiar poetic vocabulary, through the equally peculiar rhythm and syntax. Modern poetic expression, irony, symbol, and metaphors make the poetry of this volume as the most typical example where a special relationship between real and imaginary is built.
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Suyolcu-zāde Nahrī Aḥmad (d.1182/1768-1769) was an important sûfî poet being a member of Ismā‘īl Rūmī branch, the sect of Qādiriyya. He carried out the duty of spiritual and ethical guidance at Qādiriyya Lodge in Tekirdağ. Besides his sûfî character, he was a poet having an extensive knowledge about the theoretical and aesthetical bases of Dīwān literature. The only original copy of Nahrī’s Dīwānçe including his poems registered in the Vatican Library, Turkish Manuscripts, nr. 235. There are forty-five Turkish, twelve Arabic and three Persian poems by Nahrī in this copy. The goal of this article is to present the formal and contextual features of Nahrī’s poems in Dīwānçe in the light of the analysis on some poems that we chose. Any study was not found about the poet’s life and poems in the literature review we made. In this study, poems are classified according to the verse form and the language, and the number of couplets, type of prosody, form, style and content of the chosen poems are evaluated accordingly. This study has importance in terms of providing insight about the Religious-Sûfîstic belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī and inform the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century.Summary: Suyolcu-zâde Nahrī Aḥmad (d.1182/1768-1769) was a member of Qādiriyya Dervish Convent in Tekirdag where he was born. He became the head sheikh of this convent following his father Sheikh Muḥammad Efendi and worked for the convent in several ways. Nahrī Aḥmad moved back to his hometown in 1182/1768-1769 after completing his Hajj duty and died soon after that. Nahrī had two works according to Osmanlı Müellifleri (Ottoman Authors) and it is stated that the first one of these two works is about “unity of existence”. It should be mentioned that we haven’t found a copy of this work yet. The other work of Nahrī is his Dīwānçe, which includes his poems. The only copy of this significant work is registered in Vatican Library, Turkish Manuscripts, nr. 235. In this study, we had the chance to determine a third work of Nahrī which has never been mentioned in the related literature. This third work that we determined is based on the information in an Arabic poem on the page 21a of the poet’s Dīwānçe. This book that we determined is an interpretation book completed in 1166/1752-53 but Nahrī Aḥmad didn’t mention the name of the work. Nahrī Aḥmad was a spiritual guide and sufi, and he was assigned to the duty of showing the true path in dervish lodge following his madrassa education, learning Qādiriyya lodge’s morals and methods and completing his “spiritual journey”. Besides these, he was a significant poet who could write poems in Arabic, Persian and Turkish languages and he was literary competent who knew the theoretical and aesthetic rules of Dīwān literature and used these features professionally in his works. When Nahrī’s poems are analyzed, it can be seen that he adopted the understanding of existence, knowledge and belief based on Islamic Sufism. Besides, it can be seen that he internalized the significant Religious-Sufi Turkish literature figures including especially Yūnus Emre.In the copy of his Dīwānçe, registered in Vatican Library, there are forty-five Turkish, twelve Arabic and three Persian poems. There are two other poems that weren’t written by Nahrī in the same work. These poems were written by a poet with penname of ‘Ᾱrif in the period when Nahrī’s son Muḥammad Muṣlih al-Dīn was the head sheikh in the same Dervish convent. These historical poems are significant as they describe the re-building of ruined Tekirdag Qādiriyya convent after Nahrī’s period. The goal of this article is to present the formal and contextual features of poems in Nahrī’s Dīwānçe on the basis of chosen poems. As far as we could determine, there is no other study on Nahrī’s works. Nahrī’s Dīwānçe wasn’t a kind of rearranged work of collected poems. Therefore, we classified the poems in terms of the form and language and evaluated the number of couplets, aruz prosody, shape, type and content. Poems of Nahrī in Dīwānçe in terms of verse style are: Four Turkish, three Arabic, one Persian ode, one Turkish compounded stanza, seventeen Turkish, nine Arabic and one Persian major stanza, three Turkish five-line stanzas, two Turkish pentastichs, eighteen Turkish and one Persian lyric.Nahrī Aḥmad wrote five-line stanzas for three of Niyāzī-i Miṣrī’s lyrics and one of Bāqī’s lyrics. He wrote parallel poems about one pentastich, one lyric and one other poem written in a specific style of blank verse of Niyāzī-i Miṣrī. Besides, there is also an original poem that is quite unique in the work. Nahrī wrote five couplets before each verse in Niyāzī-i Miṣrī’s ode which resulted in the creation of a common ode. Poems in Dīwānçe are contextually religious-Sufi based. ‘Abd al-Qādir al-Jīlānī, Ismā‘īl Rūmī who was the founder of the order of Rūmiyya branch and other sheikhs of Qādiriyya dervish order are the main names mentioned in the poems. One other significant point in Nahrī’s poems is that he had a deep love and respect for Niyāzī-i Miṣrī. There are praises, quintets and parallel poems about Miṣrī in Dīwānçe which shows Niyāzī-i Miṣrī’s effect on his work. This effect is so great that it covered not only the content but also there are the signs of the effect in terms of metaphoric language, words and verses. It can be said that ‘Abd al-Qādir al-Jīlānī and Niyāzī-i Miṣrī, a member of Khalwatī order, were two significant names that surrounded the mental world of Nahrī, located in the texture of his poems and gave characteristic features to his works. There is a great number of historical poems in Nahrī’s Dīwānçe. He wrote twenty-six historical verses about various historical issues such as birth and death, construction of mosque, dervish monastery, zawiya, pavilion, repairing of mansion, renovation of dervish convent, enthronement of Sultan and appointment of Grand Vizier. Also, there are some other important parts in Nahrī’s Dīwānçe such as invocation, praise and self-adulation.Although there are not many poems in the previously mentioned copy in Vatican Library, there are various names mentioned in these poems. When these poems are analyzed, it can be seen that there are the names of some prophets, some companions of Prophet Muḥammad such as ‘Alī, Ja‘far al-Sādiq, some Persian legendary characters such as Afrāsiyāb, Rustem and Anūshirwān, some Sufi names such as Manṣūr al-Hallaj, Jalāl al-Dīn Rūmī, Shams al-Dīn of Tabrīz, Ḥācī Bektash Velī, Ibn al-‘Arabī and Bāyazīd al-Bisṭāmī, philosopher Galen and famous love heroes Laylā and Majnūn. That is to say, the poet has a rich world of references. On the other hand, there are the names of some works mentioned in Dīwānçe. Epistle of Niyāzī-i Miṣrī named Devre-i ‘Arshiyya, and Ibn al-‘Arabī’s al-Futūhāt al-Makkiyya are the other names mentioned in the work. Name of the places included in Nahrī’s poems are: Aden, Aqmescit, Baghdad, Baghcesaray, Baṭḥā, Balkh, Dimashq, Ḥijāz, Iraq, Iran, Cairo, Ken‘ān, Karbalā, Qılburun, Crimea, Kirmān, Egypt, Nemce, Rūm, Sanaa, Shām, Yemen. This study has importance in terms of providing insight about the religious-sûfî belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī. Moreover, it informs the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century.
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В Москве не очень много бульваров, и далеко не все, называемое бульваром, таковым является, особенно на окраинах-новостройках. Вот, например, Чистые пруды — заплеваны, заблеваны, забляжены, замусорены пивными бутылками, крышками от них, банками, окурками, засижены пьянствующей молодежью. Это не очень страшно, но невыразимо противно.
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The review of: „San na rijeci“ by Marina Kljajo – Radić
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The review of: Marina Kljajo-Radić, San na rijeci, na albanski preveo Mustafa Spahiu, Naklada Akademski pečat, Skoplje, 2017., str. 72.
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Pjesnička je večer. Mi studenti s Filozofskoga smo uglavnom svi pisali pjesme, većinom za sebe, a neki su čak javno objavljivali, kad bi im urednik prihvatio rukopis. Teško je išlo s objavljivanjem. Zato su mnogi odustali pronalazeći različita opravdanja. Bili smo zahvalna publika i toga puta. Ali pjesme su tada čitali samo afirmirani pjesnici koji su bili poznati i izvan svoje staleške organizacije. Neki su već bili i u čitankama za razrede osnovnih i srednjih škola.
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The review of: Srećko Marijanović, Oženit ću noć, Matica hrvatska Stolac - DHK HB, Stolac - Mostar, 2018
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