Csak amit nagyon muszáj (Versek)
Poems by Boróka Vajda: "Csak amit nagyon muszáj", "hajtóvadászat", "gyermekként nem tudod", "fogócska", "Plútók"
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Poems by Boróka Vajda: "Csak amit nagyon muszáj", "hajtóvadászat", "gyermekként nem tudod", "fogócska", "Plútók"
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The subject of the article is the poetic series "Witraże" [Stained Glass] by Zofia Wojnarowska, de domo Zacharkiewicz (1881–1967), published in her debut volume "Poezje" [Poems] in 1913. This intriguing work consists of three lyrical monologues: “Magdalena Immortalis”, “Mahadewa”, and “Sanctus Augustinus”, which can be interpreted a sa unique example of a stained-glass poem in the poetry of Young Poland and evidence of the author’s religious interests. Stained glass here has been endowed with exceptional meanings as an equivalent of the spiritual experiences of the three lyrical heroes.
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The purpose of the article is to present an unexplored area in the work of Henryk Bereska, an outstanding translator of Polish literature into German. The collection of children’s poems by Bereska, found in the Karl Dedecius Archive, was created exclusively for his own daughter. The article is divided into two parts. The first part illuminates the previously unknown context of Bereska’s work, while the second one features two poems selected and reprinted with the permission of his heirs, along with a commentary on their aesthetic qualities and their potential for literary initiations.
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The paper expands upon Lazăr Zăhan’s volume of poems Labirintul din vis, approached via Bachelard’s aestheticism which will be turned into account with a view to highlighting the dialectics between the inner and outer worlds depicted in his poetic imagery. We will also explore Popa’s hermeneutic uncertainties and Sandu’s semiological perspectives on transmodernity in order to bring into focus Zăhan’s double status as poet and philosopher.
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The aim of this text is to present the literary image of the breakthrough that occurred with the invention of digital photography. The article focuses on the most contemporary Polish poetry – mainly authors born in the 70s, such as Jacek Dehnel, Marcin Świetlicki or Bronka Nowicka. On the basis of their texts, the literary image of both traditional analog photography and photos created with the use of the latest techniques is reconstructed. In her interpretations, the author uses the tools she has developed herself, which include concepts such as “photo-graphemicality”, which is a combination of features linking text with photography, and “photo-grapheme”, which is its individual realisation.
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The given paper aims to bring to readers’ attention the various facets of prayer in M.I. Lermontov’s poetry, as a different means of communication (be it with God or with one’s own self). Written within a bit more than ten years (from 1829 to 1840), the poems we chose to analyse encompass a wide range of traits and beliefs, varying from pure suffering to savory satire, from looking for comfort to seeking a close end to all the internal(ised) turmoil. The lermontovian ‘lyrical I’ gravitates between two poles – himself and the others, while his prayer changes consequently from self apprehension to the unease caused by others’ ‘sins’, at the same time trying to find comfort and safety for both the ones he genuinely cares about and himself. Thus, the image of a torn young man shifts to that of a more mature one, who has contact with the inconvenience of leading a cadet’s life, but who has now learned how to satirize it in a luscious manner, then to that of a full grown-up man who wishes to protect his beloved at the cost of his own sinful soul and then back to the disappointment of standing on his own against the vengeance of his enemies and calumnies of his so-called friends. Making his last stand as a misunderstood genius, Lermontov leaves his imprint into eternity through his art of putting feeling into adequate words. This is, ultimately, a desperate prayer from him as a man to his inner self, to take life as it is and live it fully, despite the inevitable pain it seems to bring along.
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The purpose of this article is to present a new perspective on Ion Minulescu's poem, Urban Rain, from the point of view of the features of the Symbolist poem, but also of a parallel with the haiku poem. The parallel is legitimized by the same visual power of the images, as well as by the elements related to the allusions, and by the possibility of moving from the literal, concrete meaning to the figurative and abstract one. As the images, both visual and auditory, are being perceived by the reader as being so alive, through the lens of W. Iser's reader response theory, in Minulescu's poem, they can remind of the haiku poem, practiced not only in Japan, but also in the Western world, in adapted form.
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The focus of this paper is to continue to outline the main themes of the contemporary Christian poet Răzvan Codrescu, such as death, love, prayer. We discuss some lexical means that the poet uses in order to better illustrate these motifs.
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The socio-political changes that occurred over time did not remain without an echo in popular literature. The manifestations of simple people in different social contexts, related to certain historical periods (the period of rule of the Austro-Hungarian Empire, the First World War, the interwar period and the period of the Second World War) represented the starting point for our research. The present approach traces the connection between historical events and the experiences of the direct participants, and the positions of martyrdom thus become subjective testimonies about the course of history.
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In our cult poetry, the feeling of nature appears through foreign influences, which over time becomes a specific Romanian landscape. The descriptive poem is one of the most cultivated genres in our poetry. We discover in Ion Pillat a subjective descriptive poem, because he is heading towards a certain corner of nature such as the description of Florica village or the attempt to restore the village of Miorcani according to the model of Florica. The result was not the expected one, as one could feel the lack of feeling towards the Miorcani village, through the closeness of aspects.
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Autumn is the season of merging heaven and earth, according to the poet's vision. Autumn and memory are the “divine sisters” (Septemvrie). The pressure of time is getting harder, and the longing for the bucolic space of the house in Florica is more and more consuming. Touching the fruits of autumn, the poet has the feeling that he is comforting femininity in everything that it has that is most tempting . All these moods transform autumn "into a witch stronger than death", a regenerative power included in the life-woman-nature-divinity string of fertility.
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“Sometimes poetry only blossoms fully through song.” Kamil Trybek and Bartosz Piech talk to Bronisław Maj
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The article deals with the unprecedented series in Polish poetry by Kazimierz Wójtowicz, Emmaus - verse by verse, included in the volume Simply Emmaus. A selection of poems from 1978–2016 (Kraków 2016). The presented reflection is divided into four segments. The first one is an introduction. It shows the priest-poet's fascination with the biblical motif of Emmaus, as evidenced by his numerous ekphrastic and non-ekphrastic poems, classified by the author as Emmaus in words and Emmaus in image. The second part is an attempt to systematize biblical scholars' comments on the pericope of St. Luke (24:13–35). Three main interpretative directions were discussed: liturgical, symbolic and taking into account the contrapuntal nature of the Emmaus pericope in relation to the fragment telling about the meeting of the Risen Jesus with Mary Magdalene. The third segment - the most extensive - presents an analysis of 15 poems that make up the analyzed cycle, paraphrasing most of the verses from the pericope of St. Luke. The description of subsequent songs is not extensive due to the modest size of this article. The last part emphasizes that Wójtowicz's poetic meditation on the pericope of St. Luke has artistic values and is also kerygmatic in nature. Commenting on biblical verses using the language of poetry, the author refers primarily to the symbolism of the pericope. He uses liturgical interpretation to a lesser extent. At the end, an attempt was made to compare the cycle with other poems by Wójtowicz about Emmaus.
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Éric-Emmanuel Schmitt's “Cycle de l’invisible” is a series of eight novels published between 1997 and 2019. It is composed of short stories, each of which questions spirituality through the prism of an initiatory journey specific to each character. The characters then undertake to leave their layman status to acquire that of initiate: they leave the religious indifference or atheism that characterises them to acquire faith and adhere to the religion or spirituality with which they have been confronted. This article proposes to put this novelistic cycle in perspective with the notion of poetic habitation of the world as enunciated by Friedrich Hölderlin in "En Bleu adorable" and widely commented upon by Martin Heidegger. The challenge is to make plausible the hypothesis that Schmitt's “Cycle de l’invisible” is a call for a poetic re-inhabitation of the world in the sense given by Heidegger to this expression, that is to say an inhabitation of the world that cannot be envisaged without taking into account the existence of the divine. An existence in the world turned towards the spiritual life.
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Women’s issues are a significant subject of study in the realm of Chinese literature. In many works, it can be seen to oppose stereotypes or norms imposed on the female gender and to take measures leading to the emancipation of the individual. Such literature is symptomatic of a desire for change in society, that is, the overthrow of the patriarchal system and the introduction of equal rights between the sexes. An example of such prose is the works of China’s first feminist, Qiu Jin, who decided to fight for women’s rights. She was sentenced to death for her revolutionary activities. However, her texts introduced a completely new image of women into the public sphere - different from the one that had been reproduced for hundreds of years in ancient China. The poet chose to endow her heroines with charisma, courage, intelligence and the will to fight for a better life. Her aim was to make women aware of their situation in life, their social role, and to encourage them to leave the male-dominated world. Michalina Koniuk, in the chapter “Feminist Deconstruction of the Traditional Image of Woman in Qiu Jin’s Works”, proposes to analyse Qiu Jin’s works and present that the characters created by the writer oppose and destroy the image of the obedient and uneducated woman that existed in ancient China. First, the social role imposed on women in Chinese society has been described, namely that of obedient daughter, wife and daughter-in-law. The requirements and rules expected of Chinese women have been presented, and how Confucian norms contributed to the belittling of women’s role and position in Chinese society. As the poet was inspired by her own life experiences, Qiu Jin’s life were briefly introduced. Her childhood, during which the first signs of dissatisfaction with the obligations and social norms imposed on girls could be observed. An unsuccessful marriage mobilised the feminist to fight for women’s rights, to oppose the doctrines of Confucius and to leave home and go abroad. This was a great act of courage and at the same time a struggle for freedom and independence in the life of a feminist. That part was followed by an analysis of Qiu Jin’s works, whose female characters exemplify the kind of norms and behaviours that Qiu Jin rebelled against. At the same time, these characters deconstruct the traditional image of a woman and introduce a new one of a strong and independent individual. In this chapter, all poems and quotations have been translated by the author from Chinese into Polish.
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Review of: Cuviosul Iosif Isihastul, Simţirea iubirii dumnezeieşti – scrisori şi poezii (Feeling the Divine Love - Letters and Poems)- traducere de Pr. Prof. Constantin Coman and Sabin Preda, Editura Bizantină, Bucureşti, 2020, 608 pp.
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Translation of: Średniowieczna liryka nabożna (wybór)(Pia dictamina, Analecta hymnica XXXI 147, 151, 154, 171, 205)
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