DIE VERKÖRPERUNG DER IDENTITÄT VON ROSE AUSLÄNDER IN DEN POETISCHEN NATURBILDERN

Reviewed by: The Lesbian Muse and Poetic Identity, 1889-1930 by Sarah Parker Pearl Chaozon Bauer THE LESBIAN MUSE AND POETIC IDENTITY, 1889-1930, by Sarah Parker. London: Pickering and Chatto, 2013, 219 pp. $150.00 cloth; $52.95 paper. In many ways, The Lesbian Muse and Poetic Identity, 1889-1930 turns to critical work on performativity within fin-de-siècle decadence, modernism, and “male”/“female” literary traditions to address the difficulty with which women poets of the late nineteenth and early twentieth centuries claimed poetic identity in a masculinized Western literary tradition. Sarah Parker posits that certain women poets turned to what she broadly terms homoerotically inclined or “queer” muse/poet relationships to transform the static poet/muse relationship into one based on fluidity and mobility. Her book focuses primarily on how women poets Katharine Bradley, Edith Cooper, Olive Custance, Amy Lowell, H. D., and Bryher reimagined the muse in three ways. First, they employed a contemporary living muse who was able to assert her or his own subject position. Second, they emphasized the flexibility of this position by shifting the gender of this muse from female to male. Third, they opened up the poet/muse dyad to include a third entity, thereby questioning fixed notions of gender and identity. Parker’s study, thus, stems from a new feminist understanding of the muse founded upon Adrienne Rich’s essay on her own poetic development, [End Page 281] “When We Dead Awaken: Writing as Re-Vision” (1971), and Ruth Vanita’s Sappho and the Virgin Mary: Same-Sex Love and the English Literary Imagination (1996), which reconsiders the muse as both genders. What distinguishes Parker’s book from other scholarly work is the way she analyzes the influences of fin-de-siècle poetics and its enabling constructions of gender, sexuality, and poetic identity on the next generation of poets. She also reimagines the concept of the muse along more disruptive lines, one that crosses the boundaries of gender, sexuality, and time. While the muse has always been a figure of inspiration, Parker’s new reading turns the muse into a figure of collaboration. Because the muse is a focal figure of the lyric tradition, her project also rethinks the lyric tradition as a dynamic poetic dialogue where the muse becomes an active participant in lyric production. Parker insists upon the need to look beyond historical or mythological muse figures because a relationship with a living muse is an ever-evolving dialogue that is constantly in process. Indeed, Parker outlines how these shifting relationships help women poets claim identity by highlighting the changing (gendered) power roles of a fluid poet/muse-muse/poet relationship; she repeatedly turns to the image of a flexible triangulation when describing this mobility, arguing that expanding the dyad to include a third term “disrupts the narcissistic identification associated with two ‘likes’ looking at each other, engendering the possibility of difference and desire” (p. 168). In the fifth chapter on H. D. and Bryher, for example, Parker describes how the two first collaborated on translating ancient Greek images and then later used photographic and cinematic images to share and swap roles as subject/object. For the poets, the image is the third term that helps them negotiate their erotically collaborative dynamic. There are two points that Parker might reconsider. First, the figure of Sappho is not frozen in the past. She is as complex, multiple, and ever-shifting as the contemporary muses that Parker describes because Sappho transgresses time and gender as a figure of the imagination. Second, since these writers collaborated not only with living muses in the present but also with mythical or historical muse archetypes from the past, the triangulation that Parker describes can be expanded to include not only a third party but also a fourth or sometimes even a fifth figure (resembling what Elaine Marks has termed “lesbian intertextuality”1). In Long Ago (1889), for example, Bradley and Cooper utilize the Sapphic muse as both inspiration and a third term, one which speaks alongside their voices. However, Bradley and Cooper’s contemporary muses were also each other—as Michael Field, they shared and swapped the roles of poet and muse...

The winner loses: The construction of professional identities and careers among Korean poets

The formation of the chamber-vocal style of Zhu Jian’er: early works

O trabalho tem como objeto de estudo o poema Improviso do Mal da América (Fevereiro de 1928), de Mário de Andrade. Diante desse poema abordaremos a questão da construção da identidade brasileira. O poema apresenta essa busca fatigada por uma identidade não apenas do eu-lírico e de São Paulo, mas do Brasil como um todo. Neste trabalho abordaremos a construção poética numa perspectiva de conexões e contradições que emergem as relações de diversos povos, falas e cores. O eu-lírico no poema aponta a complexidade do fazer poético em torno da mistura e apagamento não apenas de povos dispostos no poema, mas da própria linguagem diversa na composição estética da condução imagética da historicidade que emerge o ser social. O poema será analisado de acordo com o embasamento teórico de João Luiz Lafetá e György Lukács que elucidarão questões referentes a estrutura narrativa que tem como projeto estético humanizador em sua potência transformadora e crítica.
 Palavras-chave: Mário de Andrade. Improviso do Mal da América. Identidade.

One of the features of the work of the brain of people suffering from schizophrenia is changes in the activity of their brain during visual categorization of animate and inanimate objects. The purpose of this study was to analyze the brain activity of people with schizophrenia and their visual categorization of objects with different semantic and physical characteristics. It was assumed that the patterns of brain activity in individuals with schizophrenia would differ from the group of healthy individuals both in the early and late stages of visual processing. Using the method of visual evoked potentials, we studied the features of brain activity in 25 people suffering from schizophrenia from 1 to 7 years old, when they categorized images of animate and inanimate nature, low and high spatial frequency. It was found that the amplitudes of P170 (N170) in the left and right posterior and central leads, as well as the amplitudes of P300 in the central lead in people with schizophrenia do not differ during categorization of animate and inanimate objects, which does not correspond to the data obtained earlier from the people without mental health abnormalities. The revealed result is important for a better understanding of the restructuring of the brain during visual perception of objects of different categories, which occurs during the development of schizophrenia.

Helius Eobanus Hessus was the first German to publish a collection of Latin eclogues, as he states in the beginning of his Bucolicon Idyllia from 1509. With a focus on Hessus's own considerations of conventions and poetics in metatexts, this chapter traces in the return to bucolic poetry a re-evaluation of Theocritus and a development in Hessus's poetic ideals. The chapter considers how Hessus deals with the traditional poetics of the bucolic genre, as conveyed by the late antique commentaries, in his return to bucolic poetry in late 1528. Hessus claims in his preface to Bucolicorum Idyllia that the re-issued version of his bucolic poems has a more serious tone than the earlier bucolic work, even though the primary model for the collection is the bucolic poetry of Theocritus. By returning to the original source of bucolic poetry, Hessus has effectively made himself part of the entire bucolic tradition. Keywords: bucolic poetry; Bucolicon Idyllia ; Helius Eobanus Hessus; metatexts; poetic ideals; Theocritus

Changing community and environment, encourage people to gain new competencies, accumulate their current and new skills. The broad methods‘ range provides an opportunity for the educator to reveal own competencies and make the learning process more engaging. There is a lot of attention paid to close relationship development between child and environment at our institution. Since 2010 environment protection has become the priority area. Six years ago we have started various discussions on the ecology subject, promoted various activities, that later turned into a project. Annual events and activities gaining strong community attention and support. Therefore, we are creatively moving forward, discovering new ideas, that we implement through the projects either recreational or cognitive events. We‘ve noticed, that creative project method helps to involve children with various needs and also adapts education content to the child‘s abilities. We pay a lot of attention to creativity expression in our environmental events. Creativity relates to curiosity, because through touching, sensing, taking and creating child is looking for a solution, new means of decision. We, educators, led by our nature and predilection, are seeking for those methods of work, which helps best to achieve our targets and aims. It is important to find reasonable methods, which would help to disclose individual learners‘ personality and release their creative powers. Each activity, that we introduce to children is known and usual, however, it‘s been introduced unconventionally, through the different approach and creativity. Children, along with their little friends, discovered new environment perception paths, shared their knowledge, insights and were learning from each other at the same time. Experiments, trials and discoveries encourage children to calm down, concentrate and experience the mystery and positive sensations. Each experiment is awarding child with pride and self-confidence, because knowledge is not enforced to the child, but discovered her/himself. Key words: cognition process, creativity development, environmental education, inanimate nature, learners experience, project activities.

Nature and spirituality often intersect in the poetic world of both nineteenth and twentieth-century poets, as well as contemporary ones. An example can be found in the works of Czech and Slovak authors who utilized the imagery of nature to intensify and underline their own spiritual quests. Since higher powers often cannot directly influence the world, they do so indirectly through living or inanimate nature, hinting to the lyrical hero the right path of inner development. Nature can also serve as a backdrop, emphasizing this path, making it brighter, organically delineating the features of the lyrical character. Among contemporary poets who can be attributed to the so-called «line of spiritual poetry,» we can highlight Robert Bielik (Slovakia) and Pavel Petr (Czech Republic). Both poets are popular in their respective countries, actively publishing, having several published poetry collections, participating in literary life, and engaging in artistic translations. For both poets, a key image of winter nature is characteristic, against which the lyrical hero conducts his own search for a higher power. The ascetic winter nature in this case symbolizes renunciation of worldly goods, transparency of the poetic world, its sincerity, and absence of excess. The difference in the poetic worlds of the mentioned authors lies in the fact that in R. Bielik’s works, we see clear images of animals, plants, mythical, and religious characters, which emphasize the inner world of the lyrical hero, while the poetic world of P. Petr is more abstract, and even the images exist in a more complex and somewhat blurred interaction with each other.

In article is devoted to the architectural work of Vasyl Krychevsky – an outstanding Ukrainian architect, artist, art critic and teacher of the late 19th – first half of the 20th century. The founder of the new Ukrainian architecture with a pronounced national identity. A detailed analysis of publications devoted to the architectural work of Krichevsky is given. The article highlights two periods of the architect's creativity according to the degree of creative freedom and four periods of creativity according to the place of stay and activity. In the period of the creative development of the architect, three architectural workshops were identified, in which Krichevsky gained experience in life and honed his skills. The style of architectural objects at different periods of Krichevsky's work is characterized. Seven main prerequisites for the architect's form-building searches have been identified. The author's terminology has been introduced to designate the tools of shaping an architectural object with signs of Ukrainian traditional originality – "patterns of Ukrainian originality", which include "patterns of form" and "patterns of morphogenesis". And also "new creation" - a new architectural object, which is the result of the use of "patterns of form" with the help of "patterns of morphogenesis". The evolution of the architectural image of objects by Krichevsky in the direction of functionality and rationality, which took place in 1920-1930, is noted. under the influence of social and political changes. The little-known architectural objects by Vasil Krichevsky are highlighted, the features of their study are revealed, the ways of their preservation, restoration and restoration are outlined. A graphic reconstruction of the facades of the Vasil Krichevsky mansion in Kharkov is presented - the only architectural object in Ukraine, which was designed by Krichevsky and belonged to his family. The importance of publications about the architect for involving the public in the preservation and restoration of the little-known architectural heritage of Vasil Krichevsky was noted.

Slavko Osterc v Mariboru

David Mura’s Poetics of Identity Get access Zhou Xiaojing Zhou Xiaojing State University of New York at Buffalo Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 23, Issue 3, September 1998, Pages 145–166, https://doi.org/10.2307/467682 Published: 01 September 1998

Black, Blanc, Beur: Rap Music and Hip-Hop Culture in the Francophone World. Edited by Alain Philippe Durand. Lanham, MD: Scarecrow Press, 2002. [xviii, 150 p. ISBN 0-8108-4431-1. $49.50 (hbk.); ISBN 0-8108-4430-1. $24.50 (pbk.).] Illustrations, index.

IN THE FIELD OF ROMANTIC SCHOLARSHIP CHARLOTTE SMITH'S POETRY HAS in recent years come to be seen as one of most paradigmatic literary sources revealing artistic constructedness of gender. A lot of critical attention has been paid to gender roles and meanings inscribed in her poetry in ways that not only illuminate their textuality but also display how modern critics read gender into Romantic texts, thereby contributing to ongoing revision of established norms of canonicity and tradition. In addition to influence she had on first male Romantics, notably Wordsworth and Coleridge, (1) Smith's enormous importance for literary history and criticism today seems to lie chiefly in deconstructive potential of her work as detected by scholars exploring gendered and generic constructions of subjectivity and poetic identity in Romantic lyric. (2) Stuart Curran maintains that Charlotte Smith was first poet in England whom in retrospect would call Romantic. (3) It can be added that Smith is major poet whose work reveals how deeply and inextricably Romantic tradition is rooted in sentimental. Embodying fusions and hybridizations of what modem literary criticism has come to differentiate as sentimental and Romantic traditions, Smith's poetry not only illustrates their common ground, but also their differential qualities with respect to each other, which, considering their continuity, should be reassessed under categories of sentimental and sublime. As Stephen Behrendt writes, we might consider to what extent Romanticism might fruitfully be delineated by ways in which writers and citizens alike position themselves, at various points in period, in relation to an axis whose poles are Sentimental and Sublime. (4) Against some readings that interpret Smith's poetic self in terms of an absence or failure, not only of sublime but also of subjectivity, I would suggest that her poetry inscribes a poetic subjectivity that is more a positive writing of sentimental than a default of sublime. In his influential article I Altered Curran writes with reference to women poets of Romantic period, including Smith: The humanitarianism of Dissenting tradition makes women poets sympathetic to distress and victimization, but void at center of should alert us to a profound awareness among these poets of being themselves dispossessed, figured through details they do not control, uniting an unstructurable longing of with hard-earned of thingness. Curran's comment seems to carry phenomenological and psycho-social meanings arbitrarily transposed onto actual, aesthetic structure of poetry, and my argument will be implicitly contesting this through Bakhtinian notion of genre as a socio-aesthetic category. (5) I will try to show that consciousness of dispossession and the longing of sensibility inscribed especially in Elegiac Sonnets are deliberately and deftly structured mainly in accordance with generic conventions of literature of sensibility. And sense of Curran attributes to Smith (along with other women poets of period) cannot be located in her poetry insofar as is a discursive mode of subjectivity, and even more fundamentally, insofar as all authorial discourse about self in its relation to others and world is an active enactment of subjectivity in Bakhtinian sense. Karen Weisman also attributes thingness to Smith's poetic self in her sonnets by describing it as perhaps no more animate than hapless Lucy whose death Wordsworth is hauntingly to mourn. (6) Al though Curran defines Smith's poetry as one of sensibility, his comment as well as Weisman's seems to attribute subjectivity only to Romantic/ sublime, and quite arbitrarily denies sentimental's access to subjectivity as well as its capacity for artistic self-possession and mastery. …

Reviewed by: The Reception of Du Fu (712–770) and His Poetry in Imperial China by Ji Hao Michael A. Fuller The Reception of Du Fu (712–770) and His Poetry in Imperial China by Ji Hao. Leiden, Nld: Brill, 2017. Pp. x + 266. $114.00 cloth, $114.00 e-book. The burgeoning scholarship on the reception history of major Chinese poets is a welcome and overdue development in the study of premodern Chinese literature. Ji Hao's The Reception of Du Fu is the first in a series of monographs we can anticipate in English on the reception history of the greatest Chinese poet. Although Hao's title suggests a general survey of the field of Du Fu studies, the book perhaps would have been better called Studies in the Reception of Du Fu, since the field is vast and Hao focuses on a particular set of themes and texts spanning a period from the Northern Song through Qianlong's reign (1735–1799) during the Qing dynasty. Although I believe Hao's book is a useful addition to the literature, there are some critical methodological and conceptual problems that I find with his approach. In the introduction, Hao raises an initial series of questions that very broadly define the goals for the study of reception history: What is the general picture of the history of the reception of Du Fu and his poetry in premodern China? More importantly, what can the process of such a reception reveal to modern readers about the nature of poetry and subtleties of the modes of reading poetry in premodern China? How does knowledge about this process deepen our understanding of the relationship among poetry, politics, and social and intellectual changes in imperial China? How does it better inform us of efforts taken by the literati class to construct their self-identities under constantly changing circumstances? (p. 7) In practice, however, Hao's own study is more narrowly circumscribed and centers on two themes. The first is the changing interpretations of Du Fu as a "loyal" poet. The second is an exploration of an engagement with Du Fu's poems that Hao calls the "mode of life reading" (p. 8), which I discuss below. The Reception of Du Fu is divided into six main chapters with a short introduction and a short conclusion. Chapters 1 and 2 cover the Song dynasty; chapter 3 discusses the Yuan and early Ming, while chapters [End Page 232] 4 and 5 examine the late Ming and early Qing. Chapter 6 describes the official approaches to Du Fu during the Kangxi (1678–1735) and Qianlong reign periods, while the conclusion provides a short coda bringing Hao's study of Du Fu's reception up to the current time. Hao starts with the Northern Song, rather than the reception of Du Fu's poetry in the ninth century, and largely focuses on the commentarial traditions recorded in collections of Du Fu's poetry. Since there are no extant collections of Du Fu's poetry from the Tang, the crucial early years in the shaping of Du Fu's reputation—from Han Yu's 韓愈 (768–824) championing of his poetry to Han Wo's 韓偓 (844–923) complex engagement with Du Fu at the end of the dynasty—are simply omitted. Although references to ninth-century writers' comments on Du Fu appear throughout the book and make it clear that Hao knows the relevant material, he appears to consider the Tang writers peripheral to his project. It would have been better if Hao had addressed this omission in the introduction and explained the logic behind his particular methodological focus and its implications. Although chapter 1 begins with how Wang Qi 王琪 (fl. 1025–1059) used the printing of his edition of Du Fu's poetry to generate revenue, the chapter largely focuses on the relationship between Song-dynasty poetic practice, the reconstruction of Du Fu's collection, and the construction of Du Fu's poetic identity. Hao explores the questions of how writers decided among textual variants in extant versions of Du Fu's poetry, as well as how they decided which poems in fact were written by Du Fu and which were...

<i>Cartophilia: Maps and the Search for Identity in the French-German Borderland</i>. By Catherine Tatiana Dunlop.Chicago: University of Chicago Press, 2015. Pp. viii+258. $45.00 (cloth); $7.00–$36.00 (e-book).