Poetic works by Lyubov’ Garelina: features of lyrical statements

Nature has a prominent and influential role in human life. And has an important place in poets' poems; it has become one of the sources inspired by the poet's creative work. Among these poets is the poet Mohamed Omar Osman, a contemporary poet, who has a distinctive imprint in Kurdish poetry because of his creative presentation and his creative abilities in his poetic productions.This study, entitled "The Exploitation of the Elements of Nature in the Poetry Collection" (La Ghurbata) by Muhammad Omar Othman, is an attempt to explain the location of the elements of nature in the world of his poetry, because the elements of nature took great place in the texts of the poet. The study consists of an introduction, two axes and a conclusion, as follows:The first axis dealt with the concept of nature, in terms of significance, terminology and definition. This was covered by the opinion of specialists, as well as the role of nature in literary space, in an attempt to demonstrate the influence of literature on the poet and his literary works. The second axis was devoted to the nature of rigid and dynamic nature of the poet's output; with a statement of the poet's efforts in how to employ these natural elements in his poetry; in a painting filled with beautiful pictures and careful and deep consideration. In the end, the research reached a number of results with the sources  mentioned at the end .

Born in the small Extremaduran town of Moraleja in 1946, Spanish poet Pureza Canelo, at the age of twenty-five, published her first collections of poetry, Celda verde and Lugar comon (winner of the 1970 Adonais Prize). By 1979, she had settled upon an understanding of her own aesthetic evolvement, which she elaborated in Habitable (Primera poZtica). Then, in 1986, after a period of disenchantment with the written word during which she published only two chapbooks-Espacio de emoci-n (1981) and Vega de la paloma (1984)-she redefined her position in Tendido verso (Segunda poZtica). Designed to complement Nature's Colloquy with the Word: Pureza Canelo's First Poetics (Bucknell, 2004), the current text deciphers the intricate poetic language of the poet's mature works, which, at the time of writing, included the two above-mentioned chapbooks as well as Tendido verso, Pasi-n inZdita (1990), and No escribir (1999). The author traces recurrent aesthetic and philosophical positions that serve to differentiate the poet's first and second poetics. Tendido verso is the volume in which temporality supercedes essence and, in so doing, breaks with insights expressed by Juan Ram-n JimZnez during his Modernist phase. In Pasi-n inZdita the intimate pronominal discourse between poet and creative other allows them to coalesce into an indeterminate being. At this point the desired goal of the creative process is achieved; the 'holy wedding' (hieros gamos) of poet and creative other occurs. No escribir abandons the struggle of Canelo's previous books and carries out the method prescribed by her second poetics. She recognizes that only the creative process can satisfy her desire, and that love, the dominant symbol for creation, indeed, allows the pain of poetic failure to cease. Passion, nonetheless, must stop short of fulfillment, since the written poem, laden with the poet's gaze and subjectivity, cannot exist apart from its shadow. It is the poem shadow, like Lacan's objeta, that most disturbs the poet. Only by positioning herself close to the creative process, similar to a worker on scaffolding, is she able to assume a 'parallax view' (in 3iyek's sense), if not of the finished poem, of its formation. In contextualizing the poet's work, Pritchett discovers commonalities with Romantic, Modernist, and creacionista writers. Canelo's insights, moreover, display a resemblance to Heidegger's thoughts on time, being, and poetry, Lacan's ideas on experience and language, and 3iyek's vision of the subject's relationship to the object. Out of the latter's 'parallax view' a perception comes to light that requires poets to deny aesthetic idealism and scrutinize the subject-object relationship. It is Canelo's detection of poem 'shadows' that drives her to refine her approach to creation and, thus, to evolve as a poet.

Reviewed by: The Burning World, and: Lives of the Animals Stephen C. Behrendt (bio) Robert Gibb. The Burning World, University of Arkansas Press. Robert Wrigley. Lives of the Animals, Penguin Books. Some books are "slow reads." Not because there is anything wrong with them. Quite the reverse. Sometimes – especially when they are collections of poetry – these books are simply so richly wrought and so densely musical that it is impossible to read through them without permitting ourselves to proceed at a leisurely, attentive pace we hardly ever allow ourselves in "normal" reading. On such occasions, we can indulge our poetic sensibilities, let them be stroked and seduced by the poet's carefully nuanced language, by the rich texture of sound devices, by the resonant imagery, and by the sheer collective aesthetic impact of the poet's work. In a poetry market filled with often shrill, hasty-seeming, and insufficiently gestated writing, these rarest of reading experiences remind the reader who is paying attention to such things that there is still such a thing as careful, deliberate artistry in contemporary poetry, and that at its best it unites beautifully wrought language and imagery with an engaged and committed world-view in a poetry that is as intellectually profound as it is aesthetically satisfying. This is precisely the sort of writing to be found in the latest books by Robert Gibb and Robert Wrigley. Both are accomplished, widely published, and much-awarded poets whose previous books have always promised even finer things to come. Now, in Gibb's The Burning World and Wrigley's Lives of the Animals, each has delivered on that promise with a collection that is carefully unified and remarkably accomplished. The Burning World is Gibb's intensely personal poetic memoir of the history of his western Pennsylvania family that extends back through three generations of mill workers in the now defunct Homestead steel mills. From his grandfather, who died in a fiery fall at the mill, through his parents, dead before their time, and on to himself as a young mill hand working the night shift and then as husband, father, and poet, Gibb presents the millworkers' lives from the inside, as lived history. He does so with remarkable sensitivity, blending minutely observed details like artists and paintings, the old aviary, the Homestead strike and the Pinkerton thugs called in by management, the documents for his parents' cemetery plots, the old buildings and the familiar figures who [End Page 179] peopled them, gone now like "the Syria Mosque Razed to Make Space for Parking": . . . I remember the scallop Of lines, seats red as fezzes On which the curved swords glowed, How outside, snug against the eaves, Tiles patterned the walls in a fret – A little band of color, beadwork Against that naked expanse. And the bare breasts of the sphinxes flanking The stairs, as though the dark bronze Of honey poured in their forms. (p. 35) This is the sort of careful imaging that informs every line, every image, every poem. The effect over some seventy pages is riveting, not the least because it communicates to its reader such a compelling particularity of place and interiority of experience. This is a history that is at once personal to the poet and his family and yet common to all of us. Indeed, this shared experience – this appeal to what in the eighteenth century was called "sympathy" or fellow-feeling – is evident everywhere in the collection, and perhaps no more so than in the following passages from the title poem: The great slabbed stairways mounting To the dead level of the lot, It looks almost Toltec, pyramidal And squared by its block of streets. I have to imagine the high school, Gone now for decades, the dingy brickAnd masonry, and a boredom so immense Even the hours seemed made of stone. . . . Even the aluminum siding is sun-struck And worn on the house on Sixteenth Avenue, where I was born, and my fatherBefore me. The faded white of the dish- Cloth his mother flung across his face The year before he brought my motherHome. The nominal white of the bone, Or the pickets in this fence, ghosting...

Reviewed by: Celebrant's Flame: Daniel Berrigan in Memory and Reflection by Bill Wylie-Kellermann Ryan Di Corpo Celebrant's Flame: Daniel Berrigan in Memory and Reflection. By Bill Wylie-Kellermann. Eugene, OR: Cascade Books, 2021. 212 pp. $23.00. The radical life of the late Jesuit priest and poet Daniel Berrigan, at once revered and ridiculed for his provocative acts of nonviolent resistance against the death march of war and imperialism, is welldocumented in numerous books, essays, and documentary films. Berrigan, most remembered as one of nine Catholic activists who, in 1968, illegally burned 378 draft records in a Catonsville, Maryland parking lot, was himself a prolific author. At the time of his death in 2016, Berrigan had published more than 50 works—some collections of poetry, some musings on the Old Testament prophets, some chronicles of the anti-war protests that made him an unlikely icon. (Full disclosure: I personally befriended Berrigan during the final months of his life.) It is despite numerous detailed studies on Berrigan's legacy that Detroit-born activist and retired Methodist pastor Bill Wylie-Kellermann, who first met Berrigan in the early 1970s, has delivered to us a truly unique commentary in Celebrant's Flame. Pulsating with the rhythms of poetry and protest, Kellermann's book presents a kind of spiritual symphony, a collage of personal reflections, friends' recollections, and essays by contemporary peacemakers. The book, moving freely between topics ranging from Scriptural exegesis to French absurdist Albert Camus, is best read slowly, [End Page 61] savoring its prose interspersed with Berrigan's hallmark poetic flourishes. This is a book for contemplation, to be read with the temperament of monks and the righteous fever of prophets. Calling us to lives of "radical discipleship," as Mr. Kellermann terms it, Berrigan ruffled feathers—and bruised egos—in the hallowed halls of American political power and the institutional church through a stubborn, stalwart rejection of violence under all circumstances (4). Kellerman, who was studying at New York's Union Theological Seminary when he came to know Berrigan, describes Bible studies with the Jesuit as striking the soul with paralyzing force. "Never had I met anyone who took The Book with such life and death seriousness," writes Kellermann. "I got knocked off my horse. A tidy worldview crumbled. I do not exaggerate: I was struck nearly dumb and wandered the seminary for a time more than a little lost" (79). Kellermann regards Berrigan both a spiritual mentor and a confessor, a prophet who outright refused such an august title. (Berrigan once chided an "idiot headline" in The Baltimore Sun which asked if he and Phil were modern-day prophets) (82). A major strength of this volume is that it offers a generous helping of Berrigan's poetic works. His verses—sarcastic then sincere, challenging then comforting—reveal an innate Christian sensibility, a worldview imbued by the spirit of peace. In his five-part poem "Vietnamese Letter," his meditations on a nation scarred by war highlight a distinctly Eucharistic flavor. "[T]he sweet earth, punished by ruffians' fists / heals like a rising loaf, a bread of heroes," he writes (73). In "Homily," he extends the metaphor of our world as the Body of Christ: "Said; a cleric worth his saltwill salt his bread with tears, sometimes.will break breadwhich is the world's flesh, with the world's poor,count this his privilege and more—" (37) Celebrant's Flame is also aided by four essays by Berrigan's friends, who provide valuable insight into his personal character. John Bach, once an inmate with Berrigan at Danbury federal prison in Connecticut, recalls a weekly class on great novels. "[I]n that prison classroom I marveled at Dan's insights, eloquence, spot-on analysis, and the implications for what passed for politics," writes Bach (17). "In the evening […] Dan would brew concoctions of coffee, hot chocolate, with melted Snickers bars that were shared amid all the laughter" (18). Catholics familiar with Berrigan will find Celebrant's Flame replete with fascinating, little-known details about his life (Did you know he [End Page 62] wrote unproduced television screenplays?) and timely reflections on his legacy today. Catholics unfamiliar with Berrigan...

Arguably the most important poet of the colonial period in Latin America, and perhaps of any time, Mexican poet and playwright Sor Juana Inés de La Cruz (b. 1648–d. 1695) has a number of claims to fame. She is arguably the most important poet of the colonial period in Latin America and among the first to be read in Europe. She is also an influential proto-feminist whose ideological vision defined generations. Her life is divided into three more or less symmetrical parts: her out-of-wedlock birth, education as a criolla, an individual of Spanish descent born in Latin America, in what is today Mexico City, and early manifestations of poetic talent; her life at the viceroyalty court, particularly her relationship with the Condesa de Paredes; and her decision to become a nun or spend her life in the convent, at which time her local and international fame challenged the male ecclesiastical hierarchy in New Spain, prompting her confessor and other authorities to silence her. Her most important works are her philosophical poem Primero sueño (First Dream, 1692), her comedia Los empeños de una casa (Pawn of a house, first performed in 1683) and Amor es más laberinto (Love is but a labyrinth, 1689), her loas or autos sacramentales—religious one-acts—including El divino Narciso (The divine Narcissus, 1689), her “Carta atenagórica” (Athenean letter, 1690) in which she debates the work of Portuguese theologian Antonio Vieira, her proto-feminist “Respuesta a Sor Filotea” (Response to Sor Filotea, published in 1700) where she responds to her confessor’s command to give up her writing, and, mostly, an assortment of sonnets and other poems, including “Hombres necios” (Stubborn men). Fluent in Latin and also active as a writer in Nahuatl, Sor Juana’s oeuvre is relatively compact: it includes poetry and theater and her autobiographical and philosophical letters. A substantial amount was published in her lifetime. After her death, there were hagiographies and, especially in the early 20th century, foundational scholarly studies. Still, she was the property of a small cadre of followers until she breached into the larger public realm and elicited enormous critical attention after Octavio Paz, Mexico’s recipient of the Nobel Prize for Literature, released his years-in-the-making biography in 1982. Since then a slew of fresh, reinvigorated research has opened up new vistas on Sor Juana. Her correspondence with her confessor, the Bishop of Puebla, has been found, changing the established academic opinion that he obstructed her intellectual development. Correspondence with other colonial poets, a possible collaboration in a comedia, and other findings have inspired sorjuanistas in international forums. Sor Juana has also become a popular icon not only in Mexican culture but across the Hispanic world, especially among Latinos in the United States. Her image appears in portraits and on Mexico’s 200-peso bill; there are several biographies; and her story has been the subject of operas, movies, TV mini-series, novels, plays, and poetry collections; and her politics have inspired feminists around the world. This bibliography highlights the most important critical editions of her work, in Mexico and outside. It lists canonical scholarly book-length contributions. It catalogues translations into English and her impact among Chicanas in the United States. And it features creative works based on her life and politics. This bibliography isn’t exhaustive. It showcases Sor Juana’s most significant contributions and her reverberations in history. It opens with significant critical editions, moves to attributed works and other references, features important biographies, concentrates on selected studies principally in book form, acknowledges previous bibliographies, and showcases her presence in films, operas, theater, and in literary works. It concludes with a section on Sor Juana in the United States. Important sorjuanistas are identified with biographical dates and relevant contextual information.

The paper informs about the cultural contribution of Chernivtsi University graduates, former S. Smal-Stotskyі’s students D. Lukiianovych, I. Doshchivnyk, S. Lakusta, and M. Pavlusevych, whose creative work and pedagogical activity played an important role in promoting and exploring the works by T. Shevchenko in the territories of Bukovyna. Focusing on Vyzhnytsia center, the paper clarifies fundamental views of the mentioned persons, their assessments of the poet’s works and main relevant ideas. The author evaluates critical writings and literary works of the Bukovynians in relation to the development of Shevchenko studies and promotion of his legacy.
 At the late 19th and early 20th century none of the Ukrainian universities focused on Shevchenko’s works more than Chernivtsi University. Hnat Onyshkevych initiated a series of lectures on the study of T. Shevchenko’s poetic works. His project was continued by professor S. Smal-Stotskyi, who offered the course “Taras Shevchenko. Life and Works” and held a series of seminars on the theme “Shevchenko’s Poetry” at the beginning of the 20th century. Those who studied at the Philosophical Faculty of Chernivtsi University picked up the teachings of Professor S. Smal-Stotskyі and showed unceasing interest in the works by T. Shevchenko. In the conditions of the national cultural revival, Shevchenko’s poems were especially significant; the poet’s crystallized ideas passed from teacher to student and played an important role in forming a new generation of conscious Ukrainians who were concerned about the future of their country. There were two circles (Kitsman-Kolomyia and Vyzhnytsia) in Bukovyna where researchers and promoters of T. Shevchenko’s works made the poet’s legacy actual and contributed to Shevchenko studies. The paper summarizes the achievements of the Vyzhnytsia center representatives.

The distinguishing feature of Liu Hsieh's ”The Theory of Genres” in ”Wen Hsin Tiao Lung” (The Literary Mind and the Carving of Dragons) is to include articles with and without rhymes in the literary field. At this rate, the classics, histories and biographies are all literary works. It provides immense space for the development of later fiction. Thus successors can absorb nutrition from the classics, histories and biographies to proceed with fiction-writing.In Liu Hsieh's ”The Origin of Literature”, he allocates two chapters, ”Rectifying Latitude” and ”Distinguishing Lisao”, to compliment the fantastic imagination of books on divination and to affirm the figures of speech in Chu Yuan's ”Lisao”. In various chapters of ”The Theory of Genres”, embellishment of certain histories and biographies, exaggeration of the thinkers' prose, and elegance of the poetic works are affirmed from the perspective of literature. The aforementioned factors happen to be the characteristics of literary fiction.Fiction as a genre was established in the Han dynasty by Ban Gu. It was listed along with the thinkers' prose. At that time, it was not combined with the nonexistent contents of literary fiction. But early in the Pre-Qin dynasty, mythology, fable, legend, story and the description of some fictitious elements and details in ”Zuo Zhuan” had contained the emerging factors of fiction.”The Theory of Styles” in ”Wen Hsin Tiao Lung” includes a genre called ”Burlesque” which the author Liu Hsieh compares to fiction author as the latter is classified in ”the nine schools and ten professionals”. It has the concept of genre distinction and analysis. A variety of chapters in ”The Theory of Genres”, such as ”Argumentation”, ”Historical Biographies”, ”Thinkers' Prose”, ”Interpretive Poesy”, ”Essay” and ”Burlesque”, all refer to the attribution of literary fiction. From the pro-classic stance, Liu Hsieh criticizes innovation, absurdity, exaggeration and elegance as they do not conform to the classic genres. Nevertheless, he endorses their artistic achievement from the literary perspective.This article aims to illustrate the exclusive knowledge of ”Rectifying Latitude” and ”Distinguishing Lisao” in ”Wen Hsin Tiao Lung”. It also elaborates on the fiction-related imagination, exaggeration, absurdity and elegance in ”Argumentation”, ”Historical Biographies”, ”Thinkers' Prose”, ”Interpretive Poesy”, ”Essay” and ”Burlesque” in ”The Theory of Genres” so as to demonstrate Liu Hsieh's excellent vision which compromises the past and the present. He was indeed an outstanding literary thinker. In the early 20th century, fiction, after having been cultivated for a long period of time finally, in the sense of pure literature, reached the state in which the name and the reality of fiction were in complete accord.

The article deals with the philosophic and aesthetic aspects of Taras Shevchenko’s creative power. The author proves that it would be correct to talk not of the world outlook system, created by T. Shevchenko, but of the philosophic and aesthetic basis of Kobsar’s creative activity. This basis produces special artistic images. They are integral, deeply sensitive, moral – all that means pictorial. This line of T. Shevchenko’s art must be continued by the artistic heirs of great Kobsar. The article is dedicated to the 200-th anniversary of Taras Shevchenko’s birthday. The great Ukrainian poet and artist T. Shevchenko had been called ‘Kobsar’ because his creative work was deep-rooted in native culture. He was a people’s writer, painter, master of graphic art. T. Shevchenko described life of Ukrainian people as truly as famous native poets and singers, the so called Kobsars, did. That is why all the generations of Ukrainian people worship Taras Shevchenko. Every Shevchenko’s jubilee makes an opportunity to appreciate his creative heritage again and again, every time from new philosophic and aesthetic positions. So does the author of the article. She offers her own view of the traditional scientific problem: what is the nature of philosophic and aesthetic basis of Taras Shevchenko’s creative activity. As to the scientific literature on the subject, the author does not analyses it deliberately, because of enormous number widely known sources. The tasks of the article are the following: 1) to find out the creative basis of the images in T. Shevchenko’s fine art, i. e. in his painting and graphics; 2) to find out the traits inherent to T. Shevchenko’s mentality in creative work of his followers. The philosophic and aesthetic basis of T. Shevchenko’s creative work was special, i. e. there was no strict logical system in his world outlook, as for example in the German classical philosophy. On the contrary, the philosophic and aesthetic basis of T. Shevchenko’s creative work was rooted in the broad mythical and poetic mentality of Slavic peoples, including Ukrainians, of course. This kind of mentality contained sensuality, intuition; it was full of metaphors, symbols etc. Kobsar’s artistic images were integral, deeply sensitive, moral, i. e. they were pictorial. In this aspect T. Shevchenko’s philosophic and aesthetic ideas were similar to the so called ‘philosophy of heart’. The most famous Ukrainian philosopher G. Skovoroda belonged to this trend. Mythical and poetic mood can be found everywhere in T. Shevchenko’s creative works, both in romantic and realistic ones. The examples of that mood are offered in the article. One of them is the following. The most famous T. Shevchenko’s picture ‘Catherine’ shows us what are the abilities of the critical realism when its means are used by genius. The ideas and senses of the artist are expressed in ‘Catherine’ with quantitative factors: narrative elements, signs, symbols, personifications etc. The image of Catherine symbolizes beautiful, frank, oppressed, humiliated Ukraine. An old oak-tree which is painted in the picture symbolizes strength and grandeur of Ukrainian land. Also there is a mill which symbolizes endless rotation of Ukrainian being. Then there is a figure of a people’s representative in the picture. His features resemble the features of T. Shevchenko’s face. We understand that the artist expresses his absolute sympathy for the main character of his picture. There is the only negative character in this creative work. This is a soldier from Moskovia. He had hurt Catherine and was depicted in a caricature manner. ‘Catherine’ is a poetic creative work. On the contrary, another example shows keen criticism. The talk is about Shevchenko’s famous graphic series ‘The Parable of the Prodigal Son’. It contains a few pictures in which the author shows different examples of the tragedy of ‘prodigal sons’, i. e. oppressed people in Russia of the nineteenth century. We can find narrative means in this series. In this case we must remember that Taras Shevchenko was a writer first of all. But Shevchenko’s narration was neither boring, nor cold. On the contrary, it evoked sympathy for the above-named prodigal sons. The great Kobsar’s criticism was not criticism for its own sake. Its aim was ideological and sensual renewal of Ukrainian society. In contemporary culture there is an important task to continue and develop T. Shevchenko’s creative ideas. The fact is that most of contemporary artists use T. Shevchenco’s favorite romantic and realistic creative methods for solving that task. These methods are more able to transfer T. Shevchenko’s artistic images into contemporary art than it would do such methods as modernism and post-modernism. Some examples of such romantic and realistic contemporary works made by T. Shevchenko’s heirs are offered in the article. For example, the author of the article names the following Ukrainian artists: sculptor I. Kovaleridse, painters P. Kodyev, G. Melekhov, V. Kasiyan etc. As to the aspect of poetic sensuality there is a kind of spiritual connection between the memory of Kobsar and real contemporary people. ‘Connection of times’ can be realized through objects of culture which are being used for a long time. The famous Peresopnitskoye Gospel is a bright example of this. It was in Taras Shevchenko’s hands, he was delighted with it. Then it was in hands of many people. Psychologists call this phenomenon an ‘effect of hands outstretched’. Contemporary aesthetic science attaches great importance to this phenomenon. Conclusion: 1. Taras Shevchenco’s creative work has deep native philosophic and aesthetic roots. They are mythical and poetic and are as important as strict logical philosophic and aesthetic systems. 2. Kobsar uses romantic and realistic means, which can be qualified as pictorial, i. e. integral, image-bearing, deeply sensitive, moral. 3. Romantic and realistic methods are the most adequate ones in developing T. Shevchenko’s creative heritage today.

<p>經過明末清初的才德之辨，閨秀文學發展到乾嘉時期，進入了一個新的階段。此期的閨秀有著更強的才名意識，她們充分運用文壇領袖所掌握的文化權力，通過拜師等舉措拓展交往空間，從而與著名文人唱和、題贈，躋身文壇，顯揚聲名。駱綺蘭通過結交袁枚、王文治和王昶等，以畫作、詩集遍求題贈，並編選《聽秋軒贈言》和《聽秋軒閨中同人集》，得以聲名鵲起；歸懋儀在乾嘉文人與閨秀之間構築了一個非常龐大的交游網絡，她執著於詩史留名的願望，成功藉助男性文人的資助，令詩稿付梓，並憑藉才名遊走於江浙間擔任閨塾師，承擔起養家的重任；汪端則欲通過選詩修史來達到不朽，其《元明逸史》的撰寫和詩集中大量的詠史詩，可見其修史的努力，編選《明三十家詩選》更見其不凡的識見。吳藻創作雜劇《喬影》，並繪《飲酒讀騷圖》，體現出懷才不遇的苦悶和強烈的性別意識。總體而言，乾嘉閨秀已經不滿足于內闈狹小的空間，做出了跨越閨門的種種努力，是晚清民國閨秀文化近代轉型的先聲。</p> <p> </p><p>Following the debates on female talent during the late Ming and early Qing eras, women’s literary production entered a new stage. Women poets who were active during the Qian-Jia reigns had a stronger sense of establishing their literary fame through making use of the cultural power held by the leading poets of their time. They became the female disciples of these leading figures, and expanded their networks by communicating and exchanging poetic works with larger communities of eminent literati. Luo Qilan, in particular, succeeded in achieving fame through her important connections, including Yuan Mei, Wang Wenzhi, and Wang Chang. She broadly solicited inscriptions for her paintings and collections of poetry, and published The Collection of Inscriptions for the Autumn Pavilion and The Anthology of Poetic Works by Friends of the Autumn Pavilion. Gui Maoyi, another well-connected woman poet, built a literary community that included both male and female poets. She obtained help from the male literati to publish her poetry collection, thereby realizing her ambition of establishing an undying literary reputation. At the same time, she turned her poetic talent into a means of providing for her family, travelling all over Jiangsu and Zhejiang provinces to teach in elite families. Other well-known examples included Wang Duan and Wu Zao. Wang revealed her ambition of authoring history in a broad array of works, including An Informal History of the Yuan and the Ming, Selected Works by Thirty Ming Poets, and numerous poetic works on historical events. Wu was best known for her variety play, A Shadow in Disguise, as well as for her painting, “Drinking Wine and Reading the Sorrow of Departure.” In these works Wu lamented her unfulfilled ambitions and the limitations of gender roles. In general, women poets of this time made all kinds of efforts to venture beyond the inner quarters and can be viewed as the pioneer of the modern transformation of women’s writing culture during the late Qing and early Republican era.</p> <p> </p>

Russell Pannier Decision Theory and Life Choices Introduction My topic is the relationship between decision dieory and life choices. The decision-theoretic concepts I shall use are simply refinements of commonsense concepts. The terminology may be new, but readers should find the ideas familiar.Thus, it would be possible to bypass the topic ofdecision theory altogether and immediately focus upon life choices. Given this, one might well ask why decision-theoretic concepts should be invoked at all. My reason is this. Presumably, many readers have already encountered decision theory in some context or other, perhaps in an economics course, a finance course, or a law course. This common background of understanding provides a useful basis for thinking about life choices. Unlike much contemporary philosophy, decision theory has a grip on certain concepts tiiat are essential for any adequate understanding of life choices—concepts such as consciousness , time, desire, belief, uncertainty, and choice. LOGOS 2:4 FALL I 999 ?G6LOGOS This observation generates another question, "But if that's true, why go into the topic oflife choices at all? Can't you just stay within the boundaries of decision dieory itself?" The difficulty is that decision tiieory, at least as customarily practiced, has an unduly narrow focus for my purposes, a focus that includes subjects such as investment strategies, marketing strategies, military strategies, and legal tactics. As important as such concerns are, they are not inclusive enough to incorporate the topic oflife choices. So, while it's useful to begin with decision theory, it's necessary to extend it to larger issues. WhatAre Life Choices? A life choice is a choice that can't be avoided, an alternative each of us must resolve in one way or another in virtue of our participation in the human condition. FollowingWilliam James, I shall regard as paradigms oflife choices die decision whetiier to act as ifone has freedom ofwill, die decision whetiier to take one's own life, and die decision whether to live as iftiiere is a personal ground ofbeing.1 An example tiiat could be added to James's list is die decision whether to live as ifcompassion is more deeply embedded in the heart dian malice. Such alternatives can't be avoided. Either one chooses to take one's own life or one does not. Either one chooses to live as if one has freedom of choice or one does not. Eitiier one lives as if there is a personal ground of being or one does not. Such choices can be contrasted with choices such as, "Should I use my last dollar to buy a giant Kit Kat bar or a bag oftaco chips?"That choice could be avoided simply by spending one's last dollar on, say, a #10 Mickey-Finn trout streamer. I hope tiiat diese remarks are sufficient to convey the general concept of a life choice. Unfortunately, tiiey are perhaps not completely philosophically adequate. It requires only a moment to tiiink of apparent counterexamples. What about the choice whether to DECISION THEORY AND LIFE CHOICES ever buy a giant Kit Kat bar or not?That seems to be a choice everyone must make. So, there is an apparent problem. Obviously, I don't want to include diose kinds of choices. What shouldbe said? Perhaps the following will temporarily suffice . Each ofus is compelled to resolve the giant Kit Kat bar choice in the sense diat each ofus either buys at least one giant Kit Kat bar during our lifetime or we don't. But there is no necessity that we ever consciously confront the choice. Think of all those who have never heard ofgiant Kit Kat bars, or, even ifthey have, don't realize that they are things to eat, as opposed to being unusual cats. Such persons have die choice in the sense I have articulated, but there is another sense in which they would have the choice only ifthey consciously confront it. This reflection suggests an amendment ofthe definition. It might be said that a life choice is a choice that not only can't be avoided, but also must inevitably be confronted by everyone at some level of consciousness. For example, the choice whetiier...

The article offers an insight into the entanglement between the avantgarde modernist principles of image and the Bulgarian aesthetic-ideological idea of the “native” from the 20s of the 20th century, realized by Nikola Furnadzhiev in the collection of poems “Spring Wind” from 1925. The reasoning is based on correspondences between the imagery in the paintings of the period and that in the poetic works from the poetry collection. The artistic suggestion achieved on their basis in “Spring Wind” illustrates an important aspect of Bulgarian avant-garde modernism as an aesthetic phenomenon, in which, although not yet fully described, European avant-garde aesthetic ideas and worldview attitudes are connected with the native ideological and aesthetic tradition. As a result of this relationship, in the entire literary field of the period, specific artistic modernist manifestations are obtained, through which Bulgarian literature in the years between the two world wars fits into the general European artistic process of intense search for an existential perspective before the post-war man and the corresponding aesthetic paths for achievement set through the creative efforts of a new post-war generation of artists. The inclusion of Furnadzhiev‘s poetry collection in this artistic practice has a decisive contribution to the expansion of pictorial experimentation and establishes its literary-aesthetic importance.

By examining the syntactic structure of poetry, we may comprehend and characterise the current level of linguistic thought as well as the manner in which different writers use it. This linguistic research will provide useful information for analysing syntactic phenomena in language reality. The object of the research is a collection of poems by Mykhailo Kameniuk "Songs of a Gentle Vagabond", and the subject of analysis is the syntactic features of the poems presented in the publication. The purpose of the article is to identify and characterize the specifics of the syntactic organization of Mykhailo Kameniuk’s poetry collection "Songs of a Gentle Vagabond", to establish specific methods of organizing artistic imagery at the syntactic level, to select illustrative material that would reveal the poet’s linguistic manner of writing. Research methodology. The general scientific techniques employed in the analysis of the collection are analysis and synthesis as theoretical methods-operations that, in the first place, aim to comprehend the phenomenon of a poetic work and its existence in the plane of theoretical characteristics; these techniques are subordinated to the need to understand the main trends in the development of the aesthetic and literary discourse of poetry, without which it is impossible to consider the syntactic features of poetic works; and finally, abstraction and concretization as theoretical methods of operation; The deductive-inductive method as a cognitive action that allows you to move from the empirical experience of perceiving the structure of a poetic text and its understanding to certain theoretical generalizations (induction), and from them to other phenomena and processes, the comprehension of which is subject to the theoretical positions obtained through generalization (deduction). Using the formal method, which permits analysing a literary work’s form as a collection of techniques in terms of their aesthetic impact on the reader, the structural-semiotic method, which aims to characterise the poetic text's structure and is subordinated to the task of carrying out aesthetic communication between the author and the reader, and the method of providing a comprehensive and methodical explanation of the phenomenon of a poetic work and its existence, which is carried out in the process of linguistic and literary cognition, are added to the general scientific methods. The main content of the article is a detailed analysis of the syntactic organization of Mykhailo Kameniuk's poetry. Each artist's speech originality is unique due to the structural and stylistic elements of poetic speech, which represent their mood and worldview. Characteristics of the author's basic syntactic structures for the expression of the sentence's principal participants: The majority of subjects are simple, denoted by singular or plural common or proper nouns in the nominative case; subjects that do not function as nouns serve a specific artistic purpose, mainly preserving the emotive and sentimental tone of poetry. Among the compound two-element predicates, the most commonly used predicate is "null-copula + noun in the nominative case", which expresses a constant feature or a qualitative characteristic inherent in the subject. In the poetry of M. Kameniuk, inverse constructions are actively functioning, in which predicates precede subjects, direct objects precede word forms, on which they depend, agreed definitions occupy a postposition relative to descriptive words, often removed from them by other members of the sentence, which transfers the semantic imposition to inverted units. Incomplete syntactic constructions, in particular incomplete elliptical and incomplete contextual sentences, are actively functioning in the author’s poetic work. The carried-out research allows us to conclude that the poetic syntax of M. Kameniuk is characterized by the richness and variety of syntactic units that allow to convey the psychological state of the lyrical hero and the originality of the vision of the depicted by the author.

Josip Osti (1945–2021) was a poet, a novelist, an essayist, a literary critic, a translator and an editor. He also wrote over twenty poetry collections. Born in Sarajevo, since 1990 he lived and worked in Slovenia. After he became a recognized poet in his homeland and one of the most important translators of Slovenian literature into Serbo-Croatian, since 1997 he began to write in Slovenian. Soon after, he receives most prestigious awards in Slovenia. The transcultural aspects of Josip Osti’s literary works, both poetry collections and novels, are in the scope of our attention. The author not only lyrically reflects on his transition from one language to another, what this process was like, what influenced him and found its expression in memorable artistic images, but also assesses his literary bilingualism in his prose texts and interviews. Our analysis of his poetry, especially taking into analysis his haikus, makes it possible to understand the peculiarities of Osti’s poetic work in a non-native language, that is, Slovenian. Another important component of the transculturality of Osti’s work is his comprehension of the spaces of Bosnia and Slovenia and of their unique interconnection.

The methodical techniques which are aimed at development and formation of the child-preschooler's creative vision and creative attitude are being considered in the given article. Contemporary preschool education is directed to the development of a creative personality, the children-preschoolers' interest and activity increase in the process of upbringing and teaching, the development of reproductive and creative imagination (creative vision), the formation of evaluative judgements, creative attitude to the meaning of the poem. The importance of reading poems is conditioned by their high emotionality, melodiousness, rhythmic and cognitive possibilities, as well as their genre peculiarities, which are revealed first of all in the poems accessibility to the children of preschool age. Expressive reading of poems will help a child to understand the meaning of the literary work, the character of heros, the motivation of their actions, to embrace the emotional potential of the literary work and the feelings of the characters. With the help of expressive reading a child will learn to convey his or her own feelings and to understand the feelings of other children or adults better. Working at the formation of creative vision, creative attitude, at the subtexts revealing (semantic and emotional) is an important preparatory stage in the process of the poetic literary work expressive reading skill mastering by a preschooler. After all without the distinct understanding of the sense of the text, which is based on the revealing /awareness/ lexical meaning of all words, that are not understandable for a child, without imagining the bright visual image, without the formed own creative evaluation (attitude) a child-preschooler would not be able to read the literary word in an expressive way. Creative vision, creative attitude should be advisable developed by the children-preschoolers with the help of questions, which stimulate attention, form evaluation of the meaning, understanding the emotions, that are rooted in the text. Working at pictorial means: epithets, comparisons, metaphors is a required component of the child's imagination and evaluation development. Bright poetic means will reveal the beauty of poetic speech to the child, will help to comprehend the fantastic world of poems and to imagine some real visual pictures.

The purpose of the article to research the creative work of choreographers of Ukraine, who devoted a significant role in the staging work to dances on a labor theme. Relying on a certain historical concreteness, they accurately reflected different aspects of the relationship of people and classes in work with the expressive means of choreography. Most of them reflect the artistic images of people for whom work is the first vital need, a source of creative joy, and a sacred duty to society. Therefore, the content of their works was a love of work, a creative attitude towards it, a constant desire to improve their work, to increase their contribution to the common cause. The modern world has, to some extent, changed the attitude and attitudes of people in production, as well as their attitude to work. Therefore, artists-choreographers face new tasks in creative work on the creation of dances on a labor theme, and at the same time in reproducing life problems that concern a modern working man. The research methodology is based on the use of comparative and art historical methods. This methodological approach allows us to reveal and analyze the features and significance of dances on labor topics, which were staged by famous Ukrainian choreographers in folk stage choreography. The scientific novelty of the work lies in expanding the process of the creative associative imagination of the choreographer-director, using the images of workers from the people choreography, first of all, he must study and analyze well how people, their morals, way of life, technology have changed in the new conditions of society. New life gives birth to new dances, new plots, new choreographic compositions. Conclusions. When staging a folk-stage dance on a labor theme, in which the main character is the folk image of a worker, the choreographer, combining various arts in musical-plastic synthesis and possessing all the expressive means of dance, must understand well that the image of a single worker-worker is not the traits of a real person are simply written off; this is a generalized, typified image of a certain group of working people. In some cases, these generalizations in scale may be the face of the workers of an entire large enterprise. Thanks to the artist's creative work, the artistic images of workers reflect not only the production process, their relationship in production, but also form the national consciousness of society.