Book Of Poems Research Articles

ANTHOLOGIA PALATINA 8 AS A HELLENISTIC BOOK OF POEMS: STRUCTURE AND MEANING IN GREGORY OF NAZIANZUS

Abstract This article analyses Anth. Pal. 8 as a Hellenistic book of poems, i.e. as a collection artfully arranged by an author-editor and not as a mere gathering of sepulchral epigrams devoid of any reflection or literary aspiration. In common with modern poetry books, Anth. Pal. 8 was conceived for linear sequential reading. A close study of its tripartite structure, of the thoughtful collocation of each piece and of their organizing principles in well-thought-out sequences reveals the ultimate eschatological meaning of the book. Finally, a comparative contextualization with other late antique poets indicates a late antique dating for the elaboration of this collection as such, whereas the strong numerological element and the religious transcendence sought by the distribution of the poems point to Gregory of Nazianzus himself as the author-editor of Anth. Pal. 8.

Contemplación, Mística y Espíritu Carmelitano en la Poesía de Rosa Cruchaga de Walker

A new line of study of Rosa Cruchaga de Walker's poetry is proposed, focusing on the contemplative and mystic component, in accordance with the literary legacy of Discalced Carmelite, from the theology of Saint Teresa of Jesus to the poetry of Saint John of the Cross. The question of this study emerges from the analysis of some poems selected from the book of poems Ramas sin fondo (1967) corresponding to the Hispanic American post-avant-garde period. This book and her work as a whole highlights the use of symbolic objects and the desire of the poetic self to transcend its human condition. Through a daily and biblical symbology, the reader can appreciate the intimate spirituality of the author, which impregnates her verses and generates a unique «overworld» in the Chilean poetry of the XX century.

“Lunar New Year” by A. Parkau: cultural memory

This article considers the Russian émigré literature in China in the aspect of implementing the principles of intercultural communication and interaction between the cultures of Russia and China. Scholars began to study it in the 1990s, and currently the work of many Russian writers from Harbin and Shanghai remains unexplored. Features of the interaction of national traditions are analyzed in the poem “Lunar New Year” (Chinese New Year) by the poet of the Russian diaspora — A. Parkau, published in the poetic book Unquenchable Fire. Her artistic world still is not in the focus of the scholars. The poem “Lunar New Year,” included in the Bitter Paths cycle, is the artistic description of the Chinese holiday. Its content is determined by Chinese culture, and its artistic form is determined by the Russian poetic tradition. The article traces the connections of the poem with Chinese culture and philosophy, on the one hand, and with the contexts of the Russian poetry of the 19th century, expressed in poetic meters, on the other. The authors of the article examine the compositional and semantic principles of organizing a book of poems and come to the conclusion that the analyzed poem is included simultaneously in several cycles — calendar, reflecting the life of nature, and social, expressing the existential ideas of emigrants, expressed with the motives of loneliness, and fear of death, among others.

« Errance est mon héritage ». Le labyrinthe en tant qu’une figure de l’expérience postcoloniale d’après les Enfants du lichen de Maya Cousineau Mollen

« Wandering is my heritage » The Labyrinth as a Figure of the Postcolonial Experience According to Enfants du lichen by Maya Cousineau Mollen The aim of the paper is to analyze Enfants du lichen, a book of poems by Maya Cousineau Mollen, an Innu poet born in 1975, in order to see if the labyrinth can be considered as a figure of the postcolonial Native American experience. Although the word « labyrinth » does not make its explicit emergence in the poems, their lexical field evokes a whole imagination which makes it emerge implicitly and allows us to believe that the figure of the labyrinth corresponds to the situation of the former colonized. Our contribution is divided into three parts. The first characterizes the postcolonial Native American experience, as described in the poems, and explains why it may be seen as a labyrinth. The second shows the exploration of the paths of possible escape and the last focuses on the exit, the « passage from darkness to light », which can be read as a new era in the life of Canadian Native Americans.

Six Poems by Óscar Hahn

Óscar Hahn (b. 1938) was a member of the International Writing Program at the University of Iowa in 1971. He went into exile from his native Chile in 1974 after having been held in the Arica Prison following Pinochet’s military coup the previous year. Hahn earned a doctorate from the University of Maryland in 1977. His book of poems, Mal de amor (tr. Love Breaks), was banned by Chile’s junta in 1981. For some thirty years he was a professor of Latin American literature at the University of Iowa, where he now holds emeritus status. Hahn currently resides in Ohio.

TRAVEL POETRY BY NOR FARIDAH ABDUL MANAF, SILVERFISH BOOKS, 2019, 78 PAGES. ISBN 978-983-3221-96-7

Travel Poetry (2019) by Nor Faridah Abdul Manaf is a compilation of poems on places, people, and memories. These narrative writings are anecdotes that delves into the aesthetic appreciation of embarking on journeys and exploring places while establishing a profound connection to an individual's cultural heritage and roots. Faridah embellishes her travel experiences by providing a comprehensive portrayal of the places and individuals encountered along her journeys, leveraging the perspective of a Malay Muslim woman who has received a Western education. This book allows readers to experience travelling all over the world by reading her poems from one page to another while understanding Faridah’s perspective and worldview as an individual. Through her works, Faridah effectively communicates the notion that even though individuals travel to explore different parts of the world, they ultimately find a sense of pride and connection to their own country and cultural heritage, which in the end helps to shape their personal identity. In short, Travel Poetry is not just a book of poems about travelling to different destinations around the world but also about how an individual’s mind and action are moved by their destinations.
 
 Keywords: Travel, place, people, heritage, journey.
 
 Cite as: Mohd Fadhli, S. K., & Mafarhanatul Akmal, A. K. (2024). Travel poetry by Nor Faridah Abdul Manaf, Silverfish Books, 2019, 78 pages. ISBN 978-983-3221-96-7. (Book review). Journal of Nusantara Studies, 9(1), 143-147. http://dx.doi.org/10.24200/jonus.vol9iss1pp143-147

Christian Traditions in Alexander Vasilyev’s Book of Poems “To Your Name…” (2011)

The article discusses the reception of Christian tradition in the works of Karelian poet A. P. Vasilyev. The book of poems “To Your Name…” reveals a deep interaction with Orthodox tradition in its lexis, motifs, images and topics. The title of the book of poems represents a direct quote from psalm 113. The psalm concentrates multiple semantic layers: fate and history of the nation that became God’s “possession” and “sanctity;” the Exodus from Egypt; unity of the Lord’s people; chanting the Lord’s name; reprimanding idol worship. The book of poems “To Your Name” reflects these main themes of the psalm. Consequently, the book focuses on such eternal issues as spiritual foundation of human existence, a human’s place in history and at the turn of centuries. Problems of national and personal fate, historical and eschatological questions are considered in the light of Christian tradition. The focus shifts from the historical topic in the first part of the book to the idea of soul resurrection in the second part: common human destiny is specified in the lyrical subject’s personal experience. The concept of “prayer” is comprehensively reflected and synthesized with poetry.

Проблемно-тематическое своеобразие «итоговой» книги стихов А. Вознесенского «Тьмать» (2008)

The paper is devoted to a comprehensive study of the specificity of A. Voznesensky’s "final" book of poems. The aim of the study is to identify the problematic and thematic uniqueness of the book "T’mat’" (2008). The scientific novelty of the study consists in the fact that this publication of the contemporary poet is for the first time comprehended as the "final" one, its genre-typological features are analysed. As a result, the researchers have found the following: firstly, the hallmark of A. Voznesensky’s poetics is represented by declarativeness, provocative nature, a prominent subjectivity of the poetic voice of the persona, which is closely merged with the image of the poet. Secondly, A. Voznesensky’s book "T’mat’" demonstrates a vivid example of a "final" book of poems, the genre canon of which was developed by poets in the last third of the 19th century. The book is organized chronologically and embodies the author’s view of his own fate and the fate of Russia. The book actualizes the farewell motif, the loss motifs, the desire to share the most intimate things, to remember the best moments of one’s life, to thank loved ones; biographism is combined with a dialogical address to the "other". Thirdly, the attention to religious and philosophical motifs and images is increased in this publication, this fact is connected with rethinking the life lived, summing it up.

Koigoromo (Robe of Love) Part 2: A Translation of Masuda Masako’s “Complete Devotion” / 『恋衣』英訳(2):増田雅子の「みをつくし」

Abstract: “Complete Devotion” ( Miotsukushi ), by Masuda Masako, is Part Two of Robe of Love ( Koigoromo , 1905), a book of poems she published with Yamakawa Tomiko and Yosano Akiko. Here I present a brief introduction to Masuda Masako’s life and poetry, followed by translations of the 114 tanka of “Complete Devotion.” For a fuller introduction to Robe of Love and a translation of Yamakawa Tomiko’s “White Lily,” please see “ Koigoromo (Robe of Love) Part 1” in the U.S.-Japan Women’s Journal , number 63/64 (2023), pages 53–97. The third and final section of Robe of Love , consisting of Yosano Akiko’s tanka and shintaishi (new-style poems), will appear in the next issue of this journal.

Пастернак и Северянин: две редакции «Вокзала»

Boris Pasternak’s early work, in particular, in the first two books of poems, Bliznets v tuchakh (Twin in the Clouds, 1914) and Poverkh bar’erov (Over the Barriers, 1916/1917), demonstrates the “traces” of Igor Severyanin’s (Igor Lotarev) style and imagery. However, in 1928, Pasternak significantly rewrote his early poems for a new book. The poet frees several poems from Severyanin’s influence but does not eliminate the elements of his older contemporary’s poetics and stylistic features. The present article shows the evolution of reminiscences from Severyanin’s texts in early and late editions of Pasternak’s Vokzal (Station, 1913, 1928). In the 1928 edition of Vokzal, Pasternak abandons some of Severyanin’s techniques presented in the 1913 edition in favor of “simplification.” Therefore, he moves away from the “artsy” vocabulary and Latin alphabet and, at the same time, adds colloquial words. Nevertheless, despite the emphasized transition to a new period in his work, Pasternak seems to retain some of his former style’s particular signs.

Кто такой «Р-н»: об одном из адресатов отзывов А.А. Блока о поэтах (спустя столетие после их первой публикации П.Н. Медведевым)

The article examines the circumstances associated with the use of “cryptonyms” in the publication of A.A. Blok's resolutions on poets, carried out by P.N. Medvedev in 1923.The surname of the paleontologist and writer A.N. Ryabinin, one of the applicants for joining the Petrograd branch of the All–Russian Union of Poets, is revealed. For the first time, the full handwritten text of the collective document stored in the RO IRLI with the resolutions of the members of the Admissions Committee (A.A. Blok, M.L. Lozinsky, N.S. Gumilev, M.A. Kuzmin) about his book of poems “After the Thunderstorm” (1918) is introduced into scientific circulation. The emphasis is placed on the aesthetic principles of Blok's evaluation of the reviewed poems. The characteristics of scientific, literary and social activities of A.N. Ryabinin are compared with Block's ideas about the creative potential of the Russian scientific and technical intelligentsia and its role in the transformation of Russia. The positive reaction of A.M. Remizov to the work by A.N. Ryabinin is analyzed, aspects of their possible creative contacts are outlined.

History through the prism of adamism: the poem “The Campaign of Alexander in India” by Mikhail Zenkevich

The article considers the artistic reception of the historical person and her deeds in the poem “The Campaign of Alexander in India” by Mikhail Zenkevich (1909), which was included in the first book of poems of the poet “Wild Porphyry” and clearly demonstrates the specifics of the vision of the events of world history in Mikhail Zenkevich’s poetic picture of the world. The purpose of the study is to analyse the structural-semantic organisation of this text in the aspect of the conceptually realisation of adamism as the ideological basis of the poet’s creative work. The analysis of the poetics of the poem dedicated to the comprehension of the final achievements in the life of King Alexander the Great (the conquest campaign to India and its consequences) shows, that Mikhail Zenkevich conceptualises world history as realisation of anthropological comprehension of the natural origins of the world order. In the narrative structure of the poem, which consists of two plot parts, the deep mechanism of subordination of a human to the “dark” ontological foundations of the universe is revealed. In the 1st part of the text, which tells about the contact of Alexander the Great with the Indian lands he conquered, the approach to the border of the natural-mystical region of the world is explicated. The 2nd part represents the deep consequences of such contact – transformation of the external secrets of a foreign country into the internal “dark” secrets of the human “self”. The attempt to conquer India by King Alexander III of Macedon turns into enslavement (“poisoning”) his personality with primordial chaos and leads the hero to madness. It is concluded that in Mikhail Zenkevich’s “adamistic” mythopoetics the “historical” (royal) man invariably turns out to be “natural” Adam, who feels his “dark relatedness” with the chaos of primordial nature.

The Role and Effect of Ancient Chinese Philosophy and Psychology Theory on the Development of Chinese Psychology

At present, the techniques and methodologies of modern psychology that are more used in China are more products of the system of Western countries. This shows from the side that we still have a lot of deficiencies in our understanding and application of our own philosophy and psychology culture, but in certain moments and environmental contexts, we have no way to deny that the substitution of ancient philosophy and psychology from China into our country's national conditions often makes the problem easier to understand and be dealt with. For example, the "Book of Poems", "Zhouyi", "Book of Shang" and other early classical literary and historical chronicles, which clearly record many psychological ideas about human body-mind relationship, self-awareness, group psychology, and individual psychological processes. I think that as Chinese psychologists in the 21st century, we should learn more about the ancient philosophical texts from our country through the comparison and integration of modern western psychology and Western modern and ancient philosophy, and finally summarize the modernized psychological methodology under China's own unique Oriental system. From the perspective of inductance, human beings' ability to sense and detect a large amount of natural information is still insufficient, and it has become a fetters for the prediction of natural disasters such as earthquakes and the broader development of future predictability. Even I personally think that maybe we are blinded by the continuity and universality of science. The development of science and technology depends more on the calculation of the combination of numbers and logic. Although this is reasonable, when more unreasonable things appear, it will make it difficult for humans to get out of the original thinking mode, which leads to this type of thing becoming an eternal unknown in human society.

A LITERARY ANALYSIS OF LOVE POEMS BY ÖZDEMIR ASAF

Özdemir Asaf is considered one of the most important poets in the Turkish Literature in the twentieth century. He was born on 11th of June, 1923 in Ankara and died on 28th of January 1981 after a life lasted for 57 years. His grave is in AĢiyan Asri in Istanbul. He was famous in the Turkish literature during the republic period especially in National Literature. Although her published several short stories, he was well-known by his poetry that won several prizes and left a great influence among Turkish Nation. One of the best works among Özdemir Asaf’s poetry is Love poems published under the title Lafinia which includes 70 short poems. These poems collected some of his literary works and published them in a book by Paynar Akenci after several years after his death. Lafinia or Love Poems express its scope of importance in a way that reflects its title according to what has been written. The collection of poems were considered of high importance and one of the most well-read and published poems which makes them more brilliant. Literature is an attempt of writing including all discourses that must use a literary diction. In addition, literature has several types such as poetry, novel, short story, and drama. What makes the writings of the poet distinctive is his use of a high level of literary diction. The poetry of the poet is divided into several types like poetry, novel, short story, and drama. The common and unique point of all of his literary writings, as mentioned above, is that they have been written carefully both literary and technical in that period. The poet was considered a simple productive writer by his close use of ordinary daily life language faraway from the difficult academic language. Moreover, he uses the common aesthetic side. By nature, man hives a two-dimensional life. He has two different sides in his life, materialistic and spiritual. Man is materialistic by supporting his life, and spiritual by feelings and emotions. In addition, the psychological aspects that deal with the internal side of man like sadness, happiness, dejection, reproach, ecstasy, anger and surprise are concepts that cannot be completely described and difficult to interpret. Although there were different courses to understand such feelings, the literary interpretation is one of the most essential methods. In fact, poetry is spiritual shows the spiritual effect and it is a deep and sensitive expression of these effects. It is clear in the poetry of our poet by transforming the spiritual air into words through the diction of poetry. Özdemir Asaf is one of professors of poetry which expresses feeling and emotions. The basis of the subject of the research is a literary analysis of the love poems by the poet Özdemir Asaf. He is one of the poets whom we can see their literary style in its powerful meaning in all of the poems. The main subject of our research paper is this concept. We introduce the life of the poet Özdemir Asaf and his literary personality as well as his writings as he is considered one of the important poets in the twentieth century. We will give a detailed interpretation of the book of Love poems – Lafinia in its literary concept by introducing a literary analysis for Love poems of Özdemir Asaf.

Gynocritical Analysis of Dead Women by Anna Terék

The gynocritical study of Anna Terék’s latest book of poems, Dead Women (2017) is an analysis based on the outline of a subcultural framework of feminine experience. The string of poems is narrated by women in times of war, sickness, adultery, cruelty and aggression. The poems are told by women from an unconventional perspective. The traumas of the characters are persistent and cannot be overcome in a lifetime, thus they are “dealt with” after their death. This way Terék touches upon a key element of feminist criticism, “the art of dying”. Suicide appears as a solution, as well as something natural and an act of free choice. Another topics that emerge in the poems are matrophobia, adultery, identity, patriarchal relations. Along with the intrinsic analysis of Terék’s poetry, the paper also touches upon the ideology and history of development of the female literary tradition, biological determinism and limitations of gynocriticism.

Music in the Dīwān of Samuel ha-Nagid

Abstract The dīwān (book of poems) of the eleventh-century polymath and Hebrew poet of Granada, Samuel ha-Nagid, contains unexpected musical aspects. This article reveals a formerly unknown comment by the poet’s son, which indicates that the shorter poems of the book were all set to music and performed in the poet’s court. The article discusses the implications of this discovery and its importance for understanding both ha-Nagid’s poetry and the musical practices of al-Andalus. Unique literary phenomena such as poem-cycles and “twin poems” that share similar structure are examined through their relations to the early Andalusian nawba (suite) and to the practice of composing contrafacta respectively.

The Specifics of Translating Poetry. The Study of the Specifics is Based on the Material of the English and French Languages

The work of René Char remains poorly studied in Ukrainian literary criticism, and there are few translations published. In this paper, attempts were made to translate some of René Char's poems from the poetry collection "Fureur et mystère" (Rage and Mystery), which is central to his work. The analysis points out both the advantages and disadvantages of the translators' work. The intertextual connection between the poems "Allégeance" and "Allégement" is revealed and its importance for the interpretation of both texts is shown. This overlap was not shown in the translation. Ways were found to convey this connection within the poem itself, but the option of conveying it in the title was suggested. Some general difficulties that may arise during translation are identified, related to the transmission of rhythm, meter, graphics of the poem, syntax, as well as the figurative component of René Char's poetry. It has been established that the hermeticity of his poems is absolute: interpretation requires knowledge of the historical, cultural, and biographical contexts, as well as an in-depth familiarity with other poems by Char. However, the latter condition cannot be fulfilled by foreign-language readers. As we have discussed above, his works lack translations. So far, no translation of the entire book of poems has been made, and translators (including us) are working on translations selectively. Thus, in the course of our work, we discovered problems related to the translation of René Char's poems. In our translations, we tried to convey the original text with maximum accuracy, although this was not always possible. Considering the difficulties reflected in our comments on the translations, translations of other poems may be performed.

Художественные особенности «итоговой» книги стихов И. Лиснянской «Эхо» (2005)

The paper analyzes the artistic features of I. Lisnyanskaya’s “final” book of poems “Echo” (2005). The aim of the study is to identify the problematic, thematic and genre uniqueness of the book of poems “Echo”. The scientific novelty of the study lies in the fact that this edition by the modern poetess is comprehended in the stated aspect for the first time. As a result, we have found the following: firstly, I. Lisnyanskaya actively develops Christian themes and motifs, her creative work belongs to the “Orthodox-contemplative” (N. N. Gordienko) direction in modern spiritual poetry. Secondly, I. Lisnyanskaya’s collection of poems “Echo” is a complex meta-genre form – the “final” book of poems structured according to the genre canon, which was developed by Russian poets of the second half of the 19th century; religious and spiritual-moral motifs are the plot-forming basis of the book, the images of Golgotha, Judas, Sodom, Gomorrah, Sulamith and others perform an important ideologic and semantic function. Thirdly, the “final” book of poems “Echo” shows the life journey of the persona closely merged with the image of the author; overcoming her own guilt and responsibility for the imperfections of the modern world, I. Lisnyanskaya creates the poetry of “penitential conscience”, which is based on the way to God.

Born in Winter: A Conversation with Shizue Ogawa

Born in WinterA Conversation with Shizue Ogawa Alice-Catherine Carls (bio) and Shizue Ogawa (bio) Click for larger view View full resolution For Shizue Ogawa, creating is more important than publishing and selling, and yet her readership has been steadily growing in Japan and internationally. Her poetry paints the world with serenity and wonderment without hiding its underground turmoil. Born on the plains of Hokkaido's eastern Kasai District, she remains very close to nature. Her work promotes cultural understanding among nations; its themes and forms bridge the literary traditions of East and West. [End Page 58] Alice-Catherine Carls: Your poetry flows freely with a light step. When did you start writing poems, and when did you decide to publish your first book? Shizue Ogawa: I was about fifty years old when I published my first book. My philosophy professor in college was the first person to read my poems. Since then, he has told me many times, "Go out into the world with poetry." At first, I did not understand the meaning of what he was saying. Decades have passed since then. I was not conscious that I was writing poetry. Poems became part of life quite naturally. But I was writing. Some of my poems from that time remain. I was not interested in saving what I wrote. When I had a basket full of poems, I disposed of it without reading them again. One year the professor suffered a heart attack. At that time, he said, "I will not die until you publish a book of poems." I hurriedly began translating the poems I had into English. I should have made one book to give to the professor, but I decided to make three or four books, one for my parents and one for my home. I took the manuscript to a company that publishes private editions. When I asked the person in charge to make four books, he was surprised. He said, "Making four books costs the same as making three hundred books." I thought, "What am I going to do if I make three hundred books?" I did not even know that I would be donating books to libraries. After I learned to use computers, I became aware that what I write is not to be thrown away but to be preserved. My poems became a collection of Japanese-English bilingual poems because I was an English teacher. The poems were easy to write, but it took me a long time to complete the English translation. Carls: Can you give us examples of early poems' themes and purpose? How many did you write? Were they for a special occasion, or simply to express your feelings and thoughts at a particular time? Ogawa: When I started writing, I was not aware that I was writing poetry. Not even now. I don't have a clear memory of the theme, the purpose, how many books I wrote, or on what occasions I wrote them. I never thought of it as expressing my emotions and thoughts in writing. The oldest surviving poem is from a high school newspaper. I remember it well. It was March 1964, and I was about to enter my final year of high school. Our house burned down in the middle of the night, about ten minutes after a conflagration burned most of the town center. My house was close to the source of the fire. The flames raged and created stronger winds. People could not talk to each other because of their dry throats caused by the heat. Families with their hair standing on end ran around. I ran up to my room on the second floor. I was still studying at that time, so I had a book and a pencil on my desk. I stood in a room where the temperature was getting hotter and hotter, and I thought, "I will never be able to come back to this room." A friend's letters and an album were the only things that I could hold in my arms. I ran downstairs. My mother was trying to get the children in the car and drive away. The windshield of her...

The Elegiac Transnational

Abstract This essay is an elegy for the study of a Chinese elegy. Its putative archive is a book of poems printed in Shenzhen by the late Hei Guang, a collection I do not own by a poet who I never got to meet. My pursuit of the collection is hampered by my recent inability to travel to China, by changes in my ability to transculturate, and by the limits on global circulation in the age of climate change. Experimenting with tactics drawn from China’s tradition of lei elegy, I identify the loss of the collection as a disruption of the process of thick translation, of the ethical direction that animates world literature. By mourning the type of interactions that would have allowed me to translate Hei Guang well, I hope to reproduce the desire for heterogeneity and circulation into the post-pandemic, warming world.