Contemporary Lyrics Research Articles

The Innovative Element in the Genre of Opera or the Modernity of Artistic Expression in the Contemporary Lyric Theater

This paper examines the evolutionary process of moving from traditional styles to pioneering directions in the opera genre. This phenomenon expressed itself in a mixture of styles and forms of language, in the integration of different types of artistic means of expression. Another issue would be related to the nature of the lyrical tradition, its need for preservation and continuity, and the extent to which innovation is tolerated in opera to ensure that artistic works do not cross genre boundaries. It is a new phenomenon for contemporary actors and audiences, the one present in the theater today. By examining the evolution of the art of opera, it was possible to identify the general pattern of development of innovative opera and to argue that artistic integration is the source of diversity on stage and the basis of innovation in opera production. For this purpose, a cultural-historical and historical-artistic approach was used. The academic novelty of the study consists, first of all, in the complex analysis of the sources related to the translation of meta-language in lyrical art, and secondly, the incorporation of these sources in the academic circulation as important and significant for the recognition of the reform of the opera genre. Keywords: opera performance, opera direction, traditions, innovations, synthesis of arts, meanings.

ЛИРИЧЕСКИЙ ГЕРОЙ В РОК-ПОЭЗИИ

An issue of the subject in contemporary lyrics is widely discussed at the present time, being one of the most relevant in the research of contemporary poetry. One of the issues is the relevance of the term lyrical hero in relation to contemporary poetry, which, following the analyticism path, departs from the actual lyrical utterance. The article expresses an opinion that the idea of a lyrical hero remains relevant in the study of song poetry, in particular rock poetry of the 1980s – 1990s. Based on the classic article by Yu.N. Tynyanov «Block», in which an attempt is made for the first time to qualify the definition under discussion, the article analyzes the work of Russian rock poets, proves the presence of the lyrical hero in the lyrics of K. Kinchev and Yu. Shevchuk. Also, the conclusion is made about the lyrical hero specifics in classical Russian rock poetry. It is connected not only with intratext factors, such as the presence of the self-subject, the possibility for a rock poet of constructing a single plot of the hypertext, which includes biographical motives, but also extratext factors of the existence of a synthetic rock text, including the presence of the image of a lyrical hero in the socio-cultural sphere, the creation of a media image, the formation of a stage image.

Towards a hospitable poetics: Accommodating dementia through contemporary lyric

Dementia is one of the major challenges of the twenty-first century. According to Alzheimer’s International, there were over fifty-five million people with dementia worldwide in 2020. Dementia forces us to scrutinise how community, care, and personhood are defined. While there has been increasing representation of dementia through narrative-driven forms, it is precisely poetry’s capacity to move beyond the meaning-making functions of language and narrative that enables it to better accommodate the morphic nature of dementia and to challenge its stigma. While considering how the impact of dementia may vary between vocational writers, those new to writing, and those in positions of care, this essay considers how contemporary lyric may offer a space of hospitality that enables us to live with, and alongside, dementia ethically. Focusing predominantly on Australian examples, the article considers how poetry seeks to provide a space, at times paradoxical, enabling agency, recognition, and freedom, while also navigating forms of attachment and belonging. It considers how poetry can articulate dementia as historically and culturally nuanced and how poetry may also be able to navigate states of difficulty and precarity.

“The freewheelin’ Bob Dylan” and Federico García Lorca. The connection.

“The Freewheelin” Bob Dylan, released in 1963 was Bob Dylan’s second studio album and represented the beginning of Dylan writing contemporary lyrics. Two of the best compositions, "Don't Think Twice”, “It's All Right” and “A Hard

The Poetics of Access Apparatuses in Contemporary Lyric Exhibition Spaces

Cultural architecture of exhibition spaces is a complex program, which oftentimes relies on dualities and contrasts that transcend the visual, material or functional experience, thus, sometimes imperceptibly creating a dialogue between the palpable and the intangible. As a fundamental architectural theme, that, in spite of extensive research, cannot be mathematically quantified, but only holistically experienced through an accumulation of senses, feeling, thought, imagination, personal memory and identity, the intangible may be regarded as an additional dimension only experienced in profoundly designed spaces that shelter an intrinsic emotion of architecture. These spaces of cultural, historical, social representation and remembrance succeed in “speaking” without using any “words”, or even if they do, they come to rather represent the space between the “words”… The intangible aspect of representation spaces can only be analysed in regard with the human factor, as it is the one that, both through the process of creation and through the one of experimentation, doubled by the measure of time, can generate this additional dimension and lyric depth, transforming space into experience, mere visual assimilation into transcendental synaesthesia. The main feature of these spaces based on collective memory, emotions and reflexion beyond their tangible features is thus, given by their innate spatial and temporal identity. But when does this transformation from the epic to the lyric genre take place in architecture? Having this query in mind, we aim to study when and how this poetic dimension occurs, as cultural exhibition spaces are actual, physical buildings, part of tangible cities. Therefore, focusing on the boundary between the exterior and the interior of contemporary cultural spaces of exhibition, we intend to analyse and categorize types of access apparatus as part of welcoming gates into spaces with different types of immaterial depth and atmosphere. Generated through addition, subtraction, volume reinterpretation, contrast, dialogue, geometrical transformation or story-telling successive approach, accesses are the first tools the architect can use in order to design an experience. Being previously involved in collectives that designed innovative remembrance or exhibition spaces, our research will be based on both existing models and personally designed ones, as well as on both the experience of the user and the one of the architect, therefore, decoding the relationship between practice, empirical design and experiential environmental poetry. Focusing on the gateway between the pragmatic exterior and the interior intrinsic spatial consciousness, an expression of their dialogue will be revealed.

SCHUBERT'S «THE TROUT» IN RUSSIAN POETRY

Franz Schubert is one of the well-known western composers in Russian poetry due to the fact that poets have been attracted by his laconic plots, relation to legends, melodramaticism and deep symbolism going beyond historical symbolism. In Russian poetry the small play «The Trout» acquired a meaning different from the composer’s intensions. It began to be understood not as a
 moral tale of caution and temptation and not as a hymn to youth and young feelings, but as a call for freedom of improvisation. The article, based on material from Russian poetry of the XXth century, immigrant and modern poetry, examines the reasons for the bias in the understanding of the play. The article thoroughly analyzes rhetoric of the text «The Trout» and features of its perception in modern and contemporary lyrics. The
 author indicates factors of meaning bias such as a biographical subtext of «The Trout» creation, Schubert’s general image mainly as a romantic composer, an implicit competition between poets lived at the same time for the correct understanding
 of musical rhetoric. The research methods include reconstruction of the composer's reputation in Russian culture, a comparative historical analysis and hermeneutics of a poetic text, and specification of musical allusions. Thanks to the individualization and analysis of the stages found in the transformation of the «The Trout» perception in Russian poetry, it is proved that the musical work perception is associated with a special understanding of media nature like the play brevity, its distribution, the first publication in the newspaper its use in parodies and mass culture has made the author understand «The Trout» as a democratic work with its own media principles. In addition, the
 richness of Schubert’s legendary and ballad plots and the need to artificially build Schubert’s world within a short lyrical work have turned «The Trout» into an exemplary key of the plot. The ballad starts to be interpreted through poetic form as the opposite to the work with morality; musical intonation is understood
 as a gesture of gaining freedom contrary to the literal content of the ballad.

Лексико-стилістичні особливості поетичної творчості для дітей Олесі Мамчич

The article deals with the consideration of lexical and stylistic features of poems for children of the modern writer O. Mamchych. The study contains a selective analysis of the poetry of the writer, which reveals the peculiarities of modeling the poetry of different genres (in the form of small folklore genres and contemporary lyrics), the use of a mix of traditional and contemporary images, allusions to the works of oral folk art and works of classical literature for children. The article covers the plot, thematic and ideological content of poetry. The author analyzes the peculiarities of the sound organization of poetic speech by O. Mamchych, the linguistic and stylistic instruments of the artist. The writer finds the right rhymes, builds the original soundtrack of the poem using the play of sounds. Most of the writer's works are full of alliteration, sensations, anaphors and epiphora. Such verbal music fascinates the reader. The lexical means of expressing the poetry language of O. Mamchych reflect the moods of the modern world, modern Ukraine and the child of the future. The writer uses colloquial vocabulary, novelties and historicisms in her composition. The poem «Kozak» perfectly illustrates O. Mamchych's ability to use historicism and colloquial vocabulary. The author basing on the traditions and history of the Ukrainian people builds a lively story about a little boy, a Cossack, who fights with foreigners. The linguistic features of the poetry of the writer reveal her artistic skill. Bright epithets, metaphors, comparisons convey all the beauty of the poetic word of Olesya Mamchych to the reader. The artistic word of the writer is to move the reader, to influence on his feelings, to encourage him to be kinder, to study the history and culture of the Ukrainian people, and to keep up with the times. The work of O. Mamchych is constantly in harmony with the past and the present. It relies on traditional artistic images to create new ones. The writer opens familiar images in a new way in many compositions. The master of the poetic word builds an invisible bridge of understanding between the reader and the author by the allusions to the works of oral folk art and works of classical literature for children. The article gives the confirmation that O. Mamchych's poetry is not only aesthetic, but also linguo-didactic, because it contributes to the linguistic formation (lexical, phonetic and grammatical) and speech competences (artistic speech, cognitive speech, emotional) of a child. The research gives an opportunity to understand the model of the O. Mamchych world, to find out the basic mechanisms of the 21st century poetry image formation for preschool children.

Compositionism

Invoking Bruno Latour’s notion of “compositionism,” this essay proposes a “field theory” of poetry, exploring the use and abuse of plants as one crucial node for thinking about poiesis. Core cases include the traditionary ballads “The Three Ravens” and “Barbara Allen,” with nods to romantic and contemporary lyrics. The essay also considers en route the pathetic fallacy in light of ongoing debates about anthropomorphism and personification, and concludes with a meditation on “nighing” as a mode of composition.

Study The Process Of Nostalgia In Simin Behbahani's Poem

Simin behbahani is the contemporary Iranian writer and composer lyric. She is well-known to mima's lyric, due to compose the persian lyric at unique rhymes. Simin behbahani is one of the most impressive and innovative poets in the field of contemporary lyric. She began to poetry since aduitood with composing lyrics and classic and romantic quarapoems, and mostly they were containing lovely contents and female true faith feelings and philan thropic feelings. This essay is a research about nostalgia (grief and being away) in the Simin Behbahani's poem. This subject was considered as one of unconscious behaviors in the pome of Simin Behbahani. After finding the origins and defning this term view to cultures and with help of psychologiec views, then it is refered to reason that made the grief and being away and then the relationship of nostalgia and rememberance was considered. The issue of nostalgia concerning to being away from sweetheart was considered in the part of personal remembrance and the matter of poem lonelinos was considered in the section of collective remembrance with mentioning poetry instances.

Rethinking the Irish in the American South: Beyond Rounders and Reelers ed. by Bryan Albin Giemza (review)

Reviewed by: Rethinking the Irish in the American South: Beyond Rounders and Reelers ed. by Bryan Albin Giemza Mathieu W. Billings Rethinking the Irish in the American South: Beyond Rounders and Reelers, edited by Bryan Albin Giemza, pp. 223. Jackson: University Press of Mississippi, 2013. $60. Over the past twenty-five years, the history of the Irish in the American South has emerged as a dynamic field of study. From academic claims that Southern culture was essentially “Celtic,” to more popular conceptions of mythical Irish Southerners—such as Gone with the Wind’s Gerald O’Hara—the implications are clear: Irish Americans would have felt more at home in the South than [End Page 157] anywhere else in the United States. Yet thorny questions over “Irishness” have blurred some of these assumptions. As one contributor to Rethinking the Irish in the American South notes, “how much can a staunchly Protestant society . . . have in common with the country that until recently was seen as perhaps the most Roman Catholic in the world?” This interdisciplinary and well-edited collection not only challenges the notion that the Irish were somehow “natural” southerners; it proposes a framework for future exploits in the field. Rather than searching for Irish “influences” in the American South, editor Bryan Giemza challenges scholars to “distinguish between analogous experience, shared history, and common cause, and to consider how and why these things are so often muddled together.” With these distinctions in mind, readers should begin this collection at the end, with Conor O’Callaghan’s “Smoke ’N’ Guns”—a literary experience akin to having dessert first. The author’s often-humorous prose and sobering poetry serve as reminders that even today, residents of the South of Ireland and the American South indeed share analogous experiences. Here, this native of the Irish borderlands who later settled in North Carolina makes connections that are compelling, yet hardly romantic. From the tobacco-based, smoke-ridden economies of Dundalk and Winston-Salem, to the violence and intimidation of the IRA and the KKK, O’Callaghan sees two societies, “where the border really does cross backyards and the Civil War keeps on happening in the hapless imaginations of certain aging men.” In “Smoke ’N’ Guns,” O’Callaghan’s analogous experiences in both “Souths” reveal possibilities and expose limitations of projecting a shared history and common cause upon these two similar, yet often very different, societies. Following “Smoke ’N’ Guns,” many of the remaining chapters offer a range of historical, musical, and literary analyses, which explore Giemza’s second analytical category: shared histories. As Patrick Griffin observes in his essay on “Irish Migration to the Colonial South,” the paths of Irish emigrants and the American South first overlapped during the seventeenth century. Yet due to a longstanding teleological lexicon employed by scholars, such terms as “Irish,” “Scotch-Irish,” and even “South” have obscured this shared history. To contemporaries, “Irish” meant any emigrant from Ireland, and the colonial “South” might well have included such places as Barbados, Monserrat, and Bermuda. Emily Kader’s “Shared Traditions,” a study of the roots of Appalachian ballads and whiskey songs, issues a similar warning about anachronistic nationalist categories. By cross-examining secondary sources and contemporary lyrics, she argues that “Irish influences cannot be discarded,” but folk music from Ireland was itself “a hybrid of various international folkloristic strains.” And in a chapter on shared literary histories in the twentieth century, Kathryn Stelmach Artuso explores the “transatlantic friendship” of Eudora Welty and Elizabeth Bowen. Here, the author pushes the [End Page 158] boundaries of the Irish and Southern literary renaissances “beyond the Yeats-Synge partnership” to the strong female characters of Welty and Bowen, who not only upset typecasts but underscored the theme of individual rebirth evident in both literary movements. Overall, such exemplary works indicate that there are vast opportunities for scholars to explore the shared histories between the Irish and the American South. As to Giemza’s distinction of common cause, more than half of the chapters in this collection address the issues of race and whiteness. Noel Ignatiev’s argument that America’s Irish “became white” when they ceased to “be green” is nearly twenty years old, but it...

The one absolute didactic poem, and its opposite: Schelling on ancient didactic poetry and the scienticity of contemporary lyric

This article analyses how Friedrich Schelling’s account of ancient didactic poetry in ThePhilosophy ofArtisderivedfromafundamental distinctionbetween epicandlyric as kinds of poetic consciousness. It then uses Schelling’s theorization of didactic poetry as a subjective inflection of Homeric epic to investigate three didactic poems that make lyric knowledge the generative condition of their own existence: the Theriaca of Nicander, the Cynegetica of pseudo-Oppian, and the anonymous Latin Aetna. Finally, it considers how Schelling’s distinction between epic and lyric consciousness might yet be useful in understanding the role of scientific vocabulary in the poetry of J. H. Prynne and Paul Celan. Much of the revival of interest in Schelling in the last decade or so has been concerned with the place of literature in his philosophical project as the unity in expression of subject and object that philosophy can indicate but not instantiate. 1 Aside, however, from acknowledgement of the special place of tragedy in his conception of literature, little attention has been paid to the details of Schelling’s literary history. This neglect is regrettable, for the comprehensive treatment of ancient literature in The Philosophy of Art offers fine-grained exemplification of just how it is that literature works as the organon of philosophy. In addition, this exemplification is itself an implicit theorization of why poems resist reification as historical artifacts and so has much to offer reception studies for the grounding of a transhistorical comparative methodology. In this article, then, I show how Schelling’s account of ancient didactic poetry is derived from a fundamental distinction between epic and lyric as kinds of poetic consciousness, what Schelling’s theorization of didactic poetry as a lyrical inflection of epic reveals about Hellenistic didactic poetry, and suggest some ways in which this theorization of didactic

The Girl In The Tree: Metamorphosis And The Contemporary Lyric

The Girl In The Tree: Metamorphosis And The Contemporary Lyric

Popular Music Perspectives: Ideas, Themes, and Patterns in Contemporary Lyrics

Popular Music Perspectives: Ideas, Themes, and Patterns in Contemporary Lyrics

Popular music perspectives: ideas, themes, and patterns in contemporary lyrics

In thirteen essays, this book probes ideas and themes that are prominent in contemporary song lyrics. The essays take social change, human interaction, technology, and intellectual development as points of departure for specific examinations of public education, railroads, death, automobiles, and rebels. The essays also examine humor, traditions, and historical events found in answer songs, cover recordings, nursery rhyme adaptations, and novelty tunes.

The Sonnet Over Time by Sandra L. Bermann (review)

94Rocky Mountain Review community, language/naming/power, and hope/desire/utopian discourse. This recurrence, informed by her careful and lucid readings ofthe novels, maintains direction despite a wealth of potential deflections and digressions. Bartkowski's book offers many insights, but it does so at the expense of a few blindnesses. A large-scale exploration of Marx would not be appropriate here, but the single paragraph (13) in which Marx, Engels, Bebel, and the Frankfurt School are examined for their attitudes to feminism and utopianism is simply too sketchy. Marx is mentioned in passing at a few other points, but his name does not even appear in the index. Given Bartkowski's declared historical interests, this failure to create richer historical context for Gilman's Herland, for example, is somewhat puzzling. A similar unenlightening reticence greets Jacques Lacan, who is associated with "the 'politics and psychoanalysis' group" in the French women's movement (35) and then forgotten, despite his more general importance for feminism and psychoanalysis and despite invitations like Bersianik's punning reference to St. Jacques Linquant. It would be unreasonable to insist that Bartkowski pay attention to every conceivable relevant detail, but her exclusion of both Marx and Lacan is unnecessarily limiting, especially since her book attempts to encompass an international perspective. Indeed, her internationalism is not all it could be, and her reliance on Freud in preference to Lacan and others constricts the horizon of her psychoanalytic commentary. Also somewhat troubling is Bartkowski's methodological fondness for the reproduction of dualities and binary oppositions. This shows most clearly in the structure of her chapters, which are founded on her reading of differences between two books. The method is admittedly a powerful one, but it pushes at times toward something like the patriarchal dualities of hierarchy, for all her care. The patriarchal discourse still powerful in North American academic writing exerts its pressure on Bartkowski's text as well, and the result is an occasional discord. There are also small occasional discords in usage and writing which should not appear in an academic book and which indicate lapses by the editor and proofreader as well as the author. The typography and design are very good, but the dustjacket has prompted some laughter. Bartkowski's interesting and rewarding text deserves better. J. E. SVILPIS University of Calgary SANDRA L. BERMANN. The Sonnet Over Time. Chapel Hill: University of North Carolina Press, 1988. 174 p. This remarkable study ofthe sonnet proposes rhetorical definitions ofthree specific verse modes from the Renaissance to the Romantic era, tracing as it were a genealogy of the contemporary lyric. Bermann's readings focus on selected pieces from Petrarch's Rime sparse (characterized as métonymie), Shakespeare's Sonnets (metaphoric), and Baudelaire's Les fleurs du mal (a blend ofallegorical and ironic). Shedding new light on the importance ofthese writers' Book Reviews95 poetics, Bermann makes a subtle statement about the historical turning point associated with the advent of modernism. "Rhetoric, in the broad sense in which Petrarch understood it, carries philosophy within itself" (37). If scholars often have referred to Petrarch as the first modern man, perhaps it is in part because his Rime embody this notion, expressed in similar terms by Mallarmé, that grammar is a form of "latent philosophy," that a text's structure—the prosody, for example, of a sonnetconstitutes the primary dimension ofits meaning. Bermann asserts that Laura (the "sexual other," the referential "object" of Petrarch's verse) "acts as little more than a means to present more clearly the image of the speaking self, the same" (30), implying a primary mirroring between rhetoric and personae. Bermann shows that the sonnet almost automatically engenders this mode of invention: as a compressed, fixed form, governed by inherently self-reflexive laws of difference and repetition, each sonnet remains a "closed" entity, yet may, as part ofa larger whole, produce an eminently modern sense ofopenness. Bermann notes in this regard that "no story progresses" through the Rime sparse (42); the métonymie character of what she calls Petrarch's "visible grammar" (17) corresponds to the poet-persona's indefinite postponement of desire. In contrast to Petrarch's predominantly métonymie figuration which highlights the play of...

Social Concerns, Political Protest, and Popular Music

Popular music is no stranger to social studies classrooms. Since the 1970s, a number of reports have described positive experiences in utilizing contemporary lyrics to promote a variety of learning activities. A particularly influential contributor to the case for introducing rock era music in the classroom is Southwest State University English professor David Pichaske (1979, 1981a, 1981b). He has argued that students can discover valuable insights about Ameri can culture and history, linguistics and poetry, and autobiography and imagery by assessing the lyrics of contemporary songs. Pichaske's assertions have been echoed by teachers in numerous academic fields. What is most distinctive about Pichaske's approach, though, is his recognition

The Rhetoric of the Contemporary Lyric

The Rhetoric of the Contemporary Lyric

The Image of the Outsider in Contemporary Lyrics

The Image of the Outsider in Contemporary Lyrics