Historical Poems Research Articles

The theme of joining Russia in the literature of the peoples of Siberia in the 1950s–1980s

The article examines the features of the embodiment of the theme of joining Russia in the literature of the peoples of Siberia in the 1950s–1980s in the context of state memory policy of this period. The research materials are the works of Altai, Buryat, Khakass and Yakut literature. The research is based on the theory and methodology of comparative literature, as well as on the theory of cultural and historical memory. It has been established that the appearance of the theme of joining Russia in the literature of the peoples of Siberia in the 1950s–1980s was associated with the memory politics of this period. At this time, the basis of the national histories of the peoples of the USSR was the concept of friendship of peoples, within the framework of which special attention was paid to the idea of the voluntary entry of indigenous peoples into Russia, which brought them various benefits and became the basis for further national development. The appearance of the first literary works on this topic in the literature of Siberia dates back to the time of anniversary celebrations in honor of the anniversaries of the voluntary entry of local peoples into Russia, which proves the connection between these phenomena. It is also known that in the writing community since the 1950s the directive was spread to pay special attention to the theme of friendship of peoples and the positive role of Russia and Russians in the history of the peoples of Siberia. Within literary discourse, this idea was embodied in works of various genres: historical poems, plays, novels dedicated to the era of annexation to Russia, as well as in a number of poems glorifying the patriotism of the peoples of Siberia and the beneficial influence of the Russian state and Russian culture on their historical destiny. These works are characterised by an appeal to historical facts, which in Soviet times were interpreted as a manifestation of the friendship of the peoples of Siberia with Russia, as well as to folklore legends, interpreted in the same vein. All these works can be considered as a kind of hypertext, formed in the literature of Siberia in the 1950s–1980s around the theme of joining Russia and reflecting the corresponding trend in the politics of memory of this period.

ARTISTIC FEATURES OF ZHANAT ASKERBEKOVNA'S POETRY

The article scientifically examines the artistic features of the poetry o f akyn - Zhanat Askerbekovna, who came to the world of Kazakh poetry in the mid-80s. The personal writing style of Zhanat Askerbekovna and the news that led to the art of writing poetry are analyzed. The themes and main ideas of the poet's poems are determined. The themes of Zhanat Askerbekovna's poems are reflected in her native land, nature, family, historical poems and groups "Kultegnin mourning Bilge Kagan", "kustik birgen kerimsal", etc., and the features of the use of artistic means are described. The poetic character of folklore and mythological elements in the works of a master of words and a qualified teacher is differentiated, the order of use and meaning are determined. In the work of Zhanat Askerbekovna, cultural and national values are studied, and a final thought is expressed about the contribution to the development of Kazakh poetic art.

(анти)колоніальні стратегії художнього мислення Євгена гребінки В поемІ «богдан»

(анти)колоніальні стратегії художнього мислення Євгена гребінки В поемІ «богдан»

ნიკოლოზ ბარათაშვილის პოლიტიკური ორიენტაციისა და მრწამსის შესახებ

The political orientation and creed of Nikoloz Baratashvili are some of the issues that caused the scientific interest of the researchers of his life and work. They tried and are still trying to find out the attitude of the poet towards such historical events, which are the signing of the 1783 Georgievsky treaty by the Kingdom of Kartli-Kakheti to get the Russian protectorate and its political consequences (loss of the country’s independence, abolition of the royal throne...). This research of scientists is characterized by one feature – when discussing the issue, the poetry by Nikoloz Baratashvili, especially his historical poem “Fate of Kartli” is chosen. As it is known, the characters of this poem – King Erekle and his judge Solomon Lionidze have a heated polemic on the controversial issue of entrusting the fate of the country to Russia and are trying to justify their conflicting attitudes.
 Recently, remarkable works of Georgian literary scholars were published, the authors of which (T. Doiashvili, L. Bregadze) consider such attempts to clarify the poet’s political orientation and creed as inappropriate. According to them, the main mistake here was and is the fact that the artistic character of texts chosen for analysis is not taken into account, in particular, the worldview principle of romantic irony, which is characteristic of romantic authors and which is reflected in their prose or poetic texts, is neglected.
 We fully share the argumentation and point of view of the abovementioned scholars and consider that the study of Nikoloz Baratashvili’s political creed should be continued in such a way as to distinguish him, on the one hand, as a romantic poet, and on the other hand, as a historical person. In research, we should focus not on his poetry, but on the biographical material that we have mainly as a result of the critical study of the memories of the poet’s contemporaries and other sources, and his epistolary heritage –nonfiction, which is more reliable for our intended purposes than his poetic works.
 The presented article is an attempt to clarify the poet’s political orientation and creed on this basis.

Snoilskys Svenska bilder i skolan och kulturminnets förändringar

Snoilsky’s Svenska bilder at School and the Changes of Cultural Memory: The article investigates the reception of Carl Snoilsky’s Svenska bilder (Swedish Pictures) in Swedish schools, from the 1890s until today, in the light of the concept of cultural memory. For more than half a century, Snoilsky’s cycle of poems, depicting important events and figures in Sweden’s early modern history, belonged to the literary school canon; three special school editions were published in 1894, 1931, and 1939 respectively, and frequently reprinted. In the 1960s, however, due to radical educational reforms, and the ensuing abandoning the idea of patriotic upbringing, the collection of historical poems lost its strong standing as a set reading, and it has since been more or less absent from the teaching of literature at school. It is concluded that the reception of Svenska bilder in the educational context reflects in several respects pronounced changes of Swedish cultural memory during the 20th century.

Poems in Türkiye and Iran Social Studies Textbooks and Values Found in These Poems

This study aims to determine the poems in social studies textbooks taught in public schools in Türkiye and Iran and the values found in these poems. The study's research sample consists of social studies textbooks used in official state schools at all grade levels in both Türkiye and Iran. The data of this study, which followed qualitative research procedures, were obtained by document analysis method. In order to examine the values in the poems examined in the research, a value review form (VRF) is used. The data obtained is analyzed through content analysis. While a total of 19 poems are found in Türkiye textbooks, a total of 10 poems were found in Iran textbooks. According to the research findings, while Türkiye textbooks are generally featured by poems and poets who are accepted by the society, Iran textbooks are characterized by poems that bear witness to historical events. A noteworthy finding in Iran textbooks is that poems are interspersed in plain texts. A total of 16 different values are identified in 19 poems in Türkiye textbooks, with a frequency of use of these values being 44. In Iran textbooks, 16 values are found in 10 poems, and the frequency of use of values is 4 in terms of values found in the poems. In both countries' textbooks, love, patriotism, happiness, solidarity, respect, and altruism are the most emphasized values. It is recommended that historical poems should be utilized while teaching historical subjects in social studies courses. Within the scope of the research, it is recommended to carry out studies on whether it is appropriate to include excerpts from poems that support meaning in addition to plain texts in textbooks, effectiveness and usefulness, etc.

The Old Norse Poetic Meter Kviðuháttr as a Medium for History’s Verdict

Abstract The name of the Old Norse poetic meter kviðuháttr, as employed in historical poems such as Ynglingatal, is generally understood as meaning ‘song’ or ‘poem meter’. Rather than accepting this designation at face value, the article hypothesizes an original *kviðsháttr or ‘verdict meter’ (< kviðr ‘verdict, judicial judgment’), which was subsequently the object of folk etymologizing. This revised explanation illuminates the nature and objectives of not only Ynglingatal but also commemorative poems by Egill Skallagrímsson such as Sonatorrek and Arinbjarnarkviða.

A Beat Beyond: Selected Prose of Major Jackson by Major Jackson

Reviewed by: A Beat Beyond: Selected Prose of Major Jackson by Major Jackson GK Schatzman MAJOR JACKSON A Beat Beyond: Selected Prose of Major Jackson Ed. Amor Kohli. Ann Arbor. University of Michigan Press. 2022. 184 pages. IT IS MY SEMI-PROFESSIONAL opinion that anybody reviewing a book of essays must wrestle with the question, "Who on earth buys a book of essays?" My documented admiration for Major Jackson—Harvard Review poetry editor, award-winning poet (most recently of The Absurd Man and Roll Deep), and here revealed to the book-buying public as a meticulous critic and astute cultural observer—does not exempt A Beat Beyond: Selected Prose of Major Jackson. Sporting musings on the craft and culture of contemporary poetry; deep-dive research on both anthologized and less-taught twentieth-century poets; and—crackling fresh as good vintage vinyl—energetic early publications from a music and culture beat in the high days of Philly's '90s hip-hop scene, Jackson's latest offers more than just a glimpse of his proverbial bookshelf and record cabinet. For teachers, it's a unit-worthy syllabus of poets whose work intersects and mutually inspires throughout the last century, with discussion questions to boot. For scholars, it's thoughtful research on poets like Countee Cullen and Lucille Clifton, a sharp-eyed breakdown of the 1950 Pulitzer Prize for Poetry award letter that made Gwendolyn Brooks the first Black woman recipient, and a short, persuasive thesis on the historical poem as a defining national genre. For Philadelphians, it's cultural history, the kind of bottle-aged testaments most writers can only dream might still deliver the zeitgeist's funky tang decades down the road. Culture vultures of any feather will enjoy the journey through the popular emergence of slam poetry (in "Black Poetry: A Beat Beyond") and the reverent hype of an old-school hip-hop revival at the Trocadero ("Living Legends"). For critics, of course, it's a giddy chance to catch a younger Jackson at our own task, writing low-key ekphrastics as he turns his metronome ear and poet's tongue on [End Page 64] someone else's art. Philly jazz hip-hop pioneers The Roots burst off the page as Jackson wrangles "genius" into ink in the prescient "Liner Notes": It's an eventful moment to hear [Tariq Trotter] on "Essaywhuman?!!??!" "rap scatting" one minute in the tradition of Ella Fitzgerald and Louis Armstrong and with stark ingenuity change to a ⅞ rhyme scheme that sounds like Charlie Parker's horn jumping in and around a bebop landscape. Arguably, these pieces in the book's "Entryways" section are a ringing answer to the question Jackson poses in "Poetry and Influence of the Nonliterary Variety": "How do I explain to those young people [that] inspiration and entryways into poems are a function of how much of the world one takes into one's self?" Most irresistible are Jackson's reflections in "My Lyrical Self" (2019) and "A Mystifying Silence: Big and Black" (2007). The former posts pithy encapsulations of Jackson's ambitions as a poet: "to dramatize my life into song in what I call 'the lyric self,'" born from writing that truly sits at "the center of language" and expresses "a human voice, an authentic self … in the moments of figuration, image-making, in the syntactical arrangement of words into linguistic phrases, tones, and silences, for it is there that great emotion resides." He continues, "All the poems ever written are attempts to add one's own sound to that collective cry of humanity." "A Mystifying Silence," then, develops ideas on the racialized ethical elements of the "cry" (and of the silence) in contemporary poetry. Jackson surveys a collection of poems containing representations of "blackness" and Black bodies ("I collect these poems as others collect poems about dogs or jazz," he explains) to handily catalog "the insistent lack of imaginative language to describe the full spectrum of people of color" in poems by authors like Elizabeth Bishop and Tony Hoagland. Regarding Hoagland, he writes, "Yet, I would rather have his failures than nothing at all. At least his poems announce him as introspective in a self-critical way on this...

Migration and Refugee Crisis in Poetry: Birth of Bangladesh

This study will focus on the refugee crisis and migration due to the idea of nationalism in the poetry of Jibanananda Das’s “1946-47” and Allen Ginsberg’s “September on Jessore Road.”. There is an affinity between the experiences of the two poets. Das’s “1946-47” theme focuses on the refugee crisis and communal violence during the subcontinent's partition in 1947. On the other hand, Ginsberg experienced the refugee crisis on his travels to India during the liberation war of Bangladesh in 1971. His famous poem “September on Jessore Road” describes the suffering of the refugees due to the genocidal attack by the Pakistani Army. Both poems are instrumental in poetic form and content regarding the contemporary refugee crisis in East Pakistan (present-day Bangladesh). Das and Ginsberg also witnessed and acknowledged the social and political turmoil on both sides of the Bengal delta due to the uprising of extreme nationalism and religious identity in the subcontinent. So, this study will follow Benedict Anderson’s idea of “imagined communities” as the critical evidence. This paper will conceptualize and analyze how the paradoxes of nation and nationalism enable both poets to portray the complexities of migration, calamities of refugees, and humanitarian crises in these two historical poems.

ІСТОРІОСОФІЧНІСТЬ РОМАНТИЧНОГО МІФУ УКРАЇНИ БОГДАНА ЗАЛЕСЬКОГО

When studying Polish Romantic historical poems, the motifs of Polish-Ukrainian reconciliation and unity appear repeatedly (out of the entire number of the ’Ukrainian school’ of Polish Romanticism, this is the most common of J. B. Zaleski). However, no matter how positive this narrative seems for Ukrainian recipient, this approach leads to an objectified view of Ukraine and Ukrainians for readers of other nations. We see the need to (re)read and deconstruct the myth of Ukraine, which would reveal the Ukrainian view of self-expression, as an urgent problem in the study of Zaleski’s literary legacy. The unique position of the Ukrainian researcher allows to reach the subjectivity and dismiss possible prejudices about what is depicted by the first author and to make a qualitative contribution to this part of the Polish Borderland discourse. The research is initiated on the subject of everything from the sphere of Ukrainianness, which is subject for Zaleski to mythologize. The aspect of myth-making is rarely raised by literary critics in relation to any writers. A poet on the Borderland, who accepted his Ukrainian identity is a rather rare case, therefore interesting to study. The priority of studying B. Zaleski’s heritage can be seen in his belonging to the paradigm of similarities, the discourse of finding points of contact with Polish culture, understanding and reconciliation. Any studies on the vision of Ukraine are also useful for studying the external perception of Ukrainianness by the represantatives of other nations. In this article we aim to determine the genesis, aspects and functions of the mythologizing of Ukraine in the poetry of B. Zaleski during his creative life on the basis of poems containing Ukrainian attributes (history, folklore, geography, etc.), the mutual influence of the myth of Ukraine and the dual identity of Zaleski, to show the multi-layered attitude of the Polish poet to Ukraine and Ukrainians in interaction with the Polish ethnic group and beyond.

Musik und Gewalt. Die akustische Dimension des Krieges in narrativen Texten des Mittelalters

Medieval war was full of sounds and several medieval authors refer to a variety of acoustic aspects of warfare. This paper examines some of these references that reflect on the use of music in warfare and on its representation in literary texts. The first part of the paper explores what historiographical sources can tell us about how and why music was used in medieval battle, focusing on the battle of Worringen (1288). This battle is the main topic of a historical poem written by Jan van Heelu that mentions a variety of signals and gives some indications on the psychological implications of music in warfare. The second part of the paper focuses on the effects of music on the body using literary texts as an example. The meaning and effect of voice is described on the basis of the late court novel “Daniel von dem blühenden Tal” written by Stricker in the 13th century. Finally, the correlation between music and combat is to be analysed on the example of the “Nibelungenlied”.

Pangur Bán, Translation, Postmodernism, Paul Muldoon

«Pangur Bán» is probably the best know poem in Celtic studies, and a poem that tends to become increasingly more popular to audiences outside of Ireland. However, the anonymous, medieval poem has been cherished throughout history for a wide range of poetic, philosophical, intellectual and educational reasons. To inquire into the longevity and popularity of a marginal gloss on his cat by an Irish monk in a German monastery in the ninth century seems appropriate at a time when contemporary literature and applied hermeneutics of all kinds tend to dominate the literary discourses. This essay relates the historical poem to its many translations, for example by Paul Muldoon and Seamus Heaney, and current literary discourses. Why has this enigmatic jeu d’esprit been translated so frequently and why are these translations important? This essay argues that «Anonymous: Myself and Pangur», Muldoon’s version of «Pangur Bán», can be read as a prismatic poem for postmodernist concerns, in his own poetry and in recent theories.

The Use of Norse Loanwords in Late Old English Historical Poems

AbstractThe use of Norse loanwords in Old English poetry seems to be restricted to historical poems in praise of prominent contemporaries. It is demonstrated that the few Norse loans in these poems neither contribute to the laudatory character of such texts nor serve as new, additional means of stylistic enrichment. Instead, the Norse loans in these late Old English historical poems can be shown to have been used to add factual plausibility to such poems as historical texts. This contrasts with the use of Norse loanwords in Middle English poems.

Bronner, Dagmar (ed.): Three historical poems on Tuathal Techtmar and the bórama from the Book of Lecan. Edition, translation and commentary. Berlin: Curach Bhán Publications, 2017. 186 pp. ISBN: 978-3- 942002-32-5. € 27,50.

Article Bronner, Dagmar (ed.): Three historical poems on Tuathal Techtmar and the bórama from the Book of Lecan. Edition, translation and commentary. Berlin: Curach Bhán Publications, 2017. 186 pp. ISBN: 978-3- 942002-32-5. € 27,50. was published on December 22, 2021 in the journal Zeitschrift für celtische Philologie (volume 68, issue 1).

From Maritsa to Mostar

Rumor has it that that the Turks crossed the Marmara Sea on rafts. The Ottoman Empire, which set out from Gallipoli and became a state first and then an empire; reached the Balkan and Europe through bridges. Every bridge built over the huge rivers Ottomans crossed slowly became a signature of that region or city. Spectacular stone bridges, which are both art and aesthetic monuments and meet the transportation needs of the army, were built on the rivers from the capital to the last point Empire reached. Many bridges, especially the Mostar Bridge, Mehmed Paša Sokolović Bridge, Stone Bridge in Skopje, Bridge over Maritsa in Edirne, Bridges over the Tunca and the Uzunköprü (Long Bridge), which were built on the great Balkan rivers, symbols of abundance and plenitude, have been the subject of poems, shehrengiz and historical poems of classical poets, and also prose works and travel books. through various dreams and imaginations, these bridges are from time to time places where lovers go out for an evening stroll and meet, and sometimes through similes and metaphors compared to lover’s body, rainbow, Milky way, or the Sirat Bridge. These bridges are so ostentatious and appear as a great kemend that connects two mountains. The stone bridges built on the Balkan rivers from Edirne to Mostar that have poems written about them will be determined and interpreted in our article.

Historic Ottoman Poet Biographers

Ottoman poet biographies, whose main purpose is to provide information about the lives, arts and works of poets, are among the most important sources of classical Turkish literature with their examples written more than once in every century from the 16th century to the XX century. The poets, whose biographies give information about their lives, are composed of people who have undertaken different duties belonging to different layers of the Ottoman social structure. After all, the most important point that brings together the biographies of these people, who have serious differences in status, is that they are poets. For the biographies of poets belonging to different strata, the tadhkirah definitely refers to the sources. These sources can be the poet himself, a close friend, another poet’s biographies or a history book, or the author himself. Historical poems written by poets on various occasions over the centuries are also one of the written sources used by tadhkirahs. An important part of the poets in the biographies, using this systematic called abjad calculation and created by assigning numerical values to Arabic letters, they make history on the success of the sultans, the conquests of cities, an important natural event, and even the death of a book they have finished. However, besides the poets, it is seen that the authors of tadhkirahs also write down history with an approach that puts the poets in the center. These dates, which were dropped, give them the identity of a pastor, in the words of the tadhkirahs. It is not because they wrote a history book that is meant by their identity as a pastor; it is the poets’ reduction of dates on some important issues in their lives, which are based on the abjad calculation and written in verse. Within the tradition of Ottoman tadhkirah writing, many tadhkirah writers have dropped dates about the poets they mentioned in their works. In this study, information has been given from the authors of tadhkirahs, who have included history poems in their biographies, and in what ways these dates have contributed to the science of history and literature.

At a Slight Angle to the Empire: Cavafy among the British

C. P. Cavafy's position as a British-cultured Greek who lived and wrote in colonial Alexandria has perplexed critics, who often address the poet's commitments either as Anglophile or as anti-imperialist and pro-Arab. Seeking a subtler approach to Cavafy's complex colonial circumstances, this essay looks at the poet as a diaspora Greek who wrote of Eastern Hellenism through concepts, facilities, and resources made available by the British Empire. Among the issues explored in this venture are: the widespread use of the Hellenistic East as code for the British Empire in Cavafy's time and the keen interest of colonial intellectuals on some of the poet's favorite topics, such as Hellenistic racial and cultural hybridity; Cavafy's encounters with major colonial figures, including Evelyn Baring (1st Earl of Cromer), T. E. Lawrence, and Ronald Storrs; and the interpretative complexities and ambiguities that arise once we recognize the colonial substratum of Cavafy's historical poems.

PECULIAR OF HEROES OF KAZAKH HISTORICAL EPIC

The article defines the image of a defender-heroin the historical epics of the Kazakh people.In the historical poems, the character of "defender -hero" is portrayed in different ways. Usually main hero’s prototype is a real person that lived in particular region around that time. We can say that historical epic’s characters are realistic and conditional. It is known that they act within historical events, but at the same time being able to serve in epics legislation. As we can see from the poems, he was a mentor and educator who gathered around him a brave young man. From "defender hero" hehas transformed into a heritage of character that cares his people. Young heroes close to Khan even though how valiant they never refuse take advice given by senior hero and do as they say, we can clearly understand their unity to keep peace by protecting people and their country from menace and danger. Because of such heroes were the protectors of our Kazakh nation we could withstand all kind of misfortunes and dangers and survived. Heroes did not just own the great steppe they also prevented it from all sort of menace. In historical epics, it is evident that the heroes served all their life during unstable and difficult times,when they did not manage to resolve their own personal problems. In addition, the psalms belonging to the historical epic genre of Kazakh folklore, which we are considering, are diverse. In all of them honored portrait of hero that served his country. However, according to the purpose and the main theme of the epos, we have noticed that the "defender-hero’s" personality image is different.

The problem of personality and time in Mirvarid Dilbazi’s historical poem “Mahsati”

The problem of personality and time in Mirvarid Dilbazi’s historical poem “Mahsati”

THE QUINTESSENCE OF THE WORKS OF CHINESE LITERARY GIANT LI BAI AND THE DESCRIPTION OF TRADITIONAL KAZAKH POEMS

In the modern world, the process of integration between Kazakhstan and China is intensifying. As a result, there is a growing interest and demand for each other's language, culture and literature among the citizens of the two countries. Acquaintance with the mentality and culture of the country begins with the works of the literary giants of this country. And Li Bai is a giant of Chinese literature. However, until now we have considered his works of art only through translations and concepts of Russian scientists, so now it is necessary to study them from a new point of view by Kazakhstani researchers. Only then can the previously unknown secrets of Li Bai's poems be revealed.Furthermore, the poem is a small poetic work. A sequence of real words, the rhythm of which are normalized, the syllables are in a certain order. The peculiarities of Kazakh poems and Chinese literary giant Li Bai’s works are identical. There are some similarities and differences between them. Poems in Kazakh folklore are associated with labor (hunting, four products, March poems), ancient beliefs (shamanic, seduction), customs (rituals, weddings, mourning poems), black poetry, historical poems, aitys poems. While, Li Bai wrote about nature and its beauty.