Modern Poetry Research Articles

ABOUT THE IMAGERY OF JÁN ONDRUŠ

The study focuses on the up-to-date theoretical reflection of imagery in the poetry of the Slovak concretist poet Ján Ondruš and on the interpretation and analysis of the elements of imagery in Ondruš's poem from the collection Lunatic Moon (1965). This collection has a significant presence in Slovak modern poetry. At the time of its publication, it was associated with names such as Nezval, Poe, Lautréamont, Rimbaud, Borel, Quincey, Chlebnikov and terms such as exclusivity, esotericism, unrepeatability or originality, and with authenticity, which was also an important characteristic. In the collection consisting of twenty-three poems, the central theme is the tragic feeling of life resulting from the inability, or rather the impossibility, to merge into one essence. For our analysis and interpretation, we decided to choose a poem that we consider to be a representative and supporting poem of the collection and whose poetic statement is interesting to us from the point of view of imagery and imagination. We consider the work with details to be an exceptional element in Ondruš's poetry. The poet concentrates on concrete situations, phenomena and processes and on abstract concepts that he immortalizes. Ondruš's expressive apparatus is unique and sometimes difficult to absorb. Verses are mostly composed of simple sentences, and we could describe such writing as rational. Theoretical knowledge about the imagery of Ján Ondruš is also an important contribution for us. It will become a theoretical prerequisite for the investigation of imagery in his poetry.

Conveying the ‘Kick’ of the Original: W. B. Yeats's Late-career Engagement with Frank O’Connor's Translations of Irish Language Poetry

This essay explores the collaboration between W. B. Yeats and Frank O’Connor in the translation of Irish language poetry in the 1930s, examining the nature and extent of their partnership and its impact on Yeats’s work in that decade. The focus is on three Irish poems, two of which were composed by Aogán Ó Rathaille (c.1670–1726) – comparative analyses make it clear that O’Connor and Yeats shaped generally transparent translations and that their new poems mediated the ‘kick’ and ‘excitement’ of the original verse across the gulfs of time and language. Preoccupied by the loss of poetic audiences, Yeats was especially attracted to the relationship which he imagined to have existed between the Irish bards and their aristocratic patrons, and he took advantage of his editorship of The Oxford Book of Modern Verse to introduce the translated poems of this humiliated and suppressed tradition to a new and wider audience. His accomplished literary ballad ‘The Curse of Cromwell’ provides compelling evidence that Yeats’s encounter with these eloquent invocations of despair and loss creatively inspired him, not only stylistically but also thematically.

Die Unverständlichkeit der Lyrik

In this essay, I examine the connection between poetry and the incomprehensibility of some of its exemplars. In particular, I examine the rise of incomprehensible poetry to being the epitome of modern poetry in the history of poetry, and I develop explanations for the significance of incomprehensible poetry in global modernity.

Aesthetics and Creativity: A Preliminary Exploration of Modern Poetry Teaching in Primary School Chinese——Taking Ai Qing’s Teaching of “Green” as an Example

Among all literary works, the language of poetry is the most concise, unique, and timeless, and its expression of emotions is particularly rich. Learning poetry can enhance one’s ability to appreciate various literary works. The way to enhance the aesthetic understanding of poetry itself is closely related to quality education in Chinese language teaching. Undoubtedly, it is particularly important for classroom teaching to guide students in creating poetic scenarios, inspiring them to explore the artistic conception of poetry, and guiding them to appreciate the unique expression of poetry. Teaching students the general method of self-reading and self-understanding modern poetry can be seen as a way to make poetry teaching twice the result with half the effort. Based on this, this article takes Ai Qing’s “Green” as an example to explore the teaching path of modern poetry in primary school Chinese for reference.

The author’s individuality is back in the limelight

Pereverzin, a contemporary poet, a winner of the ‘Moskovskiy schyot’ literary award (2009), and the editor-in-chief of the poetry journal Piroskaf, discusses new names and trends in modern poetry with the critic E. Pogorelaya. Starting with an overview of the changes that have marked contemporary poetry following the dissolution of the publisher Voymega almost three years ago, the conversation next considers the journals Prosodia and Piroskaf and discusses: their objectives, priorities, and target audiences; the similarity of the situation faced by contemporary poets and artists alike; new methods in poetry and artificial intelligence. The discussion mentions the names of modern poets and artists featured in Piroskaf, a journal that promotes an innovative mixture of verbal and visual arts. Pereverzin suggests that today’s poetry seeks new forms of interaction with its audience, but pandering to readers’ tastes will lead the poet to a dead end. Poetry is supposed to perceive and recreate the world as a reality, rather than a reflection, including the reflections in the reader’s eyes.

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.

HISTORICAL ASPECTS IN THE POETRY OF KURMANCIS

In a general way, poetry is considered to be an important foundation in literature as a whole and poetry in general. Since the beginning of the stage of human life, each stage has its own use and until now, it has its own color and importance in all its forms. It is also considered as an important tool. The poet tells his story through elements. Historical elements are one of the types of elements found in modern poetry in the south of the country. the poets still use it in their poetry. they use the historical ones. as it is clear that the Kurmans have seen very difficult periods in their history. the modern poets have used the historical ones for the success and problems of the Kurmans in the way of the historical ones. This is clear from the attention of the new poet Kurmanç. He uses historical elements in his poems.

Ports of Call: A Maritime Study of Korean Modernist Poetry

Abstract: This essay undertakes a survey of Korean modernist poetry in miniature by means of a singular motif—the seaport (hanggu)—in whose tidal vortex the politics and poetics of the Korean Peninsula were recalibrated at the outset of the modern age, specifically the years submerged in the depths of Japanese colonial rule (1910–45). While the essay's comparison between Kim Ch'ang-sul's (1903–50) and Chŏng Chi-yong's (1902–50) 1920s-era modernist aesthetics of dockside labor and harbor construction foregrounds an oscillation between proletarian collectivity and depoliticized solipsism, the pairing of Im Hwa (1908–53) and O Chang-hwan (1918–51) elucidates the divergent vectors of utopian deferral and fatalistic anomie constituting two incommensurable critical standpoints from which to confront the objective upsurge in seaport modernization and industrialization in the late 1930s.

"Cease, Be Dumb and Mute:" George Herbert's Ars Moriendi and the Poetics of Self-Discipline

Abstract: This essay explores how George Herbert's poetry frames apocalypticism in terms of personal mortality to strengthen individual practices of obedience and passivity in one's daily habits. By bringing together the science of daily devotion in the ars moriendi tradition and the imaginative resources of poetry and rhetoric, Herbert's verses locate the site of politics in the management and maintenance of practical, everyday affects. These intersections between early modern poetry and religion render habits of self-discipline in service of political passivity and quiescence, encouraging readers to practice obeying forces larger than oneself—even upon the destabilizing extremities of existential finitude.

「曠野」에 나타난 시적 주체와 노래의 장소성

This paper examined the poetic subject and the placeness of the song revealed in 「曠野」[Gwangya] from the perspective of readers who read Lee Yuk-sa's poem 「曠野」 aloud. Rhythm is also essential in modern poetry as a verse. Therefore, we have to read modern poetry aloud as well as with our eyes. Readers could sense voice text 「Gwangya」 by reading letter text 「Gwangya」 aloud. Letter text 「Gwangya」 is a seed of voice text 「Gwangya」 that is a song. The poem 「曠野」[Gwangya] is “the seed of the song” and the song 「광야」[Gwangya] makes a sound and disappears for a certain period of time. That certain time is important. When the reader sings 「광야」, 「曠野」 collects songs with centripetal force or scatters songs with centrifugal force as the place of the poetic subject. 「曠野」, an empty place where nothing can be heard, moves freely as various meanings in space and time of readers by driving readers to make a voice.

Ecocriticism and Environmental Awareness in Modern Poetry in Africa

Purpose: The aim of the study was to assess the ecocriticism and environmental awareness in modern poetry in Africa. Materials and Methods: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study found that poetry aims to raise environmental awareness by depicting the beauty of natural landscapes and the destructive impact of human activity. Ecocritical poetry often incorporates imagery and symbolism that evoke a sense of urgency regarding climate change, pollution, and conservation efforts. By intertwining aesthetic appreciation with ecological consciousness, modern poets not only reflect the environmental crises of our time but also inspire readers to contemplate and engage with ecological issues. This growing trend underscores the vital role of literature in fostering a deeper understanding and appreciation of the natural world, thereby contributing to a broader cultural movement towards environmental sustainability. Implications to Theory, Practice and Policy: Ecocritical theory, cultural ecology theory and reader-response theory may be used to anchor future studies on assessing the ecocriticism and environmental awareness in modern poetry in Africa. In practice, promoting ecocritical poetry involves integrating it into educational curricula and public discourse. Advocating for ecocritical poetry in policy involves influencing cultural and media practices to amplify environmental voices and perspectives.

Voices of Resistance: Caste and Gender in Meena Kandasamy's Poetry

Dalit women's poetry is a powerful form of political expression that challenges the caste system and patriarchal structures in India. It gives voice to the experiences of marginalized women, exposing social injustices and demanding social change. Their poetry raises awareness about social issues, fosters community building among Dalit women, and inspires political activism. It disrupts the status quo and demands social change. Touch, the debut poetry collection of Meena Kandasamy, marks a significant entry into contemporary Indian poetry. Published in 2006, this collection offers a poignant exploration of caste, gender, and identity. Kandasamy uses her sharp poetic voice to address the socio-political issues that plague Indian society, particularly focusing on the experiences of Dalits and women. This paper delves into the themes, stylistic elements, and critical reception ofTouch, highlighting its impact on modern poetry and social discourse.

“What Dakha Gives — Vzyakha Vzyast”: Verbal Substantives in Russian Subdialects and Modern Poetry

“What Dakha Gives — Vzyakha Vzyast”: Verbal Substantives in Russian Subdialects and Modern Poetry

Neologisms in Latin American modernist poetry: between cosmopolitanism and beauty

El objetivo de este trabajo es evidenciar dos rasgos característicos de la poesía moderna hispanoamericana que se manifiestan a través de la neología: el cosmopolitismo de sus obras y la búsqueda de la belleza expresiva a través de nuevas palabras. Para ello, hemos identificado los neologismos presentes en siete poemas de dos de los autores más representativos del periodo: Rubén Darío y Julio Herrera y Reissig. La selección de los neologismos ha seguido el criterio lexicográfico, para lo cual hemos tomado como referencia los diccionarios publicados en la misma fecha de los poemas, utilizando el Nuevo Tesoro Lexicográfico de la la lengua española (NTLLE). El análisis permite evidenciar la importancia que tienen los neologismos en relación con las características más importantes de este movimiento: por un lado, evidencian el cosmopolitismo muy diversificado presente en estos poemas, tanto de las culturas de Europa como las culturas orientales, así como las de la Antigüedad; por otro, son representativos del esteticismo propuesto por el Modernismo, que conserva la óptica de una permanente búsqueda de la belleza y de la perfección estética.

Automatic Generation and Evaluation of French-Style Chinese Modern Poetry

Literature has a strong cultural imprint and regional color, including poetry. Natural language itself is part of the poetry style. It is interesting to attempt to use one language to present poetry in another language style. Therefore, in this study, we propose a method to fine-tune a pre-trained model in a targeted manner to automatically generate French-style modern Chinese poetry and conduct a multi-faceted evaluation of the generated results. In a five-point scale based on human evaluation, judges assigned scores between 3.29 and 3.93 in seven dimensions, which reached 80.8–93.6% of the scores of the Chinese versions of real French poetry in these dimensions. In terms of the high-frequency poetic imagery, the consistency of the top 30–50 high-frequency poetic images between the poetry generated by the fine-tuned model and the French poetry reached 50–60%. In terms of the syntactic features, compared with the poems generated by the baseline model, the distribution frequencies of three special types of words that appear relatively frequently in French poetry increased by 12.95%, 15.81%, and 284.44% per 1000 Chinese characters in the poetry generated by the fine-tuned model. The human evaluation, poetic image distribution, and syntactic feature statistics show that the targeted fine-tuned model is helpful for the spread of language style. This fine-tuned model can successfully generate modern Chinese poetry in a French style.

The Impersonal Theory of Poetry in “Tradition and the Individual Talent” by TS Eliot

Eliot, an important poet, playwright, and literary critic of the nineteenth century in the United States, was the founder of Western modernism. He pioneered the modern poetic criticism. His practice of modernist poetry is the transition from traditionalist poetics to modernist poetics in the 20th century. His famous poetics theory declaration “Tradition and the Individual Talent” is an immortal classic in the field of poetics theory, in which he proposed the concept of “Traditional,” the theory of “Impersonal” poetry, “Objective Correlative,” and so on. All had a profound influence on the 20th-century poetry creation. This paper aims to analyze and discuss the important “Impersonal” theory from the three aspects of its connotation, the relationship between “Personality” and its intertextuality with New Criticism, so as to further understand Eliot’s poetic concepts.

REMINISCENCES OF PROFANUM AND SACRUM IN THE POETICS OF SERHII ZHADAN

The article examines the transformation of sacred and profane motifs in Serhii Zhadan’s creative work. In particular, a comparative analysis of early poems and modern poetry was carried out. The key sacred and profane images are revealed, which acquire a new meaning in the author’s authentic reading. Philosophical and intimate lyrics resonate with the Bible and profane space as a canvas of being. Serhii Zhadan’s early poems are full of hope and love and retain a fractal structure. The poet's modern poems illustrate the artist’s maturity and poise. On the other hand, modern Zhadan becomes more straightforward and uncompromising. Sacrum and profanum are not always opposite, but always complementary concepts in Serhii Zhadan’s work. Today, Serhii Zhadan addresses not only his contemporaries, but also the dead and the unborn, as Taras Shevchenko once did. The figure of Serhii Zhadan should be considered comprehensively through the prism of his activities. After all, volunteering and participation in a large number of public initiatives with the aim of enlightenment, the revival of the Ukrainian nation not only affects the artist's creativity, but also brings him to the forefront of the cultural and military front.

The Structure of Description in the Poetry of Saadi Youssef

The study focuses on the poetry of the Iraqi poet Saadi Youssef, highlighting him as a creative and distinguished poet in various aspects. His published poetic works represent the early maturity of a poet capable of encompassing both the objective and artistic dimensions of modern poetry. Saadi Youssef can be described as having a conscious creative ability, with this research examining his descriptive poetry. Notably, the poet is a product of his environment, expressing its conditions and realities. The term "environment" refers to all conditions surrounding and affecting a person. This includes the place, natural phenomena in their colours, forms, living organisms, and inanimate objects, as well as events occurring within human society that change the course of their lives, reflecting the environment and its impact on humans. The motivation for choosing Saadi Youssef's descriptive poetry as the research subject lies in the absence of specialized studies addressing this aspect of his work. Additionally, Saadi Youssef's poetry contains a rich body of descriptive material, alongside the researcher's desire to explore the poetic lexicon of description in his poetry. The aim is to study the pictorial formation of description in Saadi Youssef's work, requiring attention to various historical, psychological, and intellectual aspects of his descriptive poetry, as well as examining the artistic and literary features it contains. Thus, the study adopts an integrative analytical method to analyze the poetic text. The research material comprises the descriptions found in Saadi Youssef's poetry collections, relying on many poems with descriptive nature.

The сoncept of the national culture in German romanticism: Sourсes and historical background

In Novalis’s works, the reaction of German Romanticism to the Enlightenment was civilizational: By the German world, both the French monarchy and Republic were viewed in a negative light. Thus, the Novalis’s philosophy developed the concept of national culture, which the movement “Storm and Onslaught”, led by J. G. Herder, opposed to French classicism of the 17th–18th centuries. According to Herder, the folk’s culture is formed through the psychological exploration of nature in myths and folklore, fixed in language. The “organic nature” of culture links folklore with the Middle Age and Modern poetry as the new forms of the dialogue with nature. This idea was consolidated by the figure of Faust, chosen by the Sturmers and Goethe as the hero of the “masterpiece” summarizing the national poetic path. Novalis elevated Catholicism to the cult of the earth, and the collective mind was connected with it by magic. He saw the institution of this union as an “ideal” Prussia where self-knowledge unites citizens, and the monarch unites the people and nature as an esoteric master. The French monarchy divided the people by cultivating selfishness. The prerequisites of this opinion were indicated by J. Le Goff and L. Karsavin who stated the existence of two types of cultures, which emerged as a result of the Roman conquest of Europe. For the national ones, who retained their languages and with them the connection with pre–Roman mythology and folklore, the introduced ancient norm and Christianity became forms of self-development. For the newly emerged unities west of the Rhine, they became the foundation of the cultural convention.

Hybrid identity and the image of the native land in Kazakhstan Russian language poetry

The article is devoted to the problem of the world image in the poetry of modern Kazakhstan Russian-speaking poets. This problem is closely related to the authors’ self-identity. The Russian language is chosen by authors of various ethnicities: Russians, Kazakhs and Poles. Kazakhstan has historically developed as a multi-ethnic region; in post-Soviet times, Russian is largely preserved as a language of interethnic communication. The article identifies and analyses the following components that make up the hybrid identity of Russian-speaking authors: their memory of ethnic roots, sociocultural identity, regional identity and civic identity. It is shown that such features as transborderness and transculturation, characteristic of the “nomadic” subject of modern poetry, fully correspond to the type of nomadic culture that has long been established on the territory of the Great Steppe. Hybrid identity in the poetry of Kazakhstan Russian-speaking authors determines its polysubjectivity, interaction of voices and dialogue among speech zones of different subjects, giving rise to the effect of the lyrical poetry “romanization”, which affects the prosaization of the verse form. Of the genre varieties, the most characteristic one is the form of poetic conversation. A striking feature of this poetry is the lyrical hero’s self-irony and the active use of intertextuality. Different components found in the authors’ inner self does not as much create a conflict situation as it allows them to avoid thinking in rigid binary oppositions, without removing a critical view of both today’s Kazakhstan and Russia.