Philosophical Poem Research Articles

“AMONGST A SINGLE POINT” Thoughts on the medial attachments of Dezső Tandori

Dezső Tandori’s lyric poetry includes quite distinct voices ranging from modernity to neo-avantgarde, his poetry spanning philosophical poems, minimal art, concept poetry, as well as pieces of experimental word poetry (and even more). Examples of the medial ties between visuality and verbality are his ideograms, drawings-prose, drawings-aphorisms, and his meta-mathematical commentaries accompanied by figures. The visualization of mental space and the continuous reflection on it always connects with the deliberation of subjectivity, communicability, and the coherency of the world. Thus, Tandori’s intermedial works are not only border-crossings or configurations between art forms, but at the same time, they are works that emphasize the media nature of the subject. This is articulated by Tandori’s terms: intermediális- átélt [intermedial lived-through], and médium-art-élt [media-art-life/lived]. This study aims to show what special existential and ontological meaning can be associated with the “Tandori-like intermedial”; how the subject becomes a depot: the bearer and mediator of the meglét [being/existence] and the tűnt volt [seemed was].

Interconnectedness between Vedanta & Poetry of T.S. Eliot and W.B. Yeats’ Poetry

This paper studies the impact of Eastern philosophy on the writings of both T.S. Eliot and W.B. Yeats. The research demonstrates interconnectedness between the Vedic philosophy and the western writers particularly the thoughts pervasive in the writings of Eliot and Yeats. Eliot engaged deeply with Eastern philosophy in ways which significantly influenced his worldview and his poetry. Eliot’s PhD thesis was on the idealist metaphysics of F.H. Bradley, which he found appealing due to its affinities with Indian philosophical sensibilities. Eliot was influenced by both Hinduism and Buddhism, and especially by the Bhagavad Gītā, which he described as one of the greatest philosophical poems, and by the Mādhyamika or Middle Way Buddhist philosophy of Nāgārjuna. The references to Indian literature are particularly prominent in The Waste Land, several section titles of which they reference Indian imagery. For instance, ‘The Fire Sermon’ references the sermon of the same name delivered by the Buddha; ‘Death by Water’ engages with Indra’s slaying of Vṛtra to release the waters in the Rig Veda; ‘What the Thunder said’ references the eponymous episode from the Bṛhadāraṇyaka Upanishad.

Ātmabodha

The article examines the authorship and dating of Ātmabodha, a popular philosophical poem that, in a popular and poetically imaginative manner, expounds on the main teachings of the Indian philosophical school of Advaita Vedānta. Although traditionally attributed to the renowned philosopher Śaṅkara (8th century), the article presents arguments for placing the work several centuries after Śaṅkara. In addition to the state–of–the–art stylometric method, the General Imposters Framework, which does not recognize Ātmabodha as Śaṅkara’s work, Ātmabodha also does not meet Hacker’s colophon criterion. The paper places particular emphasis on instances of post–Śaṅkarite doctrinal and terminological developments in Ātmabodha, specifically in the comprehension of the concept of ignorance, alongside the introduction of later terminology and concepts. The available evidence suggests a tentative dating of the work between the 11th and early 14th centuries.

The evolution of ideas about vegetarianism in British literature in the Late 18th – Early 19th Century (a case of ‘An Essay on Abstinence from Animal Food, as a Moral Duty’ by J. Ritson, ‘Queen Mab’ and ‘A Vindication of Natural Diet’ by P.B. Shelley)

The article examines the literary representation of the topic of vegetarianism in the works of British writers in the Late 18th – Early 19th Century. English sugar merchant, author of popular self-help books Thomas Tryon was one of the first to propose the concept of vegetarianism, which was new to his contemporaries. His works, like those of his followers, inspired Joseph Ritson and Percy Bysshe Shelley. Joseph Ritson in his essay ‘An Essay on Abstinence from Animal Food, as a Moral Duty’ (1802) summarizes the experience of his predecessors and proposes an original concept of vegetarianism, close to the romantic philosophy. P. B. Shelley used Ritson's ideas in his philosophical poem ‘Queen Mab’ (1813) and his essay ‘A Vindication of Natural Diet’ (1813). The article presents the results of a productive dialogue between intellectuals of the Enlightenment (such as T. Tryon and G. Cheyne) and J. Ritson. This influenced the further development of the philosophy of vegetarianism in European culture. Thus, the poet of the romantic era P.B. Shelley, inspired by Ritson's essay, rethought his ideas in his own way and presented them in his works.

Infinite Variety: Literary Invention, Theology, and the Disorder of Kinds, 1688–1730

Infinite Variety: Literary Invention, Theology, and the Disorder of Kinds, 1688–1730

М. Горький в творческом сознании А. Платонова

The subject of this article is the perception of creativity and personality of M. Gorky by A. Platonov. The methodological basis of the work is the motivic analysis of the texts of both authors, produced against the background of the study of the historical and literary context. The methodological basis of the work is the motivic analysis of the texts of both authors, carried out against the background of the study of the historical and literary context. The study is based on Platonov’s later articles “The First Date with A. M. Gorky” and “Pushkin and Gorky”, as well as his lyrical and philosophical poems in prose, created in the early 1920s. As analysis has shown, this corpus of early works clearly echoes Gorky’s early poem “The Man”. In it, the main motive, as in Platonov’s poems, is the motive of thought. However, creatively developing the main provisions of Gorky’s poem, Platonov does not blindly follow the unilinear logic of the pretext, but comprehends it in his characteristic manner of multi-vector movement of thought.

Творческая самоидентификация Владислава Ходасевича в книге «Державин»

The relevance and novelty of this article lie in the analysis of creative self-identification in the book by V. Khodasevich “Derzhavin” (1931), which is an access to the author’s thought. This study is based on the methods of the Russian psychoanalyst Ya. M. Kogan, set forth in the book “Identification and its role in artistic creativity” (1926). This work has never been considered in literary criticism from this perspective. The works of modern scientists are also taken into account: D. P. Bak, K. A. Krylov, V. I. Tyupa, E. V. Kharitonova, M. A. Khatyamova and others who study literature from the point of view of “reflection”, “auto-reflection”, “self-reflection”, “self-identification”, processes involved in the work of writers. The main part of the article focuses on the most important points of contact between the author of the book Khodasevich and the hero Derzhavin as an artist, on the desire to understand the movement of thoughts and the reasons for the actions of the hero, their aesthetic dominantidea. In the course of analysis, it was established that Derzhavin’s creative acts during the period of creating significant literary texts, which were included in the article for analysis, turned out to be significant for Khodasevich: fragments of the odes “Waterfall”, “God”, as well as the unfinished philosophical poem “The River of Times in its aspiration ...”. It has been established that immersion in the attitude of the poet of another era was necessary for another author for self-realization. Khodasevich’spremeditation is taken into account, united with his hero by the similar ideas of the creative process as such, regardless of the time that is taking place. A certain role in this for Khodasevich was played by the processes of self-identification and identification, which influenced the artistic consciousness of the poet of the 20th century, uniting him with the heroic creators of the Russian classics.

Thematic Analysis of Laxmi Prasad Devkota’s Poem “The Lunatic”

A literary text can be analyzed through numerous perspectives, and a thematic analysis stands as one of the perennial perspectivespractised in analyzing poetry. This perspective embraces a qualitative research method that is used for exploring and interpreting patterned meaning across datasets. This article makes an effort to explore pertinent themes in Devkota’s tough philosophical poem “The Lunatic”. This articlewriter employs an inductive approach to analyze the poem. The inductive approach involves deriving meaning and creating themes from data without any preconceptions. This article, which makes use of words, phrases and verse lines mustered from the poem as qualitative datasets, winds up with the rebellion against inhumanity as one of the most prominent themes of the poem. This article will be utterly significant to the teachers and the students of literature.

Deep Time: Queen Mab

ABSTRACT This essay examines Percy Bysshe Shelley's understanding and representation of Romantic–age conceptions of planetary temporalities on the scale of what we would today refer to as “deep time,” or the prehuman history of the Earth. I explore Shelley's response in Queen Mab; A Philosophical Poem: with Notes (1813) to James Hutton's geological theories of planetary temporalities and show that Shelley's depiction of eternalism in this poem must be recontextualized in light of Hutton's geological critique. Few scholars have sought to explore the deep time dimensions of the poem's intense temporal rescaling and Shelley's voluminous prose notes on the topic. As I show, Shelley's conception and representation of temporal scale in Queen Mab is likely informed by Hutton's research leading to the publication of his Theory of the Earth, with Proofs and Illustrations (1795) and the afterlife of that work in his friend and popularizer John Playfair's Illustrations of the Huttonian Theory of the Earth (1802). If we are going to unpack and comprehend Shelley's depiction of eternity in Queen Mab, we must return to the geological notion of eternalism defining Huttonian theory.

The Readership of Zodiacus vitae in Early Modern Poland, Pomerania and Silesia

Zodiacus vitae, an influential philosophical poem by Marcello Palingenio Stellato, enjoyed popularity in Early Modern Europe, as evidenced by over sixty foreign editions, several translations and a 16th-century Polish-language paraphrase. Despite the latter being a testimony to Palingenius’work being read by the most prominent Renaissance humanists in Poland, the poem’s readership in Old Polish literature has remained largely unknown. The goal of this article is, therefore, to outline a new map of its readership in Early Modern Poland, Pomerania and Silesia, citing its presence in book inventories, public libraries, book collections and monastery libraries. Zodiacus circulated for instance in the 16th and 17th centuries among booksellers and bookstore owners in the most important printing centre in Polish-Lithuanian Commonwealth − Lviv (Piotr of Poznań, Baltazar Hybner) and Cracow (Helena Unglerowa, Franciszek Jakub Mercenich). It was no less popular in the private book collections of the townspeople, physicians, noblemen and aristocracy. Among the owners of the poem can be found for example: famous scholar and professor Jan Brożek, historian at the court of King Stephen Bathory –Giovanni Michele Bruto, poet Jan Gawiński, reformer of education and the mayor of Toruń−Henryk Stroband. Some light on the problem of the Zodiacus’popularity is also shed by an analysis of copious amounts of marginal notes in over seventy extant copies of Palingenius’work preserved in Polish libraries.

"A Spirituall Song of Submission": The Eikon Basilike, Prayer and Poetry in a Seventeenth-Century Royalist Miscellany

"A Spirituall Song of Submission":The Eikon Basilike, Prayer and Poetry in a Seventeenth-Century Royalist Miscellany Francesca Cioni In its textual and material history the Eikon Basilike tells the story of the textual and material cultures of the loyal Royalists who composed, produced, read, and shared it. Despite official suppression by Parliament, the Eikon appeared in dozens of different imprints between Charles' death and the Restoration, in various forms and formats, for specific readerly uses: folios featuring the full text with lavish engravings; abridged duodecimos for pocket reference; versions digesting the Eikon into commonplaces, advice, or rhyming devotional verse.1 The variety of such printed forms bespeaks the broad and wide-ranging appeal and use of the Eikon by late-seventeenth century readers. The proliferation of scribal copies that circulated more easily without attracting notice of parliamentary censors offers an intimate glimpse into not only readers' use of and relationship to the text, but also the operation of the literary, political, religious, and social circles through which the Eikon circulated. MS Eng 625, a copy of Eikon Basilike held at the Houghton Library, is one of such text.2 A substantial portion of the Eikon is included, closely following the 1649 edition (a copy of which is held at the University of Illinois); the volume also includes several printed engraved portraits of Charles I, and a handwritten prayer of contrition. The composition of this manuscript Eikon represents an act of pious commemoration of the deposed monarch; tracing its compilation can tell us much about the reception of the Eikon in the late-seventeenth century, and its role in establishing Charles' reputation and the textual practices of Royalist loyalism. [End Page 3] But the volume tells another story. If we rotate the codex 180° and open it from the other end, we find a miscellany of original religious, commendatory, and philosophical verse, comprising an ambitious range of styles: acrostics and anagrams; hymns and songs; and long philosophical poems on human sins and divine mercy. Three prayers that begin the volume, collected under the heading "Orationes miscellane," suggest their writer's political and ecclesiastical loyalism (including the prayers "For ye king" and "For ye church"). These are followed by a collection of apparently autograph poems: "The Returne," a song; an occasional poem on the poet's recovery from smallpox; an anagram and an acrostic to the collection's apparent patron Mary Midmore; a "Spirituall Song of Submission" a version of George Herbert's "Submission"; and four long poems: "The Review," "The Grand Deceit, and the Great Evill under the Sun," "Divine Mercies Miracles," and "Gods method in curing Sinners." The variety of poetic forms gathered in the miscellany not only serve to demonstrate their author's literary skill of their author, but also perform, in their diverse ways, his religious and political loyalty to a monarchy and a church recently restored. From the relatively direct expression of royalist and Anglican beliefs in his prayers and longer theological verse, to the verbal and literary dissection of his patron and of Herbert's verse in the praise poems and "Song of Submission," Shirley's verse gives textual form to these loyalties. The volume's reproduction of the Eikon Basilike and assembly of images of Charles are acts of political loyalty; but it also materializes pious devotion in its reformulation of scripture, and social relationships in its praise poems to Mary Midmore. These social, textual, religious, and political acts are performed through diverse means of reformulation of particular texts and figures: its collator Drew Shirley and its apparent patron Mary Mid-more as well as George Herbert and Charles I, whose works, together with the Bible, form the volume's source material. Drew Shirley, whose name appears on the first leaf of the Eikon, and in whose hand the miscellany seems to be written, is not a prominent historical figure. He is not published in print, nor is he politically active, and he is only recorded in this manuscript and in records of his matriculation at Exeter College, Oxford in 1656, his will, and his burial.3 The latter both occur at Chiddingly, Sussex in 1707, in the same village where one...

The phenomenological transformation of Abay’s poetry

The article analyzes the phenomenological character of Abay’s poems, cognitive and aesthetic representation of being (activity). The fact that the manifestation of human characteristics in the social environment is studied within the framework of an existential dichotomy (E. Fromm) is a characteristic feature of most of Abay’s philosophical poems. We see that the division of existential dichotomy summarizes the classification of the concepts «myself» and «other» in Abay’s poems. The separation of the poet from his «I» is associated with his psychological state, incompatible with the social system.The reasons for the contradiction between the individual and society are, at first, a phenomenon that takes place in consciousness. Abay’s identification with the social environment was ambiguous. The psychological and phenomenological features of the discrepancy are clearly visible in Abay’s poetry. The main motive of Abay’s poems is the search for answers to the reasons for these contradictions.At the same time, reflections on the meaning of life in terms of the dichotomy of life and death are accompanied by a search for the path of truth.At the same time, sending thoughts to the essence of existence from the point of view of the dichotomy of life and death is combined with the search for the path of truth. The formation of a transcendental phenomenological consciousness in Abay’s poem «Time is like whisps of fog on the hills” is found in many of the poet’s poems.

THE ESSENCE OF SYMBOLIC IMAGES IN THE WORK OF THE UNIQUE POET, SKILLED TRANSLATOR RAUF PARFI

Introduction. The twentieth century is known to have been a period of great change and renewal in world literature. The social, political, and cultural reasons for this have been shown in many scientific works. It should be noted that in the last century, especially in poetry, there have been created rare works that speak of the fate of humanity, human suffering, deep content, deep philosophy. In particular, during this period, philosophical and intellectual lyricism about the eternal problems of the universe and man, life and death, war and peace, the fate of mankind, the essence of life was perfected. Research methods. In the process of drawing a number of poems of the poet into the analysis, the following were used: - to give an idea of the theoretical basis of the coloring of styles and shapes; - coverage of the issue of the lyrical hero in poetry; - attention to the national psyche of the lyrical hero; - interpretation of the poet's own characteristics in the application of poetic details, analytical images; - coverage of the expression of the theme of freedom and freedom in poetry; - to express opinions about the artistry of poet and to draw general conclusions and pay attention to the poet's poetry. Results and discussions. In world literary creation, it is becoming increasingly important and becoming increasingly urgent to develop. Consequently, the study of literal philosophical and intellectual direction is also important for humanitarian science, such as philosophy and psychology, not philology. Conclusion. Twentieth-century Uzbek poetry, even from the standpoint of world literature, is a very large, completely unique poetry; There are many masterpieces of lyrical masterpieces created all over the world. Chulpon's poetry with a social spirit, Osman Nasir's fiery writings, Ghafur Ghulam's deep philosophical poems, Oybek's thoughtful and quiet "pure" lyrics, Maqsud Shaykhzoda's beautiful poems, Mir-temir's folk poems, elegant lyrical melodies of Erkin Vahidov, poems of wisdom by Abdulla Aripov, modern poetry of Rauf Parfi, poetic world of Omon Matjon rich in historical symbols, courageous poems of Shavkat Rahmon are proof of our opinion. The above-mentioned poets made a great contribution to the formation, development and perfection of the new Uzbek poetry.

Artistic peculiarities of the philosophical works of S. S. Vasilyev-Borogonsky

The goal of this research lies in the description of artistic uniqueness of the philosophical lyrics of S. S. Vasilyev. The author reviews the problem of the poetic language of Vasilyev’s philosophical poems from the perspective of determination of the role and function of poetic images, as well as the techniques of rhetorical patterns, stylistics and syntax as method of expressing the original philosophical views. Examination of the philosophical lyrics of S. S. Vasilyev required an overview of the context of philosophical poetry of the Yakut classics – A. E. Kulakovsky, A. I. Sofronov – the forerunners of S. S. Vasilyev.  It is worth noting that the poet scrupulously adhered to the experience and traditions of his forerunners. The lyrical works of S. S. Vasilyev were oriented towards the poetics of philosophical works of the first poets. The scientific novelty lies in the fact that the poetics of the philosophical lyrics of S. S. Vasilyev is examined on the basis of literary studies for the first time. The author determines the main ideological content of the poet's philosophical lyrics: he enhanced the semantic meaning of poetic images borrowed from the folk lyrics. The designated by the poet symbolic images are comprehensible and effective means of artistic reproduction of the philosophical concepts. The rhetorical references, questions that are specific to the philosophical lyrics overall, served as the main techniques of developing the theme of the philosophical works of S. S. Vasilyev, described his personal reflections, as well as the author’s idea of the lyrical works.

The philosophical poems of Tomasso Campanella, an introduction

The Philosophical ForumVolume 52, Issue 4 p. 277-279 EDITOR’S NOTE The philosophical poems of Tomasso Campanella, an introduction Douglas Lackey, Corresponding Author Douglas Lackey dlackey@gc.cuny.edu Search for more papers by this author Douglas Lackey, Corresponding Author Douglas Lackey dlackey@gc.cuny.edu Search for more papers by this author First published: 03 August 2022 https://doi.org/10.1111/phil.12303Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume52, Issue4Winter 2021Pages 277-279 RelatedInformation

Alexander Pope, An Essay on Man, ed. Tom Jones.

Alexander Pope, <i>An Essay on Man</i>, ed. Tom Jones.

Melusine as Emblem of Truth: Philosophical tentacles, themes and approaches explored in the audiovisual essay The Mystery of Melusine

This article introduces the philosophical underpinnings, themes and approaches explored in the audiovisual essay The Mystery of Melusine (2021). Its footage consists of a dramatic performance in which I am enacting the contents of a philosophical poem authored by myself as the titular character. The narrative of the film essay explores the nature of truth and espouses an ontology of magic through a re-interpretation of the myth of Melusine. In European folklore, Melusine is the reclusive and mysterious wife who agrees to marry upon the condition that she is granted her privacy every Saturday. On Saturdays, she spends her solitude secretly bathing her fish tail until one day her husband peeps through the keyhole of her bathing chamber. She learns he has broken his promise to not impede her privacy, and so she evanesces. In my film essay, Melusine is a metaphor for the secretiveness and elusiveness of truth, and the way life unfurls itself in secretive and clandestine ways. The notion of truth as elusive and secretive derives its inspiration from the philosopher Martin Heidegger, and this film essay can be considered a mythic interpretation of some of his ideas. In addition to a mythic interpretation of truth, the film essay provides a narrative for the way life meets itself through otherness and recounts the journey of personal transformation in which the querent must reconcile to truth; this is elaborated as a process of self-seeing and self-recognition that takes place through the alien other.

Особенности эволюции жанра поэмы в творчестве Ахсана Баянова

The paper aims to discover the basic tendencies of the poem genre evolution in Akhsan Bayanov’s creative work. Bayanov’s poetical works are examined in the context of the contemporary literary process; the article considers the following issues: themes and motives, problematic, genre and stylistic peculiarities, poetics of Bayanov’s poems written in different periods of his creativity. The researcher for the first time examines Bayanov’s lyro-epical heritage, identifies the key tendencies of the poem genre development, which constitutes scientific originality of the study. The research findings are as follows: the author traces evolution of Bayanov’s creative work - from early pathetic poems representing the atmosphere of his epoch to deep philosophical poems full of metaphorical images. The poet’s creative evolution influenced genre peculiarities of his poems.

Giqatilla’s Philosophical Poems on the Hebrew Vowels: Poetry, Philosophy, and Theology in Giqatilla’s Ginnat Egoz and Sefer ha-Niqqud

In the present paper, I will examine Yosef ben Abraham Giqatilla’s philosophical poems on the Hebrew vowels that are included in his three early works on “punctuation:” the third section from the larger Ginnat Egoz (“The Nut Garden”), the longer version of Sefer ha-Niqqud (“The Book of Punctuation”), and a short version of the latter. Scholarship on the chronology of these three texts has been inconclusive. I will argue that a textual comparison of Giqatilla’s philosophical poems and an analysis of their paratextual function allow for a solution, and therefore a possible chronology of their composition.

Symbolic images in the poem by Semyon Bobrov "The Ancient Night of the Universe, or the Wandering Blind"

The article is devoted to the study of symbolic images in the philosophical and esoteric poem by Semen Bobrov "The Ancient Night of the Universe, or the Wandering Blind". The poet's interest in traditional symbolism is due to both the transitional situation that characterized the end of the 18th century and the influence of Masonic ideas on the poet. S. Bobrov's dialectical thinking manifested itself in the transformation of the traditional dichotomous structure of the world. Endowed with opposite semantics, the concepts underlying the symbols grouped around the archetypal images of Chaos and Cosmos reveal a deep relationship in the poem. For this, the poet combines the dyads of oppositions, forms a system of reflections, introduces semantic intermediaries, endows images with ambivalent meanings and allows the inversion of the dyads. Light and ray, acting as the main symbols in the poem, pull together many images (wheel, sun, moon, lamp, night, eye, etc.) around themselves and embody the idea of movement, which is the meaning and formative in the poem.