Poetic Consciousness Research Articles

William Wordsworth’ün The Prelude’unda Eko-felsefi ve Fenomenolojik Bir Yolculuk

The present paper analyses William Wordsworth’s The Prelude form an eco-philosophical perspective, which suggests a harmonical existence of human and nonhuman worlds. The main argument is based on Arne Næss’ “ecosophy” following his deep ecological thoughts and David Bohm’s “undivided wholeness” supporting the intimate interconnectedness of human and Nature. Following this eco-philosophical vision, Wordsworth believes that Nature has an essential place in children’s learning. He even suggests stopping formal education of children and meditating them through the subjective experiences in Nature. This study investigates how Wordsworth reflects a child’s journey of gaining poetic consciousness through his interaction with Nature in his The Prelude. Nature is personified as a mother, a friend and a teacher helping his maturity. As a child and the speaker of his poem, Wordsworth feels freedom and joy while acquiring a great deal of knowledge at every step through different experiences. From this perspective, this study bases its arguments on Edmund Husserl and Martin Heidegger’s phenomenological insights to comprehend the essence of our “Being” through subjective experiences collected in our “life world”. Wordsworth emphasizes the growing maturity of the child in Nature by conceiving his existence in this perfect universe. The power of intuition and imagination, which preserves Nature in our minds, is also accentuated as the main factor educating and maturing us in time by shaping our ideas and feelings. In parallel with the eco-philosophical and phenomenological thoughts, Wordsworth stresses the truth, pureness, peace, and pleasure accompanied by the solitude in Nature. This paper observes the transformation of a naive child into a wise poet through the eco-philosophical and phenomenological journey in Nature through the power of intuition and imagination in Wordsworth’s The Prelude.

‘After rights’ is friendship: on abandonment, obligation and the stranger

ABSTRACT This article presupposes that legal rights cannot remedy the ethical problem of abandonment. It questions how we might live better together as/ with abandoned subjects of the postcolonial state through examining the Shamima Begum case and deprivation of citizenship. Can we imagine a way of life ‘after rights', that translates into a right not to be abandoned for the racialised, maimed subject of the postcolonial state (‘the stranger')? I argue that ‘after rights' is friendship as an ethics of seva (‘selfless service), in which the response to the stranger is informed by hukam (‘obligation'). It engages in a ‘retooling’ of received concepts, like obligation and ethics, with concepts from Sikhi to argue for a radical reimagining of rights as a way of life that performs political spirituality as a counter-conductive practice of collective care. I thus inject rights, obligation and ethics with a feminine poetic consciousness inflected with radical Sikhi, which I argue has the potential to create an obligation towards the maimed. It also has the potential to change our understanding of the subject from the Western liberal self to aatma (spirit), informed by a cosmic consciousness and able to embrace Begum as a stranger.

THE MODERNITY IN COLONIAL INDIA: A CASE STUDY OF AKBAR ALLAHABADI’S POETRY

Akbar Allahabadi is a poet in the Urdu poetic tradition who, through his creative consciousness, revealed the inner layers of colonialism. The environment in which Akbar's poetry thrives is in colonial India, where he and other political and social leaders of his time are loyal to the British government. The historical context in which his poetry presents its meaning is the scenario of the beginning of the nineteenth century in India when it was a time of flux for the Muslim community. After the Revolt of 1857, Muslims, in particular, had been the subject of attack by British rulers. Many were forced to abandon Delhi and others were not allowed to enter the city. In the wake of this crisis, the community adopted two opposing ideologies. While one group was staunchly hostile towards the British, the other saw a benefit in collaborating with the benefactors. The latter—called supporters of the ‘new light’—believed in adopting British culture as modern. This bothered Urdu poet and satirist Akbar Allahabadi (1846–1921), as he lamented the loss of culture that would come with imitation of the British way of life. He took to his trusted weapon—satirical poetry—to critique this trend. the post-1857 era of peace and reform and the beginning and the end of the First World War. Although the concept of history is not very clear in his poetry, the external conditions which influenced his poetic temperament cannot be understood without being detached from history. Akbar interprets the cultural conditions of the age with his poetic consciousness. This article seeks to study Akbar’s poetry from a Postcolonial perspective

Gilberto Freyre:

Beyond being a renowned founding proponent and scholar of Brazilian miscegenation theory, not much is known about Gilberto Freyre as a poet. His unique poetic collection, Poesia Reunida[i] (1980) [Collected Poetry], provides a rare window into the journeys and reflections of the anthropologist as he travels the world. Invoking issues related to women, family, slavery, nostalgic landscapes, and an overall sensibility to Lusotropicalist fantasies, Freyre embraces multiracial ideology while also exuding a laissez-faire attitude towards the struggles of the weak—,the colonized Amerindian and enslaved African population in Brazil— whom he superficially empathizes with. Whether he shares individual memories of transverse landscapes within and outside Brazil, iconic images of certain personalities in the characterization of Brazilian identity or his own circle of family and professional intimacies, Freyre deploys a curious imagistic vision. He engages the reader with a blend of scientist and humanist in his rendering of a transcendental world through poetry. Drawing upon the influences of T. E. Hulme, Ezra Pound, Amy Lowell, and Manuel Bandeira, this study focuses on the portrait of the sociologist as a man of poetic consciousness. As a poet of substance, Freyre deploys such ideas as sentimentality, nostalgia, memory, and sensibility, as he painstakingly struggles to transcend the limits of his pre-existing label as the miscegenation theorist in Poesia Reunida.
 
 

ОБРЕТЕНИЕ СОБЫТИЙНОСТИ В РУССКОЙ НЕКАНОНИЧЕСКОЙ ИДИЛЛИИ

The article offers a solution to the problem of eventfulness, characteristic for the poetic idyll in Russian poetry of the XIX–XXI centuries. Due to a shift in emphasis in the perception of idyllic heritage, а number of scholars define this genre as “eventless”. In particular, it is the idyll in the non-canonical era that is used by a number of poets as a sign of a “consummate word”, which is usually disintegrated in genre struggle for the right to complete a lyrical whole. In this case poems, using idyllic topoi, as a rule, are completed according to the models of other lyrical genres, such as elegies, epistles, ballads. However, there is a creative strategy for employing idyll, in which the eventfulness characteristic of the genre turns out to be found as a result of genre struggle. In this case, an idyllic event of value fusion, the coincidence of poetic consciousness with the world, passing through the test of the plot of other lyrical genres, is found in the event of a lyrical utterance. The elimination of the boundary between the inner and outer worlds (which is predestined in the canonical idyll and found in the non- canonical one) can be considered as the stem of the genre that survived the canon, unlike other genre conventions that turned out to be optional. At the same time, the non-canonical version of the implementation of the idyllic perspective of the worldview is a short moment of peace, won from the non-idyllic world, which one wants to repeat. Reflection performs a destructive function in a collision with a predetermined “ready-made word” of the genre, but it turns out to be able to pronounce it anew as a proper word, exposing its eventfulness. It is the nakedness of the specific eventfulness of the idyll that becomes a distinctive feature of the genre in the non-canonical era.

Субъективно-модальные синтагмы в лирическом дискурсе Е. А. Баратынского

The article is devoted to the semantics and functioning of introductory constructions in the poetic texts of E. A. Baratynsky. The complex syntax of Baratynsky shows that the desire for clarity and accuracy of expression, characteristic of the representatives of the “school of harmonic accuracy”, headed by V. A. Zhukovsky and K. N. Batyushkov, is not always compatible with the simplicity and clarity of the syllable: the task of embodying the “poetry of thought” required Baratynsky to complicate the poetic form at the syntactic level. Subjective-modal constructions, reflecting the conflict, the paradoxical nature of poetic consciousness, saturating the text with the intonations of a lively dialogue, were widely used in the lyrics of Baratynsky in the 1820s. The lyrical theme is often revealed by the young elegiac Baratynsky through the struggle, clash of voices, ideas, internal dispute, doubts and hesitations of the inner subject of the poem. The high activity of introductory syntagmascauses drama and "increased" dialogism, including in the form of auto-communication. Sometimes the form of conversation, dispute is in an open form. From the 1830s, the recognized author of psychological elegies turns into a "poet of thought", Baratynsky undergoes a significant creative evolution on an intensive path of saturation of a closed, "close" lyrical form with the most complex metaphysical content, when he creates the cycle of poems "Twilight" (1842). In the last lyrical cycle of Baratynsky, the activity of the introductory syntagmas is much lower than in the early elegies, the monologism of the utterance, the preaching pathos, is intensified.

Рецепция китайской культуры и отражение идеи «всемирности» в поэзии В.Ф. Перелешина

The reception of Chinese culture in the works of V.F. Pereleshin (V.F. Salatko-Petrishche) (1913–1992), a representative of the Russian Far Eastern abroad, has not yet been studied enough in terms of reflecting the idea of “universality”. It is important for understanding Pereleshin's “conservative poetics” and his ambivalent attitude to the country of residence and the Homeland. Using the comparative historical method, transnational theory and imagology, the poems created by the poet not only in China, but also in Brazil are considered. It is shown that the evolution of Pereleshin's perception of Chinese culture not only reveals the poet's desire to master the “other” cultural space, but also correlates with the formation of his transnational consciousness. The motif of creation and discovery of the world, the motif of universality and all-humanity, which was the historiosophical idea of all Russian literature of the XIX century, shine through Chinese themes within the framework of the Russian literary canon. It is argued that Pereleshin's appeal to the eastern type of spirituality determines the development of “Russian responsiveness” in the works of the Brazilian period and reflection on the new identity of a person living on the edge of two worlds. It is concluded that the motif of the “eternal wanderer” opened up new opportunities for the poet to preserve “Russianness”, at the same time going beyond mononationality due to the transistorical and metaphysical expansion of the boundaries of poetic consciousness.

Right/ Left Explaining the form of the “Bait” and Its Relation to the Pre-Islamic Poetic Consciousness from Neuro-Aesthetic Perspective

With the exception of Ḥāzim al-Qarṭājanni, no scholar was able to interpret the form of the Arabic poetic verse (al-Bait) which consists of two symmetrical parts (al-Ṣadr wal-‘Ajuz). Based on the Aristotle’s idea of imitation, Al-Qarṭājanni explained al-Bait as an imitating mental image of the Arab tent. Though this is brilliant, it is still an inadequate interpretation. This paper attempts to introduce a new explanation by combining the phenomenological method with Neuroaesthetics via adapting some of its results to focus on the creative process itself. The paper, through theoretical and applied analyzes, reached a main conclusion that the form of Arabic verse is an allegorical image of the poetic consciousness which produced it, and an outcome of its metaphorical thinking represented by the interrelating of the function of the left hemisphere of the brain (thinking) and the function of the right hemisphere (imagination), which correspond to al-Ṣadr wal-‘Ajuz respectively.

The "ego" theorizing in the "Untitled" oem for the Jordanian poet Tysir Sbwl: Hermeneutics Reading


 This research examines the "ego" theorizing in the "Untitled” poem for Jordanian poet "Tysir Sbwl," by hermeneutical reading reveal the ontological foundation for "ego" poetically and aesthetically in the face of tragic destiny / death. The interpretive reading shows the intellectual/ poet crisis, that arising from the reality deterioration around him, and the horizons blockage, giving ontological environment, which established the psychological environment of the resounding and tragic fall / death / suicide.
 This research aims to reveal the paths of "ego" theorizing itself and its poetically and aesthetically established through structural modes in the poem represented in: the trends of consciences movement, horizontal and vertical intertextuality, and the establishment of an "ego" icon poetic / self-singing, as well as in visionary discourse which represent in three paths: calling out, and falling, and forgetfulness.
 This research is trying to form an interpretive vision for the "ego" reading, through the writing and poetic consciousness in the poem, in the decisive moment of existential experience, which led to the final and tragic destiny.
 

ЭТАПЫ ОСМЫСЛЕНИЯ ПОЭЗИИ АНДРЕЯ БЕЛОГО В КРИТИКЕ И ЛИТЕРАТУРОВЕДЕНИИ (СТАТЬЯ ПЕРВАЯ)

The article examines the main approaches to the analysis of A. Bely’s poetry, determines the most relevant and productive strategies, and critically comprehends the religious and philosophical views, motifs and images of his contemporaries. It presents an analytical review of articles, reviews, and the first monograph, as well as diaries, memoirs and notes of contemporaries, allowing us to consider Bely against the background of the era, and to identify features of his religious and poetic consciousness.

Mythical Cognition and Artistic Method

The aim of the study is to research mythical cognition, which is of particular importance for deep understanding of the issue of mythologism, mythopoetics in literature, and world literary science. The leading research methods for this issue is the analysis method. The specifics of using the mythopoetic method in poetry was given by the poetry of Tynyshtykbek Abdikakimov, the artistic and aesthetic value of mythical knowledge was revealed. The article also analyses the differences between mythological and poetic cognition and proves the value and power of the mythopoetic method in fiction. The system of mythological thinking of a mythological worldview not only determines Kazakh national worldview, but also transfers the fruits of mythical consciousness to the visual system, forming a huge channel of artistic approach. The novelty of the study is determined by the fact that the actual problem of literary criticism was analysed, which is a spiritual value, the transformation of mythological consciousness into poetic consciousness in the poems of the poet, into the basis of images and poetic expressions formed in the system of modern literary thinking. The practical significance of the study is determined by the necessity to study the activity of mythical knowledge in poetics.

The New Wallace Stevens Studies ed. by Bart Eeckhout and Gül Bilge Han

Reviewed by: The New Wallace Stevens Studies ed. by Bart Eeckhout and Gül Bilge Han Ian Tan The New Wallace Stevens Studies. Ed. Bart Eeckhout and Gül Bilge Han. Cambridge: Cambridge University Press, 2021. Pp. 246. $99.99 (cloth); $80.00 (eBook). The New Wallace Stevens Studies seeks to extend the continuing importance of Stevens criticism into the present century by presenting “confluences of what used to be there, what happens to be here, and what is in the process of becoming” (1). The book opens up new possibilities of reading Stevens in the light of contemporary theoretical movements in the humanities, neurosciences, and environmental studies, while preserving the impression of the poet as responding to the intellectual and cultural currents of Anglo-American modernism in the locality of his sensibilities as a poet-businessman based his entire life in Hartford, Connecticut. Divided into three sections, this collection of essays presents curated critical perspectives of Stevens which consciously foreground emerging scholarly voices that engage with what the editors Bart Eeckhout and Gül Bilge Han term “new fields, cutting-edge theories, and untried methodologies” (3) in seeking innovative approaches through which to explicate Stevens’s often repetitious claims about imaginative vitality and its relationship to reality. Subtitled “Emerging Concepts in Stevens Criticism,” part I of the essay collection presents updated perspectives on the politics found in Stevens, a poet who has been criticized for his inability to imagine a politics of the “real” despite his advocacy of the existential importance of the poetic imagination. Lisa Siraganian’s chapter, “Imperialism and Colonialism,” locates sites of poetic complexity in the verse that speak to the complicated conditions underlying the poet’s comfortable surveyal of political movements from a distance. Siraganian posits an overarching dialectic at work in Stevens’s appropriation of world-events into the ambit of poetic consciousness, claiming that “Stevens was invested in the problem of imperialism—to the extent that he was—because imperialism entailed a belief system that so obviously produced very real and consequential world actions and events” (18). In turn, these events enhance a collective impression of “worldly effects” (18) that become fodder for the imagination. The abstractive force of this dialectic (as [End Page 441] it is played out at a distance) means that it is difficult to flesh out an emancipatory stance in Siraginian’s construction of Stevens’s politics—what emerges is a Stevens who is interested in the imaginative affordances which “a distant world” provides only to the extent that that world does not “produce a situation threatening the possibility of poetry” (20). The value of experience with respect to questions of utopia in Stevens is articulated in the next chapter, “The Politics of Utopia,” by Douglas Mao, whose reading of Stevens reveals a complicated investment in projects of utopianism because of the sheer idealizing tendencies behind Stevens’s poetic statements, which seem to offer a political vision of harmonic totality without the specificities of direction and reform. The problem of how to move from the solitary space of imaginative experience towards a communal understanding of the material conditions of togetherness is further extended in Christopher Spaide’s chapter, “Community and Audience,” where the conclusion that “Stevens’s truest subject is not community, not individuality, but the never-settled contest between the two” (54) returns the reader’s attention to the image of Stevens that part I of the book seems to create: a poet whose relationship to “reality,” as mediated by the profusions of the lyrical voice positioned as the “single artificer of the world / In which she sang,” is less of a coherent response than a complex dialectic between abstraction and appropriation.1 Part II of the essay collection collocates Stevens’s poetry with “a variety of [recent] methodological and theoretical advances” (6) that demonstrate the poet’s relevance to current debates about the intersectionality between language, ecology, the neurosciences, and urban phenomenology. Cary Wolfe’s chapter, “Ecological Poetics,” argues against the critical tradition which reads Stevens phenomenologically in order to advance a “nonrepresentational understanding of ecological poetics” (102). Although resolutely distancing itself from the language of high phenomenology à la Edmund Husserl and Martin Heidegger so as to...

«Матеревбивство» як симптом мутації національної психіки під колоніально-тоталітарним пресингом (на матеріалі української лірики 1920–1930-х років)

The article deals with the specific art representation of moral, ethic, psychical shifts of the national masculine character in Ukrainian lyrics of the first third of XXth century. They are conveyed in particular through the masculine intention to destroy the maternal figure of Motherland. Sometimes aggressiveness and hostility expressed in the poetic texts are equal to symbolical “killing of the Mother”, if taking into consideration a convergence of the images of Mother and Motherland in poetic consciousness. The article employs analytical and structural as well as historical and typological literary techniques. The theoretical base of the investigation is postcolonial theory integrated with psychoanalysis as well as gender studies to deal effectively with such concepts as maternal figure of the Motherland, national colonial masculinity, masculine art consciousness, the notions of trauma, aggression and others as well. This theoretical direction can provide help with outlining of the “killing of the Mother” symptom as Ukrainian poets’ destructive gesture toward their Motherland represented in the 1920th proletarian poetry (Vasyl Ellan-Blakytnyi, Volodymyr Sosiura, Heo Shkurupii) and also in a number of works of emigrant poets between two World Wars (Yevhen Malaniuk, Ostap Tarnavskii and others). Diverse lyric tendencies to express the urge to kill the Mother extrapolated on the image of Ukraine are highlighted. Ethic transformation of Ukrainians poets’ patriotic feelings is predicated upon different reasons, but the common one is that they had equally suffered colonial and totalitarian pressure of Soviet Russia. The moods of depiction of Ukraine’s “death” are, on the contrary, differentiate; in the 1920th, proletarian Ukrainian poets defused the tension between Bolshevistic and nationalistic ideologies through splitting the image of Ukraine into the negative “bourgeois” one and the positive “proletarian” one. In some works of emigrant poets devaluated image of Ukraine acquires demonic “deathly” features and is dishonored as “a betrayer”.

Grief tending through the wilderness: toward a poetic consciousness for adult survivors of childhood trauma

ABSTRACT In this article, my approach to grief tending for the adult survivor of childhood trauma is to integrate a practice of poetic inquiry into one’s evolving relationship with oneself. As has been well documented by trauma theory, arts-based practices, here working strictly with poetry, are capable of embracing the often non-linear and multi-layered realities of our emotional woundings that are carried with us throughout our lives. By forging pathways through the wilderness of grief with poetic modes of inquiry and exploration, I suggest that we are able to shift healing work toward creative and empowering survivor-centred practices.

“Acquiring Thought and Language”: Toward Osip Mandelstam’s Philosophy of Creation

ABSTRACT The article examines the specific features of O.E. Mandelstam’s artistic and philosophical thought, the intellectual style of his poetry. For Mandelstam, poetry is a special form of man’s existence in the axiological horizon of culture, a form that becomes the content and task of creative work, including its civic resonance. The philosophical reinterpretation of Mandelstam’s legacy that the author proposes is linked to an understanding of his artistic work as a special form of spiritual experience, as an event in being, through which a verbal statement turns into an ideal artistic model of the world, that is, into a poetic work. Poetic consciousness has its being in the word, which is existentially colored and ethically intensive. The search for a whole, for a profound harmony, drives the poet’s intuitions and determines his means of perceiving and artistically representing thought-images.

ОБРАЗ СОФИИ В ЛИРИКЕ А. БЕЛОГО И А. БЛОКА: ТИПОЛОГИЧЕСКИЙ АСПЕКТ

The article examines the transformation and modification of the image of Sofia in the sories of poems cycle by Alexander Blok “Verses about the Beautiful Lady” and the collection of poms by Andrei Bely “Gold in Azure”. The author shows that the image of Sophia Celestial is represented in the works of poets-symbolists at all levels of religious and poetic consciousness, viz. at religious and mystical, ordinary and philosophical ones. It is noted that the image of Sophia, borrowed by the young symbolists from the philosophy of V. Solovyov, is associated in the poetry of A. Blok with the cult of Eternal femininity, and in the creativity of A. Belyy – with solar symbolism.

Murilo Mendes, a disciplina do indisciplinado

With the rebelliousness characteristic of his self-description as an “experimental youth,” Murilo Mendes creates a critical distance between his poetic consciousness and his liberty of action. With the term, he retrospectively characterizes his entire literary production, from the poetry of the 1930s to the 1960s and 70s. To be indisciplined is to challenge norms and introduce thematic and graphic innovations, such as linguistic play, kitsch, graffiti, miniaturization and new tendencies of visual arts and electronic communications. Murilo is always attentive to the independence of the word and the musicality of poetry. Indiscipline is his self-described source of expression and method, thus a discipline in reverse that motives his poetic imagination

Семантический синкретизм в образной структуре лирики Александра Белякова

Figurative syncretism that goes back to the linguistic archaism is construed as a complex notion of several semantic symptoms in a single word when the speech context does not eliminate the vagueness but rather generates it instead. Principles of signifying syncretic figurativeness in lyric poetry of the modern poet Alexander Belyakov are the subject matter of the research. The paper considers a package of themes and motifs represented by such figurativeness. Analysis shows that the sense content of syncretism in the author’s works is exclusively situational, i.e., it depends on the context; thus the link between a linguistic phenomenon or a technique (polysemy, homonymy, paronymic attraction, transformation of parts of speech) and the semantics is unstable and is formed anew at each stage of the poet’s creative endeavors. In the earlier verses, it is associated with ideas of instability and unnaturalness of the world order. In later and mature texts, its significance is determined by the book’s main theme, be it the universal disappearance and dispersion of everything (as in “The Traceless Marches”), protracted nightmare of a dreamer (as in “The Carbon-dioxide Dreams”), or creative efforts of a poet likened to a secret agent`s mission (as in “Rotation of Secret Expeditions,” and “Sumerian Spy”). That being said, A. Belyakov’s poetry can hardly be perceived as a full-scale “reincarnation” of linguistic archaism, since actually we are confronted merely with its imitation by means supplied by an essentially new, latest epoch. However, if the ancient syncretism was a premise of the knowledge and differentiation of phenomena, its modern counterpart — neo-syncretism — casts doubt on their knowledge and testifies to the total revision of the world undertaken by poetic consciousness.

Karachay-Balkar poetry of the modern time: the problem of national artistic traditions

This article is the first to consider a diverse thematic layer of the latest Karachay-Balkarian poetry of the late XX - early XXI centuries. The study was based on an analysis of the writers of the 90-ies: Arthur Bakkuev, Luba Akhmatova, Aishat Kushcheterova, and the latest generation of poets of the XXI century: Shamil Uzdenov, Amina Gazaeva, Nauruz Bayramkulov, Diana Rakhaeva, Ismail Baytuganova. The author proves the point of view on the revival of consciousness relics of archaic forms of worldview in the artistic culture of the region, as well as the priority of established fundamental values and stereotypes in the poetic consciousness of the young generation of poets. At the same time, the influence of Islamic ideas on modern national literature is growing. This is evidenced by the nature of their poetic self-expression regarding topics and problems, which is ontological in nature. Poets actively operate with traditional archetypes and symbols (stone, water, wood), as well as religious vocabulary (Allah, fate, destiny, prayer, etc.). As a result of the study, the main trends, key aspects in the development of creative consciousness were identified, the dominants of value-orientational unity in the content and problems of the works were identified.

Professor Biswambhar Pahi-Logician Who Carried a ‘Burden of Poetic Consciousness’

Professor Biswambhar Pahi-Logician Who Carried a ‘Burden of Poetic Consciousness’