Poetic Ideas Research Articles

THE ROLE OF THE NARRATIVE GENRE IN THE COMPOSITION OF THE FIRST EPICS "KHAMSA"

The article analyzes the role of stories in the composition of the dastans “Hayrat ul-abror”, their important function in the formation of the structure of the work, the ideological and artistic features of the story, their classification, and plot issues. When creating the “Hayrat ul-abror” architectonics, the issues of the original style of Hazrat Navoi, his attitude to tradition, the early epics of his predecessors and innovation were highlighted. It was found that the stories, considered the illustrative final part of the conversations of the epic, are an important factor in proving the poet’s artistic intention. “Hayrat ul-abror” emphasizes that conversations and stories are inextricably linked, that a specific moral, poetic idea is expressed in conversations based on the author’s own opinion, the author’s views on time, space, reality, that the stories reveal the issue discussed in the conversations, problem, the attitude of the sages of the past, saints to the idea. This article also reveals the principles of updating epic stories, a realistic reflection of the spirit and problems of the era in which the poet lived.

Aurel Stroe: III. Klaviersonate – Im Palimpsest (1991). Muster musikalischer Gestaltung

"The aim underlying the analysis is to highlight patterns of the composer’s mature musical thinking through. Accordingly, the case study of his Piano Sonata No. 3 captured the implementation of the poetic idea of palimpsest at different levels of musical micro- and macrostructure. Although the component parts come from three different periods, they form a unified whole not only through the uniform projection of the macrostructure, but also at the micro level through the similar models of architectural and thematic processing. While Stroe uses the variation technique on a single thematic element in the movements composed in 1947 and 1957, in the more recent movements from 1991, parts three and five, he brings several different thematic elements in the discourse: see the five elements of the first movement; the four voices of the second movement; the two accords and one cluster of the final movement. At the same time, he diversifies the modeling patterns: see the free architecture of the first movement; the virtuosity of the polyphonic form in the palimpsest of the second movement; the technique of development by symmetrical addition in the last movement, etc. It is a creative contemporary mindset that develops logically structured models of musical architecture."

厚齋 金榦의 생애와 漢詩에 대한 일고찰

This study divided the life of Hujae Kim Gan into early age, middle age, and old age, and examined his poems under different themes, including “pursuit of Neo-Confucianism and introspection,” “trace of secluded life and joy of carefree life,” and “seclusion in forest and everyday feelings.” This study also explored how his inner consciousness is expressed in his poems in different periods. First, the poems under the theme of “pursuit of Neo-Confucianism and introspection” reflect his earnest feelings of fostering temper and pursuing Neo-Confucianism instead of external beauty of formality. The poetic expressions and their sources are mostly based on the scriptures. This shares the same context with the traditional poetic idea of Mencius and Xunzi, which seeks edification of custom, as well as preservation of conscience rather than finding the value and utility of pure literature in poems. Secondly, the poems under the theme of “trace of secluded life and joy of carefree life” are mainly about his craving for completely secluded life and unworldly point of view compared to his previous works that feel somehow heavier with Neo-Confucian ideas. Lastly, the poems under the theme of “seclusion in forest and everyday feelings” mainly cover the secluded and simple vibes he felt throughout his secluded life in forest. These poems show the feelings and daily life of complete seclusion in forest, which he desperately longed for since his youth years. To the scholars of the times and coming scholars, Kim Gan(金榦) is regarded as a scholar who deeply immersed into the Neo-Confucianism. In fact, he lived a secluded life from his early age to devote his whole life to the Neo-Confucianism. He also deemed the continuance of studies and training of upcoming generation as his lifetime task, and a lot of his poems include Neo-Confucian ideas and Neo-Confucian thoughts. However, his poetic world was not completed covered with Neo-Confucian ideas. Instead, there are poems about his pursuit of secluded life and his actual unworldly secluded life. These poems show his aspects as a poet Kim Gan(金榦) who escaped from the Neo-Confucian ideas as a scholar.

Loneliness Is No Longer What It Used to Be

ABSTRACT: Loneliness is a historical affect that emerges from a long history of religious, poetic, and sociological ideas about isolation, solitude, and existential angst. There is a complex journey from theological and poetic ideas about loneliness to some key themes in modern American sociology. Today, the experience of loneliness is dramatically affected by the need for social distancing and the use of social media. In these new circumstances, has the meaning of loneliness radically changed?

‘By consultation of elevated minds’: the role of paratexts in Giovanni Battista Calderari's comedies

AbstractGenette's Seuils considers the dramatic paratext as the odd one out, and, indeed, the early‐modern theatrical paratext has remained understudied. This article discusses the paratexts of the comedies of Giovanni Battista Calderari, a sixteenth‐century author quite neglected by scholars, whose works were published in Vicenza and Venice. By focusing on the paratexts of La Mora (The Moorish Woman, 1588), La schiava (The Slave Woman, 1589), and Armida (1600), the article stresses Calderari's attempts to clarify his poetic ideas and his endeavours to create a network of intellectuals and obtain their opinions about his work. These interlocutors belonged to the knights of Malta and the Vicenzan Accademia Olimpica, two circles to which Calderari himself belonged, but they also were authoritative Venetian intellectuals. His insertion of poems and letters that praise his person and work, reveals his attempt to promote himself and his writings. He tries to promote himself not only as a military man or a great Vicenzan poet, but as a scholar of theatre who is able to juggle poetic discourse and is worthy to be considered by intellectuals, though he ultimately seems to have failed to really assert himself on the Venetian cultural scene and the Vicenzan stage.

The InVersiya Poetry Festival: The Creativity of Communication and Collective Authorship

This article analyses three projects created within the framework of the Chelyabinsk poetic laboratory festival InVersiya (photograph album Developer, calendar Dogs and Baobabs, and the film Walking Man) in the aspect of the features of modern media poetry in its regional refraction. Poetry festivals are characterised by a combination of experimentation and accessibility to the public, the subordination of individual poetic ideas to the general conceptual framework of the project, and quite often the dominance of creativity over artistry, performativity, and procedurality. The InVersiya festival is a part of the Ural poetic movement, which is quite developed today. The author concludes that the Ural authors are open to interaction with poets and artists from other cities and countries, overcoming the complex of “provinciality”, fitting into the all-Russian poetic context. The analysis of the projects the author refers to demonstrates the dominance of the communicative function of poetry and the importance of the pragmatics of the poetic text. The article examines specific methods of interaction between verbal and visual components, revealing strategies of collective authorship. According to the author, among the “Ural” poetic traditions proper, one can name the preservation of the dual addressing of works (elitist and mass), the implicit presence of the gender and environmental components of the figurative range, and a drive towards experiment.

Idoya Puig and Karl McLaughlin, eds. Spanish Golden Age Texts in the Twenty-First Century: Teaching the Old Through the New; Alba Carmona. Las reescrituras fílmicas de la comedia nueva: Un siglo en la gran pantalla

Idoya Puig and Karl McLaughlin, eds. <i>Spanish Golden Age Texts in the Twenty-First Century: Teaching the Old Through the New</i>; Alba Carmona. <i>Las reescrituras fílmicas de la comedia nueva: Un siglo en la gran pantalla</i>

The Need for Digital Teaching Materials of Poetry Texts for Junior High Schools Based on the Creative Process

This study aims to find out the teaching materials needed by junior high school teachers in overcoming the low quality of Indonesian language learning outcomes at the primary and secondary education levels, especially in producing creative works. The results of this study are used as a basis for developing teaching materials that can encourage students to express their thoughts, feelings and ideas through beautiful, rhythmic language, which has literary values and politeness which is done creatively. The research method used is mixed research methods (mixed method). The research instruments used were interviews and questionnaires. The data sources are productive young poets and teachers who are members of the Cirebon District Middle School Indonesian Language Teacher Conference. The results of this study note that the creative process in writing poetry is: (1) capturing information, both external phenomena or thoughts, self-feelings, internal in nature; (2) processing information until it settles and experiences incubation; (3) produce poetry texts with a stimulus from poetic ideas and poetic knowledge; (4) make edits based on reflection on the fulfillment of the building blocks of poetry so that readers can understand and enjoy them. The creative process in writing poetry needs to be poured into teaching materials needed by teachers to train students in developing students' creative abilities in producing poetry texts. Teaching materials presented digitally can help teachers improve learning efficiency.

DEJECTION : AN ODE--- COLERIDGE’S UNCONVENTIONAL TREATMENT OF THEME

Coleridge is influenced by the poetic ideas of Wordsworth. He has a firm faith in Pantheism. He is fascinated by the healing power of nature. He keenly observes nature in his own way. For, his Romanticism is a philosophy, a way of life and garret of optimism. But in Dejection: An Ode, Coleridge’s treatment of theme is unconventional. The poem is personal in tone. Coleridge's internal conflict makes him unaware to feel nature. He argues the he has lost his power, poetic creativity, he has lost his sources of secondary imagination. He wants an escape to abstract world. He wants to observe the harsh reality. Such transition of theme provides this particular poetry an extra poetic charm. The word ‘ dejection’ symbolize here the poet's own psyche. The poetry has its own unique appeal. Coleridge is quite successful in his purpose because he treats this unconventional theme with safe hands.

ΕΛΕΝΗ ΠΑΠΑΡΓΥΡΙΟΥ, Οι συνεργατικές φωτογραφίες Ανδρέα Εμπειρίκου και Μάτσης Χατζηλαζάρου

The collaborative photographs of Andreas Embiricos and Matsi Hatzilazarou This article explores Andreas Embiricos’ and Matsi Hatzilazarou’s collaborative photographs. Made during their marriage in the late 1930s and early 1940s, these images are unique in the history of Greek photography; their experimentality and playfulness sets them apart from the ideologically charged photography produced by professional Greek photographers at the time. These photographs nonetheless prove to be a pivotal moment in the history of Greek surrealism: their technique observes the movement’s international traits, while they are one of the very few occasions in which two surrealist Greek artists join forces to work on a common project. In the first part of the article I discuss the two poets’ photographic archive, while in the second I inquire into an unpublished manuscript by Matsi Hatzilazarou, dated to 1943, containing notes on the photographic illustrations of a book with texts by Odysseus Elytis. Some of these texts were later included in Elytis’ essay collection Open Papers (Ανοιχτά Χαρτιά, 1974); this points to the fact that Elytis at the time envisaged a photographically invested publication resembling André Breton’s books Nadja, Les Vases communicants and L’Amour fou. Despite the fact that the project never came to fruition, the manuscript showcases Hatzilazarou’s intense interest in photography and can be classified as an important surrealist artifact; the notes contain exciting poetic ideas which she thought could be developed into images.

“Death Itself May be Overcome…” (Thanatological Plot in “The Brothers Karamazov” by Dostoevsky)

The article reveals how the writer’s personal drama was reflected in his novel “The Brothers Karamazov.” The unexpected death of their three-year-old son on May 16, 1878 was a tragic shock for the Dostoevskys. The causes of his death have not yet been clarified: there is no critical analysis of documentary sources, no diagnosis has been made, the described symptoms (fever, diarrhea, vomiting) may be related to several childhood diseases, family legends about the disease are unreliable. Dostoevsky’s pilgrimage to the Optina Hermitage had a personal reason along with his creative interest in the plot of the new novel. The writer sought to say goodbye to the earthly life of baby Alexey on the fortieth day of his death at Optina, but he was late. During the trip, Dostoevsky had an important conversation with Vladimir Solovyov, in which the writer revealed the idea of his future novel: the Church “as a positive social ideal.” After Dostoevsky’s pilgrimage to the Optina Hermitage, his novel took final shape. The thanatological motifs in the work include scenes in the monastery, Ivan Karamazov’s “collection” of facts, the death of elder Zosima, the illness and death of his brother Markel, Ilyusha Snegirev, and other heroes. These motifs play a key role in forming the poetic idea of the novel. The thanatological theme of the novel has Easter significance. Dostoevsky wrote a novel in which he not merely describe an event, he articulated the meaning of being: in the person of Alexey Fyodorovich Karamazov, he resurrected his son in the name and prototype of the deceased Alexei Fyodorovich Dostoevsky. With every proclamation and glorification of the hero, Dostoevsky proclaimed the immortality of his son.

On the Body

On the Body

Musiikillistettua teatteria

Hitler and Blondi: A Musicalised, Postdramatic Theatre Performance &#x0D; This article examines how music explores the central concepts of the postdramatic theatre work Hitler ja Blondi: kolmetoista laulua diktaattorille, saksanpaimenkoiralle ja pianolle (“Hitler and Blondi: Thirteen Songs for a Dictator, a German Shepherd and one Piano”), a co-production of the TTT-theatre in Tampere (premiered 19 Feb, 2020) and the Finnish National Theatre in Helsinki (fall season 2021). Due to COVID-19 restrictions several performances were postponed, and the commercial live recording was released for private use. Michael Baran’s non-linear script consists of both documentary and fictional texts throughout 13 scenes (called “songs”), a prologue and an epilogue. Some periods of the dictator’s life are narrated as monologues. Hitler’s role is especially written for a blond, elderly Finnish actress, Seela Sella, who is Jewish herself. The music is designed and composed by Juhani Nuorvala and Juhani Liimatainen with Kyösti Kallio as sound engineer. Since the cornerstones of the performance’s structure, aesthetics and theatrical means are transcoded from musical sign system, Hitler ja Blondi is approached as a musicalised theatre work. &#x0D; The fundamental poetic idea of Hitler ja Blondi is the dialectic counterpoint between fascism and its opposing ideologies and aesthetics – represented musically through the opposed aesthetics of Richard Wagner and Karlheinz Stockhausen. Furthermore, the structure of the script resembles German Lied cycles, and the chained occurrences of Stockhausen’s Klavierstücke correspond to the recurrent refrain in rondo form. In general, the music and its large intertextual network is one of the performance’s central narrative means, and it opens up the potential for interpretation. Drawing from the recent theories and methodologies of music analysis and theatre studies, this article focuses on discussing 1) how popular songs and Stockhausen’s Klavierstücke extend the performance’s temporalities, thereby expressing the timelessness of fascism; 2) how the music presents Hannah Arendt’s view of the banality of evilness in Nuorvala’s Puolueohjelmalaulu (“The Song of Nazy Party’s Program”); and 3) how the author of this article experiences the dialectic counterpoint differently through life performance, and through the video recording.

The Ancient Greek Symposion as Space for Philosophical Discourse: Xenophanes and Criticism of the Poetic Tradition

The aim of the present article is to discuss relations between archaic Greek philosophy and poetry through the example of Xenophanes of Colophon (sixth century BCE), the poet best known for a critique of traditional religion using anthropomorphic imagery. The initial problem lies in understanding the performative aspect in Xenophanes’ elegiac poems; analysis of fragments 1W and 2W has revealed that his literary output can be situated within the framework of the aristocratic symposium. This sympotic context determines the second question: how the poetic fragments fi t with those compositions in which Xenophanes attacks traditional beliefs and poetic ideas of Homer and Hesiod. As I suggest, the critique of traditional mythical narratives, and undermining other poets’ authority, can be interpreted as an expression of performative practices functioning at symposia of the archaic and classical epochs. By removing the division between “philosophy” and “poetry”, different aspects of Xenophanes’ fragments begin to coincide with the phenomenon of the ancient symposium, understood as a space for intellectual competition.

„Душа в мені розгойдана як дзвін!”: романи у віршах Ліни Костенко як драматична історія народу

Dramatic moments of national history can be traced through the prism of famous verse novels Marusya Churai and Berestechko by Lina Kostenko. It is emphasized that the poetess is characterized by leaving the theme of art for the theme of the people, their existence in the world. Revealing the originality of her poetry, in particular in the context of her great predecessors, the author of the article reveals through the structure of the writer’s poetic thought and the architectonics of the work the historiosophical, moral and ethical, and aesthetic layer of Marusya Churai. It is emphasized that the perfection of architecture appears here as a “material” expression of the fullness of self-development of a great poetic idea. The image of the legendary folk singer in the tragedy of her fate helps the poet to show not only the Liberation War led by Bohdan Khmelnytsky, but also the full depth of the dramatic history of Ukraine. Motives of invincibility of the people, sovereignty, love of freedom, greatness of soul, and good morals of ancestors are prominent in this work. By actualizing the inseparability of the past, present, and future, Kostenko draws from history not the past, but the eternal. This is also characterized by the epic poem Berestechko, where in the context of the same historical events, the poet, focusing on the image of Bohdan Khmelnytsky, philosophically solves the problem of national defeat: no victory teaches so. There is also a pervasive opinion of Kostenko that Ukraine should establish itself in the world not only by deeds, but also by the Word of the highest standard.

Geography of Boredom. On Bogomil Raynov's Travelling in Everyday Life

Thе aim of the paper is to present the problem of boredom in Bogomil Raynov’s fourth book Travelling in Everyday Life (1945). The interpretation of boredom in the novel is seen as based on the idea of a mismatch between expectation and experience. The expectation of the individual turns out to be modeled by the mass commercialization of the 20th century. The "cultural industry" replaces the sublime ideas of the romantic poetics with superfluous clichés, which deny the world its unpredictability, its unexpectedness. It is these kinds of clichés that are subject of irony in Bogomil Raynov's novel – false expectations create a false feeling of boredom. Boredom as a problem has been rarely discussed either by Bulgarian authors, or by Bulgarian literary historians, therefore this paper tries not only to focus scholars’ attention on it, but also to interprete it.

Reflection of Modern Civilization with all its Degenerative Facets in Prufrock

The proposed research article is an attempt to make an analysis and understand the concept of spiritual degeneration and materialism of modern civilization as reflected in TS Eliot poem "Love song of J Alfred prufrock" . Eliot has given English poetry a new direction where the poet must not remain confined within his own self ,but must merge with his individual self in the social milieu,the public environment.Modern men become spiritually dead , they lack social value and have only love for materialistic outlook. The present poem holds up the mirror to understand the complex culture, spiritual degeneration and the post-industrial condition of the modern man that is relevant today. The present work discusses how the poem is still relevant to modern society, to modern value and to modern outlook with its modern and penetrative poetic idea.

“Good and Evil are Like Grave Dust…”: the Image of Artistic Reality in the Poem by A. A. Fet

The article is devoted to one of the “eternal” themes and problems of Russian literature and philosophy ‒ the problem of good and evil. The relevance of the study of the problem of good and evil is determined by some simplified consideration of this topic at school and university. Hence, the purpose of the undertaken research is to reveal the ethical and spiritual aspects of the designated problem through the prism of the work by A. A. Fet, to show the commonality of the artistic and philosophical searches of Russian thinkers of the 19th–20th centuries in this area. On the basis of the research undertaken in the article, which was carried out using the historical-philosophical, comparative, hermeneutic and descriptive methods of studying, the available sources on this issue, as well as the method of reconstruction and the method of literary analysis of the main poetic images and ideas of the poem in question, the author showed the peculiarity of recreating the poet of artistic reality in the analyzed poem, which served as the basis for the poetic solution of the “eternal” theme. The article notes that the readers are presented with the Christian picture of the world and the Christian understanding of the problem of good and evil, with its highlighting of the moral and spiritual aspects. The author of the article, referring to the poem by A. A. Fet as an illustration, shows, on the one hand, the unequal moral and spiritual aspects of the problem of good and evil, and on the other hand, their relationship. The article concludes that the ability to distinguish between the moral and spiritual aspects of this problem allows one to comprehend the issue of good and evil more deeply, to get away from its stereotypical dialectical consideration in the context of the idea of free choice. An example of such a deep disclosure of the ethical and philosophical problem in an artistic context can serve, according to the author, a poem by A. A. Fet, consonant with the spiritual quest of Russian religious philosophers of the 19th–20th centuries.

Reflection of Modern Civilization with All Its Degenerative Facets in Prufrock

The proposed research article is an attempt to make an analysis and understand the concept of spiritual degeneration and materialism of modern civilization as reflected in TS Eliot poem "Love song of J Alfred prufrock" . Eliot has given English poetry a new direction where the poet must not remain confined within his own self ,but must merge with his individual self in the social milieu,the public environment.Modern men become spiritually dead , they lack social value and have only love for materialistic outlook. The present poem holds up the mirror to understand the complex culture, spiritual degeneration and the post-industrial condition of the modern man that is relevant today. The present work discusses how the poem is still relevant to modern society, to modern value and to modern outlook with its modern and penetrative poetic idea.

GENRE AND STYLE INNOVATION OF THE NOVEL "SOLARIS" BY STANISLAVA LEMA

The novel "Solaris" occupies a key place in the creative biography of S. Lem. Starting with this work, the writer decisively departs from the utopian projects of the future, which at that time were spread in the most diverse versions. He also resolutely rejects the "adventure" and "technological" variants of the SF fiction. His attention is focused on the classic form of the novel with the minimum necessary technical conventions of depicting life in the future. Among other things, a new vector of literary searches required close attention to the development of various forms and means of psychologism, which revealed additional facets of Lem's talent. At the same time, it was not an ordinary return to the classics. Lem does not simply move from an impersonal form of narrative to an "I-narrative" delving into the character's self-reflection, – he forms the strategy of an «unreliable» narrator with numerous fields of uncertainty and inexplicability. So he actually anticipates the concepts of narrative discourse (J.F. Lyotard, P. Ricœur) and the ideas of receptive poetics and aesthetics (W. Iser, H. R. Jauss). The strategies presented in «Solaris» were not completely new to world literature, but for the science fiction it was a truly innovative phenomenon. From today’s height «Solaris» looks like an «untimely» novel that did not fit into the main trends in the development of modern science fiction. The dominants of the content and poetics of «Solaris» give reasons to consider the work is a futuristic existential novel.