Poetic Ideas Research Articles

Erotical Signs in The Poetry of Ismail Kadare

The motive of love, not only Kadare's poetry, but generally throughout the contemporary Albanian and world poetry, is one of the fundamental, general and extremely universal motifs. Such a motive has also prompted the poet Kadare to write poems that propose the aesthetics of one of the most general motives of man - the motive of love. The first and the first love in the verses of Kadare is described and emerges as a part of human life and as such comes out of special dimensions. Kadare, being a good builder of a full and complete poetry, would say, even if his poetry, if we can say erotic, we have a remarkable use of such signs, although in general the poetry of love does not occupy any remarkable place in Kadare's poetry, naturally in comparison to the poetry of other motifs, though it is quite manifested.
 But, however, love in Kadare's poetry marks, among other things, a particular poetic word in general, and even in this regard, it is also a multiple pluralist expression, using words, expressions and figures unused by others, also giving different words and meanings, from everyday life, to various functions, marking high aesthetic and literary uplift, but also figurative. He is a good builder of various artistic figures, an innovator of creating new words and expressions, and a sublimant of the ideas he poses and realizes in his poetry.
 Although it is a whole set of signs that Kadare uses in his poems, which are motivated by the feeling of love, we will in this case stop the signs he uses most, as well as those signs which make a special significance for his poetry. On this occasion, we will dwell on the signs, coinciding with the poetry, which appears as a poem of love, and which in Kadare occupies a place, though not deserved, we would say, like love, moon, flower, bride , the heart, the lips, the eyes, the cheeks, the throat, the heart, the soul. There are also a number of other signs that reinforce and sublimate the poetic ideas of Kadare's love motifs, but we believe that these are the signs that strengthen our conviction of the artistic achievement of his poetry as well as those that make up innovation in Albanian poetry generally, whether in terms of poetry, or in terms of the breadth of poetic figuration.
 Key words: Poetry, Kadare, Love, Signs, Figure, Poet, Structure, Verse, Aspect, Erosion, Devotion, Sublimation, Heart, Eyes, Soul, Flower, Wax.

Greek symposion as a space for philosophical discourse: Xenophanes and criticism of the poetic tradition

The aim of the present article is to discuss the relation between the philosophy and poetry in archaic Greece on the example of Xenophanes of Colophon (6th century BC), the poet best known for a critique of anthropomorphic imagery of the traditional religion. The initial problem lies in understanding the performative aspect of the elegiac poems of Xenophanes; analysis of the fragment 1W and 2W has revealed that the Xenophanes’ literary output can be situated within the framework of the aristocratic symposium. This sympotic context determines the second question, wiz. how the poetic fragments fi t with the Xenophanes’ compositions in which he attacks the traditional beliefs and poetic ideas of Homer or Hesiod. The particular focus has been on the fragments of elegies that are presumed to belong to the collection named Sylloi: as the author has suggested, the critique of traditional mythical narratives, as well as undermining the authority of other poets, can be interpreted as an expression of performative practices functioning at the symposia of the archaic and classical epochs. By removing the division between the „philosophy” and „poetry”, the different aspects of Xenophanes’ fragments start to coincide with the phenomenon of ancient symposium, understood as a space for the intellectual competition.

Термінологія рецептивної стилістики: адаптація іншодисциплінарних понять

Receptive stylistics is the latest trend in the stylistics of text. It studies the mechanisms of text perception, in view of the account time, socio-cultural and individual psychological factors of perception. This integrative model of textology combines the ideas of hermeneutics, phenomenology, receptive aesthetics and poetics, traditional poetics, linguоsynergetics etc. Maximum openness to the researching of the intellectual and communicative nature of the text is reflected in the terminology of receptive stylistics. One of the theoretical platforms of receptive stylistics is receptive aesthetics (aesthetics of the reception). Terminology of this scientific branch was actively accepted and integrated into the special language of the new stylistic direction. First of all, we are talking about key concepts such as aesthetic experience and horizon [expectations] of the author / reader, horizons of perception / understanding. empty spaces / semantic gaps in the structure of the text, identification of the reader with the text, specification of the text, actual dimension of the text, etc. Today, the Ukrainian receptive theory is structured by the concept of actualization of the text, the horizon of the text, the constitution of the text, the communicative certainty / uncertainty of the text. Emphasizing theoretical and methodological cores of contemporary Ukrainian receptive theory, it is necessary to focus on the national historical and cultural context of its constructing. Especially important from this point of view is the treatise by Ivan Franko From the Secrets of Poetic Art. Most of the theses of this work present a progressive vision of the deep psychological mechanisms of reading the artistic text in the measure of active perception, as lingual and aesthetic communication, dialogue between the author and the reader through the text. Also, the concurrence of Ivan Franko’s views with fundamental receptive principles of studying artistic text constitutes the scientific concepts of aesthetics, inductive aesthetics, perception, reception, suggestion, resonance, sensory vibration, etc. Consequently, the concept of reading and interpreting works of verbal art, formed in the treatise From the Secrets of Poetic Creativity, implicitly contains the basic principles of receptive aesthetics and poetics. Cardinally new philosophy of reconnaissance of the nature of artistic text, psycholinguistic mechanisms of influence on the reader, regularities of reception and interpretation at the end of the 20th century presented linguistic synergetic. Actual, and in some aspects methodological for receptive theory has become the following concepts of linguistic synergetic: nonlinearity of development, stability / instability of development, openness of the system, rhizomes, energy of the text, energy resonance, author’s energy, reader energy, etc. In contemporary receptive stylistic studies they do not stagnate, but are in a state of active deepening, refinement. For example, the concept energy of the text is coordinated with such established, well-known categories of stylistics as linguistic and literary tradition, lingual and cultural memory, reception and interpretation. Process of terminological borrowing and assimilation of units of other disciplines contributes to the development of an integrative terminological paradigm optimally adapted to the needs of the reciprocal description of the nature of artistic text.

For the Triratna and for Samyak-saṃbodhi The 'Quasi-poetry' of Tianran Hanshi

본 논문은 청초(清初)의 천연함시(天然函昰)의 ‘사시(似詩)’설의 내용을 다루면서 천연함시의 ‘사시’설과 당시 총림의 주류 ‘시선(詩禪)’ 설과의 관계를 논하고 대조하여 보았고 그와 동시에 ‘사시(似詩)’설이 당시 중국 남부, 특히 광동지역의 총림시학과 작시의 풍격에 끼친 영향을 다루어보았다. 본 논문은 우선 명말청초 몇몇 시에 능하였던 고승들의 세속시인 들과의 관계와 그러한 교류 속에서 ‘시선동일론(詩禪同一論)’을 주창한 현상을 연구하였다. 제2장에서는 천연함시(天然函昰)의 일생과 고승으로서의 생애를 소개하고 그의 ‘사시(似詩)’개념의 내용을 설명하였다. 그리고 이 과정에서 분석의 초점을 천연함시의 ‘사시(似詩)’설이 당시 주류적 경향을 보이던 ‘시선동일론(詩禪同一論)’과 현저하게 다른 차이점과 ‘사 시(似詩)’설이 암암리에 ‘시선동일론(詩禪同一論)’을 비판한 부분에 두었다. 제3장에서는 천연함시가 그의 ‘사시(似詩)’설의 원칙을 실천한 작품들을 분석하였는데, 실례로 천연함시의 속가 제자인 사추(謝揪)에게 화답한 시를 분석해보았다. 그리고 이어서 이 ‘사시(似詩)’설이 해운시파와 중국 남부의 기타 불교계 시파에 끼친 영향을 논하였다.  마지막으로 천연함시의 ‘사시(似詩)’개념의 구현과 당시 세속시인과 승려들 간의 교류관계 그리고 그러한 교류관계에 미친 영향을 다루어 보았으며, 천연함시의 ‘사시(似詩)’관점이 청대에서의 형성과 발전 그리고 쇠퇴의 주요원인을 다루어보았다.This article discusses the meaning of the eminent early Qing monastic leader Tianran Hanshi s 天然函昰 concept of “quasi poetry” 似詩, its relationship with contemporary debates on the relationship between Chan and poetry, and its impact on poetic ideas and practices in Buddhist monasteries. It will begin by addressing how, in the backdrop of a shift in gentry-monastic relations in the late Ming / early Qing, some monastic writers, such as the renowned late Ming reformer Hanshan Deqing 憨山德清, articulated a more radical identification of Chan with poetry. I will then briefly introduce Tianran and the core principles he associated with his concept of “quasi poetry”, focusing on the ways in which this concept constituted an alternative – and possibly an implicit critique – of the radical identity theory. The third section shows examples of the application of Tianran’s “quasi poetry”, focusing on a response poem Tianran composed for the lay disciple Xie Jiu 謝揪. This is followed by a discussion on quasi poetry’s application and impact in and beyond Tianran’s Haiyun school. In a brief afterword I will discuss this how this concept was associated with new modes of literary interaction between gentry and clerical interlocutors, and summarise some of the core reasons for this phenomenon’s growth, and eventual decline, during the Qing dynasty.

Ideas of Poetics and the Close Reading of Poetry

Ranjan Ghosh and J. Hillis Miller provide different but productive ways to think about poetics and to read poetry closely and with attention. As a poet, reader and critic of poetry, I welcome their thoughts on the theory and practice of poetry. Whereas Miller sees the reading of poems as subjective and selective, Ghosh views it as universal and shared. Both readers help us in the drama of meaning, the tension between them. As convivial and suggestive as that difference between Miller and Ghosh may be, it allows us to experience the different sides of poetry and the philosophy of poetry, if we think about, say the Socratic, Platonic, and Aristotelian tradition of thinking about poetry and even Philip Sidney's response on the one hand and the rhetorical tradition of reading poetry on the other. Ghosh, although having mastered Western literature and poetry, as Miller has, also provides us with Eastern views, and this is also of great benefit to the reader of Thinking Literature Across Continents ( 2016 ). One of the great centres of literature is language and poetry is compressed and memorable language that forms the heart of literature: it is a key to thinking about Ghosh and Miller thinking literature across the various parts of the world.

Reading Lyric's Form: The Written Hand in Albums and Literary Annuals

Reading Lyric's Form:The Written Hand in Albums and Literary Annuals Lindsey Eckert In her introduction to the 1832 edition of Fisher's Drawing Room Scrap-book, Letitia Elizabeth Landon laments, "The ideas that seemed at first so delightful, are grown common, by passing through the familiarizing process of writing, printing. and correcting."1 Landon's comments are directly informed by her extensive experience with writing, printing, and correcting, particularly as a prominent contributor to and editor of British literary annuals like Fisher's Drawing Room Scrap-book, The Keepsake, and Heath's Book of Beauty.2 Landon's contemporaries also saw their work "grown common" in literary annuals; authors such as Mary Shelley, William Wordsworth, John Clare, and William Makepeace Thackeray were frequent contributors.3 Such notable authors—along with the volumes' attractive bindings and elaborate illustrations—made the annual one of the most commercially successful genres in the period, "dominat[ing] the market for poetry from 1825 to 1835" at a time when it was shifting away from poetry to prose.4 In the context of the literary marketplace in which Landon and her annuals were a driving force, her introduction to Fisher's Drawing Room Scrap-book points to the specific commercial and material conditions facing Romantic writers. Initially, her emphasis on the distance between "delightful" ideas and the "familiarizing process" of their composition seems to echo more well-known Romantic descriptions of inspiration and writing, such as Percy Bysshe Shelley's famous metaphor in A Defence of Poetry that the mind is "a fading coal."5 Shelley's assertion that "when composition begins, inspiration is already on the decline" is an abstract claim rather than an allusion to the physical process of composing lines of type to be printed on a press.6 Indeed, throughout A Defence of Poetry Shelley eschews the material conditions of handwritten composition as well as its tangible transmission to readers via print and the marketplace. By contrast, Landon points to the practical realities that mediate poetic ideas into commercial products. Her own writing, she claims, has become tiringly familiar to her, a feeling perhaps shared by many writers forced to [End Page 973] reread their work as it makes its way to publication. But beyond that, she suggests that through writing and, more importantly, printing, correcting page proofs, and ultimately selling her work, its literary content somehow seems familiar in more general and negative ways. For Landon, material form takes the sheen off of one's ideas, and the further removed that material form is from the author—say, a printed lyric as opposed to a handwritten poem—the more common, tired, and familiar a work becomes. Landon's preoccupation with the "familiarizing process" that transfers poetic ideas into common and even banal material forms was not unique. Others also worried that new technologies and industrial techniques such as steam and iron printing presses, stereotype printing, edition binding, and mechanized paper production injected a new type of uniformity into literature. Thomas Carlyle went so far as to decry "the Mechanical Age" in which he lived.7 "[B]ooks," he observed, "are not only printed, but in a great measure, written and sold, by machinery."8 The vast amount of printed texts that these technologies produced and the rapidly expanding reading public that consumed them caused nineteenth-century writers, especially poets, to rethink the relationship between literary forms—lyric, ode, sonnet, ballad—and material forms—manuscript, book, broadside, newspaper, musical score. As Celeste Langan and Maureen McLane have asserted, "[W]e find in this period a sustained effort to reimagine poetry not as a genre—a literary kind among kinds—but as a medium."9 Focusing on the mediums of Romantic poetry, particularly manuscript albums and printed literary annuals, this article explores connections between poetic form and the various material forms it takes. My approach takes its lead from the New Lyric Studies and its arguments for historical poetics.10 Scholars such as Yopie Prins and Virginia Jackson have convincingly argued that transhistorical understandings of lyric mistakenly conflate different types of poems that would have been distinct for historical readers and that likely would have encouraged different methods of reading genre...

TRANSFORMATIVE POTENTIAL OF THE POETIC UTTERANCE: CRITICISM OF PRAGMATIC POETICS

Taking into account the democratization of writing and the mutual imposition of discourses in the modern media environment, the poetic attitude to language is perceived as a possible way of developing an understanding of the meaning of the word, understanding the language not as a transparent medium, but as an active thinking environment. Such an approach is possible thanks to a rethinking of the phenomenon of poetry based on the ideas of the pragmatic poetics of P. Arsenyev. Debunking the romantic idea of the poet as a medium between God and the reader, as well as criticizing J. Austin’s idea of language as a means of influencing another, P. Arsenyev, nevertheless, considers poetic utterance as a method of political influence on the listener, which limits the space of existential opportunities, opened by this utterance. The concept of the poetic act as a way of opening the language, which is developed by the author based on the philosophy of the language of M. Heidegger and F.-V. von Herrmann, attempts to develop an appropriate understanding of poetry and circumvent the limitations of the concept of pragmatic poetics. The author analyzes the approach of P. Arsenyev to the interpretation of L. N. Tolstoy’s “Confession”. The conclusion is made about the inconsistency of the authors’ approach: on the one hand, the text of the “Confession” is viewed from the point of view of the pragmatics of its impact on the reader, which involves the reader’s subjectivation as a moral judge, sentencing the author. On the other hand, the very fact that P. Arsenyev reads “Confession” not from a moralistic, but from a philosophical and linguistic point of view, suggests that the explanation of the existential-transformative potential of the latter cannot be reduced only to indication of its immediate pragmatic context. The development of the terminology of existential analytics of Dasein is carried out by extrapolating Heidegger’s terminology to the situation of a poetic act, understood as a two-stage event (Ereignis) of understanding, which is a cultural phenomenon.

Restless Secularism: Modernism and the Religious Inheritance by Matthew Mutter

Reviewed by: Restless Secularism: Modernism and the Religious Inheritance by Matthew Mutter David Jarraway Restless Secularism: Modernism and the Religious Inheritance. By Matthew Mutter. New Haven and London: Yale University Press, 2017. Restless Secularism: Modernism and the Religious Inheritance is a daunting study of the relation between writing and religion in modernist literary discourse. With its broad-ranging focus on the work of both American and British literary practitioners of the last century—Wallace Stevens, Virginia Woolf, W. B. Yeats, and W. H. Auden—Matthew Mutter endeavors to rival what he nominates some of the "best recent books on twentieth-century literature and religion" (7): Pericles Lewis's Religious Experience and the Modernist Novel (2010), Amy Hungerford's Postmodern Belief: American Literature and Religion after 1960 (2010), and John McClure's Partial Faiths: Postsecular Fiction in the Age of Pynchon and Morrison (2007). Flagged by his title, Mutter's particular contribution to all this prodigious critical achievement is to focus on "secularism" rather than "religion," as he states at the outset, clarifying further that "this book investigates not post-secular religious experience but the secular frames that alter the coordinates of all experience, religious or other" (8). The overriding frame, moreover, is Stevens's famous declamation that "The major poetic idea in the world is and always has been the idea of God," and that "One of the visible movements of the modern imagination is the movement away from the idea of God" (qtd. on 8). For Mutter, then, "secular" becomes a kind of shorthand "for the imaginative frame within which Stevens resists or reworks all of the perspectives he thinks of as religious," so that for the remaining writers he takes up in the book, the term "could mean a number of things and take a number of shapes, including ones that show significant continuity with religious ideas" (218). With that somewhat ambiguous swerve back in the direction of religion, therefore, readers are given to think that "secularism" is a considerably "restless" notion indeed. Stevens's own programmatic secularization of the idea of God, as that famous declamation above goes on to elaborate, suggests a trio of creative alternatives: namely, adaptation, substitution, and elimination. These alternatives can further suggest more particular and highly individualistic gathering points or "fields of experience" from which modernist secularization might be viewed: "language" in the case of Stevens himself, "aesthetics" for Woolf, "emotion" for Yeats, and, finally, "material life" for Auden (3). Some of these idiosyncratic (and in all cases quite extensive) elaborations work better than others, but none is ever facile or uncomplicated or seamlessly uninflected. Be warned, therefore: this is not a book for speed readers. With Stevens, the secular movement away from God by means of language can suggest a kind of "demythologized, self-conscious anthropomorphism" to take His place, according to Mutter (38), a stance about which Stevens can [End Page 131] only be deeply suspicious in light of modernism's existential "still inhuman more" rendered, for example, in a late poem like "The Sail of Ulysses"—"the impersonal [as] 'the ultimate inamorata,'" as Mutter puts it—whereupon "the value and urgency of personhood recedes" (40). This suspicion bleeds into an even deeper one for Stevens: "the way metaphor slides into metaphysics, the way an analogical worldview has been associated with a theological one, and how signs and symbols tend to refer solid, immanent things to supersensible narratives or 'meanings'" (42). At this point, Stevens arguably resorts to a certain rhetoric of "tautology" to halt the analogical slippage into the metaphysics of "signs and symbols" (49). Toward the end of Stevens's writing career, however, the poet's secularization would alarmingly appear to falter. And its restlessness, according to Mutter, can be seen to register in another late poem like "To an Old Philosopher in Rome," for there George Santayana as its eponymous philosopher "has taken upon himself the prerogative of the Christian God by becoming the Word through whom the world is made. He has 'projected the idea of God into the idea of man'" (63). Rather formulaically, then, fracture points of restless betrayal like this one in Stevens recur in aria da capo type moments in Mutter's...

Two or Three Ideas: Vol. 13. No. 7, October 1951

Two or Three IdeasVol. 13. No. 7, October 1951 Wallace Stevens My first proposition is that the style of a poem and the poem itself are one. One of the better known poems in Fleurs du Mal is the one (XII) entitled "La Vie Antérieure" or "Former Life." It begins with the line: J'ai longtemps habité sous de vastes portiques. or A long time I lived beneath tremendous porches.It continues:Which the salt-sea suns tinged with a thousand firesAnd which great columns, upright and majestic,At evening, made resemble basalt grottoes. The poem concerns the life among the images, sounds and colors of those calm, sensual presences At the center of azure, of waves, of brilliances. And so on. I have chosen this poem to illustrate my first proposition, because it happens to be a poem in which the poem itself is immediately recognizable without reference to the manner in which it is rendered. If the style and the poem are one, one ought to choose, for the purpose of illustration, a poem that illustrates this as, for example, Yeats' "Lake Isle of Innisfree." To choose a French poem which has to be translated is to choose an example in which the style is lost in the paraphrase of translation. On the other hand, Baudelaire's poem is useful because it identifies what is meant by the poem itself. The idea of an earlier life is like the idea of a later life, or like the idea of a different life, part of the classic repertory of poetic ideas. It is part of one's inherited store of poetic subjects. Precisely, then, because it is traditional and because we understand its romantic nature and know what to expect from it, we are suddenly and profoundly touched when we hear it declaimed by a voice that says: I lived, for long, under huge porticoes. It is as if we had stepped into a ruin and were startled by a flight of birds that rose as we entered. The familiar experience is made unfamiliar and from that time on, whether we think of that particular scene, we remember how we held our breath and how the hungry doves of another world rose out of nothingness and whistled away. We stand looking at a remembered [End Page 153] habitation. All old dwelling-places are subject to these transmogrifications and the experience of all of us includes a succession of old dwelling-places: abodes of the imagination, ancestral or memories of places that never existed. It is plain that when, in this world of weak feelings and blank thinking, in which we are face to face with the poem every moment of time, we encounter some integration of the poem that pierces and dazzles us, the effect is an effect of style and not of the poem itself or at least not of the poem alone. The effective integration is not a disengaging of the subject. It is a question of the style in which the subject is presented. Although I have limited myself to an instance of the relation between style and the familiar, one gets the same result in considering the relation between style and its own creations, that is between style and the unfamiliar. What we are really considering here are the creations of modern art and modern literature. If one keeps in mind the fact that most poets who have something to say are content with what they say and that most poets who have little or nothing to say are concerned primarily with the way in which they say it, the importance of this discussion becomes clear. I do not mean to imply that the poets who have something to say are the poets that matter; for obviously if it is true that the style of a poem and the poem itself are one, it follows that, in considering style and the its own creations, that is to say, the relation between style and the unfamiliar, it may be, or become, that the poets who have little or nothing to say are, or will be, the poets that matter. Today, painters who have...

VALÉRY COMO PARADIGMA DO POÉTICO NA LÍRICA BRASILEIRA DOS ANOS 1940-1950

O presente artigo busca contribuir para o inventário da recepção de Paul Valéry no Brasil, particularmente no contexto de conversão neoclássica da lírica do segundo pós-guerra, quando a poesia do autor de Charmes e algumas de suas concepções poéticas passaram a nortear a criação seja de modernistas reclassicizados, seja da então emergente geração de 45. Alguns momentos de tal recepção, menos celebrados pela crítica, foram eleitos para uma análise mais detida.

Review: The Monstrous New Art: Divided Forms in the Late Medieval Motet, by Anna Zayaruznaya

The Monstrous New Art: Divided Forms in the Late Medieval Motet , by Anna Zayaruznaya. Music in Context. Cambridge: Cambridge University Press, 2015. xvii, 301 pp. The early fourteenth-century motets of the self-proclaimed New Art ( ars nova ) have long been prized for their complex and intricately proportioned musical structures. Ars nova motets typically feature two independent upper-voice texts and are built on a melodic quotation from liturgical plainchant, which is arranged and repeated in elaborate rhythmic patterns. The Monstrous New Art: Divided Forms in the Late Medieval Motet offers a unique, fresh, and ceaselessly creative perspective on these large-scale works, whose sophisticated compositional techniques have long attracted analytical attention.1 Under the idea of the “monstrous”—which can encompass formal division, disjunction, distortion, deformity, fragmentation, experimentation, and hybridity—Anna Zayaruznaya forges a new way of understanding musical forms. Rather than focusing on the underlying numerical designs favored in previous analyses, she prioritizes the audible aspects of a motet's upper-voice surface and the matiere (the main theme or object) of its texts. This method underlines the importance of text-music relationships in ars nova motets, advocating not only music's ability to draw attention to individual words, but also its allegorical potential to express and embody an overarching poetic idea. Zayaruznaya's statement that “monsters themselves encourage out-of-the-box thinking” (p. 16) could be taken as a maxim for the book as a whole. But this is not to imply that monstrosity, as a useful and imaginative lens through which to scrutinize musical form, is merely a fanciful or fashionable choice. Zayaruznaya documents with depth and thoroughness the appearance of monsters and hybrid creatures in multiple musical contexts in the early fourteenth century, particularly in the music of the interpolated …

Painting for the blind: Nathaniel Hone’s portraits of Sir John Fielding

ABSTRACTNathaniel Hone’s three portraits of Sir John Fielding establish a public image for the magistrate and a visual language for representing his blindness. Fielding is represented in 1757 as a family man, in 1762 as a sociable member of the Republic of Letters, and finally in 1773 as the embodiment of Justice. The movement across the portraits from empiricism to allegory not only conveys his increasing social status and celebrity, but also the mingling of philosophical and poetic ideas about blindness in Enlightenment thinking. This paper argues that Hone’s construction of Fielding’s vision impairment in the latter two portraits reflects changing attitudes to blindness resulting from Lockean sensationalism and the widespread success of cataract operations. The more academically ambitious final portrait, however, also draws on iconographic tropes of blind justice, casting Fielding in allegorical guise that confers upon him heightened powers of reason and impartiality. For Hone, Fielding’s blindness is a crucial part of his status and identity, but it also provides opportunities to push portraiture beyond its association with the imitation of the visible and into the realm of invention.

Ukrainian Study Component Of Linguistic Disciplines

The article analyzes the level of filling in Ukrainian study content of linguistic disciplines that are learned by students of Pavlo Tychyna Uman State Pedagogical University. The key aspects of training of students- philologists to the Ukrainian study work in the school are determined and the main directions of improving specialists’ language education are analysed. It is proved that the Ukrainian literary language is one of the key factors of gene pool of the nation, the defining constant in the development of Ukrainian studies in which is stored a world of poetic ideas, morality, ethics and the soul of the people. The author emphasizes that in the classroom the students not only receive linguistic education; their views, character, morals, interests are formed here, as the modern school needs not just teacher, but creative and artistic thinking teachers who would freely navigate the challenges of educational space.

Hugo Claus als meervoud. Pleidooi voor een wetenschappelijke documentaire varianteneditie van Claus’ verzamelde poëzie

The selection of a base text for textual edition is not only a matter of literary-historical data or a consideration based on the genetic process or the publishing history of a work of art. Also the poetics or aesthetics of the editor are in some cases decisive for that (final/fundamental) choice. Depending on the poetical ideas of an editor one or another authorized text is chosen for the final edition. In that way the editor’s choice determines the image of a literary work for a cultural community and does so for several years, if not for ever. In some cases we deal with a variety of text versions in a literary archive. Each of these texts is written from an aesthetic point of view and represents a stage in the development of an author. From that perspective it is not only relevant but also necessary to present all full text versions and for instance not only the variants in a specific apparatus. For my article I want to consider the collected poems by Hugo Claus (1929–2008). Four years after his death it becomes necessary to discuss the way in which scientific editors will present the collected works of the Flemish author. I want to suggest an edition with all complete versions of the poems. Claus was a legendary re-writer of his own (and even other’s) literary texts. For instance, when he presented a new collection of his poems in the sixties and the nineties, he worked on a different version. From this point of view, each version represents another or a slightly different poetical vision by the author. The digital medium can provide an environment to present all full text (versions). Also in a published edition I would like to consider a publication of all different versions. Perhaps we have to make a difference between a scholarly edition, intended for researchers who work on the complete works by Claus, and an edition for an interested public (of non-scholars). Although these readers also deserve a complete works by Claus, including all versions of texts Claus worked on during different periods in his writing career.

Poems by Ancient Worthies: Figure Painting Expressing Poetic Ideas by Du Jin

杜菫(1465-1509 활동)은 명대 중기에 南京을 중심으로 활동한 화가로 같은 시기에 활동한 沈周(1427-1509), 郭詡(1456-1528이후), 吳偉(1459-1508)와 함께 當代 최고의 화가로 거명되었으며 周臣(약 1460-1535), 唐寅(1470-1523), 仇英(약 1494-1552)과 더불어 명 중기의 四大人物畵家로 거론될 정도로 인물화에 뛰어났다. 杜菫은 江蘇省 鎭江의 丹徒에서 출생하여 한 때 北京으로 이주하였지만 남경에서 주로 활동하였다. 初姓은 陸이며 字는 懼男, 號는 檉居, 古狂이고 靑霞亭長이라는 自署를 사용하였다. 成化年間 초기인 1465년경 북경에서 과거에 응시했으나 급제하지 못하였고 이후 다시는 과거에 응시하지 않고 詩文과 書畵에 종사하며 직업적인 문인화가로 활동하였다. 그의 생몰년은 정확하지 않지만 현존하거나 기록에 남아있는 紀年作에 의해 추정되는 활동 시기는 1465년에서 1509년으로 成化·弘治年間(1465-1505)에 활동했음을 알 수 있고 충분한 문인적 소양과 기술적 재능을 지니고 문인화가나 직업화가들보다 폭넓은 사회계층의 수요에 부응하여 다양한 주제와 양식의 인물화를 제작하였다. 李白(701-762), 杜甫(712-770), 韓愈(768-824), 盧仝(?-835)과 북송대 黃庭堅(1045-1105)의 시 열한 수를 아홉 장면으로 그려낸 杜菫의 는 백묘법으로 묘사한 명대 詩意人物畵의 대표적인 예이며 당시 글씨로 유명했던 金琮(1448-1501)이 쓴 詩文이 같은 화면에 등장하여 書畵合璧으로 詩書畵一致의 경지를 추구한 작품으로 주목된다. 한 화면에서 詩書畵一致의 경지를 강조하는 이러한 시의도의 창작은 화가의 시에 대한 고도의 이해와 회화적 감수성 및 표현능력을 필수로 한다. 杜菫은 詩人의 意境과 시의 情趣를 공유하는 자신이 시를 대했을 때의 감흥까지도 화폭에 전달함으로 시의도의 의미를 증폭시켰으며 참신한 발상이 돋보이는 인물묘사와 화면구성으로 시의의 새로운 해석을 구현했다. 또한 시에 내재된 문학적 전통과 역사적 배경은 물론 詩, 書, 畵, 酒, 樂, 茶, 花卉 등 문인사회의 구성원이 공통적으로 추구하던 이상적인 생활이념을 통해 격조 높은 詩情과 韻致를 시각적으로 표현하였다. 를 통해 그동안 주로 산수화나 산수인물화에서 논의된 시화의 상관관계가 인물화에서도 긴밀하게 드러나며 제작시기의 정치, 사회, 문학적, 지역적 배경뿐 아니라 문인들의 다양한 문예활동의 양상이 시의도에 반영되었음을 확인할 수 있다. 이처럼 시의도는 문학과 회화전통의 토대에서 시의와 회화적 표현의 조화를 통해 제작자인 시인 및 화가와 감상자가 교감하며 문화적 공감대를 형성하고 정체성을 확인하는 중요한 매개체가 되었으며 문인문화를 대표하는 회화 형식으로 발전하였다. 따라서 시의도에 대한 심층적인 연구는 명대 중기 회화의 성격과 문인문화의 다양성을 보다 구체적으로 파악하는 데에 많은 도움을 줄 것이다.

The Tragedy of Leo Armenius: Gryphius, Music, and the Divine Telos of History

Although seventeenth-century German poet and dramatist Andreas Gryphius revered science and the new empiricism, he also believed that God was behind the events of history. The problem of how to voice this belief without compromising the objective representation of history in his Trauerspiele (“mourning plays”) led to a strategy of bifurcation: the realistic plot exposition was framed by interpretive Reyen, choruses in which the deeper allegorical meaning of events was explicated. That the Reyen were sung, whereas the rest of the drama was spoken, bespeaks Gryphius's investment in common notions of music as partly spiritual in nature, but in his tragedy Leo Armenius he also appropriated current poetic ideas that identified music's transcendent qualities with pure, nonverbal sound. The employment of a divinely “pre-semantic” poetic Klangmalerei within the rationally governed structures of verse enabled Gryphius to voice something of the hidden divine hand behind history without compromising the written record. This belief in the power of sound per se to signify higher things would inform later extra-poetic developments, including notions of the sublime and the ineffable in German instrumental music of the Romantic era.

Yeats and Greek Mythology in The Tower

This study analyses the gods and the heroes of the Greek myths whom Yeats represented in The Tower and inspects how these figures affected his poems; it also investigates how he developed his talents through the Greek myths in order to become a worldwide poet. Yeats accomplishes the universality of his art and deconstructs the ultimate reality of human beings in The Tower. He uses the gods and the heroes of the Greek myths as symbols of ageing, death, a forever resting place of human beings, the cycle of reincarnation, and the cycle of history. He, in his poems, especially represents the agony and conflicts of ageing, the rise and fall of history, the stream of consciousness of human beings, and the beginning and rebirth of culture through mystic figures: Oedipus, Athene, Poseidon, Dionysus, Centaur, Zeus, and Leda. The images of the Greek myths are stepping stones in Yeats’s journey as a great poet as seen through The Tower. His poetic world and ideas cause everyone to enjoy his mature poems.

The Status of Friend and Companion in Molana’s Quatrains

Jalaludin Bahauddin Soltane Olama Valad Ibne Hossein Ibne Ahmad Khatibi known as Molana is the creator of great works in prose and poetry in Persian literature; one of these works is Kullyat of Shams Tabrizi that includes his collection of quatrains that is known as a great extensive work and notable from different aspects same as poetic music and poetic expression, linguistic features, words variety, literary criticism, mystical thoughts, social and moral ideas, storytelling method and … . Study regarding this senseful and profitable work has not been investigated despite the availability of the other great works of Molana as Masnavi and Ghazalyat e Shams and the opportunity to work in this field is so wide and spacious. whereas, the root of each literary work develops in the social environment and the social requirements of a period is obvious in the poems of a poet and regarding the mastery of Molana on all the sciences in that time and his companionship with the people that lead to identification of social life experiences and moral contents in those days; so the present study investigates the social-moral contents of quatrains of Molana and it is hoped that it could serves to sociology studies of literature and sociological criticism and a starting point with the aim of comprehensive study of quatrains of Molana. DOI: 10.5901/mjss.2016.v7n3s3p51

The Study of Social-Ethical Implications in Molana Quatrains

Jalaludin Bahauddin Soltane Olama Valad Ibne Hossein Ibne Ahmad Khatibi known as Molana is the creator of great works in prose and poetry in Persian literature; one of these works is Kullyat of Shams Tabrizi that includes his collection of quatrains that is known as a great extensive work and notable from different aspects same as poetic music and poetic expression, linguistic features, words variety, literary criticism, mystical thoughts, social and moral ideas, storytelling method and … . Study regarding this senseful and profitable work has not been investigated despite the availability of the other great works of Molana as Masnavi and Ghazalyat e Shams and the opportunity to work in this field is so wide and spacious. whereas, the root of each literary work develops in the social environment and the social requirements of a period is obvious in the poems of a poet and regarding the mastery of Molana on all the sciences in that time and his companionship with the people that lead to identification of social life experiences and moral contents in those days; so the present study investigates the social-moral contents of quatrains of Molana and it is hoped that it could serves to sociology studies of literature and sociological criticism and a starting point with the aim of comprehensive study of quatrains of Molana. DOI: 10.5901/mjss.2016.v7n3s3p55

Vernacular Traditions: Exploring Anglo-Saxon Mentalities

Abstract Two recent books on Anglo-Saxon ideas about psychology have variants of the word “tradition” in their titles and develop theoretical paradigms around that term: Leslie Lockett’s Anglo-Saxon Psychologies in the Vernacular and Latin Traditions (2011) and Britt Mize’s Traditional Subjectivities: The Old English Poetics of Mentality (2013), both from the University of Toronto Press.1 While not primarily about the nature of traditions,2 both books rely on that term to frame their discussions of the psychology of the self and of how subjectivity manifests within different fields of Anglo-Saxon culture. In the earlier of the two books, Lockett offers a comprehensive account of Anglo-Saxon philosophical and theological concerns with the relationship among body, mind, and soul. In doing so she elaborates a distinction between two psychological models (and their variations) that were influential and productive in the Anglo-Saxon period. Mize’s project is narrower and deeper: he argues that the definition of the Anglo-Saxon poetic tradition itself should include a thematic and formulaic preoccupation with mentality. To read these books side-by-side is to see two authors’ projects weaving in and out of one another’s areas of interest and, in doing so, illustrating how fruitful psychology and mentality in Anglo-Saxon England can be as research topics. At the same time, they remind us how difficult it is to perceive pre-Christian “traditional” attitudes—whether about poetic conventions or psychological ideas—in the relatively late manuscript evidence we have.