Modern Poets Research Articles

МЕТАРОМАННЫЙ КОМПЛЕКС ПРОСВЕТЛЕНИЯ В ПОЭТИКЕ ПРОЗЫ Г. ГАЗДАНОВА

The article contains a description of the range of G. Gazdanov’s ideas that initiate Enlightenment, covering not only the connotations of Buddhist philosophy, but also a wide anthroposophical field. For this purpose, the images of the metahero and metaheroine in their development in novels with «Russian themes» are attracted. To analyze the unique modernist poetics of the writer’s prose, a new textual term «meta-novel complex» is proposed, which allows us to see the cross-cutting semantic connections determined by the development of the author’s word in their con/subtextual unity. Attention is paid to the Ossetian and ancient roots of G. Gazdanov’s creativity in mythopoetic conjugation. The high archaic mode is contrasted with the degrading state of things of modernity and acts as a spiritual guide for the author and his autobiographical hero. The semantic connections solidarized by the meta-novel Enlightenment complex enable a holistic understanding of the formal and substantive aspects of the artistic world of G. Gazdanov.

UKRŠTENE STAZE MODERNISTIČKE POETIKE: PROZA IVANA FRANKA I ANTUNA GUSTAVA MATOŠA

The article examines the peculiarities of modernist poetics in the prose works of the classic Ukrainian writer Ivan Franko and the classic Croatian writer Antun Gustav Matoš. For the comparative analysis, the author of the paper has chosen Ivan Franko’s novel Fateful Cross- roads (1900) and Antun Gustav Matoš’s short story Camao (1900). These works, which have never been the subject of comparison, have many common motifs and typological parallels, the analysis of which can provide interesting material for studying the peculiarities of mod- ernism in Slavic pieces of literature. In the proposed article, we analyze these „crossing paths” in the works of Ukrainian and Croatian writers.

Belatedness and innovation: Korean modernism

AbstractIf Japanese modernists, as Eric Hayot argues, conceived modernism and modernity as originating in the West, colonial Korean artists inevitably apprehended modernism from a double remove, through the mediation of Japanese literature and language. While they self‐consciously sought to develop a distinctive Korean modernist poetics (one not prefigured by Japanese modernism), the sense of belatedness remained inescapable among Korean modernist practitioners. With the ‘expansionism’ of the new modernist studies, as is well known, there has been substantial critical work to challenge and reject the belatedness and derivativeness attributed to ‘peripheral’ modernities and modernisms. However, to properly appreciate the singularity of Korean modernism, and its expressive efforts to place its colonial modernity in a global context, it is necessary to confront how these modernists understood, figured, and rearticulated their sense of belatedness. Taking a cue from Michaela Bronstein, I attend to the uses Korean modernists made of Western (and Japanese) modernisms and how these engagements enact the aesthetic and critical force of belatedness. Ultimately, I contend, Korean modernism's self‐reflexive, intertextual stagings of belatedness generate stylistic innovation, enabling writers to situate themselves within global modernism and disclose the fraudulence of colonial modernization and its imposition of second‐hand forms.

ԱՐԱ ԱԼՈՅԱՆԻ ՊՈԵԶԻԱՅԻ ՊԱՏԿԵՐԱՎՈՐՄԱՆ ՀԱՄԱԿԱՐԳԸ / IMAGERY SYSTEM IN ARA ALOYAN'S POETRY

The paper aims to study the imagery system of the poetry of modern poet, journalist, publicist Ara Aloyan. Since the language of fiction is considered as an important link in the chain of the development of the national language, the study of the individual style of modern authors continues to be one of the main issues in linguistics and stylistics. In the article, we dwell upon one of the positive characteristics of A. Aloyan's poetic speech: figurativeness, as a tool for the writer's personality expression.

ОБРАЗ МАТЕРИ В ЖЕНСКОЙ ПОЭЗИИ КИТАЯ «НОВОГО ПЕРИОДА»

The article is devoted to the study of the image of mother in the modern Chinese female poetry as the most stable cultural image, which allows to trace the changes concerning the traditional perception of the role and function of the woman against the background of social and political transformation of the Chinese society, and also to define some essential characteristics of the phenomenon of female poetry, which appeared among other art movements and schools in the modern Chinese poetry. Under the policy of "reform and opening", Chinese literature makes a transition from a unipolar artistic paradigm to a multipolar one, the coexistence of very different styles, aesthetic attitudes, and opinions on poetic language becomes possible. The image of mother in the works of modern poets Li Xiaoyu, Zhai Yongming, Fu Tianlin, Yin Lichuan, Shu Ting, who represent different generations, is expressed as mother-parent, real-life, sublime-generalizing. Almost all the poets move from the mundane image of their mother to a generalised image, connected with the notion of ancestor and homeland. The results of the study fill in the overall picture of the history of contemporary Chinese poetry, describe the aesthetic attitudes and foundations of women's poetry, and contribute to an objective perception of the spiritual transformations of Chinese society in the transitional period.

ГОЛОС О. МАНДЕЛЬШТАМА В ТВОРЧЕСТВЕ В. ДУДАРЕВА: НАЦИОНАЛЬНЫЙ ОБРАЗ СМЕРТИ

The object of the article is the national image of death in Russian verbal artistic culture. The subject of the research is the thanatological text in Russian poetry. The material for the article is two poems - “Why is the soul so melodious” by O.E. Mandelstam and “There are quiet valleys in Russia…” by V.F. Dudarev. At the center of hermeneutic and culturalphilosophical analysis is the interaction of two types of reality, phenomenal and noumenal, rational and spontaneous in art. Much attention is paid to the image of death in these two poems and the images of wind, groves, and flowers associated with it. The research methodology is reduced to a holistic ontohermeneutic analysis of poetic texts by O.E. Mandelstam and V.F. Dudarev, aimed at highlighting the cultural potential of the problem of perception of the phenomenon of death in the Russian national image of the world, which allows penetrating the poetic word from ontological and apophatic positions, as well as revealing the significance of the literary traditions of the Silver Age in the work of a modern poet; typological and historical-literary methods of text research are applied. The results of the work may be of interest to philologists who include literature in the space of a large dialogue of cultures, and can also be used in teaching courses in cultural studies and Russian philosophy.

Representation of cities as spaces through symbolist imagery in T.S. Eliot’s The Wasteland and Arun Kolatkar’s Kala Ghoda

In twentieth-century's poetry, the city has become an important and complex theme because when writing about cities, poets tend to re-formulate and re-define their relation with literary and cultural traditions. The city poses a particular challenge for the modern poets because of their commitment to social and cultural traditions they feel that their role has been fused to simply responding to the social, moral, cultural and psychological transformations that the city symbolizes. Is it right to read a poet, or poetry, as an extension of a place? The answer is may or may not be. The question is to answer the unique narrative description of Bombay in Arun Kolatkar’s Kala Ghoda and the city of London in T.S. Eliot’s The Wasteland that defines the city using imagery and symbolism in the best manner. Walking through Bombay and reading Kala Ghoda Poems recreates a city that is constantly shifting and dancing around, full of noises and colours, all the while exposing those lives that are pushed out of an expanding concrete jungle, hidden under bright lights and tall towers—the triumphs of development. Eliot utilises the ‘unreal city’ London as the main setting for The Wasteland and the city comes to embody the title of the poem that id portrayed as ugly, cruel and grey, lacking any real human warmth or meaningful connections. The study will be centred on a reading and analysis of deconstructive poetry to show how postmodernism is hinted at while also demonstrating continuous sociocultural and socioreligious activities through the use of symbolism and imagery. The study will continue with chapters broken down into many aspects, including a comparative analysis of Eliot and Kolatkar's poetry, studying the issue of experimentalism and symbolism as well as imagery employed in Kolatkar's Kala Ghoda and Eliot's Wasteland. The subjectivities and experimentation in Indian English poetry and Western poetry can be understood and explored through a comparison of Arun Kolatkar and T.S. Eliot.

“poetticall raptures, and fixions”: Mary Wroth’s Negotiation of Early Modern Poetics and Ovid in the ‘Urania’

“poetticall raptures, and fixions”: Mary Wroth’s Negotiation of Early Modern Poetics and Ovid in the ‘Urania’

A stylistic Analysis of G. M. Hopkins’ Sea and the Skylark

This research examines the most-read poem, “The Sea and the Skylark," by G.M. Hopkins. Gerard Manley Hopkins was a great sonneteer, a patriot, an artist, a devotional poet of dogmatic Christianity, and a modern poet. "The Sea and the Skylark” was written by Hopkins in May 1877 in the town of Rhyl, close to St. Bueno’s College, where Hopkins stayed for three years to finish his theological studies. The poet composed this predictive sonnet when he was captivated by the corruption of mankind compared with the inherent innocence of nature. This paper examines numerous literary devices, namely, metaphor, imagery, symbolism, consonance, rhyme, rhythm, and Cynghanedd, which are the backbone of this poem. Artistic excellence and the chiastic effect also support this religious sonnet.

Creative Aspects of Hafeez Taib’s Naat

Dr Shahida Sardar is a renowned poetess of Khyber Pakhtunkhwa. Hafeez Taib is renowned Naat writer. He has a unique natiya consciousness among modern poets. He described the Holy Prophet’s(S.A.W) love in various poetry genres like Ghazal , Free verse , sonnet Qatta, Rubai and special form of Alkosaria, . Which includes the ideal aspects of the Prophet's biography, contemporary issues, prayer style, Adorned with sincerity, devotion and the aspect of hope. In his naats, the problems of his time are also reflected, he not only influenced modern naat-writing at the intellectual level, but he also has many experiences.This article will present thematic dimensions and creative aspects of his poetry.

Епидемија бесмртности и писање романа у „Проналаску Атханатика” Владана Деснице

In Vladan Desnica’s unfinished novel, The Discovery of Athanatic, “contagion” is presented in a very specific way. Unlike any epidemic that equates people through dangerous experiences, Desnica’s unfinished novel erupts an “epidemic of immortality” that opens up the deepest inequality: inequality before death. Desnica’s novel is not only one of the first dystopian novels in Serbian literature of the 20th century, but it is also a novel about writing a novel, which suppresses the very theme of immortality. Death appears on the horizon of writing and the question arises whether it is possible to write without death at all, which is of supreme importance for the poetics of high modernism. In specific borderline situations, the modernist subject turns to himself and searches for meaning and ultimate truth, which gives Desnica’s unfinished novel, of which an important part has been included in his major novel, The Springtimes of Ivan Galeb, poetic significance. The “contagion” would not have the same literary relevance without it.

Poetry, Disability and Metamodernism: Ilya Kaminsky’s Deaf Republic

Based on Ilya Kaminsky’s poetry volume Deaf Republic (2019), this article aims at placing contemporary disability poetics at the crossroads of modernism and metamodernism. The first part makes an assessment of the modernist poetics of disability created against the background of the prevalent ableist ideology as it is found in the American and Romanian traditions, and examines the ways in which disabled poets react, creatively and politically, to the tradition of marginalization to which they were subjected. A particular place is given to Deaf poetry and to the limitations it had to surpass socially and creatively. In the second part of the essay, I introduce metamodern affect to sketch out a poetics of disability in the 21st century which overcomes the predicaments of modernist writing and reading codes through a new way of conceiving corporeality, oppression, and relationality.

"I would take height, perseverance, seriousness from my native land" (about the lyrics of Baydilda Aidarbek)

The article provides a scientific analysis of the poems of the modern poet Baydilda Aidarbek, which have not yet received full recognition in Kazakhstan, but are well known on his land, in his area and recognized by local readers. The poet's creativity is being studied for the first time in Kazakhstan. The poet was born in the Suzak district of South Kazakhstan region. He was fond of writing poetry since childhood. The author showed interest in writing poems, songs, and dramatic works from school. He is the father of six children, a faithful husband, a wise teacher, a sincere poet. Along with poetry, he devoted his life to pedagogical work. Before retiring, he taught technical drawing and painting in various schools in his native district. Giving a description of the features of the poet's work, who loved his native land from childhood and dedicated his poems to it, the author of the article reverently quotes his poetic lines about his native nature, the landscapes of his native land, the depths of the history and human destinies. The author believes that the poet's deep and soulful lyrics should find their new researchers and grateful readers.

The Painting of Isaac Levitan “Over Eternal Rest” and its Interpretation in Modern Poetic Texts

The article examines the painting of Isaac Levitan “Over Eternal Rest” and its interpretation in modern poetic texts. Any cultural text, whether it is painting, fiction, music, etc., functions in a single socio-cultural space against the background of important modern integration processes in the world. In this regard, the study of the mutual influence and mutual enrichment of different types of art, in particular painting and poetry, is quite relevant. The main general scientific methods of observation, description, analysis and interpretation were used in the analysis of the material. The author explores the very concept of peace in dictionaries, absolute peace as an inhuman cold in the ninth circle of hell in Dante’s “Divine Comedy”. The understanding of peace in the Christian Church is considered, namely: to enter the Heaven, to accept the kingdom there, to commune with God, to rest in the bliss there, to commune with angels, to live an immortal life. “If a man does not know what sorrow is, he will not know what peace is.” The philosophical concept of the Ukrainian philosopher of the 18th century is close to this understanding. Grigory Savvich Skovoroda: peace is the reward for all the earthly sufferings of a “true” person, peace represents eternity, the eternal home. In Levitan’s painting, judging by the image depicted on it, by the predominance of dark and cold colors, by the very plot (a church and an abandoned cemetery), eternal rest is understood by the artist not as death, but as a special state of mind: this is the macrocosm, the microcosm, and the biblical understanding of eternity. The article analyzes the world of poetic images that arise under the influence of I. Levitan’s painting.

Exploring the Mystical Universe!

Islam is the religion of peace and harmony as its name suggested by Allah. It is rooted in purity, submission, and obedience. Historically, modern researchers claim Islam is 1400 years old; the youngest religion in the world which was introduced by Prophet Muhammad (PBUH) in 610 A.D. But Muslims believe that this is the oldest and first entered the religion of the world and stepped onto this world with Hadrat Adam (A.S) And Hadrat Hawa (A.S). Contrary to this, Islam has also seen many twists and turns due to its followers and critics. Its original teachings are somehow forgotten by Muslims and misconstrued by other religions. This religion of peace is frequently questioned on ‘peace’ and ‘tolerance’ and is always misunderstood and misinterpreted by the ‘west’, specifically. In recent times, Islam is commonly pigeonholed with ‘extremism’ and ‘terrorism’ and Muslims with ‘terrorists’ and extremists’; without feeling any need to find the truth. Although Islam is the center for spirituality and humanity in real, its general perception is the opposite to it. The purpose of this study is to find out the similarities and differences between the two big religions of the world (as portrayed in scholarly specific poetries) to provide some core similarities in philosophical teachings/understandings. This comparative study has been designed between the works of the two legendary figures of the Islamic & Christian world i.e., Maulana Rumi and Geoffrey Chaucer, respectively. Maulana Rumi is majorly known as a phenomenal Sufi poet/scholar of the 13th century and Chaucer is considered ‘the father of English literature’ and belongs from the 14th century. This qualitative comparison is embedded in the similarities in religion, tolerance, honesty, truth, love, and humanity. It suggests that both poets have used the concept of tolerance as a policy to discover the ‘self’, ‘spirit’, and ‘liberalism’. This study provides evidence based on Islam that peace and tolerance are the soul and blood of this religion. It is also a defense of the evidence that these renowned poets are far more inclusive than most early modern poets of toleration.

The semantic phenomena in (Fatah Al-Bayan fi Maqasid Al-Qur’an) Siddiq Khan Al-Qanouji (died 1307 A.H.)

In studying the research, I adopted the descriptive approach, where the research aims to highlight the semantic efforts of Sheikh Siddiq Khan Al-Qanouji in his interpretation (Fatah Al-Bayan fi Maqasid Al-Qur’an), and infer the poetic evidence of ancient and modern poets, and the sayings and opinions of senior scholars of interpretation, ancient and modern, where the focus of the research was on some phenomena Semantic development such as semantic development, synonymy, antagonism, common verbal, semantic contrast, and a statement of Al-Qanouji's opinion on interpretation

ЕКЗИСТЕНЦІЙНІ ОБРАЗИ ТА НАРАТИВИ В ПОЕЗІЇ РІЛЬКЕ (досвід перекладу Богдана Кравціва)

ЕКЗИСТЕНЦІЙНІ ОБРАЗИ ТА НАРАТИВИ В ПОЕЗІЇ РІЛЬКЕ (досвід перекладу Богдана Кравціва)

Weldon Kees and the Poetic Landscapes of Despair

The aim of this paper is to contribute to the efforts to renew an interest in the poetry of Weldon Kees, a more or less forgotten American poet of late modernism. The main argument of this paper is that Weldon Kees, while a belated poet of modernism, successfully swerved away from the earlier poetics of modernism and proved capable of constructing a unique poetics of despair and alienation. In many ways, an heir of Hart Crane’s tragic sense of life, Kees’ misreading of Hart Crane was highly fertile and crucially conducive to the creation of his own visionary poetics. In the first part of our discussion, a more generalized overview of Kees’ poetry is developed, while in the second part, we analyze the four Robinson poems which constitute the nucleus of Kees’ existential aesthetics. Notwithstanding the fact that despair is a ubiquitous presence in Kees’ poetry, it does not manifest itself as an inhibiting force; on the contrary, while despair is inextricably linked to his tragic fate, it also acts as a major creative impetus, which helped Kees express his relationship to the world and, consequently, his place in it.

Krytyk przekładu myśli o obrazach (wybrane paralele poezji Leśmiana z malarstwem)

A Translation Critic Thinks about Paintings (Selected Parallels Between Bolesław Leśmian’s Poetry and Visual Arts) The paper is intended as an example of translation criticism that accounts for intersemiotic aspects of translation. The author presents parallels – understood as associative potential (non-obligatory for translation) – between texts of the Polish modernist poet Bolesław Leśmian and certain works of art, and gauges the presence of analogical potential in translations of the poems into English, Russian and Czech. Three visual analogies to the poems are explored: the motif of a window open into the world in German Romantic painting, C.D. Friedrich’s Cross in the Mountains and images of Ophelia in Pre- Raphaelite art. In the course of the analysis the author attempts to show the advantages of the proposed approach in terms of it being conducive to realising functions ascribed to translation criticism.

Archipelagic aesthetics in Craig Santos Perez’s from unincorporated territory

Scholars have often noted a poetics of fragmentation in Craig Santos Perez’s from unincorporated territory and have interpreted it in terms of an adaption of modernist aesthetic. Building on this work, this article argues that, while Perez’s poetry may be adapting familiar modernist poetics, more significantly it presents an aesthetic that is rooted in the relationship between landscape and colonization and therefore in the historical and material reality of what Epeli Hau‘ofa called ‘the sea of islands’: an archipelagic aesthetic. This article further proposes to understand this archipelagic aesthetic, first, as the combined affordances of two forms, the bounded whole and the network. In from unincorporated territory, this archipelagic aesthetic allows Perez to explore interdependence on different temporal and spatial scales because, second, the archipelago is also more than the form of the network and the whole: it is a landscape that has been shaped by colonialism as well as by geology, and it therefore affords a temporal scale that reaches beyond human record into deep time. Furthermore, as a chain of islands, the archipelago affords a relationality that goes beyond continental and territorial categories into the submerged realities of planetary ocean flows.