Poetry Research Articles

Kak taubeka dva: o slici skladne ljubavi

This paper is aimed at scrutinizing emblematic and iconic functions of doves in love poetry. Despite the fact that love is a complex emotion both in literary and psychological sense, the main analytical emphasis will be put on the literary codification of a simple (amiable) type of love – incarnated in the symbol of dove – within various cultural layers. In addition to this, it will be argued that a dove or a pair of pigeons as literary topoi are very common in popular and oral literature as opposed to the literature with the certain authorship. The aforesaid literary image can frequently be found in Kajkavian manuscripts of love poetry which originated from the 18th and 19th centuries. Moreover, it will be demonstrated that this image is still present in a popular music of the 20th and 21st century.

Edgar Allan Poe: Efemérides em trama

Edgar Allan Poe: Efemérides em trama

“The Star of Venusˮ in Russian poetry of the 20th century: mythopoetic symbolism

Being a part of the astronomical, temporal, anthropomorphic linguocultural codes, Venus as a celestial body has a significant place in the Russian verbal culture. This statement can be proved not only when analysing linguistic units, but also when referring to literary works, in particular to Russian lyric poetry. Twenty four poetic contexts, which include the image of Venus, have been analysed in the article (the works by Alexander Pushkin, Georgy Adamovich, Pavel Antokolsky, Leonid Martynov, Mikhail Zenkevich, Alexander Blok, Vyacheslav Ivanov, Nikolay Gumilyov, Marina Tsvetaeva, Fyodor Sologub, Mikhail Kuzmin, Georgy Shengeli, Ilya Selvinsky, Konstantin Simonov, Anatoliy Demyanov). The authors focus on the Russian 20th century lyric poetry because it is there that Venus appears as a star rather than a planet, and this corresponds to the archaic notions of this celestial body. Mercury and Mars are also called 'stars' in the 20th century poetry, but in a much smaller number of contexts than Venus. The authors come to the conclusion that Venus in Russian poets’ works can symbolise the onset of morning / evening, love, paradise, loneliness, fate, youth, old age, life journey. Moreover, Venus is included into poetic conceptions (it corresponds to the image of the Beautiful Lady in Alexander Blok’s poetry). The set of the above-mentioned symbolic meanings correlates with the archaic notions of Venus, widens them and makes the image of this celestial body mythopoetic.

Unmarried Lovers in the Song of Songs

Abstract The unmarried status of the lovers in the Song of Songs stands out against the expected cultural norms of an ancient Israelite society and of other more conservative biblical writers. Yet, as this article will argue, human lovers in love songs throughout the ancient Near East appear to be unmarried. The Egyptian love songs depict unmarried human lovers, and a number of new and recently published Akkadian love songs also depict human lovers who appear to be unmarried. Chastity, at least for women, was a common cultural expectation throughout the ancient Near East. Yet, in their love songs the lovers are unmarried, and this contrast with the social expectations of their culture should alert us to the fact that it is likely a mark of genre. Genres need not reflect the social setting within which they are written, and artistic works, like love poetry, often do not depict actual circumstances. Unmarried human lovers appear to have been characteristic of the love song genre in the ancient Near East, and as this article will suggest, this may perhaps explain why the Song of Songs would have been permitted and even gained popularity in such a society.

Death Comes for the Poets

Death Comes for the Poets

Conflict and Contact: From John Donne’s “Dialogue of One” to T. S. Eliot’s Monologue

This paper aims to read Donne’s certain love poems in conjunction with Eliot’s “The Love Song of J. Alfred Prufrock”. Eliot believes English poetry composed in the 17th century resonates with that of the 20th century. Therefore, this article explores the similarities and differences between the metaphysical poetry and the modernist poetry. This discussion is predicated upon the notion of wholeness in Donne and the idea of fragmentation in Eliot. The exploration of the themes of completion and disintegration initially focuses on the concept of ecstasy, analyses how the boundary between the self and the other dissolves and how the conventional dichotomy between the body and the spirit is challenged. This article also deals with the notion of irony in terms of fragmentation and compares the use of irony in Eliot’s poem with the employment of metaphysical conceits based on binary oppositions in Donne’s poems. This study further concentrates on both poets with regards to the sensuousness of language. It finally contrasts the unified sensibility of the seventeenth-century poet with the dissociated sensibility of the twentieth-century poet. This paper concludes Donne’s “dialogue of one” rests upon conflict and contact whereas Eliot’s monologue does not lead to contact.

Intertextuality in Translating Romantic Folksong Hua’er Across Time and Space with English Love Poems

Hua’er, a peculiar type of folk song in Northwest China, can be translated by referring to English love poems to recreate analogous but fundamentally different intertextual relations in English. The intertextuality perspective of translation enables the translator to see the rendition not as a product but as one of the numerous interpretive possibilities. Seen in this light, translating romantic Hua’er is able to open up one of many dialogues with English language and culture. By analyzing pieces of romantic Hua’er which the author translated, this paper aims to explore ways of representing the original intertextual relations in the English cultural context through three specific situations where the intertexts within Hua’er are recreated in the receiving language. The three ways are reproducing by substitution for intertexts likely to remain unrecognized in English, retaining intertexts with distinctive Chinese characteristics and constructing intertexts in a new context familiar to English readers.

Usages for a Conceit: A Comparative Study of Donne's "A Valediction: Forbidding Mourning" and Hāfez's Sonnet 193

Hāfez and John Donne are both outstanding love poets. The multilayered implications of the universal theme of love and its relation to the two poets' historical, cultural as well as political contexts have encouraged the present comparative study of Donne's "A Valediction: Forbidding Mourning" and Hāfez's "Sonnet 193". The study is based on the hypothesis that the most dominant features of Donne's love poems are the unity of sense and sensibility as well as congruity of reason and passion, whereas in the poems of Hāfez one can witness disjunction and incongruity between love and reason. In addition to explaining the concept of love, both poets have wittily reflected upon the political conflicts of their time, too. This research, therefore, aims at investigating how Hāfez and Donne have used the mathematical tool, the compass, as a conceit, not only to concretize their notion of love but also to express the symbolic significance of the circular movement of that instrument to comment on the meaning of love in opposition to reason and to criticize the political issues of their time.

Reality and Fiction: Li Qingzhao and Emily Dickinson’s Love Poems

Reality and Fiction: Li Qingzhao and Emily Dickinson’s Love Poems

The Song of Songs: Its Basic Teaching and Place in the OT Canon

The Song of Songs is a love poem (or a collection of poems), full of sensuous symbols. The central theme of the book is love; it celebrates human love in all its physical dimensions. Its language is love, a language which seems daring and sometimes even shocking, considering its seeming erotic feature. The author provides a teaching on the place of love and marriage in God’s plan of creation. It focuses on fidelity and mutuality in love between the sexes. The author offers a perspective of love not found elsewhere in the biblical writings. The climax of his teaching on love is contained in Sg 8:6-7. Here the poet emphasizes the power and energy of love. He compares the consuming power of love to “a raging flame” (rišpê ’ēš) which no water can quench. He specifies the value of love: love is so priceless that no material wealth can match it.

‘Verbal Pictures’ in Seventeenth-Century Orthodox Sermons: Predmova svjaščenničeskaja pri šljube malžen’skom in Trebniks, L’viv 1644 and 1645

This paper puts forward some hypotheses on the sources of a ‘verbal picture’, that is to say allegorical love poetry, in a prosta mova marriage sample sermon addressed to laity and found in two Orthodox Ritual (Trebnik) editions: the first is by the publisher Michail Slezka (L’viv 1644) and the second by the bishop Arsenij Želiborskij (L’viv 1645). I shall argue that that the very combination of vernacular homiletic material and traditional ecclesiastical rites therein found goes back to sixteenth-century Polish Catholic Rituals; in the Orthodox Church of the Polish-Lithuanian Commonwealth, this model was introduced for the first time in the Ritual of the Orthodox Brotherhood of Vilnius (1621). The verbal picture analysed in this paper draws on Pictura amoris sive amicitiae, a short moralistic text written by the English Dominican Robert Holсot (ca. 1290-1349) which appears in his exegetical voluminous work In Librum Sapientiae Regis Salomonis Praelectiones ccxiii (ca. 1333-1342). Popular among late thirteenth-early fourteenth century English Dominicans, verbal pictures did not rely on earlier samples and were a literary product, a sort of exemplum or mnemonic tool for preachers to memorize abstract concepts. Since the sixteenth century, works of different genre reproduced Holcot’s verbal picture, without any attribution to its author, as emblem to create the so-called emblemata nuda (‘naked emblems’), which describe images but lack illustrations. The article suggests that the author(-s) of the Orthodox marriage sample sermon used a textbook on rhetoric Orator extemporaneus, seu artis oratoriae breviarium bipartitum by Michael Radau (1617-1687) as his main source, of which several manuscripts had started circulating by 1644. The article also presents some concluding remarks about the authorship of the marriage sample sermon.

The Heraldic Shield and the Woman’s Body in the Blasons Anatomiques du corps féminin (1543)

Abstract In the French Renaissance, the term ‘anatomical blason’ (blason anatomique) designated a highly descriptive love poem praising a single part of a woman’s body, while in heraldry, the noun ‘blason’ defined the ensemble of ornamental components constituting the shield. Just as the French verb blasonner meant to describe and to interpret the shield’s material and symbolic parts, so could this verb be used in amatory poetry to signify the act of lauding the details of the beloved’s anatomical parts. This study examines the structural analogies between heraldic shield and the anatomical blason, addressing how the technical terms defining the shield’s components such as partitions, points, charges, tinctures, and the achievement could be given analogous expressions in the anatomical love poetry.

“Spots of Time” – Michael Wessels and the Imaginative Reinterpretation of Identity

For Linzi, Akira and Tao While much of Michael Wessels’s work on reading San oral literature, the politics of indigeneity and ecocriticism was acknowledged during his life, there is another dimension to his research that has been overlooked. Michael Wessels always had a deep love of poetry, and toward the end of his life, he had begun to focus more on his writing and to publish. In this article, I explore Wessels’s key long poem published as “Cannibal Time,” but subsequently changed to “Spots of Time” (as I will refer to it), in which he constructs an imaginative autobiography that includes travel writing, short prose and poetry. Drawing upon Wordsworth’s The Prelude, I employ both a critical and creative methodology to argue that the subject of Wessels’s poem is less ‘my life’ in a factual and historical sense, and rather more ‘the making of a poet’.

REPETITION USED BY PROFESSOR ABDULLAH AL-TAYYIB IN HIS BOOK AL-MURSHID “THE GUIDE TO UNDERSTAND THE POETRY OF ARABS AND ITS ARTISTRY”

Dr. Abdullah Al-Tayyib grew up in a family known for its knowledge and originality, when he became prominent in the early twentieth century through a group of publications, most notably the book (Al-Murshid) “The Guide to Understand Arab Poetry and its Artistry”, as it is considered as an encyclopedia in the study of Arabic poetry. He studied the ancients, but with a new view, especially his position of the elements of harmony in Arabic poetry, which adds a sweet resonance to his music, most notably repetition, which relies on two elements, which are pure repetition and alliteration, that were disputed among the ancients in being one or two elements, and by this, Al-Tayyib resolved the dispute. According to him, repetition is used for a main purpose, which is rhetoric. Rhetoric is achieved when the poet intends to strengthen composition, that is, the aspect of emotions, and it comes for three purposes: either to strengthen the tone by repeating a phrase or poetic verse; or to strengthen the formal meanings by repeating a proper name or a subject to strengthen a general meaning in the poem; or to strengthen the detailed meanings which depend on the repetition of a name or position, to strengthen a detailed meaning in the poem, such as mentioning different places in order to reveal an emotional aspect such as love poetry. In relation to alliteration, there are two types: dual alliteration, by which the writer views time through the words he uses such as (mujaddal and murammal); and rhymed alliteration, the writer views place according to the words he uses, by intending to use specific sounds and letters, and insists on repeating them, such as (dhuhliya, and dhaahil).

Asymptotic Dream

A love poem about breaching mathematical limits, inspired by the tragic beauty of calculus.

궁핍한 시대, 시인의 사명 -미겔 에르난데스의 사랑과 저항의 시

This study aims to examine the literary world of Miguel Hernández, the Spanish poet of generation''36, and to analyzes the aesthetics of his works in the political and social context of the time. He was a writer who participated as a Republican in the historical scene of the Spanish Civil War, so his poems are not free from criticism that they are political, inciting, and ideological. Nevertheless, as with all poets, love for his family, neighbors, and people is the source of his poems, and his poems express deep and warm human love. In particular, it is necessary to study Miguel Hernández in-depth as his work reflects the barren lives of people and reveals the will of people not giving in. Only one of his poetical works has been translated to Korean and there has been little research measuring his literary world. This paper introduces and analyzes Miguel Hernández''s poetry works against paltry and barren research on him. This study attempts to reconstruct his poetic world through his poems of love and resistance, the axis of his poetry, and ponders on the responsibility and mission of poets through him who actively participated in social crises, without keeping silent.

A revolutionary love story in teacher education and early childhood education

ABSTRACT Guided by Kalamu ya Salaam’s Revolutionary Love poem, this article theorizes 3 tenets of revolutionary love in education: (a) self-examination, (b) interconnectedness, and (c) liberation. The authors, a teacher educator, educational consultant, inservice, and preservice teacher will conceptualize how they enact these tenets in teacher education and early childhood education and provide implications and recommendations for practice.

What is Russian Elegy? Computational Study of a Nineteenth-Century Poetic Genre

This paper studies the change in formal features of Russian elegies in order to outline the evolution of the genre between 1815 and 1835. Using representative historical corpus study shows metrical and thematic homogenization in Russian elegy: genre’s identity shifted from various types of funeral and historical texts to a short love poem written in iambic tetrameter. Despite the previously claimed diffusion of an elegy as a genre, paper demonstrates it is possible to recognize an elegy from the general poetic language using SVM classification, which also highlights interpretable and distinctive lexical features of the genre.

Pinter and Poetry

ABSTRACT Harold Pinter began and ended his writing life as a poet. “New Year in the Midlands” was published by Poetry London in 1950, and in 2005 Pinter announced that he had given up writing plays in order to concentrate on politics and poetry. This article discusses five categories of poetry by Pinter: (1) the Dylan Thomasesque (from the 1940s onwards); (2) love poems to Antonia Fraser; (3) cricket poems; (4) elegies; and (5) political poems (mainly from the 1990s, and published together in the pamphlet War [2003]). It argues that his Dylan Thomasesque poems, such as “New Year in the Midlands” and “I Shall Tear off my Terrible Cap” (1951), openly engage with an aesthetic, humanist, Jewish, and theatrical ambiguity. Although Pinter's later poems (like his later plays) strive for emotional and political clarity, they too share an aesthetic and linguistic no-man's-land somewhere between utopian celebration and dystopian trauma.

English

One of the fundamental problems of the modern university is the artificial creation of departments which cuts up organic research fields and creates unnecessary divisions when cooperation and mutual learning would be called for. There are certainly differences in methodologies and theoretical concepts between archaeological anthropology, for instance, and literary studies (Humanities); but anthropology, ultimately, is nothing but the study of humanity in all of its manifestations. Even though literary scholars and anthropologists pursue diverse materials at a time, ultimately, their goals are virtually the same- the understanding of human culture, values, morals, and material conditions. This paper first reflects on these outdated and misguided administrative hurdles in our universities today, and then presents an exemplary case study of the love poems by the famous Middle High German poet, Walther von der Vogelweide (d. ca. 1220), to illustrate how much the literary analysis can fundamentally contribute to anthropological research. This also implies, of course, that literary scholars should draw from the parallel investigations by their anthropological colleagues.   Keywords: Collaborative research, anthropology and the humanities, courtly love, Walther von der Vogelweide, medieval German literature.