Poet's Life Research Articles

Lyrical miniatures by Grigory Petnikov: historical and cultural context

Grigory Nikolaevich Petnikov (1894-1971) was a Russian and Ukrainian poet, translator, publisher. He actively published as a poet during the futuristic period (1913-1922), when he joined the literary avant-garde, was the Second Chairman of the Globe and one of the founders of the Kharkov publishing house "Liren". Since the mid-20s, Grigory Petnikov has been mainly engaged in translations and is still better known as a translator of myths of Ancient Greece, fairy tales of the brothers Grimm, Ukrainian and Belarusian folk tales, poems by Taras Shevchenko, prose by Ivan Franko, Marko Vovchok, German poetry. The second period of Grigory Petnikov's poetic creativity began with the time of the thaw and lasted until the last years of the poet's life. In 1958, Petnikov moved to the Crimea, wrote a lot and actively published as a poet. The article attempts to analyze the late poems-miniatures of Grigory Petnikov from his last lifetime collection "Lyrics", published in 1969. Special attention is paid to the genre and style features of Petnikov's lyrical miniatures, the cultural and historical context of the poems; an attempt is made to determine whether the poems from the collection "Lyrics" belong to the poetic trends and trends in the lyrics of the Silver Age.

Margaret Larkin: Mütenebbî ve Abbasî Şiir İdealinin Sesi

This book review presents Margaret Larkin’s work, Al-Mutanabbī: Voice of the Abbasid Poetic Ideal. The work is a belles-lettres critique of a literary genre, the poetry of Al-Mutanabbī, which discusses the function of poetry in the Abbasid ideal. Larkin's interpretation of history, particularly medieval Islamic history, reveals the significance of contextualizing poetic activity in the 10th century Islamic court authority, as it is a disseminated media power and has an iconoclastic impact in the community, centralizing institutionalized power and supremacy. The author discusses several aspects of the poetic material in relation to the poet's life story, plight, and identity crisis, but also indicates its derivation from the political substructure, i.e., the Abbasid ideal. The political ideal is not a monolithic project; it requires an aesthetic vision and an attractive public image. According to Larkin's discernment, in achieving an Islamic empire discourse, the mobility of state power is grounded on the factor of charisma, the realm of which is poetry in the medieval Arab world. Larkin fills a scholarly gap in current literary studies.

A ‘Polyphonic Score’: Basil Bunting’s Persian Condensations

Abstract In 1932, Basil Bunting was lodging with the Pounds in Genoa when he first encountered a French manuscript translation of Abul-Qasem Firdausi’s classical Persian epic the Shahnameh (1010). Upon realizing that the manuscript was incomplete, Bunting decided there was ‘nothing to do but learn Persian and read Firdausi, so I undertook that’. By 1942 his knowledge of Persian was good enough for the Ministry of Information to send him to Iran with the Royal Airforce, at which point he toured the Middle East, Central Asia, and parts of Africa. Through these travels, and in particular his time in Iran, he discovered renewed possibilities for his personal and poetic life. His engagement with classical Persian literature over the 1940s was extensive and allowed him to eventually compose masterful translations of canonical classical Persian poets. I argue that his later translations, especially those written from 1947, demonstrate how translating Persian poetry refined Bunting’s Poundian poetics of condensation. I show that this synthesis produced formally and generically pluralistic poems that straddle multiple cultures, such as Odes 35 (1947) and 36 (1948). Through an analysis of The Spoils (1951), I explore the way in which Bunting’s own poetry was inflected by the Arabo-Persian ‘bait’ such that its literary traditions were made resonant with Anglophone ones. I then conclude by illustrating how the translations, the later odes, and The Spoils enabled him to write his irreducibly multiple magnum opus Briggflatts (1965).

“Chcę wrócić, jak emigrant, z podróży dalekiej, / Z papieru, z martwych liter, żywy. Do twych rąk . . . ” : życie i twórczość Kazimierza Wierzyńskiego (1894–1969)

“Chcę wrócić, jak emigrant, z podróży dalekiej, / Z papieru, z martwych liter, żywy. Do twych rąk . . . ” : życie i twórczość Kazimierza Wierzyńskiego (1894–1969)

Keyfi, his life and works in the Ottoman Archives

Research on the history of Kurdish literature requires more efforts. Especially all those poets who have left behind little material and little has been written about them. For various reasons, the Kurds have not been able to rewrite their literary history completely and accurately. In this respect, new information about them is gradually going to be revealed through the workings on uncovering the manuscripts of the world archives. Although the nineteenth century is the richest century in the history of literature, it has the most shortcomings on the lives and works of our poets. This research entitled (Keyfi, his life and works in the Ottoman Archives) has tried to reveal several aspects of this poet's life through the Ottoman and Western archives, especially revealing part of his life in Mosul, Istanbul, and his work as a translator, lawyer, linguist and journalist. Additionally, the study reveals the time and the place of his death, and investigates his relationship with Kurdish poets and his reflection in Kurdish journalism during the Ottoman period. This study resolves some of the debates that existed in the past century about the life of this poet and with this new information fills a gap in the biography of Keyfi in the history of Kurdish literature

Real Geographical Loci and their Meaning in K. K. Sluchevsky's Cycle "Murmansk Echoes"

The article is devoted to the analysis of real geographical loci in the poem cycle "Murmansk echoes", written by the poet-pre-symbolist K. K. Sluchevsky in 1888 under the impression of a trip to the Murmansk region. The conducted research using historical, functional and comparative methods allows us to comprehend the nature of Sluchevsky's literary work and the philosophical ideas embedded in his poetry. The author of the article pays special attention to the study of landscapes, which are an expression of emotions and personal feelings of K. K. Sluchevsky, reflecting the concept of the poet's life and his philosophy; consideration of such an aspect of the topic as Sluchevsky's use of real loci to expand time and space. The scientific novelty lies in the fact that the work for the first time studied the influence of real geographical loci on the poetry of K. K. Sluchevsky, the depiction of artistic images in northern Russia, the life and customs of local pomors, investigated the changes in perspective in the real locus and the expansion of time, revealed the general "mythologeme" of the space of the real locus. As a result of the research, the author comes to the conclusion that the geographical locus allows the poet not only to convey impressions about what he saw, but also to open his inner life, and most importantly, to recreate a holistic picture of the universe through concrete and small things.

Poetic Life and People—Free Singer: Jidi Majia

Poetic Life and People—Free Singer: Jidi Majia

Euphorion as an Aesthetic Body

Euphorion as an Aesthetic Body Heidi Grek At the end of the third act of Faust II, Euphorion attempts to fly only to fall to the ground and die. Fleetingly, the lifeless son of Faust and Helena, resembles an unnamed, familiar figure, as the stage directions describe, "man glaubt in dem Toten eine bekannte Gestalt zu erblicken" (one seems to recognize in the body a familiar face).1 His body vanishes, leaving behind the articles of a poet, clothing, and a lyre. The unnamed figure is, as Goethe made known, the deceased English poet, Lord Byron. In the elegy sung by the chorus that follows, Byron's life is prominently featured while Euphorion's fades to the background. The final stanza, however, ends with a cryptic message, followed by a more hopeful one—neither of which seems to speak to Byron or Euphorion individually: the misfortunate are bled to silence, but death renews poetry. The link between Euphorion and Byron is significant because Byron's death, in the spring of 1824, stimulated Goethe to finish act 3. The act, which was first published on its own in the fall of 1826, bore the title, "Helena, klassisch-romantische Phantasmagorie. Zwischenspiel zu Faust" (Helena, classical-romantic Phantasmagoria. Interlude to Faust).2 Byron in life embodied various identities, including poet and aspiring warrior, the conflict of which resulted in his death—and this fascinated Goethe. Byron's death served as the inspiration for Euphorion's life—a continuity best encapsulated by "phantasmagoria." Through Euphorion, Goethe demonstrates the possibility of a multidimensional body, and of the destructive and constructive power of synthesis. Lord Byron's death prompted Goethe to study the poet's life and, within a year of his passing, the figure of Euphorion had begun to take shape. Byron died on April 19, 1824, at the age of thirty-six from fever in Missolonghi, where he was preparing to take part in the war of Greek independence. Goethe received news of the death about one month after his passing but nevertheless backtracked in his journal to record, "Lord Byron stirbt"3 (Lord Byron dies).4 For the next two years, Goethe studied anything he could find written about Byron's life, particularly the events leading up to his death.5 At the end of 1824, he explained in a letter that the pain he felt over Byron's death had found poetic expression, "wenn die Muse selbst mich drängte, müßt ich ihr gehorchen" (if the muse herself urged me, I would have to obey her).6 In the spring of 1825, Goethe began to compose the final scene of act 3, "Arkadien" ("Arcadia"), in which Euphorion appears.7 [End Page 171] Reflecting in 1827 to Eckermann, Goethe asserted Byron's place in the same act as Helena, who serves as an homage to Homer.8 The idea for Helena had been part of Goethe's original conception of part 2 since he began working on part 1, inspired by the Faust legend. He already had in mind an ending for the "Helena Act," but, as he revealed to Eckermann, "Dann brachte mir die Zeit dieses mit Lord Byron und Missolunghi und ich ließ gern alles Übrige fahren" (Then time brought me this [event] with Lord Byron and Missolonghi and I happily let the rest go). Euphorion's presence carries the act 3,000 years forward, from Helena's ancient Greece and the fall of Troy to the siege of Missolonghi and the present. If Helena represents ancient poetry, then Euphorion, as an homage to Byron, represents modern poetry, "Ich konnte als Repräsentanten der neuesten poetischen Zeit niemanden gebrauchen als ihn, der ohne Frage als das größte Talent des Jahrhunderts anzusehen ist" (I could use no one as the representation of the newest poetic times but him, who without question is seen as the greatest talent of the century). As the son of Helena and Faust, Euphorion is heir to the romantic as well as the classical, he is the beginning of a new epoch, distinguishable only as "wie der gegenwärtige Tag selbst" (like the present day itself). Byron's character, specifically his"unbefriedigt[es] Naturell[]" (unsatisfied...

Rushdi's Work Named Menâqıb-ı Şeyh Ali

Menâkıbnâmeler İslam edebiyatlarında bir velinin hayatı çevresinde oluşmuş menkıbe yahut kerametleri anlatan dinî-tasavvufî eserlerdir. İslâmî-Türk edebiyatında ilk örneklerine XIII. yüzyılda rastlanılan menâkıbnâmeler, günümüze kadar aralıksız devam eden türler arasındadır. Bu türün yeni bir örneği de klasik Türk edebiyatının son dönem şairlerinden olan Rüşdî’ye aittir. Kaynaklarda hakkında herhangi bir bilgiye rastlanılmayan şairin; hayatı, eserleri, ailesi ve yaşadığı dönemle ilgili muhtelif bilgilere, Mehmet Fatih Köksal Kütüphanesiʾnde yer alan ve şairin bilinen tek eseri, Şiir Külliyâtıʾndan ulaşılmıştır. Asıl adı Mustafa Rüşdî olan şair, farklı illerde görev yapmış bir muhasebe memurudur. Tekke çevresinde yetişmiş yazar-çizer zümresine dâhil edilen bir şairdir. Rüşdî, mensubu olduğu Kâdirîyye tarikatının adap ve erkânını bildirmek, Şeyh Ali namındaki şeyhinin menkıbevî ve tarihî hayatını nakletmek gibi amaçlarla müstakil bir manzum menâkıbnâme yazmıştır. Külliyâtʾın 31-43. sayfaları arasında yer alan menâkıbnâme, 202 beyitten oluşan çok kısa bir metindir. Şair, menâkıbnâmesinde şeyhi ve yaşadığı dönemle ilgili kayda değer bilgilere yer vermiştir. Bu yönüyle de eser, hem biyografik hem de tarihî kaynak olarak Türk edebiyatı, tarihi ve kültürüne önemli katkılar sağlamaktadır. Eser, şeyhin ölümünden kısa bir süre sonra yazıldığı için sözlü kültür ortamında yayılmadan doğrudan şairin kaleminden çıkmıştır. Bu çalışma aracılığıyla, Rüşdîʾnin Şeyh Ali için yazdığı manzum menâkıbnâmesi, ayrıntılı bir şekilde tanıtılarak transkripsiyonlu metni yayımlanacaktır.

Reading Anna Frajlich's Latest Volume of Poetry

Reading Anna Frajlich's Latest Volume of Poetry

Poetry, Self-erasure and the Trace: Writing counter-history from an embodied archive

This essay presents a poetic life writing practice developed through material exploration with diaries, to expose hidden, unwritten traces of anorexic experience that escape the archival page. Anorexia flouts tenets of traditional autobiography, skewing memory and breaking the ‘autobiographical pact’ of a truthful and consistent narrator. This article presents poetic digression and fragmentation to perform physical and cognitive anorexic intensities. This writing offers a counter-history to archival documents, leaden as they were with the voices of anorexia and medical discourse.

Mir Möhsün Nevvâb’ın Araştırılmamış Yazma Eserleri

Mir Möhsün Nevvâb (1833-1919), XIX. yüzyılda Azerbaycan’ın Karabağ bölgesinde yaşamış olan önemli bir şair, edip, bilgin, ressam, tarihçi, musikişinas, müderris ve naşirdir. Kendisinin edebiyat, tarih, din, musiki ve astronomi alanında yirmiden fazla eseri mevcuttur. Kaleme aldığı eserlerin bazıları Şuşa’da kurduğu özel matbaasında yayımlanmış, bir kısmı ise elyazması şeklinde günümüze ulaşmıştır. Mir Möhsün Nevvâb; Türkçe ve Farsça Dîvân, Tezkire-i Nevvâb, Şemsü’l-Hidâye, Bahrü’l-Hüzen, Kenzü’l- ihen, Mazlûmnâme, Kifâyetü’l-Etfâl, Bâtılü’s-Sihr, Nûrü’l- nvâr, Vuzûhü’l-Erkâm, Pendnâme, Keşfü’l-Hakîka, Ermeni- Müslüman Meselesi, Şerh-i Usturlab, Ziyâ’ü’l-Envâr ve Mezâmir gibi eserlerin müellifidir. Şairin Pendnâme, Vuzûhü’l-Erkâm, Ermeni-Müslüman Meselesi gibi eserleri ve Türkçe Dîvânı modern dönemde yayımlanmıştır. Diğer eserleri ise daha çok dini içerikli olması sebebi ile Sovyetler döneminde araştırılmaya tâbi tutulmamış ve yayımlanmamıştır. Şairin hayatı, edebî kişiliği ve bazı eserleri Nasreddin Qarayev, Zemfira Saferova, Ayten Hacıyeva, Ali Mammadbağıroğlu, Ali Aliyev, Ali Asker, Vüsale Musalı tarafından incelenmiştir. Makalede Mir Möhsün Nevvâb’ın Azerbaycan Milli Bilimler Akademisi Elyazmalar Enstitüsünde muhafaza edilen ve Sovyetler döneminde din sansürü sebebi ile araştırılmamış olan Şemsü’l-Hidâye, Bahrü’l-üzen, Kenzü’l-Mihe, Mazlûmnâme, Kifâyetü’l-Etfâl. Bâtılü’s-Sihr, Nûrü’l-Envâr. Keşfü’l-Hakîka, Şerh-i Usturlab. Ziyâ’ü’l-Envâr ve Mezâmir adlı eserlerinin yazma nüshaları incelenmiştir. Anahtar Kelimeler: Edebiyat, Şiir, Nevvâb, Karabağ, Yazma Eser, Ehlibeyt.

Significant Insights and Analysis of Philosophical and Autobiographical Undertones in the Select Poems of Louise Gluck

The 2020 Nobel Prize in Literature was given to American poet Louise Gluck in recognition of her "unmistakable poetic voice that, with austere beauty, makes individual existence universal." This thesis explores Gluck‘s poetic work, particularly her 2014 poem "Faithful and Virtuous Night," using the motivation of the Nobel committee as a guiding premise. Thus, the purpose of the research paper poses certain research question—"How does Louise Gluck‘s poetry make individual existence universal?—is to evaluate the fairness of the Nobel committee's evaluation. The reader becomes familiar with the essence of Gluck‘s poetry by reading scholarly articles about the innovations in her earlier work. An analysis of the aforementioned poem that supports the Nobel committee's claim can be built through careful reading. Some of her best-known works include Ararat (1990), The Wild Iris (1992), Meadowlands (1996), Vita Nova (1999), The Seven Ages (2001), and Averno (2006), in which elements of the lyric and the verse novel are consistently negotiated. The poet's themes, sparse, lyric style, and detached, oracular tone have all been the only things mentioned by critics so far. The collections have never been examined by critics as plotted narratives or verse novels. Books by Gluck contain more than just groups of standalone, lyric poems. The six collections are cohesively linked by a sustained, personal journey about survival, emotional healing, and self-renewal in which Gluck is looking for beauty and meaning in a life without the consolation of absolute truths. Each collection is also bound by a plot that depicts a particular period in the poet's life. Additionally, it is a poetic journey that acts as a metaphorical mirror for the reader's own parallel, personal experiences. As a result, readers may be able to learn from the poet's hard-learned lessons, apply them to their own situations, and perhaps even find emotional healing. This essay aims to demonstrate Gluck‘s methods for dealing with various human concerns while also offering solutions.

ON TUNAY ÖZER'S POEMS A REVIEW

Bu çalışmada yayımlanmış dört kitabı bulunan Tunay Özer’in bu kitaplarındaki şiirleri yapı, dil ve üslup, ağırlıklı olarak da içerik yönünden incelenmiştir. Bu inceleme ile şiirlerinin ana temaları, yapı, içerik ve üslup yönünden nitelikleri ve gelişim seyri belirlenmeye çalışılmıştır. Şairin hayat serüveni ve şiirlerinin yayımlanma sürecine dair bilgilere yer verilmiş, kullandığı dil ve semboller evreni açısından Türk şiiri geleneği ile kurduğu ilişkiye de değinilmiştir. Şiirlerinin tümünü serbest nazımla yazan şairin, çoğunlukla “hüzün, hatırlamalar ve hasret” üzerine bir içerikle okurlarının karşısına çıktığı belirlenmiş, şiirleri kitaplaştırılmadan önce ve hâlen çeşitli dergilerde yayımlanan şairin şiir serüveninde ilk kitabından son kitabına doğru içerik ve üslup yönünde sürekli bir gelişme olduğu gözlenmiştir.

Zuhayr b. Abî Sulmâ’s Muallaqa and the Wise Words It Contains

Bu çalışma, Câhiliye döneminin önde gelen şairlerinden Züheyr b. Ebî Sülmâ’nın hayatı, muallakası ve şiirlerinde yer alan hikmetli sözler hakkındadır. Çalışmada şairin hayatı ve yetiştiği edebî çevre hakkında kısaca bilgi verildikten sonra Türkçe tercümesiyle birlikte yer verilen muallakası, şekil ve muhteva bakımından incelenmiştir. Çalışmanın devam eden bölümünde “hikmet” kavramı hakkında özet olarak bilgi verildikten sonra şiirlerinde hikmetli sözlere yer veren muallaka şairlerinden seçkiler sunulmuştur. Çalışmanın sonunda ise Züheyr’in muallakasındaki hikmetli sözler içeren beyitler, müstakil olarak değerlendirilmiştir. Züheyr’in kasîdesinin de içinde bulunduğu muallakalar, taşıdıkları edebî değerin yanı sıra, ihtiva ettikleri hayata dair özlü ve veciz sözler yönüyle de klasik Arap şiirinin şaheserlerinden sayılmışlardır. Uzun hayat tecrübesi, analitik gözlem, tefekkür ve genel toplumsal kabullere dayanan söz konusu özlü sözlerden oluşan hikmetli ifadelere şairin muallakasında çokça rastlamak mümkündür. Eski Arap şiirinin hemen hemen her mevzusunda şiirleri bulunan Züheyr’in şiirleri arasında medih temalı kasîdeler daha fazla yer tutmaktadır. Nitekim şairin en önemli kasidesi olan muallakası da bunlardan biri olup, ‘Abs ve Zübyân kabileleri arasında uzun yıllar süren bir savaşı sonlandıran Herim b. Sinân ile el-Hâris b. ‘Avf’ın medhi hakkındadır. Züheyr’in, klasik Arap şiir geleneğine uygun olarak inşa ettiği altmış iki beyitlik kasidesi, dört ana bölümden oluşmaktadır. Şiirin ilk on beş beyitten oluşan birinci bölümü, sevgilinin bir zamanlar yaşadığı yurdun kalıntılarının özlem ve hasretle anılmasıyla başlamaktadır. Şair, nesîb diye de adlandırılan bu bölümde engin müşahede gücünü ve üstün ifade kabiliyetini gösteren detaylı tasvirler eşliğinde sevgilisinden geriye kalan harabeleri ve bunların içerisinde bulunduğu tabii çevreyi duygusal bir dille anmaktadır. Şair, kasidesinin dokuz beyitlik ikinci bölümünde ise yukarıda değinilen savaşın sonlanmasında aktif rol oynayan Herim b. Sinân ile el-Hâris b. ‘Avf’a yönelik samimi övgülerine yer vermiştir. Kasîdenin ana omurgasını oluşturan bu bölüm, içerdiği yemin ve dua muhtevalı beyitlerle şairin hanîflik inancına dair önemli ipuçları sunduğu gibi ihtiva ettiği tarihî bilgilerle de ön plana çıkmaktadır. Kasîdenin yirmi beyitlik üçüncü bölümünde ise şair, uzun hayat tecrübesinden ve bilge kişiliğinden izler taşıyan hikmetli beyitleriyle zikri geçen savaşın taraflarına etkili uyarılarda bulunmakta, onları akıl ve sağduyu yoluyla barışa ikna etmeye çalışmaktadır. Bu cümleden olmak üzere şair, mensubu olduğu hanîflik inancına dair ahlaki ve itikadî ilkelerden bazılarını hikmet formatında dile getirerek bunları, muhataplarını ikna etmede bir araç olarak kullanmaktadır. Muallaka şairleri içerisinde hikmet içerikli beyitlere muallakasında en fazla yer veren ve bu sebeple “şairlerin bilgesi” veya “şairlerin kadısı” unvanıyla anılan Züheyr, muallakasının son bölümünü evrensel ahlaki değerleri ve insanî erdemleri konu edinen hikmet içerikli beyitlerle şekillendirmiştir. Söz konusu hikmetli sözler, toplumun ortak aklını yansıtması, dinleyicilerin duygu dünyalarına tercüman olması, genel anlamda tecrübe edilmiş doğruları veciz bir şekilde dile getirmesi sayesinde toplum tarafından benimsenmiş ve nesilden nesile aktarılmıştır. Züheyr’in muallakasındaki hikmetli sözler çerçevesinde şekillenen bu çalışmanın genel olarak Câhiliye şiirine ve özel olarak da diğer muallaka şiirlerine ilgi uyandıracağı ümit edilmektedir.

ŞAİR SAFÎ VE ULAŞILAMAYAN BİYOGRAFİSİ

Safi, whose birth date is unknown, he lived until the first quarter of the 18th century. The poet, whose real name is Mustafa, is known by the nickname "Tavlabaşı-zâde", which is also encountered in different forms such as "Tavîlebaşı" and "Tavîle-zâde" in the sources. Different researchers have done various studies related to their work, including encyclopedia/dictionary articles, articles, books, and master's thesis. However, in most of these studies, there is a common assessment that the tazkira and biographical sources do not mention Safî. Therefore, related studies show that there is no information about the poet's life, or limited information from his works is transferred as far as it can be accessed. However, a few recent studies have found that there is an unusual situation in the biography of the poet, and it has been found that the poet is involved in some sources -in a wrong way- with a different pseudonym and that this error information is also available in many biographical works written today.
 This article goes one step further than what is known about the poet and it was tried to draw attention by reaching the biography of the poet, which was present from the beginning but never noticed. In addition, a review of the poems of Safî Mustafa Efendi on Sâlim Efendi Tezkire has been considered to be open to criticism in many ways and it is emphasized that this evaluation statement, which is thought to be unfair, is repeated by some current biographical sources without being subjected to any examination.

Trần Dần: Selected Poetry Translations

After Trần Dần criticized the poetry collection of Tỗ Hữu, a politician—calling his magnum opus a manual collection of propaganda and leadership—Tỗ Hữu assembled 150 poets and party intellectuals to criticize the poet, declaring Trần Dần and likeminded writers guilty of petty bourgeoisie. In February 1956, Trần Dần was purged from the party and sent to the infamous Hanoi Prison. Though he was released after an attempted suicide, Trần Dần was suspended from the Union of Arts and Literature for the next thirty years. In other words, for most of the poet's life, his works never saw the light of day. In August 2018, I was sitting in a cafe in Saigon sipping coffee when a novel caught my eyes: Crossroads and Lampposts it read—after a few lines I was mesmerized. I had seldom seen Vietnamese used in such a creative thought-provoking and frankly rule-breaking way. I searched up the author’s name and incredulously realized that instead of an emerging avant-garde writer, I was looking at the wikipedia entry for a 20th century radical who produced the draft fifty years before it was published. What followed was an obsessive pursuit of the elusive author's only poetry collection that led me from bookstore to bookstore across town without success. I afterwards realized that I could not find any copies because it had gone out of print long ago. Though the state had officially given Trần Dần pardon, their relationship with his poetry is still a precarious one. Fortunately, I was able to contact an Australian expatriate in Hanoi, the translator of Crossroads and Lampposts who had an electronic copy of the poetry collection that he shared with me.

Bolañesque Affects: Communities of Poets in Diego Trelles Paz’s El círculo de los escritores asesinos and Alejandro Zambra’s Poeta chileno

ABSTRACT This article traces Roberto Bolaño’s fictionalized imprint in Diego Trelles Paz’s El círculo de los escritores asesinos and Alejandro Zambra’s Poeta chileno. These novels thematize Los detectives salvajes’ repercussions and effects on the Latin American literary scenario, translating Bolaño’s imaginary around a poetic ethos into narrative dilemmas and strategies. El círculo de los escritores asesinos and Poeta chileno not only reflect on how to write but on how to be writers after Bolaño, once Ulises Lima and Roberto Belano established the Latin American poet’s pervasive and idealistic role model. Just as Bolaño’s real visceralistas are more concerned with living a poetic life than writing an oeuvre, Trelles Paz and Zambra portray communities of poets where affects and books permeate and reinforce each other. Ultimately, they draw opposing ethical outcomes from Los detectives salvajes’ iconic interweaving of literature, friendship, love and death.

М. ӘУЕЗОВТІҢ «АБАЙ ЖОЛЫ» РОМАН-ЭПОПЕЯСЫНДАҒЫТАРИХИ ДЕРЕКТЕРДІҢ ЗЕРТТЕЛУІ

The article deals with the issues of historical data about the Russian friends of the poet in the famous epic "Abay joly" by the great artist Mukhtar Auezov, which embedded in the literary circulation and became the basis for artistic reality. There was carried out a scientific-theoretical analysis of the study of the outstanding historian, literary scholar Lyayla Mukhtarovna on "Problems of Kazakhstan history in the works by M.O. Auezov" where she used a comparative method of historical facts and archival materials about Abay’s Russian friends in the novel "Abay joly" by Mukhtar Auezov, which first entered the scientific circulation of the Kazakh literary studies. Archival documents in L. Auezova's monograph and literary facts about Russian friends of the poet in Mukhtar Auezov's novel "Abay joly" were mutually compared and analyzed based on historical events. The references of the literary text in the novel were used to analyze Abay's fluency in the Russian language and mastery of European culture, which was influenced by Russian friends, political exiles in Semipalatinsk, as well as Semipalatinsk library with the best works on history, philosophy, etc. in the world spiritual space, Russian and Western European literature, products of periodical press. The article deals with the contribution of Abay’s close friend, Evgeny Petrovich Michaelis, his fundamental works aimed at collecting and studying national values, ancient artifacts among the population during the years of his service as the first secretary of the Statistical Committee, the transformation of this team into the first scientific institution of the city were analyzed and interpreted from a modern perspective. The scientific analysis of historical data was carried out that the opening of the museum in 1883 on the basis of exhibits collected by E. P. Michaelis was a great cultural event in the life of Kazakh people and that the Statistical Committee of Semey with the help of political exiles conducted a study of the cultural life, geography, history, economics and ethnography of the region and namely these people have contributed to the spiritual awakening of the local population. In the 70-80s of the nineteenth century the representatives of the Russian intelligentsia, revolutionary intelligentsia and political prisoners were concentrated in Semey city and many of them were close with Abai and communicated, these and other facts, also artistic reality in the novel "Abay joly" by Mukhtar Auezov and historical data of the study by Leyla Mukhtarovna "Problems of Kazakhstan history in the works by M.O. Auezov" were compared and scientific explanatory work was carried out. Using methods of hermeneutic analysis is explained that the tragedy in the fate of Russian people is a common tragedy for all other nationalities, and they sought to explain this view to representatives of other nationalities such open-minded, educated people as Abay. The names of Russian friends who pursued universal values, such as Pushkin, Lermontov, L.Tolstoy, Saltykov-Shchedrin, Dostoevsky, N.Chernyshevsky, etc., are often found in every scientific research work by M.О.Auezov devoted to the poet's life and in the novel "Abay joly", where historical realities are supplemented and integrated into artistic reality depending on the psychophysiological qualities of characters, such as speech, thinking, understanding, analyzed in accordance with the conditions and requirements of the science of literary studies. Anyway, the images of the poet's Russian friends in the work by L.M. Auezova M and in the scientific theoretical works on abaeology by the prominent researcher, literary scholar M.O.Auezov are fully revealed a close connection and is confirmed in the course of this analysis.

Ellisland: A Museum History. Part 1: Restocking and Reframing, 1921–53

This article examines the circumstances from which a museum collection was formed in the early twentieth century at Ellisland Farm, the home of Robert Burns and his family from 1788–91. It describes the gradual rehabilitation of Burns's image during the nineteenth century and with it a re-evaluation of the importance of the ‘interiority’ of Ellisland and the necessity to reframe the memory of this period of the poet's life with specific material culture markers. The article charts the efforts of the early trustees and custodians to interpret the Ellisland story by fashioning parts of the farmhouse for visitation as an historic house museum. A series of important acquisitions throughout 1930s and 1940s, particularly by the Trust Secretary, Matthew McKerrow, sought to underline the significance of Burns's three years at Ellisland. This narrow focus based on person, period and place characterised the first three decades of Ellisland's life as a museum and would set the pattern for the remainder of the century.