Young Poet Research Articles

List jako medium autobiografii. Przypadek Kota Jeleńskiego

Letters, a work included in Ajol, Stanisław Czycz’s debut volume of prose (1967), was created based on his authentic correspondence with a young poet, Barbara Sadowska – without her consent or even knowledge. The questions that are posed involve both the ethics of the writer’s act and the poetics of the work, the main principle of which is the change in the roles of epistolarians that is taking place along with the arrival of letters and, as a consequence, increasing the communication distance and alienation. The effect of the communicative/epistolographic failure achieved in Letters is discussed in the context of Czycz’s epistolographic practices, his reflections on the ontology of literature and on the character of literary communication, as well as of the writer’s acts of staging himself in two roles at the same time: a cynical fraud and a kynical parrhesiast.

Marlowe and Company in Barnfield’s Greene’s Funeralls (1594)

The accomplished and daring but minor poet Richard Barnfield (1574-1620) was among the first poets to engage creatively with the works of Greene, Marlowe, and Shakespeare. This article argues that Sonnet 9 in Barnfield’s Greene’s Funeralls (1594) reveals not only his admiration for these literary innovators, but also his difficult manoeuvres on the fringes of the group of poetic rivals. Barnfield’s often-quoted, but not fully understood “sonnet” reflects the young poet’s attempts to accost his more famous contemporaries and also sheds light on the date of composition of Doctor Faustus (B) and the early circulation of Shakespeare’s “sugred sonnets”.

Misapprehensions of a Caustic Eye: A. D. Hope and the Failure of Angry Penguins as a Modernist Literary Movement

ABSTRACT This article reconsiders A. D. Hope’s cutting appraisal of the group of young poets and artists from the University of Adelaide who have come to be known colloquially as “the Angry Penguins”. Setting aside the influence of the Ern Malley affair on the Penguins’ perceived importance, the article proposes that Hope has contributed fundamental misrepresentations about the identities of the Penguins cohort and their aspirations for Australian literary identity. Contrary to Hope’s opinion, the Angry Penguins—at least in the initial phase of their development—were not purveyors of an impenetrable brand of Australian surrealism, but were, rather, a group of diverse young poets advocating for the internationalisation of Australian cultural identity.

CSOKONAI KOLLÉGIUMI PERE A MODERN BÜNTETŐJOG ÉS KRIMINOLÓGIA TÜKRÉBEN

The expulsion of the well-known Hungarian classical poet, Csokonai, has been studied and reviewed several times. According to the widely-accepted interpretation, the gifted young poet was unjustly dismissed after a show trial, while his talent was not recognised. But can we challenge the whole conception?This paper aims to present the facts and events merely from the point of view of jurisdiction, applying the results, methods, and aspects of modern criminal law, hoping that we can see a more varied new picture of the trial. Hopefully, it can also contribute to the literary discourse about a traditionally accepted figure of the Hungarian literary canon.

Poetry On the Run

Abstract Poetry On the Run is an ongoing collaborative project that seeks to traverse the confines of research on displacement through poetic encounters, renderings, imaginations, and experimentation. This contribution is based on a creative writing workshop with young poets in Kakuma refugee camp in northwestern Kenya. The workshop explored how the concept of “fugitivity” may resonate with more contemporary experiences of forced migration, while also furthering the use of poetry as a literary research method and source of theoretical knowledge in the study of refugeehood today. This lyrical (re)searching is framed as part of what we refer to as the “geopoetics of migration.”

MODERN KAZAKH NOVEL: PAINTING AND AESTHETICS OF ARTISTIC DECISION OF THE XX CENTURY

The author of the article sets herself a goal – to highlight the relationship between Turkic-speaking and Iranian-speaking poets of the 15th–16th centuries, recorded in the “Tarikh-i Rashidi” by Mirza Muhammad Haidar. This question is poorly understood. This is proved the novelty of the idea of research. The article, written on the basis of data from a medieval source, helps to expand the relationship in Central Asian literary circles, a genre of poetry that was popular during this period. The picture of the relationship of poets is one of the aspects of the relationship in the culture of the peoples of Central Asia. The researcher used the publication “Tarikh-i Rashidi”, carried out by source scholars of Uzbekistan. As a result of the analysis of data from this work, it was established that the muʻamma genre was quite popular during the study period. The names of the masters of compiling charades, works on this genre are given. The data of “Tarikh-i Rashidi” were compared with data from “Majalis an-Nafais” by ʻAli Shir Navaʻi. It is established that some young poets of the era of ʻAli Shir Nava’i by the time of writing “Tarikh-i Rashidi” became famous poets in Herat. In the cultural center of Khorasan – Heart, poetry developed along with treatises. The relationship between the poets of Herat circle proves the path of development of the literature of Iranian-speaking and Turkic-speaking peoples of Central Asia, being an indicator of the relationship in the culture of the peoples of studying region.

자료와 연구는 어떻게 문학관의 컨텐츠가 되는가?

This article was written for two purposes in the discourse and theoretical un derstanding of the historical characteristics of Korean society, which has been appropriated and interpreted by a young poet named Yoon Dong-ju according to the times. First, it intends to record the construction process and planning inten tions of Yonsei University’s Yoon Dong-ju Memorial Hall, which opened in 2020, and then function as a reference material for field workers, related researchers, and visitors of the Literature Memorial Hall. Second, through the case of creating exhibition contents at the Yoon Dong-ju Memorial Hall, I want to examine how the Literature Memorial Hall implements the concept of ‘larchiveum’ by linking ‘data-research-exhibition’. In order to strengthen the ‘authenticity’ of the place as a space that has been used for different purposes for a long time is reborn as a memo rial hall, it was necessary to balance the spirit of ‘poetry’, the materiality of ‘data’, the social identity of the ‘poet’, and the historicality of ‘space’. And to emphasize the role of an integrated space called larchiveum, the concept of ‘cultural medi ation space' was added. The Literature Memorial Hall mediates ‘writer-bereaved (donor)-researcher-reader/public (viewer)’ and mediates literary texts composed of letters through other sensory representations and experiences. In that texts are submitted in a specific social arrangement, the Literature Memorial Hall is both a media in itself and a space of possibility to enable new practice. In other words, through case analysis of the exhibition planning intentions, processes, and results of the Yoon Dong-ju Memorial Hall, we tried to examine how the Literature Me morial Hall connects “material-research-exhibition-event” as a “cultural medium space” with “larchiveum”.

Rupture and Temporary Endings

In the early decades of the fifth/eleventh century, a young poet from Córdoba, Ibn Shuhayd al-Andalusī (d. 426/1035), composes a satire on inspiration and literary theft, after being accused of plagiarism. It came to be known as The Epistle of Attendant Jinn and Whirling Demons. It opens with an apostrophic frame, activating, from the onset, interstitial locations and alerting the readers to its unorthodoxy both as an intellectual attitude and a narrative strategy. In this epistle, the author revisits the old Arab myth that personifies inspiration as demons who live at the Mount-Parnassus-like Valley of ʿAbqar. The recrudescence of this myth, however, serves a particular purpose: it is designed to satirize the persistence of the classics, and to agitate the structures that make them legible. In the tales, the auto-diegetic protagonist experiences a writer's block, and is introduced to an attendant jinn who becomes the poet’s co-author and travel companion. As this recurs, episodic suspension becomes the structure that sustains the program of the work: it allows for new beginnings to emerge throughout the work and enables a series of (time) travels to the valley of ʿAbqar. Conceived within an Arabo-Islamic environment that places great value on the ability of art to persuade, The Epistle of Attendant Jinn and Whirling Demons’s satirical outlook comes with an urgent claim. Ibn Shuhayd is not asking for pleasant, disinterested appreciation, but for public reparation. Multiply imaginative and meticulously scholarly, Ibn Shuhayd’s epistle demands to be read through a twined lens. The present study takes this affinity seriously, tracing resonances of the epistle in Ibn Shuhayd’s scholarly writing to sketch how the poetic form and and the scholarly project jointly speak to a critical moment in the Arabic literary imagination. Key words: frame tale, apostrophe, inspiration, travel, al-Andalus, sariqa (literay theft), satire, praise, eidolopoeia

DATA ON THE RELATIONSHIP OF POETS OF THE 15TH–16TH CENTURIES FROM “TARIKH-I RASHIDI”

The author of the article sets herself a goal – to highlight the relationship between Turkic-speaking and Iranian-speaking poets of the 15th–16th centuries, recorded in the “Tarikh-i Rashidi” by Mirza Muhammad Haidar. This question is poorly understood. This is proved the novelty of the idea of research. The article, written on the basis of data from a medieval source, helps to expand the relationship in Central Asian literary circles, a genre of poetry that was popular during this period. The picture of the relationship of poets is one of the aspects of the relationship in the culture of the peoples of Central Asia. The researcher used the publication “Tarikh-i Rashidi”, carried out by source scholars of Uzbekistan. As a result of the analysis of data from this work, it was established that the muʻamma genre was quite popular during the study period. The names of the masters of compiling charades, works on this genre are given. The data of “Tarikh-i Rashidi” were compared with data from “Majalis an-Nafais” by ʻAli Shir Navaʻi. It is established that some young poets of the era of ʻAli Shir Nava’i by the time of writing “Tarikh-i Rashidi” became famous poets in Herat. In the cultural center of Khorasan – Heart, poetry developed along with treatises. The relationship between the poets of Herat circle proves the path of development of the literature of Iranian-speaking and Turkic-speaking peoples of Central Asia, being an indicator of the relationship in the culture of the peoples of studying region.

Motif of Mask in Joseph Brodsky’s ‘Great Elegy for John Donne’

This article offers an interpretation of the well-known poem by Joseph Brodsky, ‘Great Elegy for John Donne’ (1963). While traditionally elegy is analyzed in comparison with texts of the English medieval poet and preacher, where echoes of poetic and prose lines of John Donne are identified in Brodsky’s verses, the authors propose a different approach — viewing ‘Great Elegy...’ as an independent work by Brodsky, loosely connected to the verses and sermons of the abbot of St. Paul’s Cathedral. It is shown that at the time of creating the elegy, the young poet knew very little about Donne, leading the elegy to be an extension of Brodsky’s own ideas and beliefs that were already present in his previous works. None of the allusions to Donne suggested by critics were genuinely Donnesque but rather organic to the poet’s worldview at that time. The genre specificity of “Great Elegy for John Donne” is clarified during the analysis, demonstrating its connection to Brodsky’s genre of “great poems.” It is argued that the elegy was not a model of discipleship to Donne but an embodiment of the painful reflections prompted by a terrifying early diagnosis of “heart defect.” In this grand elegy, Brodsky donned Donne’s mask and through such mystification attempted to touch upon the mysteries of life-death, sleep-death, and grasp that “choral height” which transcends the Lord.

THE LETTER, THE ARTICLE, THE SUBJECT: METAHISTORY OF CONTEMPORARY POETRY IN THE TEXTS OF NIKITA SUNGATOV

Nikita Sungatov’s poetry is often categorized as postconceptualism-2 or the engaged-conceptualist pole of the [Translit] magazine community. However, it is worth considering that his poetic language is formed at the intersection of various influences, including the analytical poetics of Arkady Dragomoshchenko, the Prize named after whom Sungatov curated and before that was shortlisted for in 2015. Sungatov can consistently reproduce any style of contemporary poetry in his texts, coupled with their problematic analysis thanks to the intertwining of conceptualist metaposition and Dragomoshchenko’s linguistic analysis. We can see this in the most famous texts of The Young Poet’s Debut Book as well as in the current texts, Imitation of Vl. Khodasevich and [a modern poem]. The author of this article focuses on this latter poem. The role of the letter and its transformation can already be seen in the first part, which is stylized as zaum and alienated language. Here the intertwining of letters, phonetic signs, and pseudo-grammatical categories appeals to the historical avantgarde and its sound poetry. Another role for the letter in the poem is the indefinite article ‘a’, whose semantics make Sungatov’s poem a statement about ‘contemporary poetry in general’, which, together with the stylization of various poetic languages from the historical avantgarde above to contemporary techniques of direct, neoclassical and opaque statement, turns the poem into a metahistory of contemporary poetry. And if Hayden White’s Metahistory was a discursive analysis of historical narratives, then [a modern poem] becomes a discursive analysis of both recent poetry and its languages, and its collision with discourses of violence and big history. To all this corresponds an indeterminate subject, following the letter and the article, ‘it’, which nomadizes between languages, narratives, and the elusive modernity.

God as a House Spirit in Joseph Brodsky’s Poem “God Does Not Live in Village Corners...”

The article proposes an interpretation of the well-known, but rarely analyzed elegy by I. Brodsky, “In the village, God does not live in corners...” (1964). While traditional analyses of Brodsky’s text focus on its “dark places,” “difficulties,” and “inconsistencies,” and note its “eclecticism of worldview,” the authors suggest a different perspective — the need to view the text as the realization of a verbal metaphor, which allows us to abandon notions of “secret writing” and “encryption” in the text. This approach removes critics’ claims regarding the “chaotic” and “overloaded” nature of the verse, and instead demonstrates the coherence and clarity of the lyrical subject’s reflections. According to Brodsky, in villages, God lives in the hearts of ordinary people, participating in all the most mundane events of life (construction, plowing, cooking, weddings, etc.), sharing their joy, helping them in times of trouble, and comforting them in grief. Brodsky creates a unique image not of the canonized biblical God, but of a “folk” house spirit, a host God, a friendly and companionable God who accompanies the Russian person in all their endeavors. It is argued that the poem “In the village, God does not live in corners...” was not an attempt at “seeking God,” but rather an awareness of a “sense of community” with the common people and an understanding of important “foundations of life” for the young poet.

Сонетная контроверза В.К. Тредиаковского и А.П. Сумарокова

The article investigates the early period of the sonnet form in Russia, covering the period from 1732 to 1759. It examines the ideas of two prominent poets of the time, Vasily Trediakovsky and Aleksandr Sumarokov, regarding the sonnet. Trediakovsky appears as the true unventor of the sonnet form in Russia: in 1732, he translated the famous “penitential”-sonnet of Jacques Vallée, Sieur Des Barreaux, “Grand Dieu, tes jugements sont remplis d’équité…” into 13-syllable lines. Trediakovsky translated this poem again in 1735 and 1752 with various variants of trochaic verses. In his “Epistle on Poetry” of 1747, Sumarokov displayed a different conception of the sonnet as a salon and playful poetry. In 1755, he published in the “Monthly Review” six sonnets in alexandrines, demonstrating his understanding of this form. Younger poets followed Sumarokov’s recommendations and imitated his sonnets. Trediakovsky had to accept defeat, and in 1759, wrote a sonnet in alexandrines. Apparently, Trediakovsky’s conception of the sonnet as a genre for elevated subject matter nonetheless influenced Sumarokov. In his late sonnets, written in 1769 and 1774, Sumarokov treated religious and philosophical subjects.

Поэзия России и Америки: к новым возможностям языка

The book by Vladimir Feshchenko, a Russian researcher of the language of poetry and a publisher of avant-garde literature, is devoted to Russian and American poetry of the language experiment in the 20th and early 21st century. Using examples from Andrei Bely, Russian futurists, Alexander Vvedensky, Ezra Pound, Gertrude Stein, E.E. Cummings to the American poets of “language writing” and modern Russian-speaking young poets, the similarity of the philosophical and linguistic foundations of the language experiment, the convergence and differences of literatures, the personal interaction of authors from both countries are considered in the book. The analysis of a number of American and Russian poems from the point of view of the language of poetry is given. V. Feshchenko's book is of interest to researchers of Russian and American poetry, the avant-garde, the language of poetry, and the interaction of literatures.

Субъектная структура поэзии молодых южноуральских авторов

This article examines the features of subject organization in the poetry of young South Ural authors (R. Agliullina, E. Kolyachenko, A. Manichenko, R. Yapishina). This generation of poets entered literature during a period of active development of new information and communication technologies. The digital turn has led to a rapid increase in texts published on the Internet, as well as to the ability of young authors to rely on a wider range of literary texts than previous generations, which manifested itself in the polystylistic and polyparadigmatic nature of poetic language. The category of subjectivity in the poetry of young authors manifests itself variably. This can be desubjectivization, that is, various forms of indirect utterance, masking and polyphony of the lyrical “I”. Often the subject in the poetry of young authors is transgressive, a translator of the painful experience of interacting with the world, the experience of overcoming trauma. Important for understanding the subjective structure of the work of young poets is the term “transsubjectivity”, associated with the phenomenon of the “new epic” in modern Russian literature. For young South Ural authors, it becomes important to broadcast stories of “other” voices, stories not about themselves, but about other people, reflection of other people’s feelings, other people’s experience. Transsubjectivity is often a way of self-identification in modern poetry, an attempt to consider individual experience through the prism of someone else, a look at oneself from the outside.

«Os Surrealistas», no centenário de Mário Cesariny e de Mário-Henrique Leiria

This article seeks to examine the roots of the organized surrealism in Portugal, in the second half of the 1940s, starting with the dialogue between two young poets, Mário Cesariny and Alexandre O’Neill, who were instrumental in the formation of the Surrealist Group of Lisbon (1947-1950). An attempt is made to understand the tensions that erupted within this group, leading to the resignation and departure of Mário Cesariny and António Domingues in the summer of 1948 and the subsequent formation of the group «The Surrealists» (1949-1952). This group emerged from encounters with a new set of personalities, including notable figures such as Cruzeiro Seixas, António Maria Lisboa, and Mário-Henrique Leiria, providing a renewed consistency to surrealist intervention in Portugal.

Laiškai iš praeities: Justino Marcinkevičiaus laiškai mokytojai Genovaitei Andrašiūnienei

Nowadays, the long-standing communication by letters has changed a lot. A couple of decades ago, writing letters to another city, country or simply to someone who lives further away was a completely normal activity. Today, paper letters are usually only documents or postcards. Thus, it is interesting and meaningful to study letters as a disappearing form of communication. Researching letters is interesting for representatives of various branches of science. Investigating ego documents, especially letters, gives us an opportunity to find out more about the past communication, sender and receiver of the letter and the general discourse of the researched period. Reading letters, especially letters written by famous public figures, is interesting not only for the scientists, but also for the regular readers. Furthermore, it justifies the taboo set by social norms – prohibited reading of stranger’s letters.
 The subject of this article are the letters of the Lithuanian poet Justinas Marcinkevičius to his teacher Andrašiūnienė, written in 1949–1961, after leaving Prienai to study at Vilnius University. Andrašiūnienė was a famous intelligent of Prienai district, a teacher of the Lithuanian language, who financially and morally supported her talented students, including famous poet Marcinkevičius and linguist Jonas Kazlauskas. The leads of the existence of these letters circulated among the people of Prienai for many years, until a few years ago they accidentally came into poet’s family hands (Marcinkevičius himself did not know about the existence of these letters). There are 44 letters of Marcinkevičius to teacher Andrašiūnienė, which were written while he was studying at Vilnius University. 43 letters are perfectly preserved, but one is no longer legible, because a third of the text is damaged.
 The research of the letters reveals a close relationship between young poet Marcinkevičius and his teacher: a son-mother relationship. Marcinkevičius’ choice to call the teacher mother, mommy, confirms the fact that he is missing for mother’s care and attention (he lost his real mother in his early adolescence). Andrašiūnienė was not only a financial supporter, guardian, but also the first critic of the young poet’s writing. This critique significantly formed poets’ personality.
 The young poet’s letters reveal his talent for writing: the texts are fluent and literary. Also, there are a lot of stories about his achievements and creative downfalls. Marcinkevičius is carefully writing about his negative position towards the ideology of the time. It is interesting to read letters where Marcinkevičius is arguing and getting angry with his teacher. These letters reveal the rebellious side of the poet, which is completely unexpected. The opportunity to look at Marcinkevičius’ youth by reading his letters deepens the knowledge of the change of the poet’s work and the formation of his personality.

Autobiographical tendencies in Boris Ryzhy’s works. The Rotterdam Diary [Rotterdamskiy dnevnik

The article analyzes the autobiographical features of The Rotterdam Diary [Rotterdamskiy dnevnik], the only prose work by the late poet B. Ryzhy, a native of Yekaterinburg. The Diary was written soon after his trip to the Poetry International Festival in the Netherlands in 2000 and can be viewed as the young poet’s confessions that shed light on the logic of his life and work. The book remained unfinished at the time of Ryzhy’s death — his widow and father came up with the title and initiated a posthumous publication in the Znamya journal. The book’s unique quality lies in its tentative genre attribution as well as significant fragmentation of the narrative. Using narratological methods, the article demonstrates the narrator’s use of a nonlinear narrative to put together his own image — that of a loner, a ‘loser,’ and, at the same time, ‘an ordinary Russian poet.’ Interestingly, this image is partially reflected in the poet’s contemporaries also portrayed in the Diary and helps to form an opinion about the lyrical hero from the viewpoint of his typological traits.

Young Poets and Black Spaces: Vanessa Howard’s Poetics of Nature

This article explores the poetics of nature in the work of Vanessa Howard, a young poet involved with The Voice of the Children workshop, a group of Black and Latinx teenaged writers in Brooklyn, New York, who worked with poet June Jordan and educator Terri Bush from 1967 to 1971. A significant poet whose work has not received sufficient scholarly attention, Howard uses nuanced strategies to craft a poetics of nature that acknowledges injustice and remakes possibilities for envisioning and depicting Black spaces. Across a range of poems, Howard figures internal capacities of perception and imagination, and visions of natural and urban landscapes that counter external environments constrained by racial and economic injustice. The fact that Howard created her innovative poetics of nature as a young person demonstrates the importance of recovering and including young poets in considerations of African American poetry and poetics.

КЫТАЙДАГЫ КЫРГЫЗ АЯЛДАР ПОЭЗИЯСЫ: ӨНҮГҮҮ ТАРЫХЫ, ИДЕЯЛЫК-КӨРКӨМДҮК ӨЗГӨЧӨЛҮКТӨРҮ

This article discusses the history of the development of women's poetry in the literature of the Kyrgyz people living in China, who also wrote at that time, focused on the ideological, artistic and thematic features of the poems created by our daughters. They came to Kyrgyz literature in the 80s, and from year to year they are joined by young poets led by the famous poet Gulaiy Matili, the article also aims to reveal in chronological order their contribution to the development of the poetic genre by reviewing their work. Of course, we were able to give an example of only a few lines of verse. At the same time, it is said that one of the eternal themes in the poetry of women poets is love, life, the love of women for men, but there are moments of disappointment when they cannot express it openly with the help of poetic lines.