We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The fundamental basis of Romanticism is contradiction, opposition – it is an opposition between ideal and reality. All other contradictions represented in Romanticism are derived from it. Such contradictions are the opposition between the soul and body, usual and unusual, finite-restricted and infinite-absolute, etc. The substantial peculiarity of Romanticism – dramatic vision of separation ideal and reality, determines that romantic artistic perception of the world and style tends to be antithetic. Through all Baratashvili’s poetry runs a collision between the ideal and the actual, and contradictions originated from it – antitheses, contrasts, oppositions, which are manifested at different levels of artistic imagery, artistic form, in different elements of the artistic structure. The fullness of Baratashvili’s poetry is so significant and essential with contrasts that the style of his poetic thinking can be called antithetical, polarized. The poem “Meditations by the River Mtkvari” can be regarded as the most obvious illustration of antithetical, polarized nature of Baratashvili’s poetry. Here it is absolutely transparent and more than once noted by criticism that the idea of the transience of life does not agree with the position expressed in the final part of the poem – a man, despite everything, cannot but take care of the earthly life. In addition to what has been said in criticism on this subject, one thing is to be mentioned, which in our view has essential meaning: the main antithesis of the work appears as antinomy, – an extreme kind of antithesis, i.e. such contradiction, real or apparent, between two beliefs or conclusions, both of which seem equally reasonable, convincing, intellectually of the same value. The advantage of any of them cannot be understood within this system; this should be found in another dimension. Such “other dimension” in this case is “Merani” in which the care of the earthly life appears as a sacrifice to overcome the world’s vanity and establish freedom in this world… Besides the main antithesis, there are other important antitheses in the “Meditations”. The essential human feature –feelings of discontent, inner unrest despite the fulfillment of all desires is antithetical, contradictory. In a sharply contrasting way is pictured the existence and nature of king-conquerors because they are the most powerful among the people, so they have everything they want and it would seem this should curb their desires but still try to take more and more; their contradiction is between the tense vigor and devaluation of their acquisition. “Even sovereigns great whose wealth and power are the wonder of the day/Feel greed and envy stir their breasts for realms that others sway. /They crave and strive for more and more, and their impassioned lust/Is for that earth wherein they’re doomed to mingle with its dust.” The polar contradictory is an aspiration of noble kings to keep their name alive by caring for the welfare of their own land and people, and the outcome of this aspiration is that this name will disappear forever when the world dies. These antitheses give rise to a larger antithesis – two types of kings, complete antipodes (essentially good and evil) of each other. The only thing they have in common is that both of them will be ultimately absorbed into non-existence. The basic principle of Baratashvili’s artistic thinking – polarization and antithetism is also clearly expressed in the poem “Rad kvedri kacsa” (Why do you reproach man.). It is completely and transparently built on antithesis. Generally, the abundance of antitheses in Baratashvili’s poetry is organically connected with his intellectualism, analytical nature – antitheses for the poet represent the instruments for intellectual poetic contemplation and cognition of the world. This particularly applies to a number of works, including the poem “Rad kvedri kacsa”, which is totally based on the intellectual contemplation, emotionally-figurative judgment, and in which the opposite phenomenon – the flesh and the spiritual beauty, and therefore, the double love is clearly divided from each other and is explained through poetic formulas. “Beauty is the gift of mortals, and like a flower it quickly fades away” … The poet-romanticist highlights the divine nature of the beauty. If the poem “Rad kvedri kacsa” there are opposed two kinds of beauty and love, in the poem “The Orphaned Soul” two kinds of “orphanage” are opposed to each other. These two kinds of “orphanage” are clearly different from each other, on the one hand, there is usual and familiar, not too difficult to move on phenomenon, and, on the other hand, the hidden, tragic, and extraordinary phenomenon. “Let no one speak of the woes of the orphan/ Let no one complain of his lack of kin. /Pitiful only are the orphaned in soul. / It is hard to find the peer he has lost./The heart that loses friends or relatives,/ Will just as quickly find a replacement,/ But the soul, once orphaned ,/Accursed, eternally endures disconsolate!” Antithesis serves to romanticize the figure of a lonely man, isolate him from the mass of people, trivial way of life, the monotone background of standard human lot. The “orphaned soul” is a chosen soul, especially sensual, sensitive nature. This is a clear and specific expression of the romantic cult of spiritual aristocracy. This cult finds even more impressive expression in the poem “Merani”. There is a well-expressed antithesis of liberation and fate which is personified in polarized symbols – on the one hand, Merani and, on the other hand, the ominous “black raven”. The confrontation between these forces and their expressing is absolute. But the alternative of two kinds of deaths is of even more conceptual importance. “In foreign lands thou lay me low, not where my father’s sleep; / Nor shed thou tears nor grieve, my love, nor over my body weep; /Ravens grim will dig my grave and whirlwinds wind a shroud /There, on desert plains where winds will howl in wailings loud. / Nolover’s tears but dew divine will moist my bed of gloom;/ No dirge but vultures’ shrieks will sound above my lowly tomb.” The death in the homeland, the right to be buried in ancestral crypt, the mourning by relatives is contrasting with the death in a strange, uninhabited and desperate environment, between hostile and aggressive natural disasters. Death in such an environment is romantically maximized, absolute death; this is a triumph of death. Somewhat delayed, mitigated by customary traditional practices death is replaced by unusually brutal death, which, unlike the usual one, predicts complete disappearance of a man from the world – no one is a witness, sympathizer or appreciator of his heroic death. As a result of death in a foreign land and in solitude, there remains no trace of a man in this world. However, in the poem there is one more antithesis of crucial importance – the triumph of death, man’s total annihilation is confronted and dispelled by joining the lyrical hero with the infinity, the attainment of immortality through sacrifice, which opens up an infinite perspective of future freedom and in the future, establishes freedom not destructed by fate, death. By the obtained communion with such future, the hero of the “Merani” becomes essentially fearless to death, transience: he will be an integral part in the permanent process of human world – in the struggle for freedom and thus, he elevates over the transience, death, which previously seemed to celebrate a triumphant victory. As is seen, in Baratashvili’s poetry the central phenomena of human existence are viewed and displayed in the opposition or antithesis – there are two kinds of beauty, love, “orphanage”, power (kingship), death. By using antithesis Baratashvili separates from each other the usual and unusual, lowered and elevated, universal and mass, and accessible only to spiritual aristocracy. The antitheses single out and set Baratashvili’s values in a hierarchical order and all that is not of value to him, things and phenomena perceived by Baratashvili are sorted out with a solid system of values. In Baratashvili’s poetry more interesting examples of antithesis can be found, and substantial part of them is thoroughly regarded in this paper.
More...
The article is an attempt, based on comparative approach, to identify the typological and genetic proximity of the poetry and worldview between the Georgian Romantic Poet Nikoloz Baratashvili (1817-1845) along with the perspectives and poetical paradigms of German romanticism. The following similarities in the point of view as well as poetical cognition has been determined after a thorough analysis: 1. Division of the existence as visible and invisible worlds, thus as empirical (emotional) and transcendental (receptive, supernatural) worlds; 2. The a prior synthesis of these two worlds, or their radical confrontation and the apparent impossibility of synthesis, which is apparent in both German Romanticism and Baratashvili’s lyrics (this tragic situation is coined by Hegel as “tragic consciousness”); 3. Encouragement of individual subject/subjectivity and outlining its universal andunique nature; 4. Understanding persistence (Sehnsucht) as the principle of existence, which is apermanent condition” “the unconquerable feeling of persistence” (“das Gefühl einer unbefridigten Sehnsucht”) (Friedrich Schleiermacher); 5. Understanding human as a consciously persistent being;6. Understanding human as a transcendental being, striving to achieve the metaemotional, invisible reality; 7. The principle of religion: religion as a means of restoring the lost transcendence and a prior seen as a process re-connection. Within the frameworks of these ontological and anthropological positions the following features can be seen in the Romantic Heroes created by Baratashvili, which can be generalized and adjusted to German Romantic Heroes as well: 1. The full readiness for reflection, self-perception, self-understanding as well asthe irrational forces of spiritual cognition: the will of imagination (Einbildungskraft), feeling/passion (Gefühl), observation (Anschauen); Thus, in the lyrics accent is made on such spiritual organs which are vital for spiritual/mystical perception, upon which “Magical Idealism”, “Romanticisation” is based and further developed – Heart/Soul/Mind (Herz/ Seele/Gemüt), 2. “Romantic” Protagonist is always capable of “Romanticisation”, thus has the cognitive “method” of “Romantic Irony” 3. Readiness for transcendence, and aspiration (Sehnsucht);4. Longing for nature (The Formula by Novalis Me = No-Me/ Ich = Nicht-Ich), because a “Romantic” hero a prior sees Nature as an expression of Paradise in this word, and a pre-requisit or methodological space , where Romanticism should emerge, 5. The primacy of individual subjectivity, meaning considering the experiencegained though one’s personality and personal cognition superior to objective reality (Fichtean approach), which simultaneously (the primacy of subjectivity) indicates the universal-cosmic feeling in one’s own essence; the aim of this is to establish in one’s self “absolute me”, 6. Fullness with “tragic consciousness” (“das tragische Bewusstsein”) 7. Heroic Pessimism (Comparison “Hymns to the Night” by Novalis and “Merani”by Baratashvili); 8. Pathos of Distance – a prior rivalry and differentiation from the Philistine-Civilexistence, the Philistine-Civil society and their conscious. The belief that the Poetry by Nikoloz Baratashvili is spontaneously created (by the inspiration of a Muse, etc.) and the verses are mechanically arranged without any special concept can be regarded wrong, as the poetry is based on a fully understandable viewpoint and a united structural concept, due to which it establishes as a unifed poetical textwhere each verse can be regarded as a “chapter”. There are several reasons on which thishypothesis is based. Like the structure of the musical symphony, not only the masterpiece “Merani” is based on a counterpoint principle, which was highlighted by M. Gogiberidze (Essay “The Aesthetic-Entiphaitic Analysis of Merani by Nikoloz Baratashvili”), but the whole poetry by Batarashvili is created on a counterpoint principle creating a plot structure uniting the different verses and incorporating them in one whole text, namely in Baratashvili’s verses the opposites are always apparent, the increasing and decreasing perspectives anddiscourses – the tragic melancholy and the Dionysian transcendentalism, the feeling of vanity and deep philosophical belief. They are in constant movement and the alteration of the opposing forces creates a deeper, more tragic, developed and triumphant line. The duel or dialogue of opposing discourses are culminated in “Merani”, where the dualism is being overcome, and the plot node opened. Program like verses appear in the romantic lyric by Nikoloz Baratashvili such as “Napoleon” and “I bless my birthday”. Existence of such verses points out that each poetical example is united under one conceptual idea and thus one huge text is being established. This means, that each verse by Baratashvili is a part of the developing plot of thewhole text, which separately can be regarded as “chapters” of the one united text. The verses by Baratashvili are structurally integrated and created as one whole lyrical text due to the lyrical hero, always appearing in various poems and always sharing one and the same point of view as well as temperament. The lyrical hero in every verse by one and the same intensity shows his rebellious perspective and ethic positions. The emotional attitudes are repetitive as well: on the one hand tragic and melancholic and on the other hand transcendental.In the verses by Nikoloz Baratashvili the usage of one and the same repetitive lexical units somewhat establishes the poetical “terminology” of the poet (“dew”, “shining”, “spatial”, heavenly”, “sky”, “light”, “soul”, “feeling”, “heart”, etc.), which is also outlined by Revaz Siradze in an essay called “The Literary and Aesthetic belief of Nikoloz Baratashvili”. This also enables each of the lyric text to be structurally united and incorporated in one integrated text.
More...
There are many cases in literature history when not the creative means of perception and expression, but certain linguistic formats have become features of a creative method. Zaum must be considered as one of such precedents, which has become subject to differing (I would even say, contradictory) assessment by literature scientists. Zaum is a clear demonstration of the search for expression forms by a creator; of the extraordinary and individualism; therefore, it is natural that its signs and impulses are quite often found in different literary texts. Zaum was cultivated in the depths of Russian futurism. Zaum – “the new rule of uniting words” became the basis for certain revolutionary, avant-gardism and leftwing aesthetics in literature. It questioned the existing “rules of expressing ideas through words” and to certain extent destroyed the meanings of words; although, typically Russian “zaumniks” (futurists) recognized that their inspiration for such searches was also founding the previous period and genre texts, such as, folklore, oriental literature and finally the symbolist texts – it can be said that Zaum formation started right from that period, not only as culturological method, but also as linguistic trend. Zaum texts became the profile tool of expression characterizing futurist literature.Firstly, right in Russian poetry, Russian futurists of the first generation accepted Zaum worldview as the main method for their creative views. Thus, Zaum, as worldview or method was not so widely used in Italian futuristic texts, as in Russian ones. Russian futurists did not only use, but also deepened and further developed the ideas of search for words, denial of the classical, fetishism of own novelties, characterizing Italian futurism.As result, at the next stage of development of European avant-gardism, Zaum form of expression became a feature of Dadaist literature. Tbilisi Zaum is part of the given history too;It is a well-known fact in the history of Russian literature that Russian futurism continued in Georgia. After 26 May 1918 Tbilisi changed, Georgia separated from Bolshevik Russia and declared state independence, which meant not only the existence of the administrative center, it would become the center of culture. Russian writers and artists that had escaped from the Red Revolution appeared in Tbilisi. The abovementioned political factorhas conditioned the establishment of a “Method Writing” form – a literatural leftism for Georgian creative reality.From 1918, famous futurists arrived in Tbilisi: Aleksei Kruchenkh, Igor Terentyev, Vasil Kamensky, Sergei Sudikin and Zigmund Walishevsky, From this time Ilia and Kirill Zdanevichs returned to Tbilisi with futuristic creative experience, The Georgian society was quite prepared for this fact, even though the futuristicmovement in Georgian writings did not exist at that time, its principles and history waswell known. From now on, Tbilisi became one of the most important hubs of the avant-gardemovement. It became not only a physical but spiritual shelter for the artists, who fled fromRussia to escape the destruction, political cataclysms and hunger. The intellectuals thatescaped from Russia were heartily greeted by Georgian modernist writers. Thus, it can be said that in the Georgian space the Russian Futurism has acquired an important nature. He freed from the cult of the force, aggression, ignorance of moral and ethical values: futurism in Tiflis was less radical and artistic and literary forms-oriented, in spite of lectures and other public statements, the public interest and the unusual nature,there was no confrontations. Presentation of Georgian Futurism began from the 20ies, the dates of its announcement were declared as a beginning of new census in the Georgian poetry by the representatives of the futurist group. At the moment of appearance of Zaum artefacts, Georgian futurism was comparedto earthquake – principles of linguistic experiments, constructivism, Dadaism and futurism were united under one name. Despite certain linkage of Georgian analogues with Russian metaphysical Zaum, Georgian Zaum contexts are still characterized with different, characteristic signs; denial of the “super-syntactic Zaum” and clearly intuitive and associative connection of phraseological and phonetic novelties presented in creative texts, with the topic and idea of the text itself. The history of Georgian avant-garde art coincided with the colonial regime of the Soviet Union. In this period, the futuristic texts created and books published were anextraordinary, maximalist or eccentric phenomenon. The phenomenon of this event is revealed in complexity of social, political, aesthetic and moral aspects synthesis that is not completely explained. However, the Georgian Futuristic School was not being safe from epochal social influences – the idea of revolution was also announced by the Georgian futurists as the challenge for their renewed views. Like other artists in front of the totalitarian regime, Georgian futurists also paid tribute, motivated by a good idea of revolutionism they became the victims of revolution, some of them physically and some of them personally creatively. Since the 30's, at the stage of great political repressions, their literary apogee was forgotten as a result of ideological pressure. Thus, futurism has not been the only historical or epigenous event in the Caucasus, its literary mentality and genetic origin have become more recognizable since its completion, as futuristic forms of rhythmic-musical perfection, artistic-formal systematization in literary narratives have appeared in further periods of writing and generally reflected in the literary life of the twentieth century and made a psychological breakthrough of the history of art.
More...
In this paper, the life of the famous poet Badawi al-Jabal who is considered one of important figure in political and literary area of Syria and his poem named as “Age Fifty” is put forward. This article is consisted of two chapters. In the first chapter, the life of the poet and his effects which he exposed in the political and literary area of his country are examined. In the second chapter, the translation of his poem named as “Age Fifty” which is translated to Turkish by me is given with its Arabic text in footnotes. Thereafter the poem is analyzed from the view point of its form and its content. The article is finished with a short assessment.
More...
Poetry written by Zerina Kulović ‒ Četiri pjesme: Razumi; Voda; Galatea; Neumrli
More...
Poems by Sonja Manojlović: Za sitniš i šutu; Najljepši su ljudi; Zidovi; Sanjarije o nedavanju, ulični program; Svijet malih poduzetnika; Žive munje, dijamantni rez; Govorenje i/ili pisanje; Na vršcima prstiju; Pa, i po vodi; Aerodrom, propinjalište bijelih konja; Violinist; Odasvud vidljiva; Slušam u vrsti; Što vidje u zraku, zaustavljeno.
More...
Poems by Miguel Barnet: Proturječje (Contradiccion); Geneza I. (Genesis I); Geneza II (Genesis II); Geneza III. ( Genesis III); Habanera I. (Habanera I); Pošiljka (Envio); Kubanska svita (Suite cubana); Olakšanje (Descarga); Bijeg (Fuga); Vjetar (El viento); Prigovor (Reclamo); Flower power; Sin radnika (Hijo de obrero); Šezdesete (Los sesenta); Sedamdesete (Los setenta); Tijelo (Cuerpo); Pješčani sat (Reloj de arena).
More...
Poetry by Sibila Petlevski: Slučajna plovidba; Nevidljiva; Hodam; Gutanje vatre; Dijete; Zajedno; Sidrište; Delta formacija; Crna magija; Zemljino svjetlo; Mrtva voda.
More...
Poems by Ivanka Blažević Kiš: Kad ti jutro uđe u oko; Kontekst - drugi obraz teksta; Nije jednostavno živjeti = voljeti; Negdje između; Razmak.; Počela; Mrtva priroda.
More...
In this work we analyze the symbolic representation of the dynamics of power in the complete poetry of Rosario Castellanos, one of the most important contemporary Mexican writers. It is studied how Rosario Castellanos links the effects of power networks with a dimension of metaphysical evil and deals with the liberating ritual process that the writer constructs in her life and in her work in order to approach self-affirmation.
More...