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In this paper, an attempt was made to elaborate on the aesthetical and epistemological aspects of Vladimir Martinovski’s poetry from the point of view of the symbolism of "water" and the aesthetic category of "sublime". The main goal of this approach is to show how the terms "water" and "sublime" are manifested in Martinovski’s poetic works, with particular reference to his haiku poems in which a specific east-west view of the relation between man and nature is manifested. On the other hand, to experience a certain enlightening unity with the world, and to apply this experience in a form of successful haiku, is nothing but an expression of momentary enlightenment; an epiphany with which we perceive our own lives and the life in general. These Zen values embodied in the haiku poems of Vladimir Martinovski, as a kind of an admirable satori, can be traced in his subsequent books, which, even when they are not genre-bound to the East, carry within themselves the simplicity and unexpectedness of the eastern world view bound to beauty and sublime, very close to the author’s insights.
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The paper "The Status of Slam Poetry and Slam Poets in Macedonia" summarizes the history of the slam cultural scene in Macedonia – its beginning, progress and expansion. It provides an insight of the slam’s dynamics as a cultural scene, its characteristics as both literary and performing art, as well as the insight of the rules and regulations of the slam contests, both worldwide and nationally. The paper emphasizes the discussion of the status slam enjoys in Macedonia. It concludes that the official literary criticism has not directed its attention towards slam yet and invites it to do so.
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The paper focused on Gheorghe Apetroae’s poetry expands upon the consideration that the poetic space created by the poet can be related to Bachelard’s complete metaphysics of the conscience and the unconscious. His contributions have been analyzed as representations of an integrative vision where the lucid constructions and the unconscious ones doubled by the subtlety of his imagination suggest the oscillations and the constant metamorphosis of the poet who is animated by the will to speak about the complex spiritual history of mankind.
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In the annuals of the Pedagogic-Theological Institute in Sibiu for the years 1899 and 1900, professor Daniil Popovici Barcianu published several previously unknown rhymed productions, which he identified as juvenilia of the Sibiu-based lawyer and writer Vasile Aaron (1780-1821). These writings had been found among the manuscripts left behind by professor Barcianu’s father, Sava Popovici Barcianu, scholar, priest in Răşinari and counsellor of the Orthodox Consistorium in Sibiu. The copy pertaining to the clergyman in Răşinari included eight pieces of text, six of which were mythological writings, adaptations after Ovid’s Metamorphoses. Barcianu only published five of these legends, and even the published ones remained available to a very limited readership. Aaron’s arrangements after Ovid prove once more the attachment shown by the scholars of that time for the „ancestral” Latin literature and are also a perfect example of the Enlightenment concept that states the intellectuals’ plight to work towards the moral edification of the common people. Standing evidence for this are the teachings accompanying each of the legends, where the author feels compelled to give his readership advice and guidance for life.
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Mimi Khalvati, born in Teheran, trained in Switzerland and London, where she also settled, is a living cultural proof that the Legend of Manole the Craftsman is circumscribed not only to the Romanian cultural background but also to a multicultural one. The similitude that exists between Mimi Khalvati’s poetry and the Legend of Manole the Craftsman derives from the idea of walling in the living heart and the soul in order to build up the genuine literature based on self-sacrifice, empathy and the transcending of the real by aspiring at the ideal. For our paper to acquire a critical support, Kelly's personal construct theory, Bachelard's poetics and sound symbolism have also closely been turned to good account.
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The present study addresses several delicate and disturbing issues of the editing and publishing of Shakespeare’s drama, based on the reconstruction of the plays from prompt books, as well as reliable or not quarto editions. While closer than ever to the desirability of a truly, most needed, critical edition, the versions of Shakespeare’s complete works differ significantly in also including or not several plays previously considered to have been apocryphal.
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