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Cette série de poèmes vient explorer l’intime, le lieu, le manque, le sentiment d’exil comme une obligation, une réalité de situation, sans nécessaire déplacement géographique ; l’autre comme pays ; ou l’autre – voire une partie de soi-même et le « nous » amoureux – comme part manquante ; comme sens arraché, perdu ou contraint d’évoluer en marge. Décercler selon l’expression poétique, casser les lignes, explorer la limite avant, au-delà ou sous la frontière de la mémoire et celle du corps. // This series of poems explore intimacy, space, loss, the emotion of exile as an obligation, a state of fact without dislocation per se; the other as a country or as a missing limb; as grasped, lost or constrained to evolve meaning. Breaking the lines, exploring the limits, beyond or under the frontier of the memory and of the body.
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La poésie est un acte de provocation : les mots sont sollicités à signifier ce qu’ils n’ont pas l’habitude de dire par eux-mêmes. Ils sont contraints à énoncer l’irréel et l’improbable, exercice qui engendre la scansion d’images et d’idées introuvables en dehors du périmètre poétique. // Poetry is an act of provocation: words are made to signify what they do not mean by themselves. They are constrained to speak the unreal and the improbable, an exercise in image scansion and ideas which cannot be found outside poetics.
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The study deals with the poet Bela Csorba. Comparing the two previous artistic reviews, he discusses the poet's ironic, satirical, sometimes grotesque critique of society and the epoch and his role in public life. His vision of the world is dystopian, but his poetic expression is at the same time humorous, playful, liberating, suggesting that the surviving tragedy of a minority destiny can be responded to by one aphorism, palinodyor humorous verse. From the richness and diversity of the poetic expressions used come language turns, humorous sayings, humor woven in to the language of poetry and an immediate and direct way of addressing the reader, which is a characteristic of his children's poetry and poems addressed to adults.
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Representative figures of the eightyʼs generation, Nichita Danilov and Mariana Codruț were placed by Radu G. Țeposu, in the study “The tragic & grotesque history of the dark new literary decade” (2006), in the category of gnomics, esoterics and mannerists. The choice of the critic can be seen as controversial, especially since in most theoretical studies Nichita Danilov is associated with Matei Vişniec, Ion Mureșan, or Lucian Vasiliu (to give just a few examples), and Mariana Codruț is associated with the prose writers, with the“Monday group”; in other words, closer in style to the poetry of Mircea Cărtărescu, Magda Cârneci, Alexandru Mușina, or Florin Iaru. Therefore, the present study aims to illustrate –by analyzing the debut volumes, Cartesian Fountains (1980), in the case of Nichita Danilov, and The Brier from the Wood Warehouse (1982), in the case of Mariana Codruț – what are the things that the two types of poetry have in common, so that both authors can be placed in the same category, and what differentiates them. As it can be seen from the analysis presented, there are several elements that bring the two poets together: theuse of theparable / allegory, the decadent tone in some places, the use of symbols, the confrontation of the individual with society. More important are, however, the differences: the tendency towards transcendence of Nichita Danilovʼs poems and the ethical commitment of Mariana Codruțʼs poems.
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The influence of Islam on Selim Jelovac’s poetry is manifested in both of his collections of poems Salavat and Selam Veležistana. On the time map, his poetics is within Islamic culture, native Herzegovina and Bosniak identity self-recognition. A spiritual journey of Jelovac as a poet can also be perceived in pursuit of happiness through internal wars perpetuated in recognizable ikre.
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Le poète joue sur la fugue inexorable du temps. Dans le vertige fou de son flux aveugle, il tente de filtrer ce qui sauve le sens d’une vie humaine : la beauté crue ou paradoxale, familière ou exotique. Il célèbre les petites illuminations des choses simples et des êtres qu’il rencontre : la chevelure d’une inconnue, la lumière d’un mimosa fleuri aperçu en hiver, l’éclat du citron jaune. Ces instants médités le ressuscitent provisoirement de la misère de son existence de mortel plus ou moins aveugle. The poet plays on the unstoppable flight of time. In the maelstrom of its blind flux, he tries to filter what may give meaning to human life: the sheer or paradoxical beauty, whether it is familiar or exotic. He celebrates the discreet glittering of simple objects and people he meets: the hair of a stranger, the light of a mimosa in the winter, the brightness of a lemon. These reasoned moments temporarily resuscitate him from the misery of his existence as a more or less blind mortal.
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Depuis des années j’écris quotidiennement un sonnet, parfois plusieurs, dont la matière est faite des événements du jour, une lecture, une chose vue, une chose bue… La manière doit en être régulière, sorte « d’exercice spirituel ». For years I have been writing a sonnet every day, sometimes several, the material of which is made of the events of the day, a reading, something seen, something drunk... The manner must be regular, a sort of “spiritual exercise”.
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Poetry written by Petar Matović ‒ Iz atlasa mučnog svijeta (Strujomeri i grafiti, Gruba peta, Linija sliva, Stremljenja, Lament, Čvorak, O državi, Praznik fimoze (Brit Milah), Latice, Kuglu težine pustio sam niz jezik i kičmu
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Poetry written by Andrija Radović ‒ 7 pjesama Andreja Arsenijeviča Tarkovskog koje on nije napisao -izvod iz Kalendara stradanja (Solarni ždralovi, Ptičije pero, Bogočovjek, Hrast, Sloboda ili brkovi, Zatvoreni sanduk, Jednog utorka u avgustu 1975.)
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