Gyöngyösi Mária: Стих – цикл – поэтика. Блок, Рильке, Пастернак
The review of: “Verse - cycle - poetics. Block, Rilke, Pasternak” by Mária Gyöngyösi; Frankfurt am Main: Peter Lang, 2016. 242 S.
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The review of: “Verse - cycle - poetics. Block, Rilke, Pasternak” by Mária Gyöngyösi; Frankfurt am Main: Peter Lang, 2016. 242 S.
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This paper is based on three major premises derived from philosophy of history, historical poetics, and theory of intertextuality, which are seen as interconnected. Taras Bulba and Khadzhi Murat inherit different forms of epic writing from archaic ones (e.g. epic poems) to heroic ones (e.g. sagas, bylinas, chivalric romance, etc.). Some variations and distant derivatives of these multiple forms (e.g. tales about bogatyrs, Orlando Furioso by Ariosto, Alonso Quijano by Cervantes, ballad, historical novella, etc.) are related to some extent to the given texts by Gogol and L. Tolstoy.
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This paper deals with the transformations of Šalamun’s oeuvre in relation to the developments of philosophical platforms which he had been exposed to in the course of his creative life. They range from the first and second Wittgenstein, over French post-structuralism to object-oriented ontology and speculative realism. This exposure of course does not imply direct copying and reflections of the theory and philosophy on the one hand, and poetry on the other, but wishes to emphasize the comparative actions of all levels of the epistemological, linguistic, logical and political games that affect textual practices and their interchange. The transformation of Šalamun’s text is based on his outset from the reistic platform, and then directly registers the transformations of the folds and fractures within and between the epistemological platforms of which he was the contemporary, and with which he consequently interacted. In the second part of the paper, I bring forward propositions which may clarify the methods of construction and contemplation of Šalamun’s poetry, a glossary for a better understanding of his linguistic strategy and object-oriented ontology, as well as a possibility for the application of this ontology in politics and ethics. This rounds out his oeuvre in the direction of understanding the upshot of his style through his latest books, conclusively with his posthumously published book Andes (2016).
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Az Argónauták történetének elbeszélését követően, mely a legterjedelmesebb mítosz Pindaros epinikion-költészetében, a költő visszatér a jelenhez és Arkesilaoshoz, Kyréné urához és a költemény címzettjéhez fordul azzal a tanáccsal, hogy érdemes lesz megfontolnia Oidipus bölcsességét...
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Satire 3 is one of the most acclaimed and most peculiar poems of Juvenal. Beside a short introduction, the satire consists of the 300-line-long monologue of the interlocutor named Umbricius, who explains why he leaves Rome for Cumae. Compared with other Juvenalian interlocutors, Umbricius is a much more complex figure: his different characteristics can be traced back to different sources and inspirations, which is also true of the whole satire, in which the effects of the epic tradition, the bucolic poetry and Martial are equally significant.
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Viśākhadatta’s Mudrārākṣasa is somewhat unique among Sanskrit dramas in that its plot is concerned with political intrigue. Though the occurrence of certain stanzas of the Mudrārākṣasa in other (non-fiction) works has been noted even by early editors of the play, no attempt has yet been made to fully explore the textual interconnections of the play. The present paper attempts to sketch a map of the appearance of Mudrārākṣasa stanzas in anthologies of Sanskrit poetry. Such anthologies containing hundreds of well-phrased (subhāṣita) stanzas – collected from classical literature, but detached from their context and usually arranged in thematic chapters – made their appearance on the literary stage at the end of the 11th century and remain popular to the present day. Out of the total 175 stanzas of poetry in the Mudrārākṣasa, 18 occur in one or more major subhāṣita anthologies and other literary works. While 12 of these are probably indeed Viśākhadatta’s own compositions according to the testimony of the anthologies, the authorship of the remaining 6 is somewhat dubious, since they are attributed in one or more anthologies to a different source, and/or are found in texts that may be earlier than the Mudrārākṣasa. The paper argues that stanzas of poetry, mostly of a gnomic/didactic nature, could freely migrate not only from works of fiction into anthologies but also in the opposite direction. Widespread quotes that sounded relevant to a specific situation may well have been inserted into the text of dramas (and other opuses) both by the playwrights themselves and by subsequent copyists or redactors of their texts.
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In this essay I intend to textually and thematically study some of the verses found in the introductory canto of Kālidāsa’s epic poem, the Kumārasaṃbhava, perhaps one of the most famous and quoted works in Sanskrit poetics and yet one of the most contentious and least studied. First, I will be unpacking the main themes and images operating in the descriptions of Himālaya, which is considered according to commentators as the vastunirdeśa of the text, or ‘indication of the plot’ – and thus, ‘what is about to happen in the story’. I argue that these comprise an undermining statement about the poem’s ostensible aim – the so-called ‘love story’ of Śiva and Pārvatī – thus covertly presenting an alternate point of view, rather poignant, about the relationship between the hero and heroine. Next, I discuss the descriptions of Pārvatī and examine their aesthetical value, their fantasy-like mood, their relationship with Himālaya’s description and the way they reveal the existence of another important, generally neglected, integral factor at work within the text, which is the presence of the recipient of poetry outside the text, the rasika, the connoisseur of poetry. I have one major hypothesis about this compelling frame of the poem, which stands as if independent from the rest of the text. I believe that what seem to be the poet’s core statement about the nature of love and its consequences in his poem is encoded within its two descriptive patterns.
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Psychoanalysis as a literary theory has helped to improve understanding about “human behaviour and human mental functioning.” This is achieved through its perception of the human race as neurotic. However, with its application in poetic interpretation, poetry is perceived as an expression of displaced neurotic conflict: a consoling illusion, symptom, socially acceptable phantasy or substitute gratification. With the psychoanalytic reading of the poetry of Tanure Ojaide, an Anglophone African poet, poetry is understood as an expression of symptoms of the poet’s personal and societal neurotic tendencies. Since our emphasis is on Jungian psychoanalysis, analyzing Ojaide’s poetry through the orbits of the archetypes of Jungian psychoanalysis help to foreground the poetry as a consoling illusion or substitute gratification. Whereas the study reveals that Ojaide’s poetry is dominated by the archetype of the “wounded healer” - a symbol of a wounded personality who also doubles as the needed messiah (the healer), it is depicted that the dominant nature of the archetype of the “wounded healer” is a result of the poet’s experience which is at the centre of his poetic expression.
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Lajos Vargyas (1914–2007) studied music and poetry, folk music and folk poetry parallel in their dual entities. As a result of his complex way of looking at things, his major works (the monograph of the village Áj, the genre study of the ballad, and the comprehensive book on Hungarian folk music) all stand for this, in spite of their varying aspects coming from their different topics. Here his third monumental synthesising book is examined as far as the interrelationship of melody and text from multiple points of view is manifest in it, with its various consequences. The method of introducing the different aspects in regard to the correlations is first focusing on some select subdivisions of the entry “melody and text” in the subject index, then following the way of one certain tune along the book.
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This critical edition of correspondence between Josef Kainar (1917–1971) and the Melantrich publishing house in Prague (which existed from 1897 to 1998) presents a small set of 39 archive items, which, except for one, were published before. This correspondence between the young poet and the renowned Czech publishing house was carried on from 1941 to 1946, and reveals efforts to publish his collections of verse entitled Dvůr (Courtyard) and Osudy (Fates) in the well-established Poezie series. These eorts, made during the Occupation and Second World War (1939–45) and in the hectic years immediately afterwards, were unsuccessful. The set is supplemented with a letter from Josef Träger (1904–1971), a former manager of Melantrich, to Josef Kainar from 1958, and the edition includes two of Kainar’s unpublished poems, ‘Masopust’ (Carnival) and ‘Salome’.
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The hero of new style “hospital ballads” is either the patient or a well-known, highly esteemed eye specialist or head surgeon of a regional hospital. In the ballads, he is usually a real historical person mentioned by name. On the basis of these data, it can be claimed that the ballads were composed in the 20s or 30s of the twentieth century. A fragmentary text, lacking real tragedy of ballads and interwoven with lyric elements, was collected in 1961 in Orosháza (Békés County, South-East Hungary). Some variants of the “hospital ballad” collected earlier and several other variants found later as well as similar pieces show that it must have been a well-known, popular folk poetry genre, at least in the eastern part of the Hungarian language area.
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Reminiscences on Matti Kuusi (1914–1998), Finnish folklorist and cultural personality, innovator of Finno–Ugric and comparative paremiology, as well as of Finnish folk epic poetry.
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F. J. Child argued that it is “mainy through women everywhere” that the ballads are preserved and yet to him, as to Percy, Herder, Motherwell or Grundtvig before, women are only the mediators of an older male form of literature (heroic ballads, minstrel song, etc). The essential maternal feminity of orality is part of the German Romantic myth of origin. The ‘Volk’/people had to be (kept) anonymous in order to produce ‘VOLKSballaden’/popular ballads. What has come down to us in writing are very often ballads sung by women, recorded by men and presented as the ‘manly’, powerful, genuine ballads of the people. By arguing for women everywhere being the chief preservers of traditional ballad poetry, F. J. Child paved the way for seeking out these women locally.
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The Lithuanian “baladés” should be held to be narrative lyrics. Because of a strong lyrical trend in Lithuanian folk poetry, very often they seem to be cases between folksongs and folkballads. An attempt to explain the untragic nature of part of Lithuanian ballad-sujets is done in the article. The cause could be not only the lyrical mood of folk singers or the lack of epic as well as dramatic traditions in Lithuanian singing folklore, but on the great part the answer may be found in the medium those foreign sujets got in. In the oldest strata of Lithuanian ballads the role of mythology is of great importance, the archaic conception of death and love. It is the avoidance of rude cruelty in Lithuanian ballads that causes the absence of certain parts; the structure of sujet becomes obscure, and the inner logic of sujet is ruled out. Dramatical manner of performance is present only sometimes, but not always in Lithuanian ballads. The expression of the individual; traditional occasions to perform ballads; some poetical artificies of Lithuanian ballads; suppositional meaning of some ballads motifs; the classification of Lithuanian ballads as well as their origin is also reviewed shortly in the article.
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Der Brauch, daß Kinder ein kleines Buch führen, in dem sie Zeichnungen und kurze Texte von Verwandten, Freunden und Bekannten sammeln, erfreut sich auch gegenwärtig großer Beliebtheit. Im Gegensatz zu anderen kurzlebigen Modeerscheinungen lebt diese Gepflogenheit bei Kindern in einem bestimmten Alter jedes Jahr wie eine Grippenepidemie wieder auf. Außenseiter dürften wenig Verständnis dafür haben, daß Wissenschaftler ein solches kindliches Phänomen ernst nehmen. Das Poesiealbum hat aber respektable Vorfahren, ist es doch aus dem „liber amicorum“ oder Stammbuch entstanden; weiter bieten vor allem die Alben der vorigen Generationen als „document humain“ oft interessante Einblicke in persönliche Erlebnisse (das Poesiealbum ist auch eine Art Ego-Dokument); und schließlich ist es eine wertvolle Quelle der Lebenskultur heutiger Kinder und Jugendlicher.
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W poezji Andrzeja Zawady, autora dwóch tomików wierszy Dziecię nomadów. Wiersze i uwagi (Kłodzko 1998) i Murzynek (Wrocław 2001), motyw Wielunia przewija się wyraźnie. Poeta nie może uwolnić się od wspomnień związanych z miastem dzieciństwa. W obu tych książkach lirycznych znajdują się teksty odwołujące się do wieluńskich początków poety. Są to: Odwiedziny, Krótka podróż w zaświat, Murzynek oraz poemat Zwiedzajcie miasto. Utwór pod tytułem Chwila z Dziecięcia nomadów w drugim tomiku przyjmie nazwę Czereśnie, zaś Piosenka o utracie połowy duszy zmieni się w Piosnkę o utracie połowy duszy. W zbiorku Murzynek do tekstów „wieluńskich” dołącza Taniec z duchami.
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Ziemia wieluńska nie jest krainą poetów, tak jak na przykład Wileńszczyzna czy Mazowsze. Jednak kilku współczesnych poetów tutaj właśnie się urodziło. Poza omawianym w poprzednim numerze „Rocznika Wieluńskiego” Andrzejem Zawadą należy wymienić Zbigniewa Adamskiego, Marię Ewę Aulich, Henryka Pustkowskiego i Henryka Wolniaka. Oprócz Adamskiego, któremu zamierzam poświęcić osobny szkic, wszyscy oni opuścili powiat wieluński, stając się – jak to trafnie określił Zawada – „dziećmi nomadów”. Henryk Wolniak osiedlił się we Wrocławiu, Henryk Pustkowski pozostał po studiach w Łodzi, a Maria Ewa Aulich – w Warszawie. Warto też dodać, że ziemia wieluńska wydała kilkunastu twórców, których wiersze określane są mianem poezji ludowej. Mam tu na myśli między innymi Genowefę Niewczas, Helenę Drosińską, Walentego Jareckiego i Marię Marchewkową. Ich utwory opublikowano w zbiorze Mój wymarzony świat.
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W poezji Andrzeja Zawady, autora dwóch tomików wierszy Dziecię nomadów. Wiersze i uwagi (Kłodzko 1998) i Murzynek (Wrocław 2001), motyw Wielunia przewija się wyraźnie. Poeta nie może uwolnić się od wspomnień związanych z miastem dzieciństwa. W obu tych książkach lirycznych znajdują się teksty odwołujące się do wieluńskich początków poety. Są to: Odwiedziny, Krótka podróż w zaświat, Murzynek oraz poemat Zwiedzajcie miasto. Utwór pod tytułem Chwila z Dziecięcia nomadów w drugim tomiku przyjmie nazwę Czereśnie, zaś Piosenka o utracie połowy duszy zmieni się w Piosnkę o utracie połowy duszy. W zbiorku Murzynek do tekstów „wieluńskich” dołącza Taniec z duchami.
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