scholarly journals Chinese Text in a Poem by N. Gumilyov

2021 ◽  
Vol 26 (3) ◽  
pp. 529-536
Author(s):  
Alexander G. Kovalenko ◽  
Polina V. Porol
Keyword(s):  
Chinese Text ◽  
The Other ◽  
The Moon ◽  
Critical Research ◽  
Silver Age ◽  
Two Cultures ◽  
World Outlook ◽  
The World ◽  
Poetic Text ◽  
Semantic Aspect

The article considers N. Gumilevs poem The Moon at Sea from the cycle Porcelain Pavilion. New in the work is the interpretation of the poem, the identification and explanation of the Chinese realities of N. Gumilevs poetic text. Revealed the original texts, which became the basis for the creation of N. Gumilevs poem The Moon on the Sea, considered a version of the poem, preserved in the poets manuscript. The authors reasoning and conclusions are based on critical research, which compares two cultures. The analysis of N. Gumilevs poem is carried out in the semantic aspect using the search for textual parallels. Interpretation of N. Gumilevs poem The Moon on the Sea allows, on the other hand, to approach the world outlook of the Silver Age culture, explains the genesis of the image of China in N. Gumilevs poetry.

scholarly journals Receptive aesthetics of China’s image in poetry of K. Balmont

2019 ◽  
Vol 24 (1) ◽  
pp. 16-26
Author(s):  
Polina Vadimovna Porol
Keyword(s):  
Original Text ◽  
Silver Age ◽  
Two Cultures ◽  
Critical Studies ◽  
World Outlook ◽  
The World ◽  
The Creation ◽  
To Come ◽  
Semantic Aspect

The article describes receptive aesthetics of the image of China in the poetry of K. Balmont. New in the work is the hypothesis of coexistence in works of the poet of two principles - Logos and Tao. Texts have been found in Chinese, to which poet addresses. The original text have been identified, which became the basis for the creation of a poem by K. Balmont “Chinese sky”. The reasoning and conclusions of the author are based on critical studies comparing two cultures. Analysis of the poetic works of K. Balmont was carried out basing on the semantic aspect using the method of textual parallels. Study of the receptive aesthetics of the image of China in the poetry of K. Balmont allows us to come closer to the world outlook of the culture of the Silver Age from another side.

scholarly journals The image of a dragon in the poetry of N. Gumilev: Chinese subtext

2019 ◽  
Vol 24 (4) ◽  
pp. 691-703
Author(s):  
Polina V. Porol
Keyword(s):  
Critical Research ◽  
Silver Age ◽  
Two Cultures ◽  
Poetic Text ◽  
Hieroglyphic Writing ◽  
Relationship Of ◽  
The Relationship ◽  
Semantic Aspect

The article discusses the image of a dragon in the poetry of N. Gumilev. New in the work is the hypothesis on the intertextuality of the poems by N. Gumilyov “The Poem of the Begining” and A. Tolstoyʼs “Dragon”. The Chinese subtext of the image of the dragon in the poetry of N. Gumilev is grounded. The relevance of the topic is due to the development of the study of the mutual perception of Russian and Chinese cultures in the space of a poetic text. At the same time, the problem of reception of the image of China in the poetry of the Silver Age remains not yet fully understood. The objectives of the study were to identify, describe and interpret the Chinese subtext of the image of the dragon in the poetry of N. Gumilev; consideration of the authorʼs reception; comparing the perception of the image of the dragon in the culture of Russia and China. The results of the study showed: the frequency of the image of the dragon in the poetry of N. Gumilyov, the poet’s use of this image as originally Chinese; the relationship of the description of the image of the dragon in the works of N. Gumilyov and A. Tolstoy; the poet’s appeal to Chinese mythology and hieroglyphic writing. The author’s reasoning and conclusions are based on critical research, a comparison of two cultures. An analysis of the poetic works of N. Gumilev was carried out in a semantic aspect using the method of text parallels. The study of the image of the dragon in the poetry of N. Gumilev allows to approach the worldview of the culture of the Silver Age on one more side.

scholarly journals GAME PHENOMENON IN MEDIEVAL CULTURE

2020 ◽  
Keyword(s):  
Middle Ages ◽  
Social Role ◽  
Public Life ◽  
Medieval Literature ◽  
World Outlook ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
Performing Art ◽  
The Middle Ages

The Middle Ages added their own ludological culture traditions to those which they had inherited from the Ancient Ages. First of all, such notions were connected with the form of existence and perceiving the Christianity which was a basis for the whole civilization. Epistemological notions of those times were also built in accordance to those norms of world outlook. A cognitive act of an individual was understood as entrance of the subject to the world of general tragic game where he is risen up from sensual forms of being to being of over-sensual beauty, which is defined only through forms of mental cognition and through beauty to over-essential being of its Creator. Philosophical thought of the Middle Ages inherited the Platonic ludological tradition. According to these notions, personal creativity of an individual (artistic, scientific etc.) was understood as being identical with cognition and perceived only as reproduction, retrieval of what had already been programmed by the Creator, that is, as a game and through the game. The brightest page of the Middle Ages is connected with chivalry and its comprehension because the phenomenon of chivalry is the top of medieval culture, its ethical and esthetical ideal, which was over-thought by its self-consciousness as a form of game. Distribution of roles covered all main manifestations of individual’s life. Therefore even usual outside manifestation of any personal emotions by an individual in his public life (happiness, satisfaction, anger, despair, sadness and so on) was subject to this “role dictate”. So, a sphere of public emotions display by an individual was also predetermined by imperativeness of his own social role he was playing. We can speak about consciousness of those times perceiving a poetic text as a played game and author art as predominantly performing art. Then constancy of plots and anonymity of works, which is a feature of medieval literature, becomes more understandable; as every author perceived it as a script and tried to play his role as best as possible; his role was written down as a corresponding    text. Moreover, we should add that a similar game was predetermined also by some other peculiarities of medieval mentality. The reason is that medieval people tried to identify themselves with a certain sample which had already had a certain approbation, to achieve full self-expression and make this self-expression understandable for the society. A role was determined and a model of behavior was built according to the admitted interpretation of this sample and its allegoric meanings (most often, there were widely known Biblical images). These established forms of self-expression made processes of understanding and interpersonal dialogue easier.

scholarly journals The image of China in K. Balmont’s poem “The Great Nothing”

Litera ◽  
2020 ◽  
pp. 1-10
Author(s):  
Polina Vadimovna Porol
Keyword(s):  
Chinese Culture ◽  
Chinese Painting ◽  
Cultural Tradition ◽  
Critical Research ◽  
Silver Age ◽  
Two Cultures ◽  
New Perspective ◽  
Significant Attention

This article reviews the image of China in Konstantin Balmont’s poem “The Great Nothing”. Significant attention is given to interpretation of the poem. The author refers to the cultural and historical realias of China, as well as mythology and philosophy. Genesis of the image of Zhuang Zhou and peculiarities of his perception by the poet is revealed. The goal of this work consists in determination of semantic saturation of the image of China in reception of Konstantin Balmont. The line of reasoning and conclusions of the author of this article are founded on the critical research and contrast of two cultures. Analysis of the poem is conducted from the semantic perspective with search for textual parallels. The study reveals the poet's reference to the traditions and philosophy of China ("Sunyata”, concept of symmetry, treatise “Zhuang Zhou”, concept of Chinese painting), use of mythopoetic images (Dragon, Unicorn, Phoenix); interprets the image of dragon and its variation in cultural tradition of Russia and China; defines the words used by the poet for describing linguistic realias of Chinese culture (the expression "Go West"). The novelty of this research consists in the analysis of K. Balmont’s reception, and identification of the source that motivated the poet to create a poem. Examination of the semantic  saturation of the image of China in the poetry of K. Balmont gives a new perspective upon understanding the culture of the Silver Age.

Critical religion and critical research on religion: A response to the April 2016 editorial

2016 ◽  
Vol 4 (3) ◽  
pp. 307-313 ◽  
Author(s):  
Timothy Fitzgerald
Keyword(s):  
Private Property ◽  
The Other ◽  
Critical Research ◽  
The World ◽  
Rhetorical Function ◽  
Critical Religion

This response takes up some of the editorial comments for further clarification and critique. My point has been that ‘politics’ is as much a modern invention as ‘religion’. We cannot understand the rhetorical function of ‘religion’ if we treat it as a stand-alone category referring to some supposed object or objects in the world. I am especially concerned here to keep in view the oscillating binary categories of which ‘religion' forms one parasitic half, and ‘politics' or ‘science' the other. This critical problematization of the liberal categories of the understanding opposes and challenges their current institutionalization in the liberal academy, where they now serve the Neoliberal agenda and the reproduction of the dominant, globalising imperatives of private property.

scholarly journals Апофатика русского языка и культурыв творчестве Н. С. Гумилева(на примере стихотворения «Жираф»)

2020 ◽  
Author(s):  
M.A. Dudareva
Keyword(s):  
Real World ◽  
Russian Language ◽  
The Other ◽  
The Moon ◽  
Lake Chad ◽  
The Real ◽  
Language And Culture ◽  
The World ◽  
The Status ◽  
Other World

Апофатика русского языка и культуры, проявляющаяся на концептуальном уровне языка, составила проблемное поле исследования, цель которого заключается в выявлении апофатических идей, заключенных в стихотворении Н. С. Гумилева Жираф . Материалом для исследования послужил текст данного произведения, а также работы российских и зарубежных культурологов и литературоведов. Методология сводится к целостному анализу художественного текста с применением структурно-типологического и сравнительно-сопоставительного методов исследования. Автор отмечает присутствие в стихотворном тексте двух топосов: мира, в котором пребывают герои, и далекого мира Африки. Этот мир создает в произведении фольклорную сакральную реальность, которая не может быть описана иначе, чем через отрицание категорий реального мира. Идеальная африканская страна света, иное царство , доступна только при абсолютном доверии, вере в ее существование, и в этом проявляется апофатичность описанной поэтом ситуации.The article considers the problem of the apophatics of the Russian language and culture, which manifests itself at the conceptual level of the language. The aim of the study is to identify apophatic ideas contained in Gumilyovs poem The Giraffe. The material for the study was the text of this work, as well as the works of Russian and foreign cultural scientists and literary scholars. The methodology is reduced to a holistic analysis of a literary text using structural, typological and comparative methods of research. These methods allow studying the features of the penetration of the folklore tradition (and with it the tanatological complex) into a work of art. The author points out the connection of adjectives bearing the semantics of the inexplicable with the apophatic picture of the world, which finds expression in philological studies, especially those related to mortal problems. In popular culture, ideas related to the other world acquire the status of the unknown, and this world appears as the inverse correlate of the real world. In close connection with this, two topoi in the text of the studied poem are noted: the world in which the characters live and the distant world of Africa. The latter world creates a folklore reality in the work. The poet compares the image of a giraffe with the Moon, which occupied one of the main places in the traditional cosmogony of the peoples of Africa. Mythological consciousness often identifies animals with celestial objects, so it can be assumed that Gumilyov rethought the plot about the Moon disguised in the skin of an animal. The far Lake Chad is an image of the other world, an ideal land, and the image of a giraffe symbolizes a breakthrough from darkness to light. In this context, the narrator of the poem, turning to his beloved, appears as a priest prophesying about the sacred reality. He cannot describe this reality to the heroine other than by denying the categories of the real world, and this manifests the apophaticity of the situation. The heroines crying is perceived as catharsis, also revealing the sacred sphere. The folkloristic commentary and analysis of the lexical units of the text led to the conclusion that the heroes of the poem (the narrator and his silent listener) are physically in one space, but metaphysically belong to different worlds. The paradox of the space is that the ideal African country of the light, another kingdom, is accessible only with absolute trust, faith in its existence. This is the apophatic effect in Gumilyovs poem The Giraffe.

scholarly journals Język opisów natury w "Balladach i romansach" Adama Mickiewicza (obrazy wody, nieba, księżyca, nocy i dnia)

2006 ◽  
pp. 111-124
Author(s):  
Urszula Sokólska
Keyword(s):  
Common Knowledge ◽  
Blue Water ◽  
Natural Phenomena ◽  
Semantic Field ◽  
The Moon ◽  
Colloquial Language ◽  
The World ◽  
Poetic Text ◽  
Night And Day ◽  
Folk Tradition

The article is devoted to methods of constructing images of water, the sky, the moon, night and day in a poetical cycle which is now counted as the beginning of Polish Romanticism. It should be noticed that Mickiewicz’s descriptions of nature refer to common knowledge of the world, triggering specific archetypes and sets of imaginings in reader’s consciousness. I mean here associating water with transparent sparkling/glossy objects or skilful reconstruction of emotions accompanying the observation of the night sky, which in consequence gives, for instance, artistic description of illusionary blending of the sky and water. Mickiewicz introduces neutral lexical elements corresponding to specific designates, elements of nature, e.g. forests, flowers, water, swamps, backwoods, the moon, stars etc., in a thoughtful and orderly way. In accordance with the Romantic convention words that are opposite to the set of neutral words typical of other epochs, the ones which are emotionally or stylistically featured e.g. diminutives, which are one of the ways of folk stylistics (cloudlet, rivulet, pebbles, brook), regionalisms, which are also characteristic of colloquial language (month for “the moon”, depth, bluish/livid, brook), are introduced as well. However, the lack of complex stylistic structures is surprising indeed. Romantic ballad-like convention as well as folk tradition make extended metaphors be scarce, e.g. personifications and animizations referring to literary tradition (water’s face, river’s arms, Świteź’s womb/lap, midnight will pull the curtains through), periphrases (the chasm/depths of sky-blue, water deep gulf, glassy plain), or comparisons (as smooth as ice pane). Among natural phenomena discussed above Mickiewicz describes water in the most beautiful pictorial/artistic way. Using an extensive semantic field of water, he shapes and organizes a poetic text where the power of water as nature element is omnipresent in an extraordinary way. Lexis referring to the semantic field of the night, moon and stars, and most of all – day, is represented much more humbly.

scholarly journals Towards Harmonizing the Mythic and The Modern in Erdrichs Tracks: A Magical Realist Perspective

2020 ◽  
Vol V (III) ◽  
pp. 91-98
Author(s):  
Mumtaz Ahmad ◽  
Asma Haseeb Qazi ◽  
Sahar Javaid
Keyword(s):  
Native American ◽  
Magical Realism ◽  
Cultural Beliefs ◽  
Female Identity ◽  
The Other ◽  
Two Cultures ◽  
The World ◽  
The Two Cultures ◽  
Insight Into ◽  
Realist Perspective

This article is an endeavor to provide an insight into Native American novelist Louise Erdrich's use of the magical-realist technique in an attempt to harmonize the mythic and modern conceptions of reality represented by the Native American and Euro American subjects, respectively. The article demonstrates that in an attempt to seek a way possible to intertwine the two cultures, to wed the Native and the European ideologies of the world into accommodative space and to strike out the all-pervasive differences between the two people inhabiting the same land, Erdrich delves into the structuring principles of each culture's conceptualizing and internalizing the reality and the faith in it, and presents them as simultaneous albeit contrary versions of the same events, suggesting the possibility of simultaneous and harmonious co-existence of the two views, each retaining its essential outlook and yet respecting and accommodating the other. Employing Bower and Paula Gunn Allen's theoretical postulations of magical realism as a particular discourse embedded in the mythic and cultural beliefs of the Native American subjects, the article explores the mythic and modern formulations of female identity in Native American magical-realist fiction Tracks.

Estate transgression in the story “Nastya” by Vladimir Sorokin

2020 ◽  
pp. 311-322
Author(s):  
Pavel E. Spivakovsky ◽  
Keyword(s):  
Human Nature ◽  
Short Story ◽  
The Other ◽  
Russian Society ◽  
Silver Age ◽  
Postmodern Theory ◽  
Avant Garde ◽  
The World ◽  
The One ◽  
Almost All

The article is devoted to the metaphorical image of pre-revolutionary Russian society in Vladimir Sorokin’s short story “Nastya”. Recreated in the exhibition traditionalist space of the estate is here the background for the demonstration of radical axiological changes in the minds of educated Russians at the turn of the XIX–XXth centuries. These changes are twofold. On the one hand, the writer interprets them as an ethical catastrophe: it is not by chance that they are metaphorically depicted as an act of cannibalism approved by almost all the heroes of the story, on the other handshows that transgressive avant-garde experiments with ethics and attempts to transform human nature are closely intertwined with very significant aesthetic achievements of the culture of the Silver Age. With this stems, in particular, and Gnostic transformation of Nastya in the final of the story. The article shows that the depth and tragedy of the depicted make us see in the story a metamodernist view of the world, free from the rigid restrictions of postmodern theory (the ban on seriousness, tragedy, the ban on non-ironic depiction of depth of being, etc.). All this creates a multidimensional metaphorical picture of the culture of the Silver Age, transgressed the limits and threw Russia into the improbability of the previously unthinkable.

scholarly journals Heaven and the Sphaera Mundi in the Middle Ages

2000 ◽  
Vol 04 (01) ◽  
pp. 10-35
Author(s):  
Edgar Laird
Keyword(s):  
Middle Ages ◽  
Medieval Literature ◽  
The Other ◽  
The Sun ◽  
The Moon ◽  
The Earth ◽  
The World ◽  
The Middle Ages

This paper examines the development of the idea of heaven in relation to the sphaera mundi - the sphere of the world - in medieval literature. The sphaera mundi is a model of the cosmos that at its most elementary is very simple indeed. At the centre of it is the earth, so small as to be virtually a dot in comparison to the whole or even to the smallest star. Earth is surrounded by the sea, which in turn is surrounded by air, as also air is surrounded by fire. Surrounding the fire is a sphere that 'bears' the moon, and around that sphere are others, like layers of an onion, bearing the other planets: Mercury, then Venus, the sun, Mars, Jupiter and Saturn. Then come the sphere bearing the fixed stars and, beyond it, one or more others. All these spheres together constitute the sphere of the world.

Sign in / Sign up

Export Citation Format

Share Document