Notes on Easter in Ansali [Paskha v Enzeli]

2019 ◽  
pp. 94-106
Author(s):  
P. B. Ryzhakov
Keyword(s):  

The article provides an extensive commentary of V. Khlebnikov’s poem Easter in Ansali [Paskha v Enzeli ]. The author discovers and analyses two major plotlines: a documentary (or autobiographical) one and a Stepan Razin-inspired one, both developed in parallel to each other in terms of the metaphors chosen for the poem. The documentary level is concerned with Khlebnikov’s visit to Persia, on board of the steamboat Kursk (hence the poem’s numerous mentions of kursky, korskoye), while the covert, Razin-related level transpires as a memory of the captive Persian girl: in 1669, Razin’s fleet defeated the Persians, and took various spoils, including, as legend has it, a daughter of the commander of the Shakh’s fleet. It is this girl who is mentioned in the folk song ‘From beyond the island towards the river’s widest flow’ [‘Iz-za ostrova na strezhen’], quoted in Khlebnikov’s poem. By bringing together the poem’s two levels through a commentary about several memorable metaphors (like ‘the Zorgam gorge’, ‘the dark unruly hair’, as well as comparing Razin to a nightingale), the author reveals that the lyrical hero identifies himself with Razin, who appears as the former’s lyrical doppelganger as well as the poet’s alter ego.

1983 ◽  
Vol 28 (10) ◽  
pp. 806-806
Author(s):  
No authorship indicated
Keyword(s):  

2012 ◽  
Vol 2012 (1) ◽  
pp. 79-98
Author(s):  
Gérard Raulet
Keyword(s):  

Walter Benjamins »destruktiver Charakter«, sein alter ego, ist nicht so einsam, wie es scheinen mag, sondern hat im bürgerlichen Lager, in der Person eines eher konservativen Kulturkritikers und Verteidigers der auserlesensten Bildung, einen Doppelgänger – soweit dieser avantgardistische künstlerische Positionen vertritt. Und dieser Doppelgänger hat ebenfalls einen Doppelgänger: »Monsieur Teste«. Daß es zwischen Benjamin und Valéry zu einem solchen Refraktionsspiel kam, ist kein Zufall. Der Dialog mit Valéry geht bei Benjamin auf das Frühjahr 1925 zurück und bildet einen roten Faden, der in der Verstrickung von Avantgardismus und Kulturkritik am deutlichsten zutage tritt.


2020 ◽  
pp. 498
Author(s):  
باسل محمد المشاقبة ◽  
عبدالله تيسير عبدالله الشديفات ◽  
نسرين ناجى الخوالدة ◽  
براءة الذنيبات ◽  
أنس ابراهيم الحنيطى
Keyword(s):  

Author(s):  
Sintija Kampāne-Štelmahere

The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as a source of ancient knowledge and as a path to the Indo-European first language, prehistoric time, which is understood only in a poetic state. Often, the montage of Latvian folk songs or their fragments in the lyrics of Sniķere is revealed as a reflexive reverence that creates a semantic fracture and opposition between profane and sacred view. The insertion of a song in the poem alters the rhythmic and phonetic sound: a free and sometimes dissonant article is replaced by a harmonic trochee, while an internationalism saturated language is replaced by a simple, phonetically effective language composed of alliterations and assonances. The montage of folk songs in a poem is justified by the necessity to restore the Latvian identity in exile, to restore the memory of ancient, mythical knowledge, to represent the understanding of beauty and other moral-ethical values and to show the thought activity. Common mythical images in the lyrics of Sniķere are snake, wind, gold, silver, stone etc. The Latvian folk song symbolism and lifestyle of the poet are organically synthesized with the insights of Indian philosophy.


Author(s):  
Timothy Freeze

The posthorn solos in the trios of the third movement of Mahler’s Third Symphony have polarised critical and scholarly opinion regarding their stylistic origins. My examination places the posthorn solos in the context of the popular music of Mahler’s day. Drawing on contemporary reviews, sheet music, and military band manuscripts in Austrian and German archives, I uncover palpable references, since forgotten or neglected, both to the genre of sentimental trumpet solos, common in salon music and band concerts, and to posthorn stylisations distinctive to popular music. Mahler demonstrably knew these repertoires, and critics often cited them in reviews. These allusions do not negate the solos’ likenesses to folk song and the sound of actual posthorns. Rather, Mahler’s score refers to multiple musical styles without being reducible to any one of them.


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