scholarly journals “The Star of Venusˮ in Russian poetry of the 20th century: mythopoetic symbolism

2021 ◽  
Vol 27 (3) ◽  
pp. 128-134
Author(s):  
Veronika Igorevna Abramova ◽  
Yulia Vladimirovna Arkhangelskaya
Keyword(s):  
Celestial Body ◽  
20Th Century ◽  
Lyric Poetry ◽  
Marina Tsvetaeva ◽  
Mikhail Kuzmin ◽  
Symbolic Meanings ◽  
Life Journey ◽  
Century Poetry ◽  
Vyacheslav Ivanov ◽  
Linguistic Units

Being a part of the astronomical, temporal, anthropomorphic linguocultural codes, Venus as a celestial body has a significant place in the Russian verbal culture. This statement can be proved not only when analysing linguistic units, but also when referring to literary works, in particular to Russian lyric poetry. Twenty four poetic contexts, which include the image of Venus, have been analysed in the article (the works by Alexander Pushkin, Georgy Adamovich, Pavel Antokolsky, Leonid Martynov, Mikhail Zenkevich, Alexander Blok, Vyacheslav Ivanov, Nikolay Gumilyov, Marina Tsvetaeva, Fyodor Sologub, Mikhail Kuzmin, Georgy Shengeli, Ilya Selvinsky, Konstantin Simonov, Anatoliy Demyanov). The authors focus on the Russian 20th century lyric poetry because it is there that Venus appears as a star rather than a planet, and this corresponds to the archaic notions of this celestial body. Mercury and Mars are also called 'stars' in the 20th century poetry, but in a much smaller number of contexts than Venus. The authors come to the conclusion that Venus in Russian poets’ works can symbolise the onset of morning / evening, love, paradise, loneliness, fate, youth, old age, life journey. Moreover, Venus is included into poetic conceptions (it corresponds to the image of the Beautiful Lady in Alexander Blok’s poetry). The set of the above-mentioned symbolic meanings correlates with the archaic notions of Venus, widens them and makes the image of this celestial body mythopoetic.

Stałe motywy metafizyczne w twórczości Mariny Cwietajewej

2021 ◽  
Author(s):  
Elena Janczuk
Keyword(s):  
20Th Century ◽  
Lyric Poetry ◽  
Profound Change ◽  
Philosophical Discourse ◽  
Life And Death ◽  
Space And Time ◽  
The World ◽  
Body And Soul ◽  
Century Poetry

The analysis of metaphysical motifs in Marina Tsvetaeva’s lyric poetry, their occurrence and tendency to continuous metamorphosis. Tsvetaeva made a profound change in understanding the essence of the 20th century poetry and her reflections on the world and man’s place in it brought her closer to philosophy. The motifs she used had been present in philosophical discourse as they referred to such notions as space and time, body and soul, life and death, light and darkness, silence and sound, god. To a scholar and a reader Tsvetaeva’s poetry means constant discovering and decoding senses and emotions hidden in sophisticated words.

Designs

2018 ◽  
Author(s):  
Vijaya Nagarajan
Keyword(s):  
20Th Century ◽  
Historical Perspective ◽  
Central Position ◽  
Symbolic Meanings

This chapter focuses on types of kōlam designs. The basic categories are katta (squares) and pulli (dots). The highly ritualized forms are the navagraha (nine heavenly bodies, including the five planets) and yantras. The symbolic meanings of geometric, figurative, and landscape kōlams, whether they are itheegam (traditional) and nagareegam (modern), are discussed. Kōlam-making tools are explained, such as the traditional personal notebooks and printed pamphlets and more modern stencils and plastic stick-on decals. A discussion of an 1884 kōlam chapbook and other chapbooks from the 20th century gives a historical perspective. The 20th-century Indian choreographer Chandralekha gave kōlam designs a central position in her work.

scholarly journals «Военные рассказы» М. Кузмина: Попытка реинтерпретации [Toward the Reinterpretation of Mikhail Kuzmin’s _War Stories_]

2021 ◽  
Vol 8 ◽  
Author(s):  
Alexandra Pakhomova
Keyword(s):  
20Th Century ◽  
Short Fiction ◽  
Russian Literature ◽  
Unsuccessful Attempt ◽  
Literary Reputation ◽  
Mikhail Kuzmin ◽  
History Of ◽  
New Interpretation ◽  
History Of Literature ◽  
War Stories

The article analyzes War Stories (Voennye rasskazy, 1915) by Mikhail Kuzmin and offers a new interpretation of the book’s pragmatics. Most students of War Stories have not treated this collection in much detail, mainly seeing it as Kuzmin’s unsuccessful attempt to become a part of the mainstream patriotic movement during WWI. Contrary to her predecessors, Alexandra Pakhomova argues this particular book has a definite and consciously motivated authorial strategy. What Kuzmin did in War Stories was an attempt to establish his new literary reputation, and also to create an entirely new genre of short fiction in Russian literature. KEYWORDS: 20th-Century Russian Literature, Mikhail Kuzmin (1972—1936), Voennye rasskazy (1915), Literary Reputation, History of Literature.

Übergang zur modernen sorbischen Poesie

2017 ◽  
Vol 62 (1) ◽  
Author(s):  
Dietrich Scholze-Šołta
Keyword(s):  
20Th Century ◽  
Lyric Poetry ◽  
Early Death ◽  
Nazi Regime ◽  
Starting Point ◽  
Set Up

SummaryThe Sorbian poet Jurij Chěžka (1917–1944), who suffered an early death, composed a body of poetry of “secondary” meanings between 1936 and 1938 as a student in Bohemia, which comprised about 50 poems. In these poems he combined themes such as his mother, his homeland, his people and death with national aspects of the Slav minority in Lusatia. Faced with the threat from the Nazi regime he created a new literary reality, whilst establishing links with concepts from the Czech symbolist movement. With his modernist revolt he at the same time set up a movement towards equal standing for the second autonomous line of evolution of Sorbian literature. His innovative aesthetic heritage became an important starting point for the distinctive development of Sorbian lyric poetry in the second half of the 20th Century.

scholarly journals Atmosphere of societal anxiety and representations of the body: The image of man in surrealist works of Vítězslav Nezval in the 20th century interwar period in Bohemia

2018 ◽  
Vol 9 (1) ◽  
pp. 181-189
Author(s):  
Anna Maria Brzezińska
Keyword(s):  
20Th Century ◽  
Interwar Period ◽  
Flat Surface ◽  
Lyric Poetry ◽  
The Body ◽  
Phenomenological Method ◽  
Time And Space ◽  
Literary Works ◽  
Clear Tendency ◽  
Surrealist Poetry

Aim: The interwar period in Czechoslovakia was a time of societal anxiety. The aim of this paper is to find the central themes of societal fear, as reflected in the surrealist works of Vítězslav Nezval, a czech poet. The analysis will be based primarily on the lyric poetry from the collections: Žena v množném čísle [Woman in Plural] (1936) and Absolutní hrobař [Absolute Gravedigger] (1937). Methods: The analysis is based on the Josef Vojdovík’s anthropo-phenomenological method of exploring the surrealist perceptions of the body, which is based on vertical and horizontal anthropological dimensions and phenomenological conceptions of fears. Results: Surrealist poetry and other literary works contain images of the body that are changed by fear: deformations, metamorphoses, fragmentarisations, hybridisations, expressing the body as a collage, a mosaic, an amalgam, a phantom, a grotesque, an inlay, and as lifelessness. It undergoes multiple metamorphoses, not only within its own form, but also with regard to the categories of life and lifelessness. Conclusions: The analysis leads to the conclusion, that V. Nezval’s works show a clear tendency to portray the body as an object which undergoes a metamorphosis. The body is balanced on the edge between living and dead, organic and inorganic, it is determined by time and space. It is often shown along the narrowing-widening relation, in stupor, petrification, reduced to a flat surface or miniaturised.

scholarly journals Muzyczno-synestezyjna przestrzeń Mariny Cwietajewej w eseju autobiograficznym „Matka i muzyka”

2020 ◽  
Vol 1 (XXII) ◽  
pp. 149-170
Author(s):  
Grzegorz Ojcewicz
Keyword(s):  
Young Child ◽  
20Th Century ◽  
Lyric Poetry ◽  
Negative Experiences ◽  
Musical Education ◽  
Significant Period ◽  
Music Making

The author presents Marina Tsvetaeva’s musical and synaesthetic space on the basis of My Mother and Music, her autobiographical essay. Synaesthesia, although present in the life of Tsvetaeva as a young child and adult poet, is not especially depict-ed in this particular piece of work. The writer chose her memories which encompass a significant period of time from her birth to her 42nd birthday as her main narrative focus. The musical sphere of the young child was presented through the piano and its attributes (the keyboard, pedals, music stand, metronome, notes, piano stool), which were a source of various – both positive and negative – experiences for this sensitive girl. Marina Tsvetaeva’s mother, unfulfilled as a pianist, undoubtedly played a toxic role in her musical education. Maria Tsvetaeva “drowned and killed her daughters with music”, making them feel an organic resistance towards required physical and mental efforts far too great for their age. The situation changed after her mother’s death when Marina could pour all her love for music into incredibly original lyric poetry, becoming one of the greatest writers of the 20th century.

scholarly journals Amor udrí – la poesía cortesana árabe en la Península Ibérica

2019 ◽  
pp. 323-342
Author(s):  
Karolina Janowska
Keyword(s):  
20Th Century ◽  
Western Culture ◽  
Sixth Century ◽  
16Th Century ◽  
Men And Women ◽  
European Court ◽  
Court Poetry ◽  
Main Motive ◽  
Century Poetry ◽  
Península Ibérica

The poetry of Arab-Andalusian poets is a bridge between Eastern and Western culture. Its roots date back to the sixth century, when the first Bedouin songs resounded in the limitless areas of the Arabian desert. His echoes resounded in the poetry of Provençal troubadours. Traces of this poetry can be found in the works of Renaissance poets, including Petrarc. Elements of Andalusian poetry were also visible in the poetry of the Spanish court since the 16th century. The characteristic poetic forms still appeared in 20th century poetry – at least one of the most outstanding Spanish poets, Federico Garcia Llorca, reached for it. Its greatest prosperity was in the 10th andd 11th centuries, and among the outstanding Andalusian poets were both men and women. The main motive of this poetry was unfulfilled love, which remained the dominant element of modern European court poetry.

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