scholarly journals Two Post-Soviet Anthologies of the 1990s and the Russian 20th-Century Poetry Canon

2012 ◽  
Vol 90 (4) ◽  
pp. 642
Author(s):  
Katharine Hodgson
Keyword(s):  
20Th Century ◽  
Century Poetry

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.

scholarly journals «‘A fijar con ritmo y rima / el fluyente pensamiento’: huellas del Cancionero medieval en el Cancionero de Unamuno»

1970 ◽  
Vol 28 ◽  
pp. 319-334
Author(s):  
Norbert Von Prellwitz
Keyword(s):  
20Th Century ◽  
Spanish Poetry ◽  
Avant Garde ◽  
Medieval Poetry ◽  
Century Poetry ◽  
Sobre Todo

Resumen: La adopción de la cuarteta aconsontada y de otras formas tradicionales de tipo cancioneril en el Cancionero de Unamuno tiene una función sobre todo condensadora y rítmica, presentando varios aspectos: desde formas imitativas e híbridas que incluyen temas medievales, pasando por aforismos y sentencias, hasta experimentos de tipo vanguardístico que multiplican planos semánticos.Palabras clave: Unamuno. Cancionero. Estrofa tradicional. Poesía medieval. Poesía del siglo XX.Abstract: The adoption of the rhymed quartet and of other traditional medieval Spanish poetry patterns in Unamuno’s Cancionero has mainly a condensing and rhythmic function, offering different aspects, from hybrid counterfeits which include medieval themes, going through aphorisms and sayings up to avant-garde experiments which multiply semantic layers.Keywords: Cancionero. Traditional strophe. Medieval poetry. 20th century poetry.

20th-Century Poetry

1983 ◽  
pp. 33-515
Author(s):  
Stan Smith
Keyword(s):  
20Th Century ◽  
Century Poetry

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.

scholarly journals The “Living Statues” at Times of Mausoleums and Unknown Soldiers: New Commemorative Practices in the Mirror of Russian 20th Century Poetry

2020 ◽  
Vol 38 (1) ◽  
pp. 186-206
Author(s):  
K. V. Anisimov
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Volcanic Soil ◽  
Poetic Image ◽  
Roman Jakobson ◽  
The Creation ◽  
Century Poetry

The article traces the alterations of the “harmful statue” motif as it was conceptualized by Roman Jakobson. In the present research the author draws upon a number of representative verses by Russian 20 th century poets – V. Bryusov, I. Selvinsky, B. Slutsky. The theoretical juxtaposition of the metaphoric nature of a monument and strategies of overcoming this nature has been put in focus of this work. These strategies are represented in the convergence of sculpture and body (the reinforcement of iconicity), in implicating the metonymic, substitutional character in new monuments. The author shows how the practice of establishing the new “political” tombs (unknown soldiers, mausoleums) proliferating since 1920s was reflected in verses’ rhetoric and affected these texts’ genre poetics. As a first collection of examples the “Pompeian” plots of Russian “ekphrastic” poetry are studied. Here Russian poets rethink the technology invented by mid-nineteenth century Italian archaeologists who were the first to introduce the sculptural reconstruction of human bodies preserved by volcanic soil in area of 79 a.d. Vesuvius eruption. The first step on this way of rethinking the “living statue” motif was the intrinsic to modernism and openly exposed problematizing of the relationships between body and its representations in stone or metal. Having begun its “own” life, the sculpture is currently observed as a direct, “drawn on a contour” replica of an organism, unprecedented in unicity of its physical existence. This semiotic discovery has formed the receptive “niches” of expectations – prior to the emergence of the next commemorative practice, the creation in 1924 Vladimir Lenin’s “living sculpture” (A. Yurchak) or “self-icon” (J. B. Platt). However one difference here was of specific significance: the “Pompeian” plaster reconstructions were anonymous whereas the Bolshevik leader’s name was in contrast not just commonly known but also as strongly mythologized as his remains kept in mausoleum were. The semiosis taking place within a triangle body – monument – name had formed a perspective for the forthcoming of a new social commemorative practice, memory place and poetic image – the tomb of an Unknown Soldier. The author illustrates the interaction of the two political and memory cults on the level of official rhetoric and in the sphere of literary motifs.

scholarly journals Praderas de posidonia

2010 ◽  
Vol 1 (1) ◽  
Author(s):  
Julia Barella
Keyword(s):  
20Th Century ◽  
Spanish Literature ◽  
Writing Workshop ◽  
Associate Professor ◽  
Contemporary Poetry ◽  
Lope De Vega ◽  
Century Poetry ◽  
The University ◽  
Siglo Xx ◽  
Literature And Film

Julia Barella Julia Barella es Titular de Literatura Española, Directora de la Escuela de Escritura de la Universidad de Alcalá, y poeta. Ha investigado sobre la prosa barroca, la poesía del siglo XX, las relaciones entre literatura y cine, y la ecocrítica. Ha editado obras de Lope de Vega, Antonio de Eslava, Unamuno y Pere Gimferrer. Su interés por la poesía del siglo XX se centra, actualmente, en la representación de la naturaleza y en la conciencia del paisaje como patrimonio cultural en la actual poesía.En el campo de la creación poética ha publicado: CCJ en las ciudades (Madrid, 2002). Hacia Esmeralda (Almería, 2004). Esmeralda (Madrid, 2005). Aguas profundas (Madrid, 2008). Praderas de posidonia (en prensa). Julia Barella is Associate Professor of Spanish Literature and Director of the Writing Workshop at the University of Alcalá, and she is a poet. Her research concerns Baroque prose, 20th century poets, literature and film, and ecocriticism. She has edited works on Lope de Vega, Antonio de Eslava, Unamuno and Pere Gimferrer. Her interest in 20th century poetry is centered on the representation of nature and, in contemporary poetry, the awareness of landscape as part of the cultural heritage.Her poetic publications include CCJ en las ciudades (Madrid, 2002). Hacia Esmeralda (Almería, 2004). Esmeralda (Madrid, 2005). Aguas profundas (Madrid, 2008). Praderas de posidonia (en prensa).

Sign in / Sign up

Export Citation Format

Share Document