Prose Poetry

This chapter treats the prose poem as the decadent genre par excellence by focusing on Charles Baudelaire’s Le Spleen de Paris (Paris Spleen, 1869). The prose poem is well suited to the expression of decadent culture because of its formal subversion of conventional poetry, especially as adapted by Baudelaire to articulate “the bump and lurch” of urban experience. J. K. Huysmans certified the decadent credentials of the genre when he described it in À rebours (Against Nature, 1884) as “the osmazome of literature, the essential oil of art,” a literary distillation that makes it “an aesthetic treat to none but the most discerning.” The article analyzes “Any Where Out of the World” and other prose poems in relation to certain poems in Le Fleurs du mal (The Flowers of Evil, 1857), observing no loss of metaphorical power in the more “prosaic” medium despite Baudelaire’s secular and subversive treatment of many of the same poetic material given more elevated, spiritual treatment in the earlier collection.

Problém „mužského“ jazyka (na príklade básní Migleny Nikolčinej a Ireny Ivanovej)

The paper is devoted to the problem of the „male“ language which can be found in the works of two Bulgarian poets – Miglena Nikolchina and Irena Ivanova (better known by her pseudonym Rene Karabaš). The author associates them with the change that happens in literary criticism and the literary production itself after the 1990s. The author considers the synthesis of poetry and prose, poetry and theory as an intertextual „dialogue” through which is possible to analyze the texts of both poets. Thematically, the article focuses on the ways in which the woman gains „a right to have a voice“ rejecting her gender to take up the poet’s word and on how man appears to be a „quotation” in their works.

Elegia Solona w „Chronicon regum Poloniae” Erazma Glicznera ze Żnina

In this commemorative article, the author presents the Latin translation of one of Solon’s elegies (27W) which was placed in Chronicon regum Poloniae (from Lech until Mieszko I), a 16th-century chronicle by Gliczner, who was a theologian and pedagogue born in Żnin. In addition, mentions of the Polish studies and contemporary translations of that elegy were made, and based on the Latin translation, a Polish translation was produced in prose poetry.

Nakhchivan literary atmosphere and literary translation

The presented article discusses the issues of Nakhchivan literary environment and literary translation. It is noted that translation is a creation in itself, and the activities of representatives of the Nakhchivan literary environment in this area are exemplary. In general, during the independence period, some experience was gained in the literary environment of Nakhchivan, translations from German, English and French by our poets and writers Hamid Arzulu, Shirmammad Gulubeyli, Shamil Zaman who is famous as poet, prose-writer and translator were delivered to readers in the form of books and works were published in the press. The examples presented in the article once again prove the perfection of the writers' translation activities, their translations from German, English and French provide the Azerbaijani reader with full information about the society, people and their life of these peoples. Key words: Nakhchivan, literary atmosphere, literary translation, prose, poetry

समकालीन नेपाली गद्यकवितामा वर्णविन्यासवक्रता [Characterization in contemporary Nepali prose poetry]

पूर्वीय साहित्यशास्त्रमा आचार्य कुन्तकद्वारा प्रतिपादित वक्रोक्तिसिद्धान्त मूलतः एउटा समन्वयशील सिद्धान्त हो । पूर्ववर्ती आचार्यहरूका मान्यतासमेतलाई समाहित गर्ने गरी प्रस्तुत गर्न खोजिएको यस सिद्धान्तमा कुन्तकले वक्रोक्तिका विभिन्न छ भेद तथा तिनका उपभेदहरूको चर्चा गरेका छन् । यस लेखमा उनले प्रस्तुत गरेका वक्रोक्तिका छ भेदहरूमध्ये वर्णविन्यासवक्रताका आधारमा केही समकालीन नेपाली गद्यकविताहरूको अध्ययन विश्लेषण गरिएको छ । यसका लागि सर्वप्रथम वक्रोक्तिसिद्धान्त र वर्णविन्यासवक्रताका बारेमा सङ्क्षिप्त सैद्धान्तिक चर्चा गरिएको छ । त्यस्तै समकालीन नेपाली गद्यकवितामा वर्णविन्यासवक्रताको प्रगोग कसरी भएको छ भन्ने सन्दर्भलाई स्पष्ट पार्न विभिन्न समकालीन कविका कवितांशलाई उहाहरणका रूपमा प्रस्तुत गरी तिनमा पाइने वर्णविन्यासवक्रताको अध्ययन विश्लेषण गरिएको छ । विक्रम संवत् सत्तरीको दशकयता प्रकाशित कविताहरूमा केन्द्रित यस अध्ययनमा वर्णविन्यासवक्रताका छवटै भेदहरूका आधारमा कविताहरूको विश्लेषण गरिएको छ । प्राथमिक र द्वितीयक दुवै स्रोतका सामग्रीको प्रयोग गरी वर्णनात्मक पद्धतिअनुसार विवेच्य सामग्रीहरूको विश्लेषण गरिएको छ । मूलतः निगमनात्मक पद्धतिमा आधारित यस अध्ययनबाट समकालीन नेपाली गद्यकवितामा पूर्वीय काव्यशास्त्रमा वर्णित वर्णविन्यासवक्रताको सफल र सार्थक प्रयोग पाइने निष्कर्ष निकालिएको छ ।[In Eastern literature, the theory of curvature formulated by Acharya Kuntak is basically a coordinating theory. In this theory, which seeks to incorporate the beliefs of the earlier Acharyas, Kuntak discusses the six distinctions of satire and its variants. In this article, the study analysis of some contemporary Nepali prose poems has been analyzed on the basis of chromaticism out of the six distinctions of irony presented by him. For this, first of all, a brief theoretical discussion has been given about the theory of curvature and chronology. Similarly, in order to clarify the context of how the use of colloquialism has been used in contemporary Nepali prose poetry, various contemporary poetic poems have been presented as examples and the study of colloquialism found in them has been analyzed. This study focuses on the poems published in the seventies of Bikram Samvat and analyzes the poems on the basis of all the six distinctions of chromaticism. The material of both primary and secondary sources has been analyzed according to the descriptive method. Basically, this study based on the deductive method has concluded that the successful and meaningful use of the chromatic descriptions described in Eastern poetry in contemporary Nepali prose poetry has been found.]

MAWLAVI ZULFIQAR ALI AL-DEOBANDI AND HIS CREATIVE WORKS: A DESCRIPTIVE STUDY

This Abstract highlights the study of the life and character of Mawlavi Zulfiqar Ali al-Deobandi (the father of Mawlavi Mahmud al-Hassan, known as Sheikh of India), who was one of the scholars in India in the twentieth century. It deals with his creative works in prose, poetry, and translation. Where he has artistic prose and a variety of Arabic poetry In addition that, he has great service in the art of translation as he has translated many poetry collections, such as the Seven Muallaqaat, Abu Tammam's Divan, Al-Mutanabi Diwan, Diwan Al-Buhtri, the poem Al-Burda by Imam Al-Busiri (may God have mercy on him) and other Arabic poetry into the Urdu Language. Which was -at that time and until now - being taught in private and governmental universities in India and Pakistan, and it was difficult for teachers to elaborate on them and for the learners to understand. So all this fine work, if it indicates anything, indicates his tremendous efforts in serving the Arabic language and spreading it among the Urdu-speaking people in India and Pakistan.

The Waves as “saturated” Novel

Since Jacob’s Room, Woolf’s fiction had incorporated three tools borrowed from poetry: the lyric “I,” figurative language, and aural recurrence. These tools find their clearest expression in The Waves (1931), which Woolf described as “prose yet poetry; a novel & a play.” This chapter analyzes The Waves with respect to these three tools, and then considers the book’s genre. Since its publication, many critics have received it—and other work by Woolf—as prose poetry and free verse. But to read Woolf as writing in these genres is to disregard authorial intent and historical context, to impose associations and conventions on work conceived without them. And lineating Woolf’s prose to “reveal” it as free verse betrays a confusion of lineation with poetry. Woolf’s vexation with the word “novel” reflects her effort to expand the meaning of the term. One way to honor this expansion is to use the term to describe the work of hers that seems least novel-like.

Debora Vogel w galicyjskim jidyszlandzie. Czasopismo „Cusztajer”

The paper sums up the history and analysis of Tsushteyer [Contribution] literary journal, published between 1929 and 1931 in Lviv. The goal of the group under the same name (comprising such writers as Debora Vogel, Rachela Auerbach, Ber Shnaper, Melekh Ravitsh and Mendl Neugröschl) was to create a strong Yiddish-speaking cultural centre in Galicia. One of their projects was establishing and publishing a literary journal. Three issues of Tsushteyer contained prose, poetry, essays and art reproductions. The paper describes the characteristics of the contents, emphasises the role of Debora Vogel in the editorial office and outlines the unique features of Tsushteyer in comparison with other Yiddish literary journals.