Arseny Tarkosvky’s small cycles: The artistic history and principles of text preparation

The article analyses the publication problem of A. Tarkovsky’s so-called ‘small cycles’ — poems sharing a common storyline and theme, which were not, however, published as poetic cycles in Tarkovsky’s lifetime, even though he had planned them as such and leſt respective handwritten collections. According to the critic, Tarkovsky created these poetic compilations irrespective of the actual possibility (or impossibility) of their publication. His entire experience of ‘living in literature,’ long years of failed attempts to publish abook of original poetry, the type of forbidding censorship policy prevailing at the time — everything indicated that one should better give up attempts toget published in the heavily supervised literary sector. Bak concludes that a publisher of Tarkovsky’s works should focus on reconstruction of the corpus that was not meant for censors, as the two compilations of his lyric oeuvre— the one prepared for publication and the other preserved in manuscripts only— exist in a sort of ‘alternative complementation,’ as if in parallel to each other, and should both be considered for preparation of scholarly publications.

Medical Students’ Creation of Original Poetry, Comics, and Masks to Explore Professional Identity Formation

Introduction. This study examines differences in students’ perceived value of three artmaking modalities (poetry, comics, masks) and whether the resulting creative projects offer similar or different insights into medical students’ professional identity formation. Methods. Mixed-methods design using a student survey, student narrative comments and qualitative analysis of students’ original work. Results. Poetry and comics stimulated insight, but masks were more enjoyable and stress-reducing. All three art modalities expressed tension between personal and professional identities. Discussion. Regardless of type of artmaking, students express concern about encroachments of training on personal identity but hoped that personal and professional selves could be integrated.

Epilogue

Toward the end of her life, Woolf’s resentment of the male poetic tradition and rivalry with the poetic present were displaced by affection for this tradition and for the deep poetic past. This attitude comes through in “Anon” (1979), an essay that honors the anonymous poets of medieval England, and in Between the Acts (1941), in which a country pageant surveying British history draws an anxious community together. Having drawn on the tools of lyric poetry in earlier works, now Woolf includes original poetry of her own, both lyric and dramatic. Manuscript drafts reveal how the lyric poetry evolved. It was initially allusive, polyvocal, and sometimes in verse. In the published novel, it is less allusive, monovocal, and exclusively in prose. The elegiac tone of Between the Acts manifested privately, as well: Woolf’s late letters and diaries are full of allusions to canonical British elegies. Woolf’s farewell to poetry serves as the farewell to this book.

Poem by S. A. Yesenin “Black Man” in Polish translations and original poetry

The paper examines Polish reception of the poem by Sergei Yesenin “The Black Man”. It attempts to intertextually analyze the work at the level of various kinds of analogies with Polish poetic texts, translated and original. The subject of comparative analysis is the content-formal aspects of translated texts. At the same time, the theory of translation, becoming a part of the comparative methodology, allows one to reach a broader level of generalizations, cultural projections, and socio-historical parallels. The study addresses a number of translations (W. Słobodnik, L. Podhorski-Okołów, W. Broniewski, A. Pomorski), illustrating the degree of freedom of interpretation of a literary text, proportion of congeniality as a special criterion of poetic correspondence. The very process of circulation, transfer, continuous cultural exchange of motives, lyrical situations between the texts of different national literatures and linguistic elements came to be an undeniably important aspect of artistry as a new quality of imagery and the birth of “explosive” poetic meanings. The issue of cultural transfer allows perceiving in individual translation versions mental worlds of the authors refracted in them, life-creating and biographical contexts, as well as historical collisions. In this case literary translation acts as a reliable tool, through which typological and comparative-historical comparisons of poetic worlds are carried out. Analysis of the micro-poetics of texts, motif structure and sensory layer appears more or less convincing on the way of studying reception and a broad intertextual field of selected works.

Constructing of the narcissistic artistic character in the autobiography of Salvador Dali: Salvador Dali with an insight into the painting metamorphosis of narcissus, and the Dali museum/bequests

By applying the methodology of transdisciplinary studies, this work examines the phenomenon of Narcissism and narcissistic artistic character in the autobiography of Salvador Dali "I am the genius" (The Secret World of Salvador Dali), in the paining "The Metamorphosis of Narcissus", and in Dali's original poetry through the prisms of mythology, psychoanalysis and psychosexuality by constructing of the narcissistic character (artistic "Persona") as a model for identity strategies in contemporary art practices. The text is analysing some of Dali's unique personality characteristics and creative and personal expression, with a special insight into his childhood and the term of narcissistic personality structure according to Sigmund Freud, also analysing the key-role of Gala Dali. The text includes some postulates of the art movement of Surrealism that Dali applied in his work, from the "Surrealism Manifesto" and the Surrealism practices. In a case study, the text analyses the painting "Metamorphosis of Narcissus", its content, symbolism, style and visual elements. A possible influence of Sigmund Freud is described, and Dali's original method of "Critical Paranoia" is elaborated. The closing sections are describing the fascinating dimensions of the personality cult that Dali and his narcissistic character reached in the last years of his life. A special focus is made on the musealisation of Dali - his numerous museums and bequests, memorials and collections, the founding of which has contributed to the building of a permanent monument to the artist and finally to the establishment of his status of a mythical personality - the "Dali" brand.

The Heart of a Poet

The year 2020 is one not so fondly to be remembered by many. That is when the global pandemic of COVID-19 hit the world. Coupled with that, a wave of protests arose in the United States of America after the killing of a Black man, George Floyd, by a white officer. The entire world had to deal with questioning their inner selves about how they treat each other racially. These events have been exhausting. Finding an outlet has been a preoccupation of many. Poetry is one of the greatest forms of expressive writing that can be used as therapy in times of crisis and can be healing to the person writing. In this chapter, the author showcases her original poetry written during these times of crisis. It is an autoethnographic study where she discusses poetry using relevant scholarship. The work will be relevant to teachers and students in upper secondary literature and college English classrooms as a tool on how to handle crisis through writing.

On the Universal Top

The circular motion is formed from two halves equal in magnitude, opposite in direction, every thing in our universe being alive or not alive moves according to circular motion, but when our human words are formed as to move the same circular motion with its two equal and opposite halves in original poetry(Eid, 2015), here we are before a very important event.

Coda

What is the value of Romantic albums and album verses? Poems often figure the album as a cornucopia or treasure, yet the critical reception derided this positive valuation, and many albums were destroyed or lost. The Victorian afterlife of Romantic album culture shows how its ambivalent relation to the print marketplace contributed both to its democratization and its decline as a medium for original poetry and creative experimentation. In 1830s album verses, Leigh Hunt aligned the female album-owner with the commodified ‘scrap-beggar’, while Robert Southey thought only partisan collectors would save unique books from destruction. The afterlives of Dora Wordsworth and Emma Isola Moxon’s albums demonstrate these conflicts, yet digital culture can help recover albums and album poetry from neglect. Joanna Baillie’s simile of the album as a net of fish affirms Album Verses’ arguments for the creative and ethical possibilities of album poetry as manuscript form in the age of mass print.

My Poetic Inquiry

Poetic Inquiry incorporates original poetry in academic writing, which ancient poets and scholars had been doing for thousands of years. However, it is not merely a repetition of the old tradition, but uses creative poetry in academic research in a systematic and diverse way. Poetic Inquiry is an umbrella concept to describe the various possibilities for using poetry in research. But, Poetic Inquiry is not any piece of writing with poetry in it. Poetic Inquiry harmonizes scientific research and the philosophical knowledge creation. Poetic Inquiry highlights the importance of individual expression, and generally involves poetic truth-seeking and poetical examination of inner and outer experience.