Onomastic codes of the “Poem Without A Hero” by A. A. Akhmatova as hidden intertextual addressing

The subject of this research is the principles of correlation of onomastic code of the “Poem Without A Hero” with the text frame of its various editions, viewed from the communicative-pragmatic perspective. The object of this research is nine editions of the “Poem Without a Hero” and intertextual references marked within the text frame. The author dwells on such aspects as the interrelation between the literary onomastics and hidden meanings of the poem, transformations of the text frame, methods of “instilling” the authorial meanings to intertextual sources (the works of Byron, Pushkin, and Gumilyov). Special attention is given to projection of the personal myth of Anna Akhmatova, which is traced through the poem, on Western European and Russian literature and the evolution of the text frame. It is demonstrated that the ensemble of epigraphs, which represents an implicit dedication to the poet fallen in disfavor, dissolves leaving imprints in the form of mentioning of Byron and Don Juan in the text of the poem. The main conclusion lies in the establishment of a number of semantic correspondences between the text frame and the historical-cultural halo of names, which on the one hand are associated with the imagery-motif level of a particular poem, while on the other – with personal mythology of the poet. The author’s special contribution to this research lies in outlining the strategies aimed at preservation of special intertextual memory in the names. The novelty consists in determination of the semantic halo of the name, which specifies a range of implicit meanings of the poem. It is revealed that these meanings are “supported” by the corresponding references. Such reminiscences, interweaving into a complex ornamental pattern, on the one side are conceptually programmed by the very structure of the “Poem Without A Hero”, and on the other side, determined biographically.

Tātai Tara, Genealogical Storying: A Foundation of Decolonisation in Oceania

<p>This thesis reads Patricia Grace's Baby No-eyes, and Albert Wendt's The Adventures of Vela and The Mango's Kiss to highlight the essential nature of tātai tara (genealogical storying) in the decolonisation of Oceanian identity. Central to the thesis is a personal mythology, a kind of memoir that recounts some of the author's foundational stories in the form of prose and poetry. The first core chapter deals with a discussion of post-colonial 'skins', the things that we believe are part of ourselves that essentially come from being socialised in a colonial culture. The chapter “Skeletons”, explores the family secrets that give rise to shame that is intergenerational. Finally, Flesh and Blood demonstrates the powerful nature of reclaiming family stories as a way of re-education and healing. Ultimately, the thesis aims at an understanding of tātai tara, a process that happens whether we are aware of it or not, and how the individual is a creator of his or her own identity through the level of engagement with the stories.</p>

Tātai Tara, Genealogical Storying: A Foundation of Decolonisation in Oceania

<p>This thesis reads Patricia Grace's Baby No-eyes, and Albert Wendt's The Adventures of Vela and The Mango's Kiss to highlight the essential nature of tātai tara (genealogical storying) in the decolonisation of Oceanian identity. Central to the thesis is a personal mythology, a kind of memoir that recounts some of the author's foundational stories in the form of prose and poetry. The first core chapter deals with a discussion of post-colonial 'skins', the things that we believe are part of ourselves that essentially come from being socialised in a colonial culture. The chapter “Skeletons”, explores the family secrets that give rise to shame that is intergenerational. Finally, Flesh and Blood demonstrates the powerful nature of reclaiming family stories as a way of re-education and healing. Ultimately, the thesis aims at an understanding of tātai tara, a process that happens whether we are aware of it or not, and how the individual is a creator of his or her own identity through the level of engagement with the stories.</p>

The Mythology of the Gap in the Work of James K. Baxter

<p>In 1967, New Zealand poet James K. Baxter reflected on his beginning as a poet with the statement that 'what happens is either meaningless to me, or else it is mythology' and that in his personal mythology 'first there was the gap, the void'. While the first of these comments has been frequently cited in connection to Baxter‘s work, few critics have taken its extreme implications seriously. This thesis also takes the second statement as crucial to understanding Baxter‘s creative process and the links his poetry makes between otherwise disparate experiences. These statements are a starting point for a study which maps out the consistencies and continuities underlying Baxter's vast literar output throughout his career as a poet. It considers Baxter's poetry alongside his published prose and unpublished papers in order to demonstrate the underlying patterns which characterise Baxter‘s output throughout his diverse career. The thesis first develops a framework for identifying the presence of gaps in Baxter‘s writing, tracing a network of symbolic and mythic relationships that comprise his evolving personal mythology of the gap. Having established this framework, I show how Baxter's engagement with 'the gap' evolves throughout his work. The thesis demonstrates the significance of gaps not only as central motifs in Baxter‘s work, but as a crucial part of the poet‘s creative process. Baxter‘s purposeful approach to poetic mythologising relies on notions of absence, division and descent: the 'gaps' out of which poems emerge. These gaps simultaneously create and are created by the temporary 'mythologising self' at the centre of the creative process. This is the poet as creator, shaping 'chaos' into 'cosmos' through the use of ordering tools. In Baxter's case these include the consistent use of three main mythic paradigms which address the imperatives of desire created by these gaps. As well as this parallel with the pattern of creation myth, Baxter's creative process is suggestive of the mythic 'journey to the centre' which is in turn recurrent throughout his poetry. In applying the 'chaos-ordering-cosmos' framework to Baxter's mythology, I reveal the consistent elements of his work on the underlying level of myth, symbol, origins and method, thus opening up new possibilities in the critical response to his work.</p>

The Mythology of the Gap in the Work of James K. Baxter

<p>In 1967, New Zealand poet James K. Baxter reflected on his beginning as a poet with the statement that 'what happens is either meaningless to me, or else it is mythology' and that in his personal mythology 'first there was the gap, the void'. While the first of these comments has been frequently cited in connection to Baxter‘s work, few critics have taken its extreme implications seriously. This thesis also takes the second statement as crucial to understanding Baxter‘s creative process and the links his poetry makes between otherwise disparate experiences. These statements are a starting point for a study which maps out the consistencies and continuities underlying Baxter's vast literar output throughout his career as a poet. It considers Baxter's poetry alongside his published prose and unpublished papers in order to demonstrate the underlying patterns which characterise Baxter‘s output throughout his diverse career. The thesis first develops a framework for identifying the presence of gaps in Baxter‘s writing, tracing a network of symbolic and mythic relationships that comprise his evolving personal mythology of the gap. Having established this framework, I show how Baxter's engagement with 'the gap' evolves throughout his work. The thesis demonstrates the significance of gaps not only as central motifs in Baxter‘s work, but as a crucial part of the poet‘s creative process. Baxter‘s purposeful approach to poetic mythologising relies on notions of absence, division and descent: the 'gaps' out of which poems emerge. These gaps simultaneously create and are created by the temporary 'mythologising self' at the centre of the creative process. This is the poet as creator, shaping 'chaos' into 'cosmos' through the use of ordering tools. In Baxter's case these include the consistent use of three main mythic paradigms which address the imperatives of desire created by these gaps. As well as this parallel with the pattern of creation myth, Baxter's creative process is suggestive of the mythic 'journey to the centre' which is in turn recurrent throughout his poetry. In applying the 'chaos-ordering-cosmos' framework to Baxter's mythology, I reveal the consistent elements of his work on the underlying level of myth, symbol, origins and method, thus opening up new possibilities in the critical response to his work.</p>

A psychoanalytic approach to illustration

This article explores the possibilities of a psychoanalytic approach to illustration; asking whether an illustration practice can be developed that draws on influences from psychoanalytic theory and clinical practice. The author uses research with a group of participants to explore how psychoanalysis can illuminate or problematize the illustrator’s encounter with a text, looking into the ways psychoanalysis works to trouble straightforward narratives, and asking how an illustrator may use a psychoanalytic approach to take up a more subversive position in their work. A central interest in this research was to challenge the conventionally subservient relationship that illustrations have to texts. When this relationship breaks down, tensions emerge, especially when the material being illustrated resists having meaning-making structures imposed on it, or when the illustration does not illuminate the text. This research uses illustration practice to explore what is hidden but runs through the stories we tell: what our unconscious might be offering us, through our dreams, or through our choice of words, that cannot be known at face value. The research uses content from participant interviews about dreams and personal mythology as the basis for the creation of illustrations that take on a life of their own and trouble the original interview narrative, created through a practice that is informed by psychoanalytic approaches. The article also explores the influence of image‐text relationships within the exhibition space, suggesting that illustration could make use of display formats that engage with and challenge the meaning-making dynamics embedded within this space.

„Tilfinningar eru eldsneyti fyrir hugmyndir“. Um skáldskaparheim Elísabetar Kristínar Jökulsdóttur

This article deals with the authorship of Elísabet Kristín Jökulsdóttir, with special emphasis on the autofictional novel Heilræði lásasmiðsins (The locksmith’s advice), as well as other works that are based on autobiographical material. Elísabet writes a lot about the female body, its desires and erotic longings, as well as how helpless and weak it can be in particular situations. Her writing on the self, body and sexuality centres on the opposition between love and rejection. The desire for love is the driving force behind her writing and a deep and ruthless self-examination is at work in her fictional world. This desire is closely connected to the female body and sexual drive and Elísabet scrutinizes the nature of ‚femininity‘ and asks what it means to be ,a woman‘. Elísabet describes the female body in all its nakedness and vulnerability and shows how the body is the battleground where the main conflicts between self and others take place. Elísabet frequently describes two oppositional worlds in her works. There are conflicts between the magical world and reality, the father and the mother, the child and the grown-up, psychological difficulties and ‚sanity‘. a divided self is a persistent theme in her writings, as well as the struggle to remain on the right side of the „borders“, which are frequently mentioned. Elísabet’s writings reveal a struggle for marking a place for oneself in the world, to be heard and seen, to be able to createand recreate the self and through her writing, she copes with existence and difficulties that are rooted in childhood. Through writing, she finds a way out and the writing process serves as self-analysis and therapy. In her works Elísabet also creates her own personal mythology, which she connects with women’s struggle for self-realization, freedom and social space. The analysis of Elísabet’s works is inspired by the writings of feminist scholars, such as Simone de Beauvoir, Kate millett and Hélène Cixous.

Sophia de Mello Breyner Andresen e sua mitologia pessoal

Resumo: O propósito deste artigo é demonstrar que existe na poesia sophiana uma mitologia pessoal suportada por um olhar arguto e verticalizado sobre as coisas reais vistas e por uma palavra de compromisso ético. A pesquisa sobre esses dois pontos, olhar e palavra, foi conduzida pelos depoimentos de amigos e familiares e pelos seus próprios textos que demonstram o seu olhar particularizado sobre o mundo que a rodeia. Constata-se, ao final, que o olhar arguto e a palavra sacralizada por uma ética são os pilares de sua mitologia pessoal.Palavras-chave: Sophia de Mello Breyner Andresen; poesia portuguesa contemporânea; Grécia; mito.Abstract: The purpose of this article is to demonstrate that in Sophia Andresen’s poetry there is a personal mythology supported by a sharp and deep look about the real things and by a poetic word of ethical commitment. The research on these two points, the look and the poetical word, was conducted by the testimonies of friends and family and her own texts have demonstrated her particularized view of the world. In the end, it is observed that the sharp look and the sacralized word by an ethic are the pillars of her personal mythology.Keywords: Sophia de Mello Breyner Andresen; Portuguese contemporary poetry; Greece; myth.

Sologub, Fyodor (1863–1927)

Fyodor Sologub was a symbolist poet, novelist and playwright, who was known for his decadent style of writing and his elaborate personal mythology centered on myths of the sun, light and death. His best-known work, The Petty Demon (1907), thematizes banality and is deeply pessimistic. Born in St. Petersburg on March 1, 1863, Sologub died in Leningrad on December 5, 1927.