ЖАНРОВО-ІДЕОГРАФІЧНІ ТЕНДЕНЦІЇ У ПОЕТИЦІ СУЧАСНОЇ ДИТЯЧОЇ ЛІТЕРАТУРИ

The article attempts to explore the features of early 21st century Ukrainian poetry for children. The purpose of exploration is to identify the genre and ideographic features of poetry: innovation and traditionalism. Tracing the genre modifications of poetry and their common and distinctive features, the author addresses the key features of poetry for children in general: artistic and literary discourse, the functions of poetry, thematic direction, strophic structure of the poem, the existence of images, characters and others. The article proves that the basis for the renewal of poetic genres is traditional genres of folklore and poetry. There are organically updated folk genres in modern poetry for children (praise, scarecrows, fables, nonsense, counters, patter, games) and newly created genres (poetry-pictures, tricks, coloring books, checks, stumbling blocks, therapeutic poems). The search for new forms of expression of idiosyncrasies of artists leads to the emergence of original genres. These have appeared as an original phenomenon in the Ukrainian literature of the early 21st century and offer a wide scope for further research.

"Perimeters of Grief": Elegy in and out of Bounds in Fred D'Aguiar's Memorial Poetry

While Fred D’Aguiar’s preoccupation with acknowledging the dead and honoring their memory gives his work an idiosyncratic elegiac quality, it is with the publication of the poetic sequence “Elegies”, from the collection Continental Shelf (2009), that the author overtly pitches himself in the traditional terrain of the elegy as a poetic genre. This sequence, a response to the Virginia Tech shootings (April 16, 2007), the deadliest gun rampage in US history to date, invites critical attention not only because it remains critically unexamined, but also because through its title it presents itself as an elegy when an anti-elegiac turn has been identified in modern poetry. This paper will explore D’Aguiar’s intervention in the debate surrounding elegy’s contemporary function as a genre which oscillates between the poles of melancholia and consolation, thus contributing to shaping the contours of an ancient but conflicted poetic form for the 21st century. I will be arguing that D’Aguiar’s poem suggests that for elegy to serve the troubled present it may benefit from the cultivation of an unembarrassed attachment to the deceased, from avoiding depoliticizing tragedy and from the exposure of its socio-historical underpinnings. In sum, it should be open to engaging with such critical issues as the struggles of collective memory, or the turning of grief into mass-mediated spectacle.

‘Making New’ and ‘Attention’ in Poe’s ‘Poetic Principle’ and Olson’s ‘Projective Verse’

This article argues for a neural basis behind Edgar Allen Poe’s ‘Poetic Principle’ and Charles Olson’s ‘Projective Verse’ to create a more robust cross-disciplinary aesthetic model. Brian Boyd and Ellen Dissanayake show that ‘attention’ and ‘making new’ in poetry is a stable but evolving technique. This shows up in constant variation in ‘classic’ and ‘modern’ poetry and it forms a pattern for interpretation. This article will look at Poe’s and Olson’s essays in relation to this technique, steering their conclusions toward a partially naturalized conception of poetics in conjunction with more standard literary models in order to broaden aesthetic understanding.

Mediating Andean Modernity: The Literary Oracular in Muerte por el tacto by Jaime Saenz

Upon his return from Berlin in 1939, Jaime Saenz started working in La Paz for intelligence agencies and public relations offices of Bolivia and the United States, which led to correspondent positions with Reuters and McGraw-Hill World News. His trajectory into Cold War Bolivian state nobility seemed all but guaranteed. However, on the brink of this breakout moment, he renounced his job —and professionalism altogether— committing himself to a life of literature and alcoholism as his marriage unraveled. In response to repeated interventions, he justified his every loss with a further indictment of the precautious, which was an outgrowth of his belief in the existence of a higher truth that was both accessible and impervious to analytical reason. In this article, I ask how Saenz’s poetry from the 1950s metabolized the rhetoric of indictment which it had inherited from the Tellurism of the Chaco generation. How might Muerte por el tacto (1957) be symptomatic of a broader aim of restoring to modern poetry its oracular legitimacy? On what grounds did Saenz indict precautious defenders of historical culture? And how did such an indictment mediate “national energy” (Tamayo) as it came into language through the nativist discourse of the land? Paying focal attention to regimes of revelation in Saenz’s early poetry and the historical conditions of its production, this article updates a discussion among Transatlanticists about the legitimization of irrationalism in 20th-century poetics and politics by assessing the socio-symbolic value of the oracular in the regionalist discourse of modernism.

Poezia modernă și tradiția

The article is a brief revisitation of the relationship between modern poetry and tradition, such as it was understood by poets starting with Charles Baudelaire. The theoretical proposition advanced here postulates the existence of two complementary attitudes in this respect: the first one progressive, characterized by the denial of tradition, represented by the European avant-garde (most of all futurism, dadaism, and surrealism); the second one conservative, illustrated first of all by German expressionism, but also by modernism and Anglo-American postmodernism’s attempts to recover or recycle the contents of tradition.

The Poetry of Darwish in the 1960s: Homeland and Exile

The early poetry of Mahmoud Darwish (1941-2008) is characterised by its overt resistance and confrontational tone against the Israeli forces. This research paper explores the themes of homeland and exile in Darwish’s poetry during the 1960s, tracing how the 1967 defeat has changed his poetic tone from the highly confrontational to the articulate conversational. It, therefore, contributes to the fields of literary criticism and Arab literary studies focusing on modern poetry of resistance. Although Darwish was still living on Palestinian lands during this period, he never felt at home, expressing his feelings of strangeness and suffering in a usurped land by force. The theoretical framework of Edward Said (1935-2003) is employed in this paper to question whether the themes of exile and homeland shape and reshape the Darwish’s understanding of resistance. Based on the analyses of this paper, Darwish’s poetry of resistance has dramatically changed due to his severe disappointment by the 1967 defeat, marking the collapse of Arab nationalism and its propaganda of the Arab homeland. Still, this shift does not affect Darwish’s rejection of the Israeli existence in Palestine. Instead, his poetry by the end of this decade still questions the violent and aggressive nature of the Israeli soldier despite Darwish’s intimate and human conversational style of his poems, thereby adding to the controversial analyses of Darwish’s poetics.

Paul Muldoon in America

Paul Muldoon was looking west long before he left Ireland for the United States in 1987, and his transatlantic departure would prove to be a turning point in his life and work. In America, where he now lives as a US citizen, Muldoon’s creative repertoire has extended into song writing, libretti, and literary criticism, while his poetry collections have themselves extended to outlandish proportions, typified in recent years by a level of formal intensity that is unique in modern poetry. To leave Northern Ireland, though, is not necessarily to leave it behind. Muldoon has spoken of his ‘sense of belonging to several places at once’, and in the United States his work has found another creative gear, new modes of performance facilitated by his Irish émigré status. This book approaches the protean work of his American period, focusing on Muldoon’s expansive structural imagination, his investment in Eros and errors, the nimbleness of his allusive practice as both a reader and writer, and the mobility of his transatlantic position. It draws on archival research to produce provocative new readings of Muldoon’s later works. Exploring the poetic and literary-critical ‘long forms’ that are now his hallmark, this book places the most significant works of Muldoon’s American period under the microscope, and opens up the intricate formal schemes of a poet Mick Imlah credits as having ‘reinvented the possibilities of rhyme for our time’.

The Poetry of Darwish in the 1960s: Homeland and Exile

The early poetry of Mahmoud Darwish (1941-2008) is characterised by its overt resistance and confrontational tone against the Israeli forces. This research paper explores the themes of homeland and exile in Darwish’s poetry during the 1960s, tracing how the 1967 defeat has changed his poetic tone from the highly confrontational to the articulate conversational. It, therefore, contributes to the fields of literary criticism and Arab literary studies focusing on modern poetry of resistance. Although Darwish was still living on Palestinian lands during this period, he never felt at home, expressing his feelings of strangeness and suffering in a usurped land by force. The theoretical framework of Edward Said (1935-2003) is employed in this paper to question whether the themes of exile and homeland shape and reshape the Darwish’s understanding of resistance. Based on the analyses of this paper, Darwish’s poetry of resistance has dramatically changed due to his severe disappointment by the 1967 defeat, marking the collapse of Arab nationalism and its propaganda of the Arab homeland. Still, this shift does not affect Darwish’s rejection of the Israeli existence in Palestine. Instead, his poetry by the end of this decade still questions the violent and aggressive nature of the Israeli soldier despite Darwish’s intimate and human conversational style of his poems, thereby adding to the controversial analyses of Darwish’s poetics.