“LABIOS MÍOS TEMBLANDO, DEL PRECIOSO REGALO DE TU MANO, TIÑÉNDOSE”: LA HUELLA DE PABLO GARCÍA BAENA EN EL DEVOCIONARIO DE ANA ROSSETTI

Este ensayo pretende evidenciar el magisterio que Pablo García Baena (Córdoba, 1921 – Córdoba, 2018), miembro fundador del grupo Cántico de Córdoba, ejerció en la obra poética de la escritora Ana Rossetti (San Fernando, 1950), particularmente en su poemario Devocionario (1986). Con este fin se lleva a cabo un análisis minucioso de la obra lírica de ambos que demuestra el gran número de rasgos estéticos que comparten. Entre los que sobresalen el uso de un lenguaje estetizante, rico en matices y detalles preciosistas, la exaltación de los sentidos y, principalmente, el empleo del imaginario católico al que los dos recurren con un propósito, más que religioso, decorativo. En última instancia, este estudio comparativo trata de iluminar algunas de las claves de Devocionario que la crítica, debido a una falta de comprensión, ha tendido a malinterpretar. Concretamente, se ha sobredimensionado el componente erótico del libro de la gaditana. Abstract: This essay will address the influence of Pablo García Baena (Córdoba, 1921-2018), a founding member of the literary group Cántico (Córdoba), in the poetry of Ana Rossetti (San Fernando, 1950), particularly her book Devocionario (1986). To achieve this, attention is paid to the poetic work of both writers, showing common aspects in their aesthetics, such as the outstanding use of language —rich in nuances and details—, the exaltation of the senses, and, mostly, the use of Catholic imagery, to which both resort with a decorative rather than a religious purpose. This comparative study will also approach some of the keys of Devocionario, which has been misunderstood by the critics. Particularly, scholars have exaggerated the erotic component of this book.

A arte capicua da comutação: Ara, de Ana Luísa Amaral / The palindromic art of commutation: Ara, by Ana Luísa Amaral

Resumo: Procurar-se-á mostrar como Ara, o primeiro romance de Ana Luísa Amaral, se vinha anunciando pela tensão dramática que caracteriza a vasta obra poética da autora desde os anos 90. Trata-se de um romance que, não descurando a tradição modernista, se mostra consentâneo com uma matriz pós-moderna e com um título capicua, Ara, que induz ab initio um universo permeável à dissonância e à comutação. Ver-se-á como o ludismo romanesco da comutação e a exploração da auto-reflexividade permitirão integrar modos discursivos diversos – lírico, ensaístico, poético, dramático e modus faciendi romanescos vários – do romance de formação ao romance de amor, passando pelo romance social e pela autobiografia, e explorando todas as virtualidades do género.Palavras-chave: comutação; dissonância; auto-reflexividade; hibridez romanesca; moderno / pós-moderno.Abstract: I will try to show how Ara, Ana Luísa Amaral’s first novel, can be seen as an announcement of the dramatic tension that characterizes the author’s vast poetic work since the 1990s. It is a novel that, while not neglecting the modernist tradition, is consistent with a postmodern matrix bearing a title that is a palindrome. This induces ab initio a universe permeable to dissonance and commutation. It will be seen how the novelistic playfulness of commutation and the exploration of self-reflexivity will allow for the integration of diverse discursive modes – lyrical, essayistic, poetic, dramatic and modus faciendi romanesque – ranging from the Bildungsroman to the novel of love, passing through the social realist novel and autobiography, and exploring all the potentialities of the genre.Keywords: commutation; dissonance; self-reflexivity; novelistic hybridity; moderm/post-modern.

Symbolism of the image of love in the poem “La steaua” by M. Eminescu as an object of linguo-cognitive research

This research is devoted to the study of the linguo-cognitive specifics of the linguistic nominations of manifestations of love in the poem “La steaua” by M. Eminescu. The study of linguistic representations of the concept of love as multifaceted and ambiguous from the point of view of its emotional nature of feelings on the material of a poetic work is interdisciplinary by its nature, being at the junction of such scientific disciplines as: cognitive linguistics, literature and psycholinguistics. The purpose of the study is to identify and study the verbalized fragments of the image “love” in the poem “La steaua” by M. Eminescu and to establish their associative-figurative potential. To achieve the above-mentioned goal, a number of tasks were outlined: to identify and classify the key conceptual dominants of the poem “La steaua” by M. Eminescu; to establish the structure and semantic content of the image of love in the poem by describing its frame structure; to determine the individual author’s specificity of the interpretation of the artistic image of love on the material of the analyzed poem. As a result of our research, we identify frame structures that are activated by verbal units and convey a specific stereotypical situation. We come to the conclusion that the features of the verbal embodiment of frame structures are directly related to the individual author’s perception of the image of love, his personal and emotional characteristics, as well as culturally determined associations with the concept of love.

PHILOSOPHY AND POETRY: THE UNITY AND DIFFERENCE OF DIMENSIONS (Marginalia to E.K. Sobolevskaja’s article “Yearning – homeland – rowan...”)

The poetic dimension of philosophical thought is the central problem of this paper. Poetry and philosophy have different tasks, but both poetry and philosophy are concerned with the word as an instrument – knowledge (for philosophy) and expression (for poetry). Philosophy uses the word in its semantic constituents, abstracting from its external form. For poetry, the external sound side is inseparable from meaning and its various semantic aspects. In some cases, however, these typological attitudes and tenets are reversed. In philosophy, such cases can be considered as the work with language in its poetic dimension. Heraclitus worked in this way in antiquity, Heidegger works with language and with the word similarly in modern times. In poetry, we can consider the work of M. Tsvetaeva as such a case. Poeticizing, as represented by Tsvetaeva, is a cardinal linguistic shift, determined by the inner experience: distancing from any national language, or cardinal defamiliarization of the language in the constitutive centres of its conventional symbolic coordination, recognizing it every time and, accordingly, recognizing, renaming, defamiliarizing of the world. More than anybody else poets are immersed in the world, in search of the names, in giving meanings to things. When considering the poet’s work from the perspective of poetic dimensions of philosophical thought, the author relies on an article by Elena Sobolevskaya “Yearning – homeland – rowan...”, which uses both philological and philosophical approaches to the analysis and interpretation of Marina Tsvetaeva’s poetic work.

”Stenarna de suttit på / står ännu kvar”

”The stones where they sat / are still there”: Ecocritical Readings of Barbro Lindgren’s Poetry Taking its cue from questions raised in ecocritical theory, this article studies some of the central themes in the poetry of Swedish ALMA laureate Barbro Lindgren: the non-hierarchical attitude towards all that lives and exists; the cycle of life and death that is a fundamental condition of existence for human and non-human animals as well as for trees and plants; and the exploration of scales that often aims to turn away from or overturn the traditional anthropocentric ways of thinking. The article argues that while Lindgren’s poetry can be read and interpreted from many perspectives, ecocriticism offers fruitful insights into her poetic work, with its stress of the anthropocentric versus the ecocentric, and the potential of scale critique. It also argues that Lindgren’s poetical oeuvre as a whole sheds light on her foundational orientation towards life, death and time, and that Lindgren does not differentiate in theme or message when writing for different audiences. The individual’s experience of life as a finite experience is always contrasted by the larger perspective, where life and death are ever-present and perpetual.

Some Thoughts About Genre in Old Javanese Literature

Robson in 1983 and 1988 in his reconsideration of the poetics of kakawin epics and Javanese philology drew readers’ attention to the importance of genre for the history of ancient Javanese literature. Aoyama in his study of the kakawin Sutasoma in 1992, making judicious use of Hans Jauss’s concept of “horizon of expectation”, offered the first systematic discussion of the genre of Old Javanese literary works. The present essay offers a commentary on the terms which mpu Monaguna and mpu Prapañca, authors of the thirteenth century epic kakawin Sumanasāntaka and the fourteenth century Deśawarṇana, themselves, employ to refer to the generic characteristics of their poems. Mpu Monaguna referred to his epic poem as a narrative work (kathā), written in a prakṛt, Old Javanese, and rendered in the poetic form of a kakawin and finally as a ritual act intended to enable the poet to achieve apotheosis with his tutelary deity and his poem to be the means of transforming the world, in particular to ensure the wellbeing of the readers, listeners, copyists and those who possessed copies of his poetic work. Mpu Prapañca described his Deśawarṇana differently. Also written in Old Javanese and in the poetic form of a kakawin—he refers to his work variously as a narrative work (kathā), a chronicle (śakakāla or śakābda), a praise poem (kastawan) and also as a ritual act designed to enable the author in an ecstatic state of rapture (alangö), and filled with the power and omniscience of his tutelary deity, to ensure the continued prosperity of the realm of Majapahit and to secure the rule of his king Rājasanagara. The essay considers each of these literary categories.

Man - "Debtor of the God"

The main objecvtive of Davit Guramishvili's poetic work is getting to know one’s self. Thus, the author’s lyrical "I" is clearly visible in the poem. In order to get to know one’s self, meaning of the human existence needs to be explored. The image of God as well as the sinful nature has been inherited in the humankind.Christ has redeemed the humankind from the captivity of original sin, paying the "old debt". "Davitiani” is based on such Christian ideology. On the one hand, the poet notes that God undertook the obligation to save his creatures in the first place. At the same time, Davit Guramishvili believes that he is indebted to God as he is born as his image, in his likeness. The second reason behind man's duty to God is the redemption of sins and the restoration of damaged image. The New Testament has imposed a "new debt" on mankind.The main purpose of the "new man", which is deification, begins with the discovery of the likeness of God in himself, then - with repentance of the sins. At the end, the person on the path of personal perfection meets God.Davit Guramishvili's lyrical character also starts to strive for "deification". He regrets that he has been robbed of the light of the Lord. Like a sinful Adam he is dressed in leather, and deprived of the sun of paradise, is buried in the abyss of hell.Remembering the passion of the Savior on the cross is the duty of the Christian. He should sympathize with and mourn the martyrdom of Jesus with his own sins. The most ardent co-sufferer of the sufferings of Christ is the Mother of God. The poet's lyrical protagonist recalls the tragedy of Golgotha ​​and seems to feel the pain inflicted by the Lord’s wounds, expressing the communion of the sufferings of the Virgin. David Guramishvili, as a Christian author, thus becomes an accomplice of the Lord's passion.Such a principle of liturgical thinking in the work of David Guramishvili, first of all, relies on the idea of St. Paul the Apostle, according to which the man would gain life in Christ through crucifixion. Such a concept is also revealed in the old Georgian theological poetry. It is noteworthy that the poet's lyrical protagonist will also replace Adam and by considering his mourning as his own tragedy, he tries to establish a personal "I".The poet sympathizes with the Adam's sin. However, he rejoices by the fact that he is freed from the "old debt" and this time he feels a new duty towards the Savior, Christ. For Davit Guramishvili, the poetic path has become an arena of spiritual victory in order to get to know one’s self. Therefore he establishes a personal lyric based on liturgical consciousness. The poet, through his work, aims to glorify the Savior, express gratitude and love towards him and thus pay the "new debt“.

Why Humans Do Not Cast Off Old Skin Like Snakes. Knowledge and Eternal Youth in Nicander’s Theriaca

In Theriaca 343–358, Nicander recounts a rather unusual myth. After Prometheus had stolen fire, Zeus was seeking the thief and, when men delivered Prometheus over to him, he gave them the gift of youth. Humans entrusted the ass to carry this load, but the ass was seized by thirst and sought the help of the snake, who demanded in return the thing he was carrying on his back. This is how the gift of youth given to men fell to the serpent’s lot. Ever since, inevitable old age has weighed upon them, while the snakes cast off their old skin and gain a new one. Like any digression in Hellenistic epic poetry, this parable certainly is intended to entertain the reader, yet it must have a more serious function: by showing that it was only out of stupidity that men gave away their invaluable gift to the ass, Nicander asserts the great value of knowledge for life. Remarkably, it is precisely in this passage that the poet has inserted the acrostic of his name. The idea that his poetic work will ensure the survival of his name for future generations, directly expressed in the closing lines, is here conveyed with the greatest refinement.

The Stylistic Features of the Isolated Voice Attributed to the Poetical Work “Fragments of a Woman” by Suad Al-Sabbah as a Model

The stylistic features of isolated sound are an integral part of the inner rhythmicity of the text, and the inner rhythmicity constitutes a part of the acoustic structures that help reveal the vocal implementation to embody the imagination and achieve the image in the text at large. The criterion we adopted in our analysis of the stylistic features of the isolated voice attributed to the poetical work “Fragments of a Woman” by Suad Al-Sabbah is the ratio of whispered sounds on the one hand to its counterparts of fricatives and explosive sounds on the other hand, and the extent to which this ratio exceeds its ratios in normal speech. We were able to observe that the proportions of the presence of different sounds in the poems are commensurate with the emotional and moral connotations within them. The percentage of whispered sounds in the poems exceeded its proportion in ordinary speech when the poet was dominated by the feelings of weakness and fear for challenging the established social constants and norms or as a result of the feelings of sorrow and sadness that the poet lives in the life of repression and injustice. Nonetheless, this percentage was notably lower when the poet covered her revolution by expressing her pride in her homeland or background. The presence of the explosive sounds in a higher percentage compared to fricatives might be attributed to the fact that the entire poetic work is an all-encompassing revolution against numerous constants and long-standing concepts of the Eastern society, and one of the means of expressing the revolution linguistically is the high-rate of explosive sounds.

KUṞUNTOKAIYIL UḶḶUṞAI – IṞAICCI [INNER MEANING AND METAPHOR IN KURUNTHOGAI]

This study explains the inner meaning and methaphor in kurunthogai: Piece of Tamil literary work. “Tholkappiyam” is a very ancient Grammar work in Tamil Literature. He is the earliest person to develop the literary principles for the Tamil Language and literature. It also codes the ethical way of living. The article focuses on the “Ullurai – Iraichi” in Kurunthogai. ‘Kurunthogai’ is a classical Tamil poetic work in the second book of the “Ettuthogai” (Eight Anthologies). It is content matters were poem contains love and separation. The ancient Sangam literature had witnessed the life style of the people in five phases of lands as Kurinji, Mullai, Neythal, Palai and Marutham. There are many Uvamams in Kurunthogai. The study involved library research and was followed by explanatory analysis. This research paper explains and trying to prove that the Tholkappiyar’s Poetics Ullurai – Iraichi found in ‘Kurunthogai Songs’ make the literary work fabulous.