Review of Vasil Simonenko's work Григорій Олегович Савчук
Visnyk Kharkivsʹkoho nat͡s︡ionalʹnoho universytetu im. V.N. Karazina. Serii͡a︡ filolohii͡a,
04/2021
88
Journal Article
Recenzirano
Odprti dostop
In the paper the work of Vasyl Symonenko (lyric poetry, lyro epic, short stories) is integrally analysed. Attention to collections "Bank of expectations" and "For itself" is paid. The romantic ...features of lyric poetry, preparation of lyric hero to adult life, feeling of responsibility are marked. The verses of these collections help an author to attain an emotional equilibrium, perform the original psychotherapy duty. First printed collection "Silense and thunder" educed the updating of poetic maintenance at maintenance of classic forms. The poles of "silense" (intimate lyric poetry) and "thunder" (civil lyric poetry) are analysed, didacticism and gnomic are marked. The posthumous collection "Earthly gravitation" strikes the "overpopulation" of the verse line, the concentration of idea, the transparency of ideas, the faith in the future. The features of address verses, facilities of fight against the negative public phenomena are studied. During the study of lyric poetry of V. Symonenko non-verbalized motives of aspiring to the changes, aspiration and spiritual way are educed. Romanticism of lyric poetry is consonant with short stories of V. Symonenko, collected in a book "Wine from roses". The plot organization and ideological level of short stories "He interfered with her to sleep", "Wine from roses", "Black horseshoe" are analysed. An accent on the open finales of works is done.
The fairy-tales of the sixty contain a political implication, but they could be addressed to the junior reader. For more complete understanding of the artistic world of author it is necessary to know his literary-critical work, foremost the article "Beauty without beauties ", sanctified to the poetry of L. Kostenko. V. Symonenko appears in the hypostasis of professional reader that analyses collection "Trip of heart". V. Symonenko noticed beauty, wisdom, thin heartfelt sensitiveness and good taste, could be said about a critic. The conclusion, that a poet kept straight in life, and in work, as well as majority of sixties is drawn.
Cönkler ve mecmualar yüzyıllar boyu âşık edebiyatının ve halk kültürünün en önemli kaynaklarından
biri olmuştur. Bu makalede ele alınan mecmua içinde kayıtlı âşıkları ve şiirlerini gün yüzüne ...çıkararak
bu kaynaklardan birini daha Türk kültür çalışmalarına kazandırma amacı güdülmüştür.
Üzerinde çalışılan kaynak 1951 yılında tamamlanmış ve Milli Kütüphane’de “06 Mil Yz A 4573-
1” numarası ile kayıtlı olan mecmuadır. Bu çalışmada âşıkların mahlasları ve o mahlaslara ait
şiirleri alfabetik sıra ile sayfa numaraları da verilerek belirtilmiştir. Karşılaşılan şiirlerin çoğu Alevi
ve Bektaşi kültüründen izler taşımaktadır. Şiirlerin genel konusu dini-tasavvufi çerçevede olsa da
din dışı şiirler de kendine yer bulmuştur. Mecmuanın ise kim tarafından yazıldığı bilinmemektedir.
Çoklukla yazım hataları yapılmıştır. Hece ve kafiyenin de bazen bozulduğu görülür.
Çalışma temelde üç bölümden oluşmaktadır. Giriş bölümünde cönk ve mecmuaların tarihsel değeri
üzerinde durulmuştur. Âşıkların toplum içerisinde oynadığı rollere kısaca değinilmiş geçmiş ile şimdi
arasında olan bağ açıklanmaya çalışılmıştır. İkinci bölümde ise şiirleri teknik yönden değerlendirip
işlenen konular belirtilmiştir. Her bir şairi teker teker değerlendirmek yerine genel yargılara varma
yoluyla devam eden çalışma karşılaşılan bazı kusurların incelenerek bu kusurların nedenlerine
odaklanmış, ölçü ve kafiye konusuna değinmiştir. Son bölümde de alfabetik sıra içerisinde âşıkların
başlıkları açılmış, bu başlıkların altında ise sayfa sırasına göre o âşıklara ait şiirlerin ayaklarına yer
verilmiştir. Hece ve aruz kullanan şiirler birbirinden ayırt edilerek belirtilmiştir.
First published in 1986, Lila Abu-Lughod'sVeiled Sentimentshas become a classic ethnography in the field of anthropology. During the late 1970s and early 1980s, Abu-Lughod lived with a community of ...Bedouins in the Western Desert of Egypt for nearly two years, studying gender relations, morality, and the oral lyric poetry through which women and young men express personal feelings. The poems are haunting, the evocation of emotional life vivid. But Abu-Lughod's analysis also reveals how deeply implicated poetry and sentiment are in the play of power and the maintenance of social hierarchy. What begins as a puzzle about a single poetic genre becomes a reflection on the politics of sentiment and the complexity of culture.This thirtieth anniversary edition includes a new afterword that reflects on developments both in anthropology and in the lives of this community of Awlad 'Ali Bedouins, who find themselves increasingly enmeshed in national political and social formations. The afterword ends with a personal meditation on the meaning-for all involved-of the radical experience of anthropological fieldwork and the responsibilities it entails for ethnographers.
Recent publications by poet and artist Caroline Bergvall shift the old paradigm of both the poetry collection and the book-poem. This shift can be analyzed with the notion of “remix” that Lev ...Manovich uses to characterize new media. Bergvall’s recent books (Meddle English and Drift) are remixes in terms of their structure, of their individual texts, but above all in terms of their remediation as podcasts, performances, shows, printed material. They anticipate the “remixability” of her most recent projects subsumed under the title Sonic Atlas. But Bergvall’s remixability is not formal or technological, it is a poetics and a politics of multiplicity that seeks to define how to live together now.
In For Dear Life , with accessibility, wit, and humor,
Ronald Wallace evokes a wide variety of subjects that range from
the traditional themes of lyric poetry-love, death, sex, the
natural world, ...marriage, birth, childhood, music, religion, art-to
the most unexpected and quirky narratives-an ode to excrement, a
catalogue of comic one-liners, a celebratory testimonial to his
teeth.
October Aubade If I slept too long, forgive me.A north wind quickened the window frames so the room pitched like a moving trainand the pillow's whiff of hickory and shaving soap conjured your ...bodybeside me. So I slept in the berth as the train chuffed on, unburdenedby waking's cold water, ignorant of pain, estrangement, hunger and the crucial fuel the boiler burned to keep the minutes' pistons churningwhile I slept. Forgive me. That Kind of Happy, the long-awaited second collection by award-winning poet Maggie Dietz, explores the sharp, profound tension between a disquieted inner life and quotidian experience. Central to the book are poems that take up two major life events: becoming a mother and losing a father within a short stretch of time. Here, at the intersection of joy and grief, of persistence and attrition, Dietz wrestles with the questions posed by such conflicting experiences, revealing a mind suspicious of quick fixes and dissatisfied with easy answers. The result is a book as anguished as it is distinguished.
Open-access audio archives are changing the ways we consume and conceive of poetry. This article considers exactly how they renew our sense of the poetry collection. While books provide authoritative ...collections assembled by a poet or an editor, open-access audio repositories with an archival concern preserve entire poetry readings in which poems are read in a different order than in print. Given the ability of poems to take up new meaning according to context – a characteristic identified by Neil Fraistat as “the Petrarchan paradigm” –, I argue that such “sets” constitute hermeneutic objects in themselves and in relation to print collections. To test this hypothesis, I turn to Louis Zukofsky, a poet known for the careful structuring of his books and his radical care for sound. Listening closely to two 1972 readings and examining a reading program for a 1941 reading at the YMHA preserved in the Zukofsky archives, I establish that such sources offer valuable insights into the work, expose a series of criteria used by poets to compose their readings, show how a poet can repurpose old poems in renewed contextures, and ultimately observe that approaching Zukofsky through his audiotexts tilts his work decisively toward song. Moreover, Zukofsky’s Fall 1972 readings foreground the curatorial role played by his wife, Celia Zukofsky. By setting to music her selections from her husband’s work, she offers two artistically complex textual realizations of a game-changing affordance of sound-recording technologies since the 1963 invention of the audio cassette – i.e. the possibility to anthologize on the receiving end. In large online repositories of recorded poetry, the playlist has become an established genre with a curatorial function, offering guided tours by artists or scholars. Tapping the widely shared desire to collect “favorites,” share them with others, and prompt them to come up with their own list in response, the playlist undeniably holds great critical, creative, and pedagogical potential.
Les archives sonores de poésie en libre accès changent la façon dont nous consommons et concevons la poésie. Cet article interroge la manière dont elles renouvellent notre rapport au recueil de poésie. Les archives sonores en ligne entretenant une ambition patrimoniale conservent les enregistrements de lectures de poésie dans leur intégralité : les poèmes y sont presque toujours lus dans un ordre qui n’est pas celui de l’ouvrage imprimé. Étant donné la capacité des poèmes à renouveler leur sens en fonction du contexte (une caractéristique que Neil Fraistat identifie comme le « paradigme pétrarquien »), de tels ensembles constituent des objets herméneutiques en eux-mêmes et en dialogue avec les ensembles imprimés. Pour tester cette hypothèse, je me tourne vers Louis Zukofsky, poète connu pour la structuration minutieuse de ses livres et l’attention radicale qu’il porte au son. En écoutant les enregistrements de deux lectures de 1972 et en consultant le programme d’une lecture de 1941 conservé dans les archives, je mets au jour une série de critères utilisés par les poètes pour composer leurs lectures. Je montre comment un poète peut remployer d’anciens poèmes dans des contextes renouvelés et constate, enfin, qu’aborder Zukofsky par l’écoute de ses audio-textes accentue la dimension lyrique de son œuvre. Par ailleurs, les deux lectures de 1972 mettent en avant le rôle curatorial joué par sa femme, Celia Zukofsky. En mettant en musique un ensemble de poèmes sélectionnés dans l’œuvre de son mari, elle crée une véritable playlist sur papier, comme pour rendre hommage à une nouvelle fonctionnalité née de la révolution des techniques d’enregistrement sonores (depuis la commercialisation de la cassette audio en 1963) et grâce à laquelle l’auditeur peut dorénavant créer ses propres anthologies. Sur les grandes plateformes d’archives en ligne telles que PennSound et UbuWeb, la playlist (ou liste de lecture) s’impose désormais comme un genre curatorial à part entière, artistes et critiques offrant en quelque sorte des visites guidées pour naviguer au sein d’une offre poétique pléthorique. Exploitant le désir largement répandu de collectionner des « favoris », de les partager avec d’autres et d’inciter ces autres à dresser leur propre liste en retour, la playlist présente indéniablement un grand potentiel critique, créatif et pédagogique.
In this fourth volume of the landmark Poems for the Millennium series, Pierre Joris and Habib Tengour present a comprehensive anthology of the written and oral literatures of the Maghreb, the region ...of North Africa that spans the modern nation states of Libya, Tunisia, Algeria, Morocco, and Mauritania, and including a section on the influential Arabo-Berber and Jewish literary culture of Al-Andalus, which flourished in Spain between the ninth and fifteenth centuries. Beginning with the earliest pictograms and rock drawings and ending with the work of the current generation of post-independence and diasporic writers, this volume takes in a range of cultures and voices, including Berber, Phoenician, Jewish, Roman, Vandal, Arab, Ottoman, and French. Though concentrating on oral and written poetry and narratives, the book also draws on historical and geographical treatises, philosophical and esoteric traditions, song lyrics, and current prose experiments. These selections are arranged in five chronological "diwans" or chapters, which are interrupted by a series of "books" that supply extra detail, giving context or covering specific cultural areas in concentrated fashion. The selections are contextualized by a general introduction that situates the importance of this little-known culture area and individual commentaries for nearly each author.
In his sixth collection, Mark Halliday continues to seek ways of using the smart playfulness of such poets as Frank O'Hara and Kenneth Koch to explore life's emotional mysteries—both dire and ...hilarious—from the perpetual dissolving of our past to the perpetual frustration of our cravings for ego- triumph, for sublime connection with an erotically idealized Other, and for peace of spirit. Animated by belief in the possible truths to be reached in interpersonal speech, Halliday's voice-driven poetry wants to find insight—or at least a stay against confusion— through personality without being trapped in personality. History will leave much of what we are on the threshing floor, Halliday notes, but in the meantime we do what we can; let posterity (if any!) say we rambled truly. Forward Prizes for Poetry: Highly Commended for 'Classic Blunder' and 'Lois in the Sunny Tree'
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