Miłość i poezja w Elegii 2.30 Sekstusa Propercjusza

Elegy 2.30 has been considered to be one of Propertius’ most difficult poems due to its complicated sequence of thought and distant associations noticeable in the discourse, which was often the reason for dividing the text into two separate poems. The article is an interpretative proposal aimed at demonstrating the integrity of 2.30, which was obtained by the poet by combining the concept of love with the concept of love poetry, as well as by using subtly constructed mythological references.

Ungdomens poetiska form

The Poetic Form of Youth: The Rebellious Power of Language and Desire in the Anthologies Kärlek och uppror and Berör och förstör Siv Widerberg and Anna Artén’s poetry anthology Kärlek och uppror: 210 dikter för unga människor (Love and Rebellion: 210 Poems for Young People, 1989) is something of a classic when it comes to Swedish contemporary poetry explicitly addressing young readers. Thirty years after its publication another poetry anthology, Berör och förstör: Dikter för unga (Affect and Destroy: Poems for Youth, 2019), edited by Athena Farrokhzad and Kristofer Folkhammar, was published. Both books tap into a long tradition of lyrical anthologies. Neither of the anthologies contain poetry written primarily for young readers. On the contrary, the anthologies include poems from the Swedish lyrical canon. Although the two anthologies share a similar structure and joint themes such as youth, love, poetry, and rebellion, they are significantly different in regard to poetic form and the conceptualizations of youth. The main theoretical perspective in this study is that the form of the anthologized poems can be understood as ideological expressions of an interplay between the genre's tradition and its specific aesthetic context. By historizing the genre and comparing the different paratexts of the anthologies, the article shows that adult conceptions of youth hides behind the editorial choices. In a quest to (re)create new writing subjects, through the rebellious powers of poetic language and love, the symbolic form of youth poetry both challenges and negates adult notions of youth in the two anthologies.

‘Verbal Pictures’ in Seventeenth-Century Orthodox Sermons: Predmova svjašenničeskaja pri šljube malžen’skom in Trebniks, L’viv 1644 and 1645

This paper puts forward some hypotheses on the sources of a ‘verbal picture’, that is to say allegorical love poetry, in a prosta mova marriage sample sermon addressed to laity and found in two Orthodox Ritual (Trebnik) editions: the first is by the publisher Michail Slezka (L’viv 1644) and the second by the bishop Arsenij Želiborskij (L’viv 1645). I shall argue that that the very combination of vernacular homiletic material and traditional ecclesiastical rites therein found goes back to sixteenth-century Polish Catholic Rituals; in the Orthodox Church of the Polish-Lithuanian Commonwealth, this model was introduced for the first time in the Ritual of the Orthodox Brotherhood of Vilnius (1621). The verbal picture analysed in this paper draws on Pictura amoris sive amicitiae, a short moralistic text written by the English Dominican Robert Holсot (ca. 1290-1349) which appears in his exegetical voluminous work In Librum Sapientiae Regis Salomonis Praelectiones ccxiii (ca. 1333-1342). Popular among late thirteenth-early fourteenth century English Dominicans, verbal pictures did not rely on earlier samples and were a literary product, a sort of exemplum or mnemonic tool for preachers to memorize abstract concepts. Since the sixteenth century, works of different genre reproduced Holcot’s verbal picture, without any attribution to its author, as emblem to create the so-called emblemata nuda (‘naked emblems’), which describe images but lack illustrations. The article suggests that the author(-s) of the Orthodox marriage sample sermon used a textbook on rhetoric Orator extemporaneus, seu artis oratoriae breviarium bipartitum by Michael Radau (1617-1687) as his main source, of which several manuscripts had started circulating by 1644. The article also presents some concluding remarks about the authorship of the marriage sample sermon.

The Heraldic Shield and the Woman’s Body in the Blasons Anatomiques du corps féminin (1543)

In the French Renaissance, the term ‘anatomical blason’ (blason anatomique) designated a highly descriptive love poem praising a single part of a woman’s body, while in heraldry, the noun ‘blason’ defined the ensemble of ornamental components constituting the shield. Just as the French verb blasonner meant to describe and to interpret the shield’s material and symbolic parts, so could this verb be used in amatory poetry to signify the act of lauding the details of the beloved’s anatomical parts. This study examines the structural analogies between heraldic shield and the anatomical blason, addressing how the technical terms defining the shield’s components such as partitions, points, charges, tinctures, and the achievement could be given analogous expressions in the anatomical love poetry.

REPETITION USED BY PROFESSOR ABDULLAH AL-TAYYIB IN HIS BOOK AL-MURSHID “THE GUIDE TO UNDERSTAND THE POETRY OF ARABS AND ITS ARTISTRY”

Dr. Abdullah Al-Tayyib grew up in a family known for its knowledge and originality, when he became prominent in the early twentieth century through a group of publications, most notably the book (Al-Murshid) “The Guide to Understand Arab Poetry and its Artistry”, as it is considered as an encyclopedia in the study of Arabic poetry. He studied the ancients, but with a new view, especially his position of the elements of harmony in Arabic poetry, which adds a sweet resonance to his music, most notably repetition, which relies on two elements, which are pure repetition and alliteration, that were disputed among the ancients in being one or two elements, and by this, Al-Tayyib resolved the dispute. According to him, repetition is used for a main purpose, which is rhetoric. Rhetoric is achieved when the poet intends to strengthen composition, that is, the aspect of emotions, and it comes for three purposes: either to strengthen the tone by repeating a phrase or poetic verse; or to strengthen the formal meanings by repeating a proper name or a subject to strengthen a general meaning in the poem; or to strengthen the detailed meanings which depend on the repetition of a name or position, to strengthen a detailed meaning in the poem, such as mentioning different places in order to reveal an emotional aspect such as love poetry. In relation to alliteration, there are two types: dual alliteration, by which the writer views time through the words he uses such as (mujaddal and murammal); and rhymed alliteration, the writer views place according to the words he uses, by intending to use specific sounds and letters, and insists on repeating them, such as (dhuhliya, and dhaahil).

Creativity and Tradition in the Introduction to Love Poetry for the Poets of the Sham in the Ottoman Era

This research deals with an analytical study of the flirtatious introductions that came in the view of the praise poems that spread widely in the Ottoman era, where this study attempts to monitor the aspects of creativity and the status of poetic thought among some poets of the Levant in dealing with a broad poetic purpose is spinning, and how these poets benefited From the experiences of the ex throughout the ages and adding what is related to the spirit of their times on the one hand, and their personal perception about the issues of spinning and women and what they feel on the other hand, and this study relied on the analytical method that helps in clarifying the tradition and creativity in these introductions.