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L’autobiographie intellectuelle du Discours de la méthode fait reposer la vocation philosophique de Descartes sur un événement, souvent associé à la découverte des « fondements de la science admirable », le 10 novembre 1619. L’article rapporte ici cet événement à l’injonction à « l’étude de soi » prescrite par les premières pages de la Sagesse de Charron. Il montre ensuite les similitudes entre la structure narrative du récit cartésien (le voyage, la halte, le choix du chemin, la mathesis comme « chemin sûr ») et les auto-fictions narratives publiées par le mathématicien Caspar Grünewald entre 1617 et 1619. Enfin, il montre que le « désir d’apprendre à distinguer le vrai d’avec le faux » réécrit, sans lyrisme ni fioritures, le récit séminal du placard de la licence en droit (1616), où le récit de la vocation entrecroisait poétiquement les références mythologiques et théologiques. The intellectual autobiography of the Discourse of Method bases Descartes’ philosophical vocation on an event, often associated with the discovery of the “fundamenta scientiae mirabilis” on 10 November 1619. The article relates this event to the injunction to “self-study” prescribed by the first pages of Charron’s treatise On Wisdom. The article then shows the similarities between the narrative structure of the Cartesian story (the journey, the stopover, the choice of the path, the mathematics as a “safe path” and “pharmakon…”) and the narrative self-fictions of the mathematician Caspar Grünewald. Finally, he shows that the “desire to learn how to distinguish the true from the false” rewrites, without lyricism or embellishments, the seminal narrative of the law degree placard (1616), where the vocation narrative poetically intertwined mythological and theological references.

This essay explores the weaving together of vegetal and elemental narratives through the poetry of Andrea Zanzotto and Daria Menicanti and shows how their experience of the landscape is punctuated by cross-species encounters, a radical openness to the world, the belief in the common roots of all life, and the embrace of vulnerability in interactions with others. Starting from the premise that these poets comprehend that an emphasis on verbality reflects the anthropic desire to translate life into a one-species code and constitutes an impediment to universal and meaningful communication, this essay argues that Zanzotto’s and Menicanti’s embrace of the nonverbality of plant communication becomes key in the process of meaning-making. A narration of and with plants is the antidote to what they understand as the ultimate malady of language that prevents it from grasping and conveying the richness of the world after it has supplanted the nonhuman domain. Through a close reading of four poems that illustrates how the poets embrace the eloquent silences, gaps, hesitations, and overabundance of meaning of the vegetal realm, this essay foregrounds the boundary-breaking quality of Zanzotto’s and Menicanti’s poetry as a space for rich human-nonhuman exchanges. Ultimately, this essay argues that by declining to place themselves above plants and exert power over them, Zanzotto and Menicanti usher in the Symbiocene, the era characterized by multispecies coexistence, mutual support, and interdependence. Their poetry creates spaces where the human can lean into the more-than-human and, for one brief instant, get a taste of existing in harmony with the life that pulsates all around., Este ensayo explora el entretejido de las narrativas vegetal y elemental a través de la poesía de Andrea Zanzotto y Daria Menicanti, y muestra cómo los encuentros inesperados con diferentes especies, una actitud receptiva radical del mundo, la creencia en las raíces comunes de todas las formas de vida, y la aceptación de la vulnerabilidad en las interacciones con otros puntualizan sus experiencias del paisaje. Partiendo de la premisa de que estos poetas comprenden que un énfasis en la verbalidad refleja el deseo antrópico de traducir la vida a un código de especie y constituye un impedimento para una comunicación universal y significativa, este ensayo sostiene que la actitud receptiva de la ausencia de verbalidad de la comunicación con las plantas se convierte en clave en el proceso de construcción de significados. Una narración de y con plantas es el antÍdoto para lo que ellos entienden como la enfermedad suprema del lenguaje, la cual le impide captar y transmitir la riqueza del mundo después de que haya suplantado el dominio no humano. A través de una lectura atenta de cuatro poemas que ilustran cómo los poetas aceptan los elocuentes silencios, intervalos, titubeos y la sobreabundancia de significado del reino vegetal, este ensayo pone de relieve la cualidad innovadora de la poesía de Zanzotto y Menicanti como un espacio para intercambios fructuosos entre humanos y no humanos. Finalmente, este ensayo sostiene que al rechazar situarse por encima de las plantas y ejercer poder sobre ellas, Zanzotto y Menicanti introducen el Simbioceno, la era caracterizada por la coexistencia de las múltiples especies, el apoyo mutuo, y la interdependencia. Su poesía crea espacios donde lo humano puede acercarse a lo más-que-humano y, por un breve instante, saborear la experiencia de existir en armonia con la vida que late a nuestro alrededor

Resumen En este artículo analizamos Nocturno de Chile (2000), del novelista chileno Roberto Bolaño (1953-2003), a partir de la forma visual de la narración. La extensa producción de este escritor posee un carácter imagético innegable que abordaremos a partir de su correlato con las formas de producción del teatro y el cine. La hipótesis es que el diálogo inter-artes nos ofrece una nueva forma de acercamiento a su obra y, especialmente, a la novela que abordaremos en este estudio. Las imágenes de Nocturno de Chile transitan entre el fin de la democracia y la dictadura por medio del delirio de un hombre agónico que revisa su vida afectivo-literaria como respuesta a una agresión intelectual. Abstract We analyse, in this article, Nocturno de Chile (2000), by the Chilean novelist Roberto Bolaño (1953-2003), on the basis of the visual form of the story. The extensive production of this writer has an undeniable imagery-centred character that we address from its correlation with the production forms of the theater and the cinema. The hypothesis is that the inter-arts dialogue offers us a new way of approaching his work and, especially, the novel that we address in this study. The images in Nocturno de Chile circulate between the end of democracy and the dictatorship of Pinochet through the delirium of a dying man who reviews his emotional literary life in response to an intellectual attack.

The review article provides a critical analysis of Anatolii Moisiienko’s monograph “Text as an artistic givenness. Problems of poetic language”. The famous linguist and writer is once again interested in aesthetic communication, its general philological context – language, literary, translation studies.The artist-researcher devotes three sections of his book to the issues of language being. The basis of the already tested scientifi c concept is built of the ideas about the world as a special text, about the multidimensional nature of poetics, about the dynamic essence of the image and an integral artistic system. In the applied aspect, the scientist’s attention is drawn to samples of extravagant literature, such as chess poetry, as well as, in general, the creative laboratory of strong language personali ties, their artistic experiments, and innovation.The author of the reviewed monograph consistently proves the idea that the tech nique of poetic creation is important in the work of both the artist of the word, the scientist, and the publicist. All of them wo rk with the facts of a language for which the poetic function is characteristic a priori. The intention for an emotional and aes thetic worldview is laid down in all styles and genres. Artistic tasks are presented to each author, however, they are implemented in different ways, in special techniques of aestheticization – as national, compositional, or linguistic – fi gurative specifi cs. The text is interesting for the scientist as a process, in the embodiment of “movement – development – modifi cation”.The poetological approach draws attention to the fact that any segment of the textual structure is potentially signifi cant for understanding the work as a whole, as a system. In fact, we are talking about syncretic (universal) linguopoetics.

There were determined the features of the poetic text with strong positions in its composition. There were found out and added the defi nitions of non-equivalency phenomenon in lexical system of modern Ukrainian. The non-equivalent lexicon in poetic text was investigated and determined as one type of strong positions on the basis of the analysis of poetic contexts. The comparisons of other language contexts helped to fi nd out a compositional role of non-equivalent lexicon in the poetic text as a strong position which creates ethic-cultural picture of the world within the borders of a poetic model, as well as non-equivalent lexical unit in asymmetrical relations with other dominants of the text. The found out specifi c character of non-equivalent lexical units determines the peculiarity of their translation.

Purpose of the article is to show that colour names form concept periphery of the landscape, enrich, expose in general, making it more important in small prose ofI. Bunin.Art concept that is born in the writing and continues its life beyond the one isalways obeyed to the necessity of detail the phenomena of nature, landscapes andtheir elements refl ection. It is revealed in a small prose of the writer as an integral systemic formation represented by colour lexemes not only with conventional but alsowith associative semantics.Conceptual comprehension of the landscape in I. Bunin’s small prose is connectedwith the understanding that nature can exist only in the context of the human worldview.The variety of details and their colourist features makes it possible for the writer to show the unique beauty of the surrounding world, inner richness, the intensity of the spiritual life and the depth of the characters’ emotions. The colour marking palette in I. Bunin’s prose is extremely rich, vividly individual. The artist is looking for new means of emotional infl uence. In perspective it is advised to analyse the concept “landscape” in I. Bunin’s poetry. The presented methodology can become the basis for studying the category of coloration in different author styles.

The article analyzes the embodiment of the concept Monte / Berg / Gore in Italian, German and Ukrainian poetic texts as the means of revealing of the man’s inner world, the transfer of emotional, evaluative and expressive feelings, the reproduction of philosophical ideas in the author’s world outlook. The attention of scholars, within the framework of modern linguo-cultural studies of the conceptosphere of certain language communities, is increasingly attracted by the extend study of cultural concepts through the prism of the other ethnic awareness and their analysis with the reference to national peculiarities. The conducting of typological studies of linguistic worldimage makes it possible to characterize the explication peculiarities of concepts in literary text and their implementation in the linguo-cultural aspect, the metaphorization processes and symbolization. The article reveals semantic characteristics of the concept Monte / Berg / Gore in various fi gurative-associative speech patterns and conducts lexical-semantic analysis of poetry regarding the individual symbolism of the artistic word and the peculiarities of poetic perception in the Italian, German and Ukrainian languages

The symbolism of bird images occupies one of the central places in the system of Romantic worldview. It represents the Romantic attitude towards the outside world in Гайдук С. Образ орла як уособлення поета у поезії епохи романтизмуISSN 2411-4758109general and towards the closest human «partners» in nature, in particular. In literary works, it also shows Romantic orientations on certain artistic traditions: folk, biblical, antique. It is noted that the eagle image is one of the main bird images of the wild fauna which can be found in Romantic poetry. The purpose of the article is to highlight the peculiarities of the eagle symbolism as the personifi cation of poet in the poetry of T. Shevchenko, O. Pushkin, N. Yazykov, and J. Keats. It is stated that the eagle image is the personifi cation of such features of Romantic outlook as freedom, creative inspiration, high spiritual demands. Thus, in Romantic culture, the eagle is a symbol of poet. The poet’s personality is directly associated with such features of this bird as, high aspirations and sharp eyesight. This emphasizes the poet’s need to be over events and situations in order to depict them adequately, without conformism. To a certain extent, this is a manifestation of a Classical tradition. This eagle symbolism is very typical of Classicism. It is indicated that the aforementioned Romantic poets carry such features of eagle as pride, majesty, safety, independent glory, freedom, on the poet image as a creator. Therefore, the eagle image in their poetry becomes the personifi cation of poet, a distinctive symbol of the literary Olympus and literary fame. However, it should be remembered that symbol as one of the most signifi cant components of Romantic poetry is characterized by ambiguity. The ways of representing the eagle image in the works of Romantic poets form a multi-dimensional range of symbols. That is why the interpretation of other symbolic meanings of the eagle image in the poetry of the Romantic era is the prospect of our further research.

En los últimos años, la riqueza poliédrica de la escritura de Alejandra Pizarnik se ha hecho más evidente a través de una serie de estudios realizados por diferentes autores que han reinterpretado aspectos de su obra desde una nueva mirada masculina. Este enfoque pretende ser menos prejuicioso que el de otros autores más fieles a la línea tradicional, dejando a un lado aspectos que podrían derivar hacia el estereotipo o el encasillamiento. En este artículo realizamos un repaso de esos nuevos análisis, evidenciando el contraste que presentan con estudios en cuyo tejido comprobamos un sesgo, a menudo de género y en ocasiones llamativo, que resulta en claro detrimento de la poeta. Siguiendo esta línea nos asomaremos primero a las reinterpretaciones desde el punto de vista del aspecto poético, para llegar después a la narrativa., In recent years, the polyhedral richness of Alejandra Pizarnik's writing has become more evident through a series of studies carried out by different authors who have reinterpreted aspects of her work from a new male perspective. This approach aims to be less prejudiced than that of other authors more faithful to the traditional line, leaving aside aspects that could lead to stereotyping or pigeonholing. In this article, we carry out a review of these new analyses, highlighting the contrast they present with studies in whose fabric we verify a bias, sometimes striking that is clearly detrimental to the poet. Following this line, we will first look at the reinterpretations from the point of view of the poetic aspect, to later arrive at the narrative.

[Resumen] El artículo propone el estudio de un corpus de doce relaciones de desastres en romance desde la perspectiva retórico-poética. A través de un amplio recorrido entre los textos considerados, analizados en sus componentes esenciales (exordium, narratio, argumentatio y epilogus), se pretende definir las leyes temáticas, formales y estructurales que guiaban a los ciegos copleros y a los poetas de cordel en la composición de estos textos informativos y persuasivos a lo largo de los siglos XVI y XVII. [Abstract] This article proposes the study of a corpus of twelve relaciones de sucesos of disasters in romance from a rhetorical-poetic perspective. Through a wide range of the texts considered, analysed in their essential components (exordium, narratio, argumentatio and epilogus), the aim is to define the thematic, formal and structural rules leading the blinded copleros and the poets of the popular poetry in the composition of these informative and persuasive texts throughout the sixteenth and seventeenth centuries. Este trabajo se ha realizado en el marco del proyecto ERC DisComPoSE –Disasters, Communication and Politics in Southwestern Europe (European Union's Horizon 2020 research and innovation programme - Grant agreement n. 759829)– que se desarrolla en la Università di Napoli Federico II.

Este trabajo ha podido realizarse gracias a la financiación de la convocatoria de ayudas para contratos predoctorales de personal investigador en formación de la UCM del año 2017, y está integrado en el proyecto de investigación «Hacia la institucionalización literaria: polémicas y debates historiográficos (1500-1844)» (RTI2018-095664-B-C22), de la Universidad de Sevilla. Entre los estudios dedicados a la literatura erótica de los Siglos de Oro, uno de los campos de investigación tradicionalmente más fructíferos ha sido el del reconocimiento, la decodificación y la sistematización del vocabulario sexual. Partiendo del análisis, comparación y comentario de más de quinientos poemas, este artículo trata de demostrar cómo la parcela de conocimiento referida a los viajes y los desplazamientos en el espacio, que ha recibido poca atención crítica hasta la fecha, posee unas indudables connotaciones sexuales en la tradición literaria hispánica: desde la lírica popular y las cantigas gallego-portuguesas hasta la poesía erótica áurea, sin dejar de lado la vena petrarquista y el romancero. Within the erotic literature of Golden Age's studies, one of the most fruitful fields of research has traditionally been the recognition, decoding and systematisation of sexual vocabulary. Based on the analysis, comparison and commentary of more than five hundredpoems, this article attempts to demonstrate how the area of knowledge referring to travel and movement in space, which has received little attention from experts to date, has unquestionable sexual connotations in the Hispanic literary tradition: from popular lyric poetry and the Galician-Portuguese cantigas to the erotic poetry of the Golden Age, without overlooking Petrarchism and the romancero.

The theme of this paper is farautar jarumta ‘heroic hunting’ in the north-western part of Nigeria. The paper pays particular attention to the kirari ‘praise-epithets’, also called koɗa kai ‘adulation of the self’, of the mafarauta ‘hunters’ as one of the cardinal features of this kind of hunting. It traces certain dramatic elements, such as stage/space, costume and props, dramatis personae, plot, impersonation, and the spectacle as well as the singing and drumming that are an important part of performance of kirari. It further examines poetic elements in Ummaru Usman Malalo’s famous kirari Saka-cira; these elements are grouped into genealogy-based, action-based, and metaphorical yabo ‘praise’. The paper shows that, although the delivery of kirari has, in some studies, been analysed as a song text, it requires performance along with the dramatic elements which belong in a performance. The analysis of Saka-cira – which has never previously been studied – shows that in their kirari, mafarauta utilise poetic devices to portray, embellish, and exaggerate events, comparing themselves with, or even declaring themselves to be an animal or a natural phenomenon. The analysis in the paper relies on the Hausa version of the kirari. It utilises a transcribed version of Saka-cira, interviews, observations, and secondary literature.

Compte tenu de l’acception polysémique du mot, cette étude explore les différentes déclinaisons de la « mémoire » dans la pratique de la poésie et de la traduction d’Yves Bonnefoy. Avec ses dernières œuvres, le poète lègue à son lecteur ses « mémoires » d’enfance, en lui confiant la mission dont il investit la poésie : célébrer, contre l’oubli, la « mémoire » de l’expérience partagée avec autrui. En outre, la mémoire constitue en même temps la source et le processus de la création poétique, comme le démontre aussi sa pratique de la traduction. Si la « tâche » du traducteur selon Bonnefoy coïncide avec une recherche, l’exploration des profondeurs de la mer qu’est chaque langue dans le but de faire resurgir de l’étendue sombre et silencieuse de la nuit la lumière d’une parole réparatrice, en traduisant les vers d’autres poètes, Bonnefoy revit l’expérience de la poésie à travers un nouvel acte poïétique, en remémorant chaque fois l’intuition et l’émotion. This study explores different variations on the theme of “memory” in Yves Bonnefoy’s poetry and translations. In his latest works, the poet bequeaths to his readers his childhood memories, entrusting them with a mission with which he invests poetry: to celebrate, against oblivion, the “memory” of the experience shared with others. Moreover, memory is both the source and the process of poetic creation, as his practise as a translator also demonstrates. If the task of the translator, according to Bonnefoy, coincides with a search, an exploration of the depths of the sea that is every language, in order to bring forth from the dark the light of a restorative word, then, by translating the verses of other poets, Bonnefoy relives the experience of poetry through a new poetic act, recalling each time the intuition and the emotion.

The subject of the article is a poetic text from the manuscript in Tikhonravov’s collection, which is presented in the Russian State Library. It was created under the influence of medieval books, related to the theme of memento mori (Theatrum mortis humanae tripartitum). The poem describes three curious deaths, as an author qualifies them. Aegeus dies out of cowardice and the lack of wisdom when he saw the decrepit sails on his son’s ship, although Theseus came away from Crete with a victory. Aeschylus was killed because of his naivete when he was trying to avoid a prophecy saying that he would be killed by a falling of someone’s house, but an eagle dropped a tortoise on his head. Samson kills himself of excessive courage and the lack of wisdom. These stories, given in a poem as an exempla, are borrowed from the book Ifika Hieropolitics. When comparing these texts, one can see the technology of transcribing a prose text into a poetic text, which was used at the beginning of the 18th century. Lots of historical anecdotes about curious deaths have been known since antiquity. In the Middle Ages, they are grouped in literature on the theme of death. In Russia, this model was realised in the poetry of Simeon of Polotsk and flourished during the Baroque period. Such plots subsequently appeared in works of fiction and non-fiction, and not only in historical anecdotes, but also for characterising the absurdity of life and creating existential horror. Similarly to baroque texts, they still combine elements of the terrible and the curious. Статья посвящена изучению рукописного стихотворного текста из собрания Тихонравова Российской Государственной библиотеки. Он был создан под влиянием средневековых сборников, связанных с темой memento mori (Theatrum mortis humanae tripartitum). В нем описываются три курьезные, с точки зрения автора, смерти. Эгей погибает от малодушия и нехватки рассудительности, увидев ветхие паруса на корабле своего сына, который победоносно возвращался из Крита. Эсхил умирает от недогадливости, когда уходит из города, желая тем самым избежать предсказанной ему смерти. Самсон убивает себя от переизбытка храбрости и недостатка мудрости. Сюжеты, приведенные в качестве exempla, заимствованы автором из книги Ифика Иерополитика. При сопоставлении этих текстов можно видеть технологию переложения прозаического текста в стихотворный, характерную для начала XVIII в. Различные исторические анекдоты о курьезных смертях известны с Античности. В Средневековье они группируются в литературных текстах о смерти, на Руси эта модель реализуется в поэзии Симеона Полоцкого и достигает расцвета в эпоху литературного барокко. В позднее время подобные сюжеты возникают в художественных и публицистических произведениях уже не столько как исторические анекдоты, сколько для характеристики абсурдности бытия, создания экзистенциального ужаса, но и в них, подобно текстам прошлого, можно обнаружить сочетание страшного и курьезного.

This paper aims to examine the sonnet of the English Romantic writer, Mary Fitchett Johnson’s “The Widow’s Remarriage” within the framework of psychoanalysis and narratology. Published in 1810, the sonnet narrates the poignant story of a widow who must remarry. Remaining entirely faithful to her deceased husband, the grieving woman accepts the marriage proposal solely for the sake of her child and reveals her agony during the wedding to the eyes of the invited guests. This study analyses the emotional suffering and psychology of this character from the viewpoint of the narrator that is presented as one of the guests at the wedding. It employs narratology to examine the function of the narrator within the textual realm and makes use of the theory of neurosis suggested by Karen Horney to provide a detailed analysis of the protagonist. The study suggests that the female character experiences intricate situation neuroses and adopts unique attitudes towards each one to overcome her pain and manage her emotional state., Bu makale, İngiliz Romantik yazarı Mary Fitchett Johnson'ın “Dulun Yeniden Evlenmesi” başıklı sonesini psikanaliz ve anlatıbilim çerçevesinde incelemeyi amaçlamaktadır. 1810'da yayınlanan sone, yeniden evlenmek zorunda kalan dul bir kadının acıklı hikâyesini anlatmaktadır. Vefat eden kocasına hâlâ sadık olan matemli kadın, sadece çocuğu için evlenme teklifini kabul eder ve acısını düğün sırasında davetlilere açığa vurur. Bu çalışma, düğünün konuklarından biri olarak sunulan anlatıcının bakış açısından bu karakterin duygusal acısını ve psikolojisini analiz etmektedir. Çalışma, anlatıcının metinsel düzlemdeki işlevini incelemek için anlatıbilimi kullanmakta ve baş karakterin ayrıntılı bir analizini sunmak için Karen Horney tarafından ileri sürülen nevroz psikoloji teorisinden yararlanmaktadır. Çalışma, kadın karakterin iç içe geçmiş birden çok durum nevrozu yaşadığını, acısının üstesinden gelebilmek ve duygusal durumunu yönetebilmek için her birine karşı benzersiz tutumlar benimsediğini öne sürmektedir.

Procuraremos identificar neste artigo de que forma a poesia de José Tolentino Mendonça concilia os pressupostos teológicos da sua experiência religiosa cristã católica com a arte literária enquanto expressão da sua experiência mística. Numa época que vive o desafio da superação dos antagonismos entre ciência e religião, razão e fé, teologia e espiritualidade, podemos encontrar na teopoética deste autor a manifestação de uma experiência estética que traduz o acolhimento do mistério da vida divina na condição paradoxal do mundo finito. O desejo de Deus não é saciado pela voz estridente de uma intervenção arrebatadora, mas pelo silêncio despojado de uma presença inefável e recriadora. A partir deste novo olhar, introduz a sua obra num diálogo fecundo com a cultura contemporânea sequiosa de benevolente serenidade e paz. O Deus de Tolentino manifesta-se na luz e nas trevas como doador de sentido e de amor e não como juiz ou cobrador de impostos., We will try to identify in this article how the poetry of José Tolentino Mendonça reconciles the theological assumptions of his Catholic Christian religious experience with literary art as an expression of his mystical experience. In an age that is experiencing the challenge of overcoming the antagonisms between science and religion, reason and faith, theology and spirituality, we can find in this author’s theopoetics the manifestation of an aesthetic experience that translates the acceptance of the mystery of divine life in the paradoxical condition of the finite world. God’s desire is not satisfied by the shrill voice of an overwhelming intervention, but by the silence stripped of an ineffable and recreating presence. From this new perspective, he introduces his work into a fruitful dialogue with contemporary culture thirsty for benevolent serenity and peace. Tolentino’s God manifests himself in light and darkness as a giver of meaning and love and not as a judge or tax collector.

Şiir en eski uygarlıklarda dahi yer bulmuş edebî bir türdür. Her toplum şiire ayrı bir önem atfetmiş ve şiir beslendiği kültüre göre farklılık göstermiştir. Şiir ve şair İslâm öncesi Arap toplumunda çok ayrı bir mevkiye sahip olmuş ve bu kültürde şiir en büyük ve en etkin sanatsal faaliyet aracı olarak görülmüştür. Bu yönüyle İslâm’dan önceki Arap toplumunun şiir ve şairler ile sıkı bir ilişki içinde olduğunu söylemek mümkündür. İnsan kelamının zirve ürünleri, şairlerin dilinde vücut bulmuş ve yaşadığı topluma yön vermiştir. Lügat ve kelimelerin ince anlamlarına vukufiyetleri nedeniyle şairlerin herhangi bir kelimeyi kullanmaları, bu istimalin insanlar tarafından istidlal için elverişli kabul edilmesini sağlamıştır. İslâm’ın gelmesiyle birlikte Kur’ân’ın daha iyi anlaşılması ve bazı kelimelerin açıklamaları için şiirlere başvurulmuştur. İslâmî ilimlerde şairlerin şiirleriyle istişhâdı sadece tefsir alanında değil aynı zamanda diğer disiplinlerin hemen hepsinde önemsenmiştir. Bu bağlamda fakihler de eserlerinde şairlere ve şiirlerine yer vermiş ve kullandıkları kelimeler ile istişhâdda bulunmuşlardır. Fukahanın şairlerin şiirleriyle istişhâdda bulunduğu noktalar bu çalışmada konu edinilmiştir. Özellikle Hanefî mezhebinde muteber bir metin olması, kendisinden sonraki bütün fukahayı derinden etkilemesi ve şiir ile istişhâd edilen yerlerin fazla olması sebebiyle Serahsî’nin (ö. 483/1090) el-Mebsût adlı eseri tercih edilmiştir. Bu çalışmanın ilk kısmında İslâm’ın ilk dönemlerinde şiir ile istişhâd konusu ele alınacak, devamında Serahsî’nin istişhâd ettiği şiirlerdeki sıhhat problemi üzerinde durulacaktır. Sonrasında ise Serahsî’nin şiir ile istişhâd ettiği noktalar ele alınacaktır., Poetry is a literary genre that has existed even in the oldest civilizations. Each society has attributed a special importance to poetry, and this situation has been differed according to the culture where it is nourished. Poetry and poet had a very special place in Arabic society at the pre-Islamic era and they were seen as the greatest and most effective means of artistic activity. In this respect, it is possible to say that the Arab society before Islām had a very close connection with poetry and poets. The masterpieces of the word embodied in the language of the poets and steered the society of that time. Because poets know the oral tradition and the subtle meanings of words very well, their use of a word by other people has been accepted as deduction. With the advent of Islām, the poems of poets were consulted for a better understanding of the Qur’an and for the explanations of some words. In Islāmic sciences, istishhad with the poems of poets has been used not only in commentators works but also in almost all other disciplines. Faqihs also included poets and their poems in their works and made istishhad with the words they used. In this study, we discussed the points that the fuqaha adduced (istishhad) with the poems of the poets. Sarakhsi (d. 483/1090) al-Mabsût was preferred, especially because it is an authoritative text in the Hanafî madhhab, deeply affecting all the fuqaha who came after it, and having many points of istishhad with poetry. In the first part of this study, the subject of poetry and istishhad in the early periods of Islām will be discussed. Secondly, the problem of authentication in the poems that Sarakhsi adduced (istishhad) will be emphasized. Additionally, the points that Sarakhsi adduced by using poems will be discussed.

El daño ambiental y la injusticia social son dos rasgos característicos del mundo contemporáneo. Ambos evidencian una falta de respeto hacia los valores naturales y humanos que la realidad, per se, posee. El descubrimiento de estos valores puede constituir una oportunidad para promover cambios de conducta que contribuyan a lograr una cultura más sostenible y justa. Tras examinar algunas posibles causas culturales de la insostenibilidad socio-ambiental, los autores plantean que la belleza que encierra la realidad puede desvelar a cada individuo valores naturales y humanos que antes no se percibían como tales. Este descubrimiento del valor interpela a la conducta personal e invita a la adopción libre de un compromiso de respeto hacia el mismo. Intertwined environmental and social impacts manifest a disrespect for environmental and social values intrinsic to reality. Discovering these values provides an opportunity to foster behavior changes towards a fair and sustainable culture and society. The authors analyze somecultural causes of present-day unsustainability and advance that the beauty found in nature and human beings may reveal actual natural and human values formerly unseen. Finding out these values may challenge personal behavior, inviting to commit oneself to a more respectful lifestyle.

I was born in South Africa, as were my parents and grandparents. We have descended from people who had been brought to South Africa through indenture, a colonial labour system that introduced alien agricultural methods and an alien workforce from India, to optimise monocultures like sugarcane. My very presence here is, therefore, entangled with colonialism’s domestication and mastery over land, plant, and people (Indigenous and indentured). I have never felt alien here. Why was that? What about the indenture stories of people, land and plant, beyond empire’s mastery and control—my ancestral wild places? And was there room within these wild places to heal colonial wounds across our ethnic and racial barriers? What was lost? Could my PhD2 research transcripts address some of those losses? This paper contains poems that emerged from PhD research interviews, my fieldnotes, my father's memoirs, and letters from my ancestral archives. A poetic lens gave me a decolonial language to inspect the archives and transcripts with some of these questions in mind.

The Second Ecumenical Council (also known as the First Council of Constantinople), held in Constantinople in 381 AD, is in many ways unique in the history of ecumenical councils. Its uniqueness lies, among other things, in the scarcity of written sources describing this event. No documents from the Council are extant. All that has remained is passing references by fifth century historians and chance remarks on the Council in letters. An important, although rather singular, source on the Second Ecumenical Council is St Gregory of Nazianzus’s autobiographical poem. We can also rely on the documents which were the fruit of the Council: the canons, the Symbol and a letter written to the Emperor Theodosius I at the conclusion of the Council. The information included in these documents is not entirely coherent. This paper aims to reconstruct the proceedings of the Council on the basis of the available evidence.

La denominada «poesía intercultural» que implica el diálogo entre las culturas occidentales y las amerindias se manifiesta en la obra de César Vallejo. La ponencia fundamenta cómo la interculturalidad se manifiesta en cuatro niveles en Trilce y Poemas humanos: la lengua, la estructuración literaria, las estructuras figurativo-simbólicas y la cosmovisión. Asimismo, aborda el análisis del sujeto migrante (categoría formulada por Antonio Cornejo Polar) en los dos poemarios antes mencionados. La migración de Trujillo a Lima o del Perú a París constituyen ejes fundamentales y evidencia cómo la memoria del sujeto migrante está fragmentada en dos espacios: el andino y el occidental. En tal sentido, se tomarán los aportes no solo de Cornejo Polar, sino también de Ángel Rama para el análisis minucioso de los poemas de Vallejo. ABSTRACTThe so-called «intercultural poetry», that involves dialogue between Western and Amerindian cultures is displayed itself in Cesar Vallejo’s works. This paper shows how the interculturalism is manifested in Trilce and Poemas humanos (‘Human Poems’) through four levels: language, literary structure, the figurative and symbolic structures and the worldview. It also focuses on the analysis of the migrant subject (category made by Antonio Cornejo Polar) in the two aforementioned poems. The migration from Trujillo to Lima or from Peru to Paris are keystones and they demonstrate how the migrant subject memory is fragmented into two spaces: the Andean and Western. For that reason, the contributions not only of Cornejo Polar but also Angel Rama are considered for the analysis of Vallejo’s poems. Keywords: Vallejo, intercultural poetry, migrant subject, Trilce and Poemas humanos (‘Human Poems’).

Para nadie es un secreto que el itinerario geográfico de César Vallejo fue no solo variado, sino accidentado. De su natal Santiago de Chuco había que viajar cuatro horas a lomo de caballo hasta la ciudad costeña de Trujillo (donde concluyó su bachillerato en Letras) y luego a Lima (generalmente en barco). Una vez en la capital peruana, hacia 1915, Vallejo intentó ser aceptado en los círculos literarios con relativo éxito, sobre todo después de la publicación de Los heraldos negros en 1918- 1919. Sin embargo, una vez aparecido Trilce en 1922, muchas puertas se le cerraron, y hasta se vio implicado antes de ello en un conflicto policial que le valió casi cuatro meses de cárcel. Como consecuencia, el poeta partió para París en 1923, golpeado y amargado del Perú, para nunca más volver. Esta ponencia examina cómo la continua condición migrante del poeta resume y explica parcialmente el conflicto de millones de latinoamericanos durante su tiempo y a lo largo del siglo XX. Más específicamente, me interesa notar la internalización de esa experiencia y las formas en que se manifiesta en su poesía inicial, la de la llamada etapa peruana, así como algunas de las huellas que ha dejado en la producción poética más reciente. ABSTRACTIt is no secret that the geographical route of Cesar Vallejo was not only diverse but bumpy. From his native Santiago de Chuco, he traveled four hours on horseback to the coastal city of Trujillo (where he completed his Bachelor of Arts degree) and then continued to Lima by ship. Once arriving to the Peruvian capital around 1915, Vallejo tried to be accepted in literary circles with relative success, especially after the publication of Los heraldos negros (‘The Black Heralds’) in 1918- 1919. However, after Trilce was published in 1922, many doors were closed to him, and even he was involved in a police conflict which gave him almost four months in prison. As a result, he traveled to Paris in 1923. He felt he was fed up and beaten by Peru and that he was never coming back. This paper examines how the continuous migrant condition of the poet summarizes and explains partly the conflict of millions of Latin Americans during his time and throughout the 20th century. More specifically, it is important to note the internal process of these experiences and the ways how it is manifested in his initial poetry: the so-called Peruvian stage, as well as some of the marks left in the more recent poetic production. Keywords: Vallejo, migrant subject, Los heraldos negros (‘The Black Heralds’), Trilce, Latin American poetic diaspora.

El papel que juegan las vanguardias en César Vallejo supone un paso más en la gestación y reafirmación de una obra que asume, con todas sus contradicciones, la contextualización de un tiempo que, poco a poco, dará paso a una brutal dialéctica. Vallejo lo vivirá de primera mano junto a los intelectuales europeos y del llamado grupo del 27, los cuales condensaban una sensación de vacío y de pérdida de identidad que en Vallejo poco o nada tendrá que ver con ese universo tan personal que hace visible lo real para ofrecernos una nueva forma de entender la poesía del siglo XX. ¿O estamos hablando del XXI? ABSTRACTThe role played by the avant-garde in Cesar Vallejo is one more step up to the gestation and reaffirmation of a work that assumes, with all its contradictions, the contextualization of a time which, little by little, resulting in brutal dialectics. Later, Vallejo lived it first-hand with European intellectuals and the so-called Group 27, which condensed a sense of void and identity loss having little or nothing to do with this so personal universe that makes the real thing visible. In that way, it offers a new understanding of the poetry of the 20th century. Are we talking about the 21st century? Keywords: Avant-garde, dialectic, individualism, aesthetics, reality.

The contrastive analysis of two modern Czech translations of John Keats’s The Eve of St. Agnes by Jiřina Hauková (1961) and Hana Žantovská (1977) shows differences on three levels: the translators’ refashioning of the Spenserian stanza, different preferences in rendering Keats’s imagery, and different levels of deliberate archaizing in lexical choices and syntax, especially in direct speeches. Žantovská’s version is more euphonious with a higher percentage of full rhymes and, with a rhyming scheme of ababcdcdd and a final alexandrine line, keeps closer to the original rhythmical and rhyming pattern. It also keeps closer to the original in preserving the highly stylized nature of most direct speeches in the poem. Hauková’s earlier version relies more on imperfect rhyming or assonance and departs more radically from the Spenserian scheme, with a rhyming pattern of ababcdcdc, and a frequent lack of a clear caesura in the last line. It also tends to make the direct speeches less ornate and, even outside direct a dress, resorts less frequently to highly formal, poeticized or archaic lexical choices or syntax. Žantovská’s rendering of Keats’s imagery shows preference for precision and logical consistency while the poetic effects in Hauková’s version depend more often on combining seemingly disparate images and notions.

In his recent (2020) book, Matthew Shum offers an important rereading of the life, work and contemporary significance of Thomas Pringle, the Scottish South African poet and activist. The book’s challenge stems from three interrelated lines of energy. First is the author’s tracking of Pringle through the three locations of his activity: Scotland, the Cape, London. Second is the argument that Pringle was not from birth or early conviction the liberal champion he is remembered as in South Africa. Third, Shum warns against seeking in Pringle a model for the settler presence in post-colonial South Africa today. A comparison with two near-contemporary Scottish poets, fellow “Borderers”, who both also had colonial experience, leads this essay to a conclusion that acknowledges Shum’s account of the challenge our reading of Pringle offers to South Africa today.

Anna Barbauld creates a poetic epistemology, a particular way of knowing, that she uses to shape her readers’ encounters with her poems. She demonstrates that poetry can transform empirical observation into a devotional experience that the reader can take forward beyond their immediate encounter with the poem. She combines observations with poetic techniques—and notably with epistolary characteristics—to produce an epistemology that draws on, questions, and reconfigures an empirical model, paying particular attention to the gendering of different modes and methods of knowledge production and their potential for religious devotional experience. Barbauld’s poetic epistemology also, significantly, positions the reader as a participant, accomplice or critic in the act of creating knowledge at the moment of reading. She aims to instill in the reader a new, transformational, responsive, mode of observation and interpretation that will imbue their future experiences of poetry, of God’s creation, and the process of knowledge production itself with poetic and devotional ways of knowing.

We are currently experiencing a planetary crisis that will lead, if worst comes to worst, to the end of the entire world as we know it. Several feminist scholars have suggested that if the Earth is to stay livable for humans and nonhumans alike, the ways in which many human beings – particularly in the wealthy parts of the world, infested with Eurocentrism, (neo)colonialism, neoliberalism, and capitalism – inhabit this planet requires radical, ethical, and political transformation. In this article, we propose that feminist theory, particularly feminist posthumanities, and Black feminist and decolonial thought, together with creative practices such as writing, have much to contribute to transformative planetary activism that imagines different and other kinds of worlds and futures based on an ethical consideration of nonhuman others and collective caring for the planet.

Resumen Esta reflexión está inspirada en mi experiencia como formadora de formadores durante veinte años y en la oportunidad que tuve de coordinar, por un año, la comisión encargada de la actualización del Proyecto Formativo del Programa (PFP) de la Licenciatura en Literatura y Lengua Castellana de la Facultad de Educación de la Universidad de Antioquia. Dichas vivencias, junto con las discusiones sostenidas en 2020 durante la primera actualización del PFP construido en 2013, suscitaron mi interés por la formación política de los maestros y las maestras. Por ello, señalo la necesidad de una educación en espiral, cuyo movimiento responda tanto a reflexiones vitales por el derecho a la vida de los sujetos y la naturaleza como al estudio y generación de propuestas donde el desarrollo social, científico, cultural y estético estén al servicio de una economía del bien vivir y de una política de la existencia. Presento, además, un recorrido por los acontecimientos sociales, políticos y educativos trascendentales en los últimos ocho años en Colombia, que se han caracterizado por luchas sociales que evidencian un cansancio de ciertos sectores de la sociedad frente a la pérdida progresiva de valores que deberían, según esta reflexión, estar presentes desde la cuna hasta la tumba para todos y todas. Finalmente, me enfoco en la importancia de pensar la formación desde una poética planetaria que permita la construcción de un mundo otro1. Abstract This reflection is inspired by my 20-year experience as a teacher educator, as well as by the opportunity I had to coordinate, for one year, the commission in charge of updating the Program Training Project (PFP) of the Bachelor’s Degree in Literature and Spanish Language of Universidad de Antioquia’s Department of Education. These experiences, together with the discussions held in 2020 during the first update of the PFP built in 2013, evoked my interest in teachers’ political education. Therefore, I point out need for a spiral education, whose movement responds both to vital reflections on the right to life of subjects and nature, as well as to the study and generation of proposals where social, scientific, cultural, and aesthetic development is at the service of an economy of good living and politics of existence. I also present a tour of the major social, political, and educational events of the last eight years in Colombia, which have been characterized by social struggles that evidence a weariness of certain sectors of society in the face of the progressive loss of values which should, according to this reflection, be present from the cradle to the grave for all men and women. Finally, I focus on the importance of conceiving education from a perspective of planetary poetics that allows building a different world.

Introduction. This article focuses on the axiologically tinged notional implications which are characteristic of English romantic poets’ cognitive style. These implications are revealed via a comprehensive analysis of aesthetic evaluation which is verbalized in poetic texts and by modeling the conceptual space of aesthetic evaluation THE BEAUTIFUL / THE UGLY.Purpose. The paper aims at revealing the axiologically marked meanings specific to the cognitive style of the English romantic poets by modeling the conceptual space of aesthetic evaluation THE BEAUTIFUL / THE UGLY in English romantic lyrics.Methods. The poliparadigmatic methodology of the research combines three approaches: linguocultural, linguopoetic and cognitive.Results. The paper suggests the identification of axiologically charged literary concepts, the construction of the conceptual space of aesthetic evaluation THE BEAUTIFUL / THE UGLY as a two-layer model (notionally-evaluative and figuratively-evaluative). Each layer is modelledin a particular way (as a frame, as a notional field or in terms of conceptual metaphor), which has made it possible to determine the notional implications characteristic of the all-human, ethnocultural and poets’ evaluative worldviews as embodied in English romantic lyrics.Conclusion. The aesthetic priorities of the English romantic poets – fear, God, life – and their close interconnection and interdependence are revealed, which makes it possible to determine the quintessence of the romantic poetic worldview: human life, in which the fear, determined by the will of God, prevails. The ambivalence in the evaluative attitude of romantic poets to life, as well as their understanding of God and fear as its determinants, is based on the moral norms of mankind and the culture of the English nation. The overall gloomy coloring of the author's evaluative worldview is determined by a sharp negative social aesthetic assessment,but the unconventional interpretation of life as good, a strong faith in the bright future, peace and progress testifies to the difference of poets’ world evaluation from the societal aesthetic assessment of the era of global transformation.

Introduction. The article focuses on the intertextual specificity of the lingual means of intertextual and precedent categories in stream-of-consciousness facet of K. Koch poetic text “Sleeping with Women”. The relevance of the research is seen in studying various forms of above mentioned categories’ embodiment within postmodern poetry, ways of author's attitude, worldview, etc.The purpose. The paper aims at the studying of the aesthetic and organizing functions of intertextual and precedent signs within the poem of fragmentary discourse.Methods. Identification of the features of stream-of-consciousness’ poetry and the most productive means of realization of intertextuality and precedency along with description of the forms of their verbalization and functional features is possible due to applying the distributive, functional, stylistic and descriptive methods of analysis.Results. The most productive means of realization of intertextuality and precedency are precedent / intertextual names, situations, texts, and even quotations. They predominantly take universal and national precedent levels of precedency. Proper names are the means of space andtemporal determination of the text. They function at the same time as sense-forming phenomena.

De décembre 2019 à mars 2020, l’Inde a été agitée par des manifestations contre deux mesures législatives, soit l’Amendement à la Loi sur la citoyenneté (MLC) et le Registre national des citoyens (RNC), qui discriminaient les musulmans. Les manifestations ont été historiques, même dans un pays de forte culture protestataire. Elles ont été marquées par une solidarité interreligieuse, intergénérationnelle et intercommunautaire et ont été largement menées par des femmes musulmanes. Les manifestations ont provoqué des débats au sujet de la religion et de la citoyenneté dans un état laïc, des débats autant entre manifestants qu’entre les contestataires et les partisans des lois de l’État. Cet article examine les deux slogans contestataires qui ont suscité le débat : un poème ourdou, et la proclamation de foi religieuse des musulmans, la chahada. Il soutient que les débats éclairent quelques-uns des paradoxes de la citoyenneté laïque et posent à nouveau les questions qui ont préoccupé les nationalistes anticolonialistes du 20e siècle. Enfin, l’article suggère que ces controverses sont nécessaires et constitutives des politiques des états ayant une importante pluralité religieuse., From December 2019 through March 2020, India was rocked by protests against two pieces of legislation, the Citizenship Amendment Act (CAA) and the National Registry of Citizens (NRC), that discriminated against Muslims. Protests against this legislation were historic, even in a country with a strong culture of political protest: they were marked by inter-religious, inter-generational, and inter-community solidarity and were largely spearheaded by Muslim women. The protests sparked debates about religion and citizenship in a secular state, debates among protesters as well as between protesters and supporters of the state’s laws. This article examines two protest chants that elicited debate: an Urdu poem and the Muslim statement of faith, the Shahada. It argues that the debates illuminate some of the paradoxes of secular citizenship and renew questions that preoccupied anti-colonial nationalists of the twentieth century. Ultimately, the article suggests that these controversies are necessary to and constitutive of politics in religiously-plural states., Desde diciembre 2019 hasta marzo 2020, la India ha sido trastornada por manifestaciones contra dos elementos de la legislación: la Enmienda a la Ley sobre la ciudadanía (ELC) y el Registro nacional de ciudadanos (RNC), que discrimina a los musulmanes. Las manifestaciones contra dicha legislación han sido históricas, incluso par un país con una fuerte cultura de protesta. Han estado marcadas por una solidaridad interreligiosa, intergeneracional e intercomunitaria y han sido generalmente dirigidas por mujeres musulmanas. Las manifestaciones han suscitado debates sobre la religión y la ciudadanía en un Estado laico, debates tanto entre manifestantes como entre contestatarios y los partidarios de las leyes del Estado. Este artículo analiza los dos eslóganes contestatarios que suscitaron el debate: un poema urdu y la proclamación de la fe religiosa de los musulmanes la shahada. Se propone que los debates muestran algunas de las paradojas de la ciudadanía laica y plantean nuevamente las cuestiones que han preocupado a los nacionalista anticolonialistas del siglo XX. Finalmente, el artículo sugiere que dichas controversias son necesarias y constitutivas de las políticas de los Estado que poseen una importante pluralidad religiosa.

The end of the 19th century in France is marked by several crises, including the social crisis and the crisis of literature. Under these circumstances, Georges Rodenbach wrote a multi-part poem Les Vies encloses, which in line with Symbolist and Decadent movements contains numerous references to Schopenhauer’s philosophy. The author presents the struggle between the isolated soul which is searching for its own identity and discovering a deeper inner life, and the outside world. Based on the study of the crisis by Edgar Morin and the views of Rodenbach himself, it is possible to distinguish various phases of the crisis that the soul goes through. Indeed, this crisis is a result of the dilemmas that affect the soul and it is reflected by the contrast between light and darkness, external and internal world, security and danger, and eventually, life and death. La fin du XIXe siècle en France est marquée par plusieurs crises parmi lesquelles la crise sociale et la crise de la littérature. Dans ce contexte, Georges Rodenbach a élaboré un poème en plusieurs parties, Les Vies encloses qui, dans la lignée des courants du symbolisme et du décadentisme, contient de nombreuses références à la philosophie de Schopenhauer. L’auteur y montre l’âme isolée aux prises avec le monde, sa recherche d’identité et sa découverte d’une vie intérieure profonde. À partir de ce qu’Edgar Morin dit de la crise et des pensées de Rodenbach lui-même, il est possible d’interpréter les différentes phases de la crise psychique que traverse cette âme, manifeste dans le contraste entre la lumière et les ténèbres, les mondes extérieur et intérieur, la sécurité et le danger et, finalement, entre la vie et la mort.