Estonian Folklore as A Source of Baltic-German Poetry

Estonian folk tales form a common element in Estonian and Baltic-German (lyro)epic poetry. Baltic-German interest in Estonian folkloric heritage originated in the eighteenth century, when J. G. Herder first encouraged the collection of Estonian and Latvian folk songs. Systematic collection began in the 1830s, and peaked in the Estonian language area with the Estonian epic Kalevipoeg (1857–1861). Friedrich Reinhold Kreutzwald implemented this epic, but it was also influenced by many collectors and adaptors and was published in both German and Estonian. The myths of Friedrich Robert Faehlmann, presented in the Learned Estonian Society between 1840 and 1852, have had the biggest influence on the German-speaking audience. Literary adaptations of folk tales quickly found their way into journals, newspapers, poetry collections, and anthologies, often in the popular form of a ballad. This paper seeks to explore the role of Estonian folklore in Baltic-German lyroepic poetry.     

Ink Blossoms Renowned painter Guo Shifu soars to new heights in the traditional arts

正Guo Shifu was born in 1945 in Beijing.A member of the China Artists Association and an art commissioner with the Beijing Fine Art Academy,Guo is also the founder of Beijing’s first painters’association,which has since been renamed the Beijing Society for Bird-and-Flower Paintings.Guo is proficient in traditional painting,calligraphy,seal cutting,poetry and Western artistic techniques.The Ministry of Culture has listed Guo as one of the masters of contemporary Chinese art.     

从庞德意象派诗歌看中西方文化交融

庞德作为美国意象主义诗歌的公认领袖,极大地推动了20世纪英美诗歌的发展。然而庞德具有“中国文化情结”,他的诗歌从诗学原则,诗歌语言来说都受到中国古代诗歌的影响,可以说庞德借鉴并创新了中国古典诗歌的表现形式。“五四”运动后诞生的中国现代诗歌又深深受到意象派的影响,将新文化运动的主帅胡适与庞德意象派诗歌进行比较可以清楚地揭示这一点。可以说庞德及其所代表的意象派诗歌架起了中西方文化交融的桥梁。中西文化的不断交流碰撞对整个人类文明产生了深远的影响,必将呈现中西文化发展一体化的趋势。     

学习经典诗文、求索课程思政--课程思政建设探究

中国古典诗文体现着中华历代圣贤和文人志士的思想、智慧,蕴含着中华民族的精神品格。作为中国传统文化的精华,古诗文以其无可取代的精神力量,在提升学生语文素养的同时,发挥着独有的教化功能,实现着"立德树人"的根本任务。高职语文教学要通过对古诗文中蕴含的思政要素的深入挖掘,引导学生树立和坚持正确的民族观、国家观、文化观,实现古诗文在情感教育、道德教育和政治教育中的育人功能。     

Bourgeois Myth versus Media Poetry in Prime-time: Re-visiting Mark Frost and David Lynch's Twin Peaks

This article explores IVIark Frost and David Lynch's television series Twin Peaks from the perspective of the two dominant world-views it dramatized. The world-view based in bourgeois myth can be described as employing significations that are always present in naturally and mythically transcendent terms. The other world-view is generated by media poetry, which is a virtual mode of signification that re-mediates linguistic/audio/visual phenomena with contingent capacities for meaning. That generative potential for signification is an aspect of all media use, but media poetry specifically highlights and exploits the capacity of new multi-media to enhance “poetic” possibilities for meaning-making. This may occur through either the actual use of virtual media, through a critical ambiguity with regard to official ideologies and formal/generic con-straints, or through thematic content that destabilizes fixed meanings/representations and entertains possibilities for alternative significations. The article makes the case that the adolescent characters in the show specifically embody the productive world-view inherent in media poetry, and the “poetic” challenges they present to adult, mythic society allow for the continual re-mediation of any and all bourgeois myths. Those adolescents, especially Laura Palmer, embody cultural meanings that refuse ideological codification; that is, that can still become. Twin Peaks, as the article demonstrates, is a striking example of media poetry since it was aired on prime-time network television; it still deserves attention for the stunning ways it remediated the mythic nature of American, middle-class society.     

从科学性与艺术性的统一看诗的可译性

诗是否可译,争论由来已久。不少中外学者都提出过不同观点。无论从"传神达意"还是从"形式音韵"看诗的翻译的确很艰难。然而,诗并非不能翻译。通过对优秀译诗赏析,从诗的翻译的"艺术性"和"科学性"辩证统一的角度,我们对诗的可译性问题可以出"诗难译,但可译"的答案。     

To Live Outside the Law: Frank O'Hara

This essay reflects on the New York School poet Frank O'Hara in terms of the idea of law. I suggest that art depends on a notion of an immanent law: that for language to become artistic is to become a meaningful part of an order which announces its autonomy from the surrounding world. O'Hara exploits this fact by making the most unlikely pieces of language into poetry, and thus giving the law to the life from which his words are taken. But he is also constantly improvising his own rules of art, drawing the law of poetry from the whim of the moment in radically individualist fashion. The gamble of O'Hara's writing is that the reader will submit to this profoundly personal law for the duration of a poem. This revised version was published online in August 2006 with corrections to the Cover Date.     

Genealogies of horror: three stories of slave-women,motherhood, and murder in the Americas

ABSTRACT

This article examines three cases of infanticide committed by slave women in the Americas – Margaret Garner (1856) of Ohio, Ignácia (1868) of Paraná, Brazil, and Justina (1878) of Rio de Janeiro. The article argues that each woman sought to dislodge their own as well as their children's place in what I term slavery's ‘genealogy of horror’, making the act of killing their children into an expression of black female agency, love, and insurgence against slavery. The cases of Justina and Ignácia's, I argue, provide a counternarrative to the myth of Brazil's genteel and harmonious slavery, propagated throughout the nineteenth century, by exposing the violence and desperation in which slave women and their progeny lived. In the second half of the article, I examine how cases of infanticide were depicted and used in the nineteenth-century abolitionist poetry of Brazilian poet Castro Alves and noted African American writer Frances Harper.     

Mbeki's African Renaissance Vision as Reflected in isiXhosa Written Poetry: 2005–2011

IsiXhosa literary critics have not yet interrogated literature that was produced during and after the tenure of Thabo Mvuyelwa Mbeki as deputy president and president of the Republic of South Africa in order to study the impact of his African Renaissance doctrine. This article analyses poetry that was produced from 2005 to 2011. The content of the isiXhosa written poetry is profoundly influenced by the context of former President Mbeki's African Renaissance philosophy, its implementation structures and philosophy of self-confidence and self-reliance. The selected poems analysed and interpreted in this article suggest that Mbeki's legacy of the African Renaissance empowered poets to develop a narrative that advances the building of a regenerated South African nation and the African continent. Selected poetry of the period is contextualised, and the findings reveal that the poets have a dialectical relationship with historical developments of the time, and that they demonstrate acquiescence to the African Renaissance ideology, and support the operational structures created; namely African Union, Pan-African Parliament and the Vuk’uzenzele programme.     

邓汉仪诗史观及其诗学意义

邓汉仪认为诗歌应"追国雅而绍诗史",所以他重视记载时变过程,反映一代兴亡之感,关注民生、民瘼的作品.这既是对传统诗学"诗史"观的继承,又是对国雅本质的回归.邓汉仪还以鲜明的历史意识为诗歌选本张目,借助诗歌总集《诗观》的编纂,以求"成一代之伟观",使选本具有诗歌发展史的意义,这是对诗史观的发展.作为康熙前期诗坛旗手,其诗史观对矫正清初世俗诗风,使诗歌创作回归现实主义传统,起到了积极的作用.