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The article discusses the relationship between poets Nikolai Gumilev and Viacheslav Ivanov, with a particular focus on their connections to Acmeism and the Symbolist movement. Details on both poets' use of mythopoetics and the concept of eidology are presented. According to the author, Gumilev's idea of Acmeism was strongly linked to his relationship to Ivanov

Both in biblical literature as in ancient extrabiblical literature, the use of the rod appears primarily related to the capacity or to the authority of the one who holds it. It is, above all, an instrument of power. This article investigates the implications of using the rod as a tool of correction and discipline, taking into account the symbolism, culture and literary tradition associated with the use of that instrument of discipline for correction and transformation of those subjected to it. [ABSTRACT FROM AUTHOR]

This article discusses Finnish writer Taisto Huuskonen who defected to the Soviet Union in 1949. It examines his biographical and testimonial novel, The Child of Finland (Laps' Suomen), which describes Huuskonen's defection and life in the Soviet Union. The focus of the article is to show how Huuskonen constructs 'I', 'we', and 'other' in the novel and how these constructions often produce a complex dilemma of positionality. In the novel, various topographical, symbolical and metaphorical borders are central, and they affect the way that Huuskonen defines his position and agency in relation to 'I', 'we', and 'other'. The article argues that the significance of Huuskonen's novel is that it represents the lives and destinies of thousands of Finns. At the same time the novel serves as a medium by which to process the painful experiences he recounts and the miracle of survival. At the time of its publishing in 1979, the novel The Child of Finland was interpreted in the context of the Cold War. Although Huuskonen's purpose was to write a survival story, his story was extensively seen to pronounce the juxtaposition between East and West, which gave it the appearance of a scandal novel vilifying the Soviet Union. [ABSTRACT FROM AUTHOR]

Within semiotic analysis the role of the reader is of utmost relevance because the very existence of symbols, the idea of significance is intrinsic to the process of perception, and that leads to the concept of the reader's participation in the act of creation. With all the threat of getting lost in significances while trying to solve or even find and deepen mysteries, enchanted by the feeling of discovering some very important secrets, literature will no longer be plausible, unless it resorts to this science of words and significations. The idea can be best referred to by using examples provided by the literary work Foucault's Pendulum belonging to the father of semiotics, Umberto Eco, which the current study undertook to accomplish. [ABSTRACT FROM AUTHOR]

The present paper reveals the manner in which the use of colour enables a woman writer to describe the inner world of women in an original and unconventional way in Arab literary writing. For this purpose, the paper examines al-Ṣundūqa (2002), an anthology of short stories in which diverse and interesting variations in the use of colour can be found, by the young Palestinian writer Rajā' Bakriyya, who is considered one of the prominent and most prolific present-day Palestinian women writers. The paper shows how Rajā' Bakriyya incorporates colours and their conventional symbolic meanings into her texts in a unique and original way, thus taking her readers into a women's world of physicality, lust and passion. [ABSTRACT FROM AUTHOR]

The article offers the author's insights on the pastoral assimilation and appropriation of the tale of Apollo and Daphne in the poem "Metamorphoses," by Ovid. The author states that the characters of Daphane and Apollo did not symbolize elegy and epic, instead, with pastoral tradition. He says that Ovid both undercuts the status of Apollo as god of poetry and the assimilation of Roman poet Vergil with the works of poet Gallus. He relates his calling of the Apollo-Daphne narrative which is erotic pastoral poetry, which combines them into super-generic episode. He also discusses encapsulation of the pastoral poem "Eclogues," by Vergil.

The article discusses the father of French Symbolism Charles Baudelaire, where T.S. Eliot had read select poems of Baudelaire by the time he discovered the volume of Arthur Symons on the Symbolists. It states that Eliot had crossed the Atlantic in 1910 to see the Symbolists and the Paris of Baudelaire. It adds that Eliot met a critical controversy reframing Baudelaire as a modern classicist, engaged in a moral vision compatible with religious attitude in 1910 of the post-Symbolists poets.

Dr. Zhivago is analyzed as a poet's biography that eschews the traditional psychologism and historical realism normally associated with the novel genre. [ABSTRACT FROM AUTHOR]

Abstract: This paper is devoted to one of the semantic elements of “Finnish discourse” in Russian literature, so-called “Northern love”. This notion includes the paradoxical love for austere Northern nature and for the unfriendly but attractive Northern (Finnish) girl as well. Both components were prepared and well elaborated within the poetry of Russian Romanticism but kept their actuality during the Modernist era. After Vladimir Solovʼevʼs linking of the love for Lake Saimaa with his permanent seeking for the Eternal Feminine, Russian Symbolists of different sorts and generations made the “Northern love” an essential part of the image of Finland. [Copyright &y& Elsevier]

The pericope of the wilderness' snakes is highlighted in the set of writings using the symbol of the serpent, for this symbol is potentially doubtful to the faith of Israel, ambivalent. Therefore, this paper aims to comprehend the symbolism of the serpent in Numbers 21,4-9, through a text analysis and a study of the possible influence of Egyptians and the nations from Ancient Near Eastern. The narrative analysis highlighted the text as a plot of conflict-solution in the drama lived by the people. In that conflict approach, it was considered the anthropological and cultural features of the serpent symbolism and its theological range. The interpretation favored the comprehension of the pedagogic dimension of God before the necessity of people's conversion, once they were in the final stage of the wilderness' pilgrimage, being about to enter at the land of Canaan. In line with the economy of revelation, the author gives a new meaning to the serpent raised in the rod. In the beginning of the report, it was an instrument of punishment expressed in the bite that caused a lot of deaths; at the end, it becomes a sign of salvation. Thus, through this signal, the same God who punishes is the One who is always ready to offer a new chance to those whose eyes turn upon Him. [ABSTRACT FROM AUTHOR]

The study of symbolism can make an important contribution to European integration theory, as it explains political and social integration in a new way. Following the theoretical framework outlined by Ian Manners (2011), this paper applies four approaches to sym-bolism to the European Heritage Label. By analysing symbols as emblems, order, representation and domination it unveils the way in which the European Heritage Label constructs the European symbolic value of heritage sites and how it reflects the relations between the different national, supranational and transnational actors that shape cultural policy. Moreover, it endeavours to offer a glimpse into the nature of the different conceptions of the European Union promoted by those actors and into the future of European cultural policy. [ABSTRACT FROM AUTHOR]

In this essay, I investigate the use of colour as a rhetorical device in the Middle English Pearl in an effort to shift the focus away from traditional discussions of colour symbolism in the poem and provide an alternative framework with which to understand the poet's imaginative world. My work analyses the poet's systematic deployment of colour in Pearl in terms of the rhetorical device of ductus, which pertains to the flow, or 'way through' a composition, showing how colours structure Pearl's three landscapes and determine the outcome of the Dreamer's spiritual quest. [ABSTRACT FROM AUTHOR]

Aestheticism, decadence and symbolism are all movements in art and literature that sprang up almost simultaneously in England in the late nineteenth century. These fin de siècle movements are the offshoots of the French movement generally termed symbolism or decadence in the continent and they are considered to be the English branch of the French movement. These movements rose in reaction against the prevailing realists and naturalists of the time, as well as against the neo-classical and romanticism. The proponents of aestheticism and decadence held the doctrine of l'art pour l'art and emphasized the autonomy of works of art over life and criticism. The movement was led by Charles Baudelaire, J.K. Huysmans, Paul Verlaine, Arthur Rimbaud, Stèphane Mallarmè and others in France. In England, its chief exponents were A.C. Swinburne, Walter Pater, Arthur Symonds, Oscar Wilde and a host of young artists. Somewhat hedonists in nature, they look forward to beauty and pleasure, and place form over content. Even though the movement met with public outcries and severe criticism, it held its position for duration and is still a topic of debate in the field of culture and literary studies. It was after the prosecution of Oscar Wilde in 1895 that many of the exponents severed their ties with the movement and turned to symbolism, which in turn got itself absorbed in modernism. [ABSTRACT FROM AUTHOR]

Alfred Jarry, best known for his scandalous 1896 play Ubu Roi, wrote an equally scandalous work in 1898: L'Amour en visites (Visits of Love). This hybrid novel/play dramatizes several of Alfred Jarry's battles with the Symbolist movement, literary form, and inherited traditions. It is a work about rupture on all levels. In this article Kimberly Jannarone investigates the text and its backstory to give a greater understanding of Jarry's work and the last days of the Symbolist movement. Tracing the life of a central character, Lucien, who plays different roles as he travels through naturalistic and fantastic realms in a deviant coming-of-age story, L'Amour en visites condenses Jarry's formal and personal rejection of the worlds around him, especially that of the Symbolist literary scene. Culminating in a sensational coup de théâtre – a pair of lovers being flushed down the toilet – L'Amour en visites marked the closure of one part of Jarry's work and a chapter of his life. Kimberly Jannarone is the author of Artaud and His Doubles (University of Michigan Press, 2010). As well as two earlier essays on Jarry in New Theatre Quarterly – in NTQ 98 (May 2009) and NTQ 67 (August 2001) – she has published essays on avant-garde literature and performance in Theatre Journal, Theatre Survey, French Forum, TDR, Modernism/Modernity, and a book chapter on The Exquisite Corpse. Jannarone is Associate Professor of Theater Arts at the University of California, Santa Cruz. [ABSTRACT FROM PUBLISHER]

This article analyzes the religious themes in Aleksandr Aleksandrovich Blok's work, "Diary," in the years 1901-1902. The author notes that Blok, a Russian lyrical poet, was influenced by ideas typical of Russian symbolism and the Russian Religious Renaissance (i.e., Vladimir Sergeyevich Solovyov's (a Russian philosopher, poet, literary critic, theologian), as well as that of contemporary fellow Russian symbolists (Andrei Bely), and 19th century Russian poets (Fyodor Ivanovich Tyutchev, Afanasy Afanasyevich Fet, Yakov Petrovich Polonsky). His unique religious theory, however, links Christian beliefs with Greek mythology, paganism, Satanism, legends, theology and his own thoughts, coming together in a Modernist "self-religion" (theurgy) where the creative power of the human self is unrestrained.

Alexandru Macedonski's literary works grow, as it has been already noticed, from a tragic awareness of the antagonism between illusion and reality, as the poet constantly swings between lucidity and chimera, will and fatality, evasion in the absolute spheres and regression in his own self. The set of themes operating in his works are those of a visionary, vitalist and artistic poet, a spirit that is tempted by a superior refinement of emotion in the space of contemplation. A poet and a theoretician at the same time, Macedonski accomplishes a fusion of tradition and modernity, being the one who sets the basic principles of Romanian Symbolism. [ABSTRACT FROM AUTHOR]

The purpose of this research is to investigate Hardy's employment of symbolism in The Mayor of Casterbridge, a masterpiece of Thomas Hardy. Hardy is primarily an artist and only incidentally a philosopher, so it is natural that he would present his philosophy artistically. He uses various artistic techniques to make his philosophy enriched. One of these techniques is the use of bird as a symbol. Thomas Hardy has used this symbol very skillfully. Through the use of bird imagery, he elucidates his philosophy as well as adds special artistic charm to his style. So far, his critics have only cursorily analyzed this symbol and have never applied it to an analysis of his philosophy. This study is an interpretation of this artistic technique and can be viewed as a new approach to an understanding of Hardy's philosophy. [ABSTRACT FROM AUTHOR]

The article discusses the influence of the Western writers on the growth and development of modern literature in China. It examines how the development of several literary movements such as romanticism, realism, and symbolism encourage Chinese literary reformists to modernize their literature and culture. It also mention several Chinese authors who have helped in initiating literary renaissance, resulting to the blooming condition of drama, poetry, and literary criticism.

An essay is presented on Russian Symbolism. It features Russian Symbolist Aleksandr Blok's collected works on his books "Sobranie stikhotvorenii" and "Stikhi o Prekrasnoi Dame," which sought to refashion symbolism. It discusses the implications of the Apollonian infusion in editing and publishing Symbolism. It also states that Friedrich Wilhelm Nietzsche's early engagement with Apollo and Dionysus has influenced the concept of Russian Symbolism.

Symbol is an important concept and object to explore gender issues in literary language because symbol constitutes not only a part of literary language but also the specific rhetorical elements and significance. Through the "woman" or of such sex symbols in the classic literary texts to study the history of male - centered culture constructed of "man/human", the "man - woman" such symbols in the literary narrative with what kind of "give meaning" activities, can reveal the projection, reflection and interaction of the structure of gender discrimination on the structure of literary language. [ABSTRACT FROM AUTHOR]

While the centrality of the genre of tragedy to The Human Stain has been consistently acknowledged by critics, the novel has tended to be read simply as an embodiment of tragedy, rather than as a reflection upon the genre and an examination of its processes and assumptions. Focusing on the relationship between various levels of the text-writer, narrator, hero, reader-and addressing issues of allusion, symbolism and temporality, this essay outlines Roth's complex re-imagining of contemporary tragedy through Nathan Zuckerman's narration of the story of Coleman Silk. [ABSTRACT FROM AUTHOR]

One sits with power; one does not lie down with power. This reflexive article constructs academic textuality beyond the author, and elaborates possible forms of the symbolic, visual and sensory in research, via a novella set in a university. [ABSTRACT FROM AUTHOR]

This article focuses upon the perception of "the body and the subjectivity of man" as expressed within the poetic works of Russian Symbolists, Alexander Blok and Fyodor Sologub. The author, using mostly secondary sources, examines the body of work of the two poets in two distinct sections of the article, and within the context of the conceptions concerning the body expressed within the conceptions/works of Friedrich Nietzsche, Vladimir Solovyov, Isadora Duncan, etc. She also notes the models and concepts expressed by the two poets: the concept of the dancing body/Dionysian body; incorporeality and the body subjected to asceticism; the naked and erotic body; and the body as a means of communication with the world and “the Other.”

The article discusses the role of author Valery Briusov in the Decadent movement in Russia. The author notes the focus of the Decadent movement on the decline of the Roman Empire and discusses how poetry and historical literature by Briusov focused on connections between the fall of the Roman Empire and conditions in Russia near the time of the Bolshevik Revolution. She comments how Briusov's novels, including "The Altar of Victory," contain elements of the Symbolist and Decadent movements and notes the view of literary critics that Briusov's work is more closely related to realism due to its historical accuracy. She discusses how Briusov depicted Roman politician Symmachus as compared to the book "La Fin du paganisme," by Gaston Boissier.

The article discuses the symbolism in the writings of 19th century French poet Stéphane Mallarmé. It describes the poetics of Mallarmé's writing, the musicality, idealism, and Romanticism in his poems, and his relationship to his editors and his readers. The poems “La Fin de Villiers,” "L'après-midi d'un faune," and "Un coup de dés jamais n'abolira le hasard" are discussed, along with the reactions of literary critics such as Remy de Gourmont, Jules Huret, and H. de Régnier to Mallarmé's poetry. Other subjects under discussion include the relationship between the idea of modernity and poetry, the rise of positivism and its influence on French poetry, and the poem “Sonnet en yx.”

A literary criticism of the book "Borderlands/La Frontera: The New Mestiza" by Gloria Anzaldúa is presented. It explores the deconstruction of social norms and convention history with an identity that moves beyond standard thinking. It examines the symbolism of the patron saint, Virgin of Guadalupe depicting the history of Mexico and illustrates the theoretical discourse on gender and sexuality transformation.

This paper aims to present an analysis of O Físico Prodigioso by Jorge de Sena considering in particular aspects related to the symbolism of the Tarot. [ABSTRACT FROM AUTHOR]

Dante has an increasingly hard time progressing on his journey and in writing poetry about it as he approaches the bottom of the Inferno. Symbolic expression loses its grip before the nullity of absolute evil. Language returns to a pre-semiological state of signifying like a brute thing — especially by virtue of the concrete, literal, root senses of words that are reactivated as their conventional sense fails. Most penetratingly, Dante dramatizes in Ugolino the way that narrative, as used for revenge by the damned self, can kill meaning. Rather than opening events to being understood in their true purport, Ugolino's narrative attempts to fix one hate-driven conclusion and blot out all other potentially redemptive meanings of events. Thus, the raw significance of eating flesh is stripped of the sacramental significance it has for his sons, whose gestures imitate those of the Son of God. Ugolino's rage blinds him to every meaning other than revenge. Dante runs a similar risk: this episode exposes his own penchant for using narrative as an instrument of revenge. He thereby indirectly confesses to the damning sin of producing narrative that serves his own anger, thereby opening his poetry to redemption by grace and purgation in the sequel. [ABSTRACT FROM AUTHOR]

The article presents literary criticism on the work of French poet Charles Guérin, with reference to the concept of the crisis of symbolism. Topics discussed include poetic philosophy and polemics in the works of Guérin, the relationship between the schools of symbolist and decadent poetry, and linguistic features of Guérin's work.

The article presents literary criticism of the poems "Bateau ivre," by Arthur Rimbaud, and "Vaisseau d'or," by Émile Nelligan, with reference to the concept of symbolist stylization. Topics discussed include formal elements of "Les Fleurs du Mal," by French poet Charles Baudelaire, the use of color in the work of Rimbaud, and the mythology surrounding Rimbaud.

The aim of the present article is to disclose the multicultural dialogue in the poetry of Jarosław Iwaszkiewicz (1894-1980), one of the most outstanding Polish poets of the 20th century. The dialogic nature of his poetry is realized through allusions to cultural symbolism emerging from the Bible and Roman-Greek mythology, Polish and world literature as well as from the world of music, art, sculpture and architecture. Thus the poetic heritage of Iwaszkiewicz can be ascribed to the movement of neo-classicism, represented by the famous British poet T. S. Eliot, who appealed to timeless dialogue among representatives of various cultures and creation of eternal values. [ABSTRACT FROM AUTHOR]

In archaic societies, things considered to be sacred are replaced by tales in which people or objects regarded as sacred are narrated in modern societies; that is, divine is replaced by divine symbolism. Divine symbolism can be viewed as the appearance of the sacred as a person or object. It is highly possible to see the examples and reflection of such narration in the tales of humanity from the ancient times to modern times. These examples can be encountered in the form of god/ruler relationship or symbolic reflections of god/sacred. The symbolic use of the sacred, and its occurrence in mythologies, legends, folk stories and folk beliefs are dealt with, and in this way, it is revealed how the sense of praising inherent in the nature of human gained-holiness through literary texts. How symbolic narration was perceived in the past, and how it should be interpreted today are investigated, and this leads to the elicitation of the thinking phases through which human history went. While talking about a period prior to the domination of logic, it is necessary to see the period as a whole with its own conditions. Symbolic dimensions of the texts and beliefs gaining special value in the oral literature include some mystery. The sacred's changing shape means old beliefs are renewing themselves to justify their existence. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses literary scholar Anke-Marie Lohmeier's terminological distinction between historical modernity--which is said to be characterized by industrialization, urbanization, and technology--and literary modernism, whose traits involve "anti-modern" self-reflection and the fragmentary. The dichotomy is more simply posed as aesthetic versus societal modernism. The author associates literary modernism with the advent of serially published novels and "concrete" theater performance, as well as late 19th century movements like symbolism and decadence and a general pluralism of styles.

This article is intended to advance a comprehensive understanding of knowing and meaning that is sensitive to biological and psychological evidence as well as to ethical and religious concerns. It proceeds by integrating Michael Polanyi's theories of the evolutionary emergence of centered beings, tacit knowing, and the from-[via]-to structure of consciousness with a revised version of Susanne Langer 's theory of symbolization. The revision stresses the importance of signals in all human and other animal attunement to reality and argues for dividing Langer's notion of presentational symbolism into a component shared by the more developed animals and one unique to humans. It details autonomic, receptor, learned tacit, and conceptual contributions to personal meaning. [ABSTRACT FROM AUTHOR]

The article discusses the poetic styles of Stéphane Mallarmé in terms of relating social opinions and political concerns. It explores the way he presents anarchism and symbolism in his literary works. It cites various excerpts from his comments, poetry, and essay which depict his perception of the society, politics, and other poets. It also notes the uniqueness of his works which offer contradictory relationships between art and everyday life including those tackled in "Tailhade."

Abstract: This article attempts to substantiate Belyi''s often puzzled-over claim that Chekhov was the “pedestal of Russian Symbolism” by examining the resonances between approaches to the symbol in Chekhov, Belyi and Viacheslav Ivanov. In his stories and plays, Chekhov developed what seems like an anti-symbolic conception of human experience in which life''s deepest, most significant moments are hidden and at variance with the visible world. As Chekhov''s protagonists find their way into these mysteries, both afraid of, and hungry for, an external symbolism that would make sense of their experience, Chekhov formulates a complex relationship with the symbol, one that would help to provide the groundwork for Belyi and symbolist poetics of the 20th century. [Copyright &y& Elsevier]

Abstract: The article briefly sketches the contents of an introductory piece to a collection of Chekhov''s stories by Kobylinskii-Ellis, once a Symbolist, who after emigrating to Switzerland continued to propagate Russian religious thought and literature in the Germanophone countries. The Chekhov text shows the development of Kobylinskii-Ellis''s thinking at a later stage of his literary activities. [Copyright &y& Elsevier]

The article discusses the development of Russian symbolism in literature with a focus on the influence of poet Dmitrii Merezhkovsky. The poet's book of verse "Simvoly" or "Symbols" which was published in 1892 is discussed. Topics include a mystical or religious slant on idealism in literary symbols and the continuity of thematic motifs in translations. Merezhkovsky's poetic technique in three collections of verse, "Simvoly," Stikhotvoreniia," and "Novye Stikhotvoreniia," is compared. His lectures "O prichinakh upadka i o novykh techeniiakh v sovremennoi russkoi literature" or "The Reasons for the Decline and the New Currents in Contemporary Russian Literature" are mentioned.

The article analyzes the semiotic proposals of Kenneth Burke in his essay "What Are the Signs of What? A Theory of Entitlement." The essay is characterized by Burke as an experiment tentatively tried for heuristic purposes and concedes that his proposal reverses the usual realistic view of the relation between words and things. This analysis specifically focuses on Burke's reversal of signifiers and signifieds and the larger concept of human language use that underwrites this proposal. The relationship of nonverbal things to verbal essences as enigmatic symbolism, according to Burke, is also analyzed.

The article focuses on the misinterpretations of the term "calamus scriptorius," which was used by Herophilus in describing the vertical division of the floor by a median sulcus. It cites several authors who misunderstood or modified the real meaning of the term including Wilhelm His in his "Nomina anatomica," and Achille-Louis Foville to refer to the caudal end of the median sulcus of the fourth ventricle. It explains the armorial bearings of the term as a symbol during censorship of the press.

Copyright of Jahrbuch des Instituts für Deutsche Sprache is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

For the literary history, the aesthetic generation to which Holan belongs is that of the confirmation of the avant-garde. But a fine analysis of the interwar period gives evidence of a concurrently essential and conflicting relation with the early 20th century. The filiation with the Symbolists is differently analyzed and interpreted: Vítezslav Nezval suggests, above all in his Modern Poetic Trends (Moderní básnické smery, on 1937), to pass them over. Vladimír Holan on the contrary does not stop seeing an example of the poetic rise towards the absolute, as indicated by collections such as Breath (Vanutí, 1932) or Bow (Oblouk, 1934). But in his poems in prose, "Lemuria" (1934-1938), and maybe more clearly, "Fragment" (Torso, 1933), Holan proposes a poetry which gives up the ambition of sublimity. This resignation is not anecdotal: indeed, it announces the approval of the negative which will stand out as an essential part of its poetic long-term project, and which will bloom in his greatest later works ("Without title," "Pain," "A Night with Hamlet"). [ABSTRACT FROM AUTHOR]

The article presents information about the meaning and concept of time in Russian dramatist Anton Pavlovich Chekhov's play "Three Sisters." Comparisons are drawn between Chekhov's writing and that of writers belonging to the literary movement Russian Symbolism. The philosophical and scientific aspects of time are discussed with regards to the developments of the 19th and 20th centuries. Quotations are presented from "The Three Sisters," and the temporal situating of the play's first scene is examined, in terms of its references to the calendar, the hour, and the season of the year.

Georgian and Russian modernisms engaged in a conversation that was by no means one-way and in which the chronological development and aesthetic premises of Russian symbolism became curiously inverted. Piecing together this forgotten dialogue allows us to recover a neglected cross-cultural and properly Eurasian dimension of the Silver Age. Russians and Georgians alike invoked the mask as a theatrical form and myth as a narrative structure to articulate problems of individual, collective, and national identity. Mask and myth shared two distinct and somewhat incompatible genealogies, the one deriving from the Italian commedia dell'arte and the other from Friedrich Nietzsche's reading of Greek tragedy, both of which corresponded in turn to a typically Russian tension between the "decadent" and "mythopoetic" redactions of symbolism. These genealogies were critically adapted by the Georgians in an attempt to address the perceived needs of Georgian national culture. Aesthetic and philosophical problems concerning the semiotics of the name, the nature of the poetic persona, and the structure of myth came to be related to wider questions proper to an era of crisis and transition: modernity and historical belatedness, the dynamics of cultural importation, the gendered nature of nationhood, and the vexed relationship between popular culture and modernism as an elite cultural formation. [ABSTRACT FROM AUTHOR]

The article examines the influence of French symbolist poet Paul Verlaine on the work and aesthetic of lyric poet John Shaw Neilson. The availability of foreign literature in Australia during the early 20th century and the attention paid symbolist theories of poetry in literary journals is also discussed. Particular focus is given to the relationship between Neilson and his publisher, A. G. Stephens.

The essay provides a criticism of the book "Poems" by Christopher Brennan. The author argues that Brennan should not be considered a modernist and contrasts Brennan with modernist poet T.S. Eliot in terms of the structural cohesiveness of Brennan's work and its mythic qualities. She sees Brennan as a Symbolist and a poetic descendant of the poets John Keats and Stéphane Mallarmé.