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Mens den tyske naturfilosofiens betydning for 1800-tallets romantiske poesi i Skandinavia er hevet over tvil hos litteraturhistorikerne, har det vært mindre vanlig å se dette tankegodset videreført i senere perioder. Dermed er det også blitt vanskelig å få øye på sider ved den postromantiske lyrikken som bygger videre på impulsene herfra. Hensikten med denne artikkelen er å peke på naturfilosofiens relevans også for symbolistisk og modernistisk lyrikk. Eksemplene jeg baserer meg på, er to dikt av Emil Boyson (1897–1979), der motiver, billedspråk og metaforikk synes å være modulert over temaer hentet fra naturfilosofien. I likhet med tenkere som Henrich Steffens og Friedrich von Schelling uttrykker Boysons dikt en forestilling om naturen som fri og spontan produktivitet. At naturen skulle unndra seg en menneskelig bestemmelse og formålstjenlighet, blir hos Boyson (slik det også er for Schelling og Steffens) et uttrykk for at den besitter en egen subjektivitet eller ånd, som det er kunstens oppgave å finne adekvate bilder og forestillinger for. Nettopp det å fremstille naturen som subjekt synes å utgjøre det naturfilosofiske fundamentet for Boysons lyrikk.

This article seeks to determine the link between the symbolic profile of North American skyscrapers and the features of North American culture, emphasizing the parallelism followed in the evolution of both. For this purpose, it resorts to a comprehensive or interpretative sociology combined with an incipient sociology of skyscrapers as a theoretical–methodological basis, complemented in turn with the notions of creativity and symbolism, resources through which the nuclear myths on which North American culture is sustained would become visible. The work reveals how the transformations in the style followed by American skyscrapers maintain a close relationship with the process of collapse of the original values proclaimed by American capitalism. So that the aesthetics characterized by a rationalist abstraction, perfectly fitted in the inaugural ascetic values of this first capitalism, would give way to an aesthetics of evanescent sign where an individuated consideration of the self would be given preeminence. In this sense, the work discovers how the symbology carried on the skyscrapers constitutes a first-level observatory in order to evidence the mutations that took place in the North American religiosity. [ABSTRACT FROM AUTHOR]

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Cette étude se propose d’envisager le silence dans sa dimension pratique, comme une conduite, une prise esthétique ou politique. Nous convoquons plusieurs disciplines - linguistique, anthropologie, sociolinguistique, musicologie, art, etc. – pour pouvoir souligner les fonctions du silence à travers des modalités matérielles, symboliques et politiques faisant appel aussi à l’analyse du discours. Même s’« il n'y a pas de silence absolu » comme l’affirme Cage, on peut toujours inventorier le silence éloquent (Ephratt 2008), le silence psycholinguistique, interactif et socioculturel (Bruneau, 1973) mais aussi sa contrepartie graphique dans l’espace vide, à savoir le blanc typographique (Dessons 2005) ou encore le silence comme élément permettant l’alternance des tours de paroles (Orecchioni 1995) et bien d’autres.

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

Copyright of Lenguaje is the property of Universidad del Valle 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.)

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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.

En référence à sa culture Nuna, Bali Nébié dévoile dans son œuvre « Les secrets du sorcier noir » que tout Nuna croit en l’existence de la sorcellerie. Il décrit deux types dont celle considérée comme un don de Dieu et celle, associée aux forces du mal. Vivant en association hermétique, les hommes et les femmes qui la pratiquent, par des signes conventionnels, se connaissent et se rencontrent nuitamment pour débattre des sujets d’actualité. A partir d’une analyse linguistique et stylistique de l’œuvre, ce travail se propose de montrer d’une part l’esthétique négro-africaine à travers l’intertextualité et les messages qu’elle véhicule et d’autre part, relève l’occultisme et le symbolisme qui en découle.

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Copyright of Synergies Algérie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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.)

Le cinéma a considérablement marqué les textes d’Olivia Rosenthal dans les années 2010. Dans cet article, il sera moins question de revenir sur les thématiques en elles-mêmes, qui sont portées par ces références filmiques, que de réfléchir sur leur dimension réflexive au sein de la poétique de l’écrivaine. Elles témoignent notamment de son refus de l’illusion réaliste. Mais, au-delà des seules images cinématographiques, on se demandera si le recours aux images en général ne fait pas de l’œuvre de Rosenthal une « forêt de signes ». La part suggestive qu’elles véhiculent vient troubler les significations et nuance l’aspect documentaire et littéraliste qu’on a tendance à mettre en avant dans les textes de l’écrivaine.

Il existe plusieurs types de la transmission des connaissances. Dans la plupart des cas, il s’agit d’une protection de ces connaissances contre les non-initiés. Le chiffrement se produit à l’aide de symboles dont les personnes habilitées à savoir peuvent avoir la clé du décodage. Sur ces principes se basent les messages codés de La Kabbale ou du tirage des cartes Tarot etc. Les symboles des figurines des poids à peser l’or Akan (Côte d’Ivoire, Ghana, Togo) font partie intégrante de ce système de communication et de protection. Ces poids n’ont pas étéconservés qu’aux fins commerciales mais également afin que les générations des descendants puissent avoir des notions sur les croyances et l’environnement de leur prédécesseurs. Il n’est possible de décrypter des textes – messages provenant de ces systèmes communicatifs qu’avec leur clé de décodage. Si la clé est erronée ou perdue, le message protégé reste inaccessible.

Au cœur de toute guerre se trouve toujours un aspect communicationnel. Cet aspect est resté collé au caractère factuel de la chronologie et de l’actualité du conflit qui oppose l’Ukraine à la Russie. C’est dans ce sillage que le Président ukrainien, Volodomyr Zelensky a multiplié les discours en visioconférence devant les parlementaires occidentaux. Dans l’objectif de décrypter ces différentes adresses, nous nous sommes servi des outils de la psychocritique de Anne MAUREL (1998: 46). Cette théorie permet de mettre en relief l’utilisation de certaines images pouvant éclairer les intentions d’un auteur. L’orateur a modulé à chaque fois son adresse vis-à-vis de chaque auditoire. Ainsi, a-t-il au cas par cas ciblé les symboles historiques qui puissent faire chavirer le cœur des uns et des autres. Au même moment à travers ces clichés assez représentatifs de chaque nation, la rhétorique de Zelensky a exploité les ressources sentimentales pour appeler les différents partenaires à leurs devoirs.

Le symbolisme est un mouvement poétique, littéraire et artistique qui s’est développé en France à la fin du XIXe siècle. La création poétique au cœur de ce mouvement est caractérisée par une harmonie rigoureuse entre le fond et la forme d’une part et par le recours systématique aux signes symboliques d’autre part. Les symbolistes font de la poésie un art totalisant qui dialogue avec d’autres arts tels la peinture, la musique, le théâtre, etc., et ils considèrent le symbole comme la clé d’accès au monde invisible ou monde suprasensible. Mais si cette poésie observe bien de règles classiques d’écriture, son recours aux signes symboliques n’est pas sans lui conférer un caractère fortement hermétique. La présente réflexion se propose d’étudier « Salut » un poème de Stéphane Mallarmé (1842-1898), un poète appartenant à cette mouvance artistique en vue de proposer une grille de lecture sémiopoétique qui prendra en compte de façon simultanée la matière de l’expression du signe et celle de son contenu.

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Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics 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.)

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Les harmonies symphoniques sont un projet composite, apparemment rédigé par Lucini entre 1885 et 1888, dont seulement deux poèmes ont été publiés en 1892, ceux-là mêmes qui témoignent du premier emploi vers-libriste chez Lucini. Si ces deux poèmes marquent le début d’une expérimentation qui sera propre de la poésie symboliste et ‘futuriste’ de Lucini, plus tard considéré à bon escient comme l’inventeur du vers libre en Italie grâce à sa redécouverte par les néo-avant-gardistes italiens des années 1960, d’autres parties de ce projet de jeunesse restées inédites de son vivant montrent ses intérêts en matière de cabalisme. Sans sous-estimer les apports des années 1970 sur ce sujet, nous proposerons des sources possibles et une interprétation ésotérique plus approfondie de ces écrits, qui seront aussi envisagés par rapport à la production concomitante et future de Lucini.

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During Symbolist period, Puvis de Chavannes, Moreau and Rops inspire many verses of homage. These offerings at the crossroads of the arts reveal the bonds that poets and artists weave then. They also encourage the deployment of a fruitful dialogue between text and image, which enriches and renews the writing of the dedication. Beyond the diversity of forms and ways, the gifts of poems between saying and seeing reflect a questioning on poetic creation and the suggestive powers of language.

La lecture de ce roman publié en 1972, largement centré sur Lisbonne et ses environs, s’attache à mette en évidence une poétique de l’espace. Celle-ci est fondée sur une transcription du réel doublée d’une dimension symbolique (couleur blanche, mort). Au-delà d’une suite d’images et d’allusions autobiographiques, le roman de Pïerre Kyria surprend par l’originalité d’une écriture qui brouille la frontière entre la réalité et le rêve.

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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.)

Lecture 7 examines the application of rhetorical principles to images to see how they are imagined to be persuasive and the ways in which that power of persuasion has been theorized. Whether through discourse or imagery, the notion of persuasion as understood in relation to images is accounted for in a discussion ranging from Plato to William Wordsworth, from Roland Barthes to Paul Messaris, from metaphysics to idolatry. [ABSTRACT FROM AUTHOR]

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Hamsuns roman Victoria er et trekantdrama mellom møllerens sønn Johannes, Victoria på godset, og «byherren» og offiseren Otto. Det er samtidig en roman om Johannes' utvikling som forfatter. Artikkelen undersøker forholdet mellom Johannes som en skarp iakttager av foreteelser i naturen – med lukt og synsinntrykk, lyd og taktile fornemmelser – og hans imaginasjonskraft, hans drømmer og visjoner. Hypotesen er at Johannes i sitt forhold til naturen på hjemstedet utvikler det en med økokritikken kan kalle et økologisk selv, og at det skiller ham fra rivalen Otto.

Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics 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.)

Copyright of Nordlit is the property of Universitetet i Tromsoe 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 aquatic scenes are considered as one of the subjects that were employed in the creative texts. Many poets inspired such subjects, and employed it in their poems as a sanctuary for their suffering, either to substitute or to entertain or even to build a new world which expresses their ideal life. Ali Mahmoud Taha is considered as one of the most significant writers who employed such a theme and its symbolism in his poems, and according to his psychology (movement, feelings and emotion, silence). [ABSTRACT FROM AUTHOR]

Even in Putëm zerna [Grain's Way] (where in moments of mystical fullness the world appears transfigured), Khodasevich's poetic work is dominated by a dualistic worldview, which ultimately relates to the mystical idealism of the Russian Symbolists inspired by Vladimir Solovyov. Such an attitude to the world is realized first of all in the dualism Body ("Me") / Soul (Spirit), where the body is perceived as an "envelope", from which the soul can get free only with great difficulty. In Tjazëlaja lira [The Heavy Lyre], the dualism "Me" (Body) / Soul grows up, and the poet's mystical aspiration turns into painful effort towards the attainment of transcendence. The physical intensity of this effort is so strong that it becomes practically pathological. Since the body symbolises the imprisonment in the world that the poet rejects, the interior dichotomy Body/Soul exacerbates with the poet's perception of the dualism earthly World/another World. The "inert" material that is transcended by the poet- «Orpheus» in «Ballada», the final poem of Tjazëlaja lira, gives place in Evropejskaja noc' [European Night] to the world that is crashed by materiality, while the expressionist vision of the "German cycle" is dominated by violence and a degrading sexuality. The rejection of Body and the disgust for Flesh is contrasted in Khodasevich's poetic work with the image of a foetus and its life in the mother's womb. The poet associates this image with the "native, original world" of the Soul and the original Life. This image is not very stable, but it is radically positive. Such a sacralization of the image of a foetus and Motherhood can be correlated with the image of the Virgin, who embodies for Khodasevich the fusion of earthly and divine. [ABSTRACT FROM AUTHOR]

Even in Putëm zerna [Grain’s Way] (where in moments of mystical fullness the world appears transfigured), Khodasevich’s poetic work is dominated by a dualistic worldview, which ultimately relates to the mystical idealism of the Russian Symbolists inspired by Vladimir Solovyov. Such an attitude to the world is realized first of all in the dualism Body (“Me”) / Soul (Spirit), where the body is perceived as an “envelope”, from which the soul can get free only with great difficulty. In Tjažëlaja lira [The Heavy Lyre], the dualism “Me” (Body) / Soul grows up, and the poet’s mystical aspiration turns into painful effort towards the attainment of transcendence. The physical intensity of this effort is so strong that it becomes practically pathological. Since the body symbolises the imprisonment in the world that the poet rejects, the interior dichotomy Body/Soul exacerbates with the poet’s perception of the dualism earthly World/another World. The “inert” material that is transcended by the poet-«Orpheus» in «Ballada», the final poem of Tjažëlaja lira, gives place in Evropejskaja noč’ [European Night] to the world that is crashed by materiality, while the expressionist vision of the “German cycle” is dominated by violence and a degrading sexuality. The rejection of Body and the disgust for Flesh is contrasted in Khodasevich’s poetic work with the image of a foetus and its life in the mother’s womb. The poet associates this image with the “native, original world” of the Soul and the original Life. This image is not very stable, but it is radically positive. Such a sacralization of the image of a foetus and Motherhood can be correlated with the image of the Virgin, who embodies for Khodasevich the fusion of earthly and divine. [ABSTRACT FROM AUTHOR]

Le Roman de Tristan et Iseut de Bédier n’est pas seulement une adaptation très réussie de textes anciens, il est aussi de plein droit un roman de son temps et pourrait même bien être l’un des plus parfaits romans de la mouvance symboliste. À travers l’étude de certains de ses procédés d’écriture et la comparaison avec plusieurs versions ultérieures (mais toutes marquées par la réécriture bédiériste) de la légende tristanienne on tente ici de dégager son originalité propre.

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Entre la fin du XIXe siècle et les premières décennies du XXe siècle, les personnages d’inspiration mythique ont frappé profondément l'imagination des artistes français et belges francophones. Parmi décadentes et symbolistes, les femmes mythiques associées à l’univers aquatique connaissent une fortune tout à fait singulière : elles sont les porte-parole du nouveau langage poétique, du questionnement identitaire et de l'expression du « moi ». Elles parlent des tentatives de création et des appels pour un idéal, de sorte qu’elles deviennent l’objet d’interprétations superposées et contradictoires. D’un côté, elles sont chargées de multiples symboliques (mythologique, biblique, légendaire et historique) ; de l’autre, elles sont représentées selon la dialectique des contraires (mythique et réelle, idéale et fatale, belle et monstrueuse, sacrée et démoniaque). Divines ou profanes, fascinantes ou repoussantes, les figures féminines qui s’inspirent des déités antiques, des personnages ou des créatures légendaires (comme par exemple Eve, Vénus, Galatée, Léda, Salomé, Hélène, Judith, Cléopâtre, Ophélie, Mélusine ou les sirènes, chimères et les néréides), entretiennent des rapports avec l'univers intérieur et aboutissent à un renouvellement poétique d’ordre « cosmogonique ». Il s’agira de suivre ici quelques-unes de ces figures dans leur devenir moderne et, tout particulièrement, de voir dans quelles circonstances leur représentation mythique s’est imposée à l’époque fin-de-siècle.