Friedrich Lienhard (1865-1929), the author of the last poem Pfitzner set in Opus 24, is considered to be one of the co-founders of the nationalistic Heimatkunst (Homeland Art) movement that developed in reaction to naturalism around the turn of the century and was directed against internationalism, intellectualism, technology and industrialisation. Lienhard is “associated with the slogan ‘Los von Berlin’, a plea for cultural and literary decentralisation and a retreat from urban life in its contemporary form. Many ‘Heimatkünstler’ gave very unfavourable portraits of city life, but none vented their loathing with more vigour than Friedrich Lienhard”. Instead, he believed in the “contact with eternal truths and values manifested in the natural world”. In “Abendrot”, the speaker describes how the glow of the sunset causes a longing for heaven in …show more content…
The red evening sky, which symbolises peace, the dissolution of boundaries and death, is described as vast (“Groß”) and bright (“klar”). The inversion of the sentence and the alliteration at the beginning of the verse emphasise “Groß” and thus underline the splendour of the sight. A similarly inverted clause in the second half of the verse adds a softly rushing spring to the scenery, which appeals to the reader’s sense of hearing and enhances the vividness of the image. The Vosges Mountains (“Wasgenwald”, v. 3) provide a regional as well as a nationalistic touch as the German word "Wasgenwald" instead of "Vogesen" emphasises the distance to the French name “Vosges”. In the fourth verse, the speaker reflects on the transience of life. The verse starts and ends with the phrase “wie bald” (“how soon” or “how fast”) that emphasises the quick passage of time. With the rapidly declining daylight, the day’s work vanished as well. Against the vast, radiant evening sky, the speaker considers his or her earthly existence tiny and
The timeline carries on chronologically, the intense imagery exaggerated to allow the poem to mimic childlike mannerisms. This, subjectively, lets the reader experience the adventure through the young speaker’s eyes. The personification of “sunset”, (5) “shutters”, (8) “shadows”, (19) and “lamplights” (10) makes the world appear alive and allows nothing to be a passing detail, very akin to a child’s imagination. The sunset, alive as it may seem, ordinarily depicts a euphemism for death, similar to the image of the “shutters closing like the eyelids”
Arnold Schoenberg’s celebrated monodrama of 1912, Pierrot lunaire, op. 21, offers a compellingly personal perspective on Pierrot’s allegorical relationship to the artists of fin-di-siécle Europe. So too, in his fusion of music and poetry, does Schoenberg provide what may be the most powerfully illustrative example of the character Pierrot’s appeal to artists of the era.
Although the first line within Sutzkever’s poem appears hopeful, its following lines reflect the bitter darkness and gloom that the Holocaust embodied. “Dark scream,” “skulls,” “jammed locks,” “buried city,” “eternal gaze,” and “mole” in particular help to paint a vivid picture of emotions that the Jewish people felt in response to Hitler’s wrath. The “dark scream of your past,” depicts a piercing, blood curdling scream from the very depths of a person’s soul, in this case spurred by the horrific memories from the victims' past, which they were forced to own and contend with. In this scream, “Where skulls of days congeal/ In a bottomless pit?” not only thrusts the readers into the common occurrences of the ghettos, but also reflects the endlessness of their situation. Death, represented through the skulls, is almost inevitable, and even if one does survive, one cannot escape from the hopeless memories. Furthermore, by “congealing” the dead into one mass and nam...
In 1920, El Lissitzky would create one of the most successful, and influential propaganda posters of his career. Beat the Whites with the Red Wedge was a major breakthrough that showcases El Lissitzky’s new ideas on constructivism, but the poster was also an important segue into the artist’s famous Proun Series. These new ideas would later develop his typographic styling, and change the way we look at type as in image in the book of Mayakovsky’s book of poetry entitled, ‘For the Voice.’ How did El Lissitzky’s architectural background plays a role in the development of Beat the Whites with the Red Wedge? How did the previous Russian tsarist rule, and the revolutions during the Russian Civil War affect his political views, and propagandist views?
Throughout history, architecture has been employed in the service of politics, as symbols of the state. Architecture is therefore shaped by the national traditions in the pursuit of projects of identity, modernity, power, and prestige. A building is not merely a walled structure, but a metaphor for national ideology as it embodies the civic life of the citizens that it houses, as well as the ideals of the nation within which it resides. This paper will explore three varying architectural periods and examine the interaction between nationalism and the building styles that developed either as a means to express it.
Poetry’s role is evaluated according to what extent it mirrors, shapes and is reshaped by historical events. In the mid-19th century, some critics viewed poetry as “an expression of the poet’s personality, a manifestation of the poet’s intuition and of the social and historical context which shaped him” ( Preminger, Warnke, Hardison 511). Analysis of the historical, social, political and cultural events at a certain time helps the reader fully grasp a given work. The historical approach is necessary in order for given allusions to be situated in their social, political and cultural background. In order to escape intentional fallacy, a poet should relate his work to universal
Light in August, a novel written by the well-known author, William Faulkner, can definitely be interpreted in many ways. However, one fairly obvious prospective is through a religious standpoint. It is difficult, nearly impossible, to construe Light in August without noting the Christian parallels. Faulkner gives us proof that a Christian symbolic interpretation is valid. Certain facts of these parallels are inescapable and there are many guideposts to this idea.
Wolf, Peter M. Eugene Hénard and the beginning of urbanism in Paris 1900-1914. New York: P.M.W., 1968. 29-33.
The first stanza shows a wide range of fantastical language with the intention of drawing the reader slowly and steadily into the hazy, dreamlike setting. Along with the words like ?fantasy?, ?fables? and ?dreams? come affectionate phrases that effectively show us that the poem is meant to be addressed to a lover, ?Dear love? being the most obvious example. Later on in the poem, the language shifts from drowsy and steady to more intense and complicated, yet less passionate and more doubtful. Donne?s choice in the last stanza to utilize fiery words like ?torches? and phrases ?light and put out? and ?thou cam?st to kindle? depict a sense of overwhelming passion, as uncontrollable as fire. Donne doubts that he can control his lover to continue loving him as fervently as in his dream, which is why his dream lover is ?an angel? while his lover in reality is compared to fire.
Paul Celan is perhaps the greatest German poet in the twentieth century. He was born in Chermivsi, Ukraine in 1920. He grew up in an educated German-speaking Jewish family. He studied medicine at the age of 18 in France, but left early when the German occupied Austria in 1938. He then changed his course of study to learn Romance languages. When the danger spread all over Europe, he tried to warn his family, but it was too late for them to escape the eminent evil of the Nazi regime. He then was enlisted to serve in a labor camp and miraculously survived, however his parents couldn’t survive. Paul was liberated in 1944 and he wrote his masterpiece Death Fugue later at the end of this year. The poem is considered one of very few poems that received
These lines may seem confusing if not read properly. At first look, these might not make sense because the night is acquainted with darkness, but when the lines are read together as intended, one can see that the night is “cloudless” and filled with “starry skies” (1, 1-2). The remaining lines of the first stanza tell the reader that the woman's face and eyes combine all the greatness of dark and light:
1-2: 'Ý have seen a large amount of glorious mornings' "flatter the mountaintops with (a) soverign eye." The sun here is the eye of the morning, making the latter in semblance of a person. Using "sovreign" to describe the "eye" gives the reader the impression of the sun as, perhaps, the ruler of natur...
The speaker begins straightway with visual and auditory imagery when describing “ the sea is calm”. This image implies that there is a life out there but it is smothered by darkness. And the cliff is sparkling in the moonlight. The speaker invite his companion to “come to the window” (line6) to see the night air. He says this as the unending wave come in and go out back out again. His emotion bring feeling of sorrow. The speaker says even Sophocles a great Greek philosopher of the past heard his eternal sadness. The sea is coming in and going out. He thought of its like the struggles with life constant demand. The uses of metaphor when he call the faith of all people “ the faith of the sea”(21). He says the world used to be full of faith. But now the speaker no longer believes that the world is in full of faith. He hear the wave but he only feels sorrow. So he need his loves’ for reassurance that everything will be all right, that he can trust her completely. However the tone underneath prevent hem to believed that. The poet is comparing the world in which we live to the perfect life we want to have. Finally the speaker says with out peace, love, and joy the world contain no goodness and uncertainty. Since we have no faith in God, we must have each other with war and darkness approaching. The theme that you must have faith in someone if not in God to help deal with the difficulties our world can create.
“The Sun Rising,” is a vivid lyrical poem envisioning a pair of lovers being entire worlds unto themselves. The poem begins with a couple lying in bed. The speaker scolds the rising sun, calling it a “busy old fool,” and asks why it is bothering them through the windows and curtains (line 1, 589). The devoted and trustworthy lovers are in so much love that nothing else matters. The speaker personifies the sun, and talks to it throughout the poem. As the sunlight beams through the windows, the speaker tells the sun to let them be, and leave them alone. He says that love is not a subject of seasons and time and he forcefully tells the sun, the “Saucy pedantic wretch,” to go irritate late “school-boys” and sour apprentices, to tell the “court huntsmen that the King will ride,” and to call the “country ants” to their harvesting. He feels that their life together is perfect, and that the sun is annoying (lines 5-8, 589). The speaker concludes the poem by telling the sun to shine only on himself and his lover. By doing so, he says, the sun will shine on the entire world as well.
In the early summer mornings, when the sunshine is young and playful, inside the church another realm is born. Sitting in the back rows one can see a heavenly mist flowing though the windows and filling the sleepy altar with life and hope. It is a different dimension in the breast of an unsuspecting world. Moments such as these bring you joy and reassurance and also show you that there really is someone out there: your soul is elevated, your mind is thirsty for new experiences and your body is strengthened.