Garden in the LIbrary (original) (raw)

Leaves of Glass: Plant-Life in Old English Poetry

From earth to art: the many aspects of the plant-world …, 2003

In this article I examine some of the plant-life depicted in Old English poetry. Because of the literary conventions associated with the representation of the natural world, I believe that Old English poetry in general is a poor source for the kind of specific information sought by ASPNS and probably also for the kind of discussion that dominates this volume. The obvious question arising from this assertion is why Old English poetry should be examined at all in this context. The answer is that even negative evidence can be useful. I hope that understanding why Old English poetry grants little insight into plant names may encourage increased wariness in the investigation of other kinds of texts.

Familiarity, a Quality of Garden Position in Saadi Poems

Manzar the scientific journal of landscape, 2016

| In Saadi poems, Garden is not explicated as a geometric form of plant, water and pavilion composition which is commonly known in modern science., garden explicated as an understanding and a meaning system which evoke e a great and high excellence authority directly in Iranians. In fact, beyond being a symbol, it is a high concept regulating other internal concepts and also external regulating factors. The appearance of this ever-renewed understanding of universe as a high position is beyond the mind of Iranian artist. This position which influenced by different kinds of gardens, poems, carpets and generally Iranian compositions (the lived experiences), has itself continually created them, too. Familiarity is one of the major identifiable qualities of garden position in Saadi poems and this article describes this quality comprehensively. Results show that familiarity is a quality which Saadi used to imply expression and understanding the necessity of territorial thought and discriminating the stranger as the fundamental principle. For this expression he mentions to the most intersubjective elements, relations, events and common behaviors related to his own period actualized garden. According to t this quality, it is possible to support a renewed identity and also activating the semantic aspects and social-national commonality in corporate living (life) in Persian garden is provided. The familiaruty mentioned currently in designing as the necessity of being connected with the background and preventing from objectifying the truth besides; But the origin and content providing such quality is missed.

Those Other Flowers To Come: A Poetry Collection

2016

I am imbued with the notion that a Muse is necessarily a dead woman, inaccessible or absent; that the poetic structure-like the canon, which is only a hole surrounded by steel-can be based only on what one does not have; and that ultimately one can write only to fill a void or at the least to situate, in relation to the most lucid part of ourselves, the place where this incommensurable abyss yawns within us.-Michel Leiris, Manhood Our bodies communicate. This is my calling. This is my world. All is decided and ready; the servants, standing there, and again here, take my name, my fresh, my unknown name, and toss it before me. I enter.-Virginia Woolf, The Waves

Gardens

Sirena: poesia, arte y critica, 2010

Early morning. Someone was playing Scarlatti sonatas in the house that lies in a granite garden by the sea. The notes walked single file on air waves and wires strung high between the roofs and poles, a well-tempered procession. Was it any wonder that within minutes blackbirds and larks called by to exchange tunes? *** Later I went out thinking how for your entire life you can carry the memory of a spring garden in your head and the memory of a damnation in jade green and blue mosaics, and not know which is which. *** Come down to the strand, the encounter of sea and rock where all ideas are twofold. Borderland, the idea of stone and the idea of water. Two pebbles plus two runlets make one world. Look at us, say the boulders, we shine, we glimmer, we are splendid, imprinted with the orange, white or black macula of lichen, the pale grey lichen that prickles under your soles. Clusters of sea pinks grow from hairline cracks on us, a miracle. They raise their tufted heads shivering and bowing to the wind. Come into our garden and restwe are scoured, clean and silent. What more could you wish for?

Introduction A Medieval Meditative Poem

This is the introduction to what is intended to be a long paper or series of papers elaborating on the influence of various ancient poets or poetic prose writers, including the unknown authors of Moretum and the Wisdom of Solomon.

Cultural Meditations on Poetry and Landscape, and the Landscape of Poetry, in Contemporary Italy

LCM - La Collana / The Series, 2017

The relevance of landscape in the great tradition of Chinese poetry is acknowledged and discussed by Liu Xie in the Wenxin diaolong, where special attention is devoted to the subject. This essay therefore starts from an appreciation of this Chinese classic, and especially from chapter XLVI of his work, entitled, in Alessandra Lavagnino' s Italian version, "Il colore delle cose" (The color of things). In Italy, a century-long tradition of poetry and painting that dates back to Petrarch and Leopardi on the one side, and to Giorgione and Giovanni Bellini on the other, has developed a special way of looking at landscape, a gaze that is still visible in contemporary time. An age-long yearning after beauty in Nature that is visible in the painters of the Venetian Renaissance has survived through the centuries and become part of a cultural worldview where landscape is still a relevant element, although in a totally different relationship when compared to the past. Modernity has broken into the serenity that pervaded those ancient landscapes, causing an implosion of their hitherto harmonious balance. An excellent example of this complex approach where memory, contemplation and fraught observation of the present coexist and are intertwined, can be found in the lines of the poet Andrea Zanzotto, who died in 2011 and can be considered the most important voice in contemporary Italian poetry. His reading of the presence of landscape in contemporary Italian culture, and enchantment with landscape itself, interacts with a radical criticism of our times. This discourse is linked to the great tradition of landscape poetry and painting (in Italy as well 當代義大利詩歌景觀文化的思考以及當代義大利詩歌景觀