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. Cultural Politics 9(3). 313-322. Boym, Svetlana. 2001. The future of nostalgia. New York: Basic Books. Culler, Jonathan. 2008. Why lyric? PMLA 123(1). 201-206. Dancus, Adriana Margareta. 2011. Diasporic feeling and displaced nostalgia: A case study: Importeksport and Blodsbåxnd [sic]. Scandinavian Studies 83(2). 247-266. Fjellestad, Danuta Zadworna. 1995. The Insertion of the self into the space of borderless possibility: Eva Hoffman’s exiled body. MELUS 20(2). 133-147. Friedman, Susan Stanford. 2004. Bodies on the move: A poetics of home and diaspora. Tulsa Studies in


The purpose of this paper is o analyze the three hypotheses of corporeality in the Blagian lyrical and to demonstrate that they coagulate around the authentic substance of the ego, which tries to suppress or diminish them from the tax, from limits to becoming one with the spirit of this world. By canceling them, they actually become consistent and participate in the modernist lyrical ceremonial.


In the diverse space of contemporary music, the fascinating and controversial personality of the Welsh composer Karl Jenkins, which is surprising from several perspectives, stands out. Open to assimilating and processing music from various sources (academic, liturgical, folk, entertainment, oriental, exotic), the all-round musician Karl Jenkins impresses the public with unexpected artistic choices, giving up the hypostasis of instrumentalist of the jazz-rock band Nucleus and of the group Softmachine in favour of the postmodern creator he has become today, synthetizing trends from musical compositions of the last decades of the 20th century. Once with the return to the functional system, either through minimalism or through neo-romanticism, the artist has successfully covered a potential sonority path of modern opposites, also evoking references to creative models of the past. We are referring to the musical valorizing of the sacred in a synthetic vision between tradition and innovation, in the works included in the Adiemus cycle, in the opus choir Missa for Peace and, more particularly, in the Requiem (2005), a significant score in the contemporaneity. The manner in which the composer, while resorting to a musical genre originating from the Roman Catholic cult and drawing on the liturgical text of the Mass for the dead, inserted Japanese poetry, written following the structure of haiku, belonging to representative authors - Gozan Koshigaya, Issho Kosughi, Hokusai Katsushika, Kaga-no-Chiyo, is highly surprising. This study aims to highlight the interweaving imagined by Karl Jenkins between the two cultures as well as to conduct a semantic analysis of an opus in which the relationships between music and words entail a highly emotional response.

, 2009. Print. Soloway, Richard A. Demography and Degeneration: Eugenics and the Declining Birthrate in Twentieth-Century Britain. Chapel Hill: U of North Carolina P, 1990. Print. Torchiana, Donald. W. B. Yeats and Georgian Ireland. Evanston: Northwestern UP, 1966. Print. Vendler, Helen. Our Secret Discipline. Yeats and Lyric Form. Boston: Belknap, 2007. Print. Wood, Michael. Yeats and Violence. Oxford: Oxford UP, 2010. Print. Yeats, J. B. Passages from the Letters of John Butler Yeats: Selected by Ezra Pound. Ed. Ezra Pound. Dublin: Cuala, 1917. Print. Yeats, W. B


This paper provides a close reading of a representative selection of suburban poems by the American writer John Updike (1932–2009). It also draws upon the existing scholarship by suburban studies historians (including Kenneth Jackson, Dolores Hayden, John Archer, and James Howard Kunstler), who have argued for the cultural importance of American suburbia in fostering identity, and develops the argument by literary critics including Jo Gill, Peter Monacell, and Robert von Hallberg, who have championed the existence of a viable suburban tradition in postwar American poetry. By scrutinizing poems from Updike’s early poetry, represented by “Shillington”, up to his closing lyric opus, “Endpoint”, the paper argues that Updike’s unrecognized importance is that of a major postwar poet whose lyric work chronicles, in memorable, diverse, and important ways, the construction of individual identity within suburbia, in a dominant setting for most Americans from the 1950s up to the present.


In the essay an attempt is made to investigate the processes of construction and reconstruction of meaning in the later books of the Cambridge poet J.H. Prynne. It has been argued that his poetry disturbs the act of meaning-making in a ceaseless experimental reconnection of words taken from multifarious discourses, ranging from economics to theology. Yet, what appears striking in this poetry is the fact that these lyrics take their force from figurative meaning with which the words are endowed in the process of a poem’s unfolding. Prynne appears to compose his lyrics by juxtaposing words that in themselves (or sometimes in small clusters) do yield a meaning but together exude an aura of unintelligibility. We may see this process as aiming at the destruction of what might be posited as the centre of signification of the modern language by constantly dispersing the meaning to the fringes of understanding. The poems force the reader to look to the margins of their meaning in the sense that the signification of the entire lyric is an unstable composite of figurative meanings of this lyric’s individual words and phrases. To approach this poetry a need arises to read along the lines of what is here termed “fleeting assertion”; it is not that Prynne’s poems debar centre in favour of, for instance, Derridean freeplay but rather that they seek to ever attempt to erect a centre through the influx from the margins of signification. Therefore they call for strong interpretive assertions without which they veer close to an absurdity of incomprehension; however, those assertions must always be geared to accepting disparate significatory influxes. Indeed, interpretation becomes a desperate chase after “seeing anew” with language but, at the same time, a chase that must a priori come to terms with the fact that this new vision will forever remain in the making.

References 1. Arbore, A. I. - Realizarea spectacolului lyric (Creating A Lyrical Opera Performance), Musical Publishing House, Bucharest, 1992 2. Arbore, A.I. - Interpretul teatrului liric (The Lyrical Theater Interpreter), Musical Publishing House, Bucharest, 1984 3. Arbore, A. I. - Istoria spectacolului liric, Curs litografiat pentru uzul studenţilor (History of Lyrical Opera Performance, Lithographed Course for Students Use), Bucharest, 1983 4. 1. Buga, A. and Sârbu, C.M. - Patru secole de teatru musical (Four Centuries of Musical Theater), Style Publising

. ---. “Rewriting Lyric Fictions. The Role of the Lady in Lady Mary Wroth’s Pamphilia to Amphilanthus.” The Renaissance Englishwoman in Print. Eds. Anne M. Haselkorn and Betty S. Travitsky. Amherst, MA: The University of Massachusetts Press, 1990: 295-310. Print. Miller, Naomi J. and Gary F. Waller (Eds.). Mary Wroth: Representing Alternatives in Early Modern England. Knoxville: University of Tennessee Press, 1991. Print. Petrarch. Petrarch’s Lyric Poems: The Rime Sparse and Other Lyrics. Cambridge. MA: Harvard University Press, 1976. Print. Roberts, Josephine, A. “The

REFERENCES DuBois, Thomas A. 1996. Native Hermeneutics: Traditional Means of Interpreting Lyric Songs in Northern Europe. – The Journal of American Folklore 109 (433): 235–266. DOI: . Gadamer, Hans-Georg. 2004. Truth and Method . New York, NY; London: Continuum. Heidegger, Martin. 2001. Being and Time . Oxford; Cambridge: Blackwell. Leete, Art and Vladimir Lipin. 2012. Komi Hunter Narratives. – Vernacular Religion in Everyday Life: Expressions of Belief , edited by Marion Bowman and Ülo Valk. London: Routledge, 282–300. Leete

References Baudelaire, Charles. 1986. “The Painter of Modern Life” in The Painter of Modern Life and Other Essays. Jonathan Mayne, ed. and trans. New York: Da Capo Press, pp. 1-40. Benjamin, Walter. 1997. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism , Harry Zohn, trans. London and New York: Verso. Hollander, John. 1988. “The Poetics of Ekphrasis.” Word & Image 4:209-19. Humes, Cynthia Ann. 2003. “Wrestling with Kali: South Asian and British Constructions of the Black Goddess” in Encountering Kali: In the Margins, at the Center, in the West