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Polish messianism tells the story of a nation struggling to survive and regain its independence. As narrated by the poets Jan Pawe_ Woronicz and Adam Mickiewicz, its vision of patriotism and civil responsibility, first told two hundred years ago, contains promising resources today for a world facing challenged by pluralism, secularization, nationalism and religious fundamentalism. Yet this messianism has a dark side. The romantic philosophy of history that funded this messianism proved an inadequate defense against Prussian and Russian military might, and failed to inoculate Poles against the rising spirit of nationalism, xenophobia and anti-Semitism that swept Europe in the nineteenth and twentieth centuries. In seeking to address the problematic and promising feature of Poland's particular messianism, Burnell draws up on the theology of Dietrich Bonhoeffer, arguing that his theology offers a much-needed critique of the myths and values of romantic national messianism. Where such messianism asks how Christ could serve a nation's cause and freedom, Bonhoeffer declared that by it is by following Christ in discipleship that people and nations become truly free. Recently, a new wave of Polish religio-political fundamentalism has appeared, as a response to the rapid secularization of society since the end of the Cold War. Certain members of the Polish clergy have again joined conservative politicians to promote nationalistic, populist, xenophobic, and anti-Semitic attitudes. Bonhoeffer, in contrast, argued for leaders who ennoble and empower those they serve, and modeled how patriots can honor their nation's achievements while freely confessing its failures. His legacy facilitates dialogue and reconciliation in the ongoing struggle against ethnic, religious and national bigotry. Following his lead, the messianic myth of "Poland, the Christ of the nations," can be recast as a call to follow the One who is "God-for-us" and "the-man-for-others" by standing with the suffering, by speaking for the disenfranchised, and serving alongside other nations in the cause of freedom and justice.
The well-educated daughter of a minister, Elizabeth Stuart Phelps (1844_1911) was introduced to writing at a young age, as both her mother and father were published writers. In 1868 she published her first major novel, The Gates Ajar. An international success, the novel sold more than six hundred thousand copies, making it one of the best-selling American works of the nineteenth century. Through the next four decades Phelps published hundreds of essays, tales, and poems, which appeared in every major American periodical, while also writing novels, including Beyond the Gates (1883) and The Gates Between (1887). Phelpsês legacy as an important American writer, however, has been hurt by the seeming contradictions between her life and work. For example, she was an ardent advocate for womenês rights both inside and outside marriage, but her stories seem to glorify the sort of extreme self-sacrifice associated with the most conservative domestic ideology. In this collection, the editors seek to restore Phelpsês reputation by bringing together a diverse collection from the entire body of her lifetime of work. From arguments for suffrage to harrowing tales of Reconstruction, these essays, along with short fiction and poetry, provide a new perspective on a major American writer from the later nineteenth century.
English Poetry and Old Norse Myth: A History traces the influence of Old Norse myth — stories and poems about the familiar gods and goddesses of the pagan North, such as Odin, Thor, Baldr and Freyja — on poetry in English from Anglo-Saxon times to the present day. Especial care is taken to determine the precise form in which these poets encountered the mythic material, so that the book traces a parallel history of the gradual dissemination of Old Norse mythic texts. Very many major poets were inspired by Old Norse myth. Some, for instance the Anglo-Saxon poet of Beowulf, or much later, Sir Walter Scott, used Old Norse mythic references to lend dramatic colour and apparent authenticity to their presentation of a distant Northern past. Others, like Thomas Gray, or Matthew Arnold, adapted Old Norse mythological poems and stories in ways which both responded to and helped to form the literary tastes of their own times. Still others, such as William Blake, or David Jones, reworked and incorporated celebrated elements of Norse myth - valkyries weaving the fates of men, or the great World Tree Yggdrasill on which Odin sacrificed himself - as personal symbols in their own poetry. This book also considers less familiar literary figures, showing how a surprisingly large number of poets in English engaged in individual ways with Old Norse myth. English Poetry and Old Norse Myth: A History demonstrates how attitudes towards the pagan mythology of the north change over time, but reveals that poets have always recognized Old Norse myth as a vital part of the literary, political and historical legacy of the English-speaking world.
This book examines the development of English-translated Tang poetry and its propagation to the Western world. It consists of two parts, the first of which addresses the initial stage of English-translated Tang poetry’s propagation, and the second exploring its further development. By analyzing the historical background and characteristics of these two stages, the book traces the trend back to its roots, discusses some well-known early sinologists and their contributions, and familiarizes readers with the general course of Tang poetry’s development. In addition, it presents the translated versions of many Tang poems. The dissemination of Tang poetry to the Western world is a significant event in the history of cross-cultural communication. From the simple imitation of poetic techniques to the acceptance and identification of key poetic concepts, the Tang poetry translators gradually constructed a classic “Chinese style” in modern American poetry. Hence, the traditional Chinese culture represented by Tang poetry spread more widely in the English-speaking world, producing a more lasting impact on societies and cultures outside China – and demonstrating the poetry’s ability to transcend the boundaries of time, region, nationality and culture. Due to different cultural backgrounds, the Tang poets or poems admired most by Western readers may not necessarily receive high acclaim in China. Sometimes language barriers and cultural differences make it impossible to represent certain allusions or cultural and ethnic concepts correctly during the translation process. However, in recent decades, the translation of Tang poetry has evolved considerably in both quantity and quality. As culture is manifested in language, and language is part of culture, the translation of Tang poetry has allowed Western scholars to gain an unprecedented understanding of China and Chinese culture.