Poezija..stihovi,biografije, knjige,video...

[medvjed23]

ja pratim fb stranicu kulturnog udruženja musa ćazim ćatić.. tu bude dosta stihova mladih pjesnika i pjesnikinja..

a što se tiče iskusnijih pjesnika koje bih mogao svrstati u savremene (nisu pod zemljom ni u dubokoj starosti, još žive i pišu), najdraži mi je semezdin mehmedinović.. samo, nisam siguran da se mnogo njegovih stihova može naći na netu.. ako želiš, mogu prelistati njegove printane zbirke, pa neke pjesme poslikati i okačiti na forum..

[ina]

Nemam fb profil.

postavi to sto stignes, kad ti naidje vremena i zelja.
Hvala.

[Heidi]

Nasla sam jednu u starim sveskama prepisivala jer sam morala vratiti knjige

hvala. Zadubiti cu se prve moguce prilike.
A ne stigoh ti reci. Prosle sedmice bila sam na sajmu starih knjiga, i u toj gomili svega i svacega, dodje mi u sake _143440.jpg
Sjetila se tebe i onog avatara jedeceg srca.
I kupila.

Jao, I Fiori Del Male Cvijece zla

Kako li zvuci na italijanskom

Pisem zvuci jer ja citam naglas

Uzivaj, Ina. Nadam se da ce ti se svidjeti.

[medvjed23]

Nemam fb profil.

postavi to sto stignes, kad ti naidje vremena i zelja.
Hvala.

to bi bio neki moj izbor iz mehmedinovićeve poezije.. a još dosta toga kvalitetnog, domaćeg i novijeg može se naći ovdje:

https://strane.ba/

[ina]

Heidi, medvjed23
Procitam u tisini, u brzini sam....

[dadojović]

TAJNA

U snovima sam te upoznao
i ja putnik ljubavi,
tražio sam put da bi došao k tebi.
Trčao sam za tim snom
s ludom i dragom čežnjom
da budem tvoj rob i gospodar.
A ti mi još ne reče
kojim si putem uspjela
prodrijeti u moj san.

Manuel Machado

[lejlamo]

naiđoh na ovu knjigu



jel' ko čitao?
baš mi se čini zanimljivom...

[Heidi]

Gledala sam dokumemtarac ciji je material sluzio za knjigu

https://m.imdb.com/title/tt5135434/

[lejlamo]

evo sam proguglala, ali ne mogu naći onlajn s prevodom, a možda je i bolje da nabavim knjigu...

[Heidi]

https://growthcommissionblog.org/film/4 ... hes-leben/

Pa doku je bio prije knjige, na godinu dana, a i bolje mi je bilo sa nju da gledam nego njega da citam

[Heidi]

Bol I Sunce (B. Miljkovic)

To u šta se sjaj i bol pretvara, isto
biva: ljubav koju još pesnik ne reče,
jarki cvete kojim vrtovi se leče,
iz probitog nerva rasteš bolno i čisto.

Daj mi da vidim svršetak tvog leta,
mir tvoga kretanja što mi nemir snio,
i nepokretnost moja kad sam mrtav bio
sam u svom srcu bez munje i cveta.

Gde je uteha za ono što znamo,
nada bez onoga koji se nada, san
bez onoga što sanja, svet bez seni!

Je li to ljubav što se iz srca tamnog
u vatru premešta, iz vatre u dan,
ljubav van nas i u uspomeni?

[dadojović]

OBLAK U HLAČAMA

Ja,
ismijan od današnjeg plemena
kao šala
vulgarna i plitka
vidim onoga što stiže kroz vrhunce vremena
kojeg ne vidi nitko.

Tamo gdje je ljudski pogled kus i jalov
na čelu izgladnjeli hordi
pod trnovitim putem revolucija
šesnaesta godina hodi.

A ja sam vam njezin preteča
svagdje gdje o bol zapinjem
gdje jedna kaplja suze poteče
ja se na križ razapinjem.
Ne treba praštanje gajiti.
Ja spalih duše nježnog obilja.
A to je teže nego osvojiti
tisuću tisuća Bastilja.

I kad svatko bude
buntovno spreman
da stupi pred Spasitelja
Ja ću vam hvastavo
dušu izvući
razgaziti je
da bude golema! -
da vam ju krvavu pružim ko zastavu.

Vladimir Majakovski

[ina]

Progutala sam biografiju. Najvise mi se svidjela i njegova ljubav za slikarstvo i neobican nacin umjetnicke kritike. I to sto je napisao neke poezije pod uticajem Dantea, Sekspira I Goethea.

Izdvojila:

UMJETNOST

Jeste, djelo biti mora
Ljepše kad mu oblik tvori
Rad uporan,
Oniks, emalj, stih, mramori.

I nikakvih lažnih uza!
Da koraci budu pravi
Neka Muza,
Koturnu tijesnu stavi.

Prezri ritam taj lagodan
Kao cipela golema
Koju moda
Baš za svaku nogu sprema.

Neka vajar se odreče
Svaki gline – nju njegovi
Palci gnječe
Dok drugamo duh mu plovi:

Kararu i paros mora,
Tvrd, rijedak, da koristi:
Sred mramora
Sačuva se obris čisti;

Da od Sirakuze zajmi
Bronzu njenu gdje se smjesti
Taj lik trajni
Ponosan i pun dražesti.

Potez ruke delikatan
Zna da krije neka žila
Od ahata
Apolona iz profila.

Akvarel slikaru valja
Izbjeć: boje će u peći,
Gdje emalja
Sloj dobiju, trajnost steći.

Pravi plave morske vile
Koje na načina sto su
Rep izvile:
Nemani na grbu što su;

Smješteni i trodjelni su
Njegov nimbus Djeva ona,
Njezin Isus,
I globus sa krstom ponad.

Sve prolazi. Tek umjetnost,
I kada je jaka, čista,
Krije večnost
I sav grad nadživi bista.

Medalja što strog lik ima,
Kada je pronađe orač
Pod tlom, svima
Otkrije imperatora.

Sve, pa čak i bozi mriju,
Stihovi će moćni znati
Bit od sviju
Bronzi jači i trajati.

Ti turpijaj, vajaj, reži;
Tvoj lelujav san se mora
Ubilježit
U blok prema svem otporan!
<1852>
T. Gautier

Protamburala sam i onim stranicama.
Jedna djevojka ima neki nacin pisanja koji mi je privukao posebno paznju. Mislim cak i da sam skontala k'o si ti medjede.

[medvjed23]

Jedna djevojka ima neki nacin pisanja koji mi je privukao posebno paznju.

lana?

[Heidi]

E, drago mi je da ti se svidja.

Kad si vec napomenula Goethea, on je zaista bogat sto se tice sabranih pjesama, I on je bas tvoj fazon. Osim poezije, covjek se bavio sa toliko drugih tema, poput prirodne historije, astronomije, ezoterije

U staroj heidleberskon biblioteci sam pronasla neke stare zapise, kad nisam umrla od srece I posudila sam nekome ko mi je to unistio, jedva sam slijepila, ali ne vrijedi.

Jesi li citala nesto od Alessandro Manzonija?
On je zacetnik romantizma, al nema veze.

Ovi modernisti se bave vise deromantizacijom jer znaju da su u vjecnim okovima iste

[ina]

Jedna djevojka ima neki nacin pisanja koji mi je privukao posebno paznju.

lana?

Ne.
Markantne obrve, pripijena usta i mladost sto obasjava.
Garava je.

[medvjed23]

zerina?

[ina]

E, drago mi je da ti se svidja.

Kad si vec napomenula Goethea, on je zaista bogat sto se tice sabranih pjesama, I on je bas tvoj fazon. Osim poezije, covjek se bavio sa toliko drugih tema, poput prirodne historije, astronomije, ezoterije

U staroj heidleberskon biblioteci sam pronasla neke stare zapise, kad nisam umrla od srece I posudila sam nekome ko mi je to unistio, jedva sam slijepila, ali ne vrijedi.

Jesi li citala nesto od Alessandro Manzonija?
On je zacetnik romantizma, al nema veze.

Ovi modernisti se bave vise deromantizacijom jer znaju da su u vjecnim okovima iste

Koja steta. Mogu zamisliti huju.


Citala sam Manzonija i bas i previse bila zakopana it literaturom.
Javljam kad zavrsim sa Bodlerom. Prije toga zelim istraziti neke druge stvari, da bolje upijem I fiori del male.

[Heidi]

Da, moras malo istrazivati, ali Google je tu
Uzivaj!

[Heidi]

The Dark Dreams of The Doors, Baudelaire, and Rimbaud




“Strange days have found us, and through their strange hours we linger alone” – Jim Morrison

“Beauty always has an element of strangeness” – Charles Baudelaire

There was always something dangerous about The Doors. From the very beginning it was blindingly obvious that they stood far apart from the rest of the ’60s Sunset Strip scene, not to mention the entire rock world. Sophistication? Sure. Darkness? Undoubtedly. Sensuality? You bet. Blend all of the above with a generous dose of transgression and you start to zero in on The Doors’ magic mixture. Not coincidentally, that same confluence of elements is pretty much the definition of 19th century France’s Symbolist poetry movement, as epitomized by Charles Baudelaire, Paul Verlaine, and Arthur Rimbaud.

It was an influence that is obvious to any fan of both The Doors and the French Symbolist, but it’s also an influence that Morrison spoke to when he mailed French literature expert and Duke professor Wallace Fowlie, thanking him for producing a translation of Rimbuad’s complete poems, and relaying, “I don’t read French that easily. . . . I am a rock singer and your book travels around with me.”

If course, Morrison was hardly the only singer of that era to be influenced by poetry. The second half of the ’60s saw a giant evolutionary leap for rock ‘n’ roll lyrics, one that inspired fans to append the “poetry” label to rock for the first time. Bob Dylan got that ball rolling, followed closely by The Beatles, but the arrival of The Doors gave the rock-as-poetry concept an even bigger boost of an entirely different kind. Jim Morrison was rock’s first real poetic enfant terrible, an heir at last to the moody mien of poetry’s original dark princes, Baudelaire and Rimbaud.

It was all right there in The Doors’ very first introduction to the world at large. The first line of their first single, “Break on Through (To the Other Side),” which was also the opening cut on their debut album, immediately served notice of Morrison’s intentions. “You know the day destroys the night, night divides the day” was both a world away from what was coming out of most rock singers’ mouths and an entirely different kind of enhanced lyricism than that of Dylan or John Lennon.

Dylan and Lennon dazzled their disciples with phantasmagorical, LSD-aided imagery perfectly in tune with the psychedelically stimulated times. But while acid undeniably acted as a launching pad for some of Morrison’s lyrics, The Doors weren’t wowing fans with “tangerine trees and marmalade skies” or gently calling to Mr. Tambourine Man in search of a “jingle-jangle morning.”

Sure, Morrison was a lyricist who liked to paint vivid, sometimes psychedelic pictures with words. But he was also a libertine who loved nothing better than to line up taboos and, well, break on through to the other side. In all of these things, he was blazing his own trail on a path begun a century earlier by Baudelaire, Rimbaud, and company.

Like The Doors’ singer, the French Symbolist poets were iconoclastic hedonists for whom nothing was more important than the derangement of the senses in the service of experiencing life’s absurd carnival to its fullest and finding an artful way to describe it. The bad boys of their era’s literary scene, they might have been rock stars if the possibility existed at the time. But their visions burned as deeply and brightly as anything to emerge since.

Morrison drew as much from these transgressive poets as he did from John Lee Hooker and Muddy Waters. He was an avowed admirer of their dark visions, from Baudelaire’s deliriously decadent Flowers of Evil to Rimbaud’s daring A Season in Hell. There was even a book dedicated solely to the topic of Morrison’s relation to Rimbaud. But if you want to pick up on the connection all you need to do is listen.

It’s not so far a leap, for instance, from The Doors’ “End of the Night” to Baudelaire’s “Death of the Poor.” The former finds Morrison crooning:

Realms of bliss, realms of light
Some are born to sweet delight
Some are born to sweet delight
Some are born to the endless night

In the latter, Baudelaire declares:

It is death who gives us life in excitation
It is the end of life, the one hope, the one delight
That, divine elixir, is our Intoxication
And which gives us the heart to follow the endless night

Parallels between Morrison and Rimbaud aren’t tough to spot either. Take the opening of the latter’s legendary A Season in Hell:

Once, if I remember well, my life was a feast where all hearts opened and all wines flowed.
One evening I seated Beauty on my knees. And I founder bitter. And I cursed her.
I armed myself against justice.
I fled. O Witches, Misery, Hate, to you has my treasure been entrusted!

It doesn’t require a great contortion of sensibility to draw a line between that and “The WASP (Texas Radio and the Big Beat),” where Morrison cries:

Listen to this, I’ll tell you about the heartache
I’ll tell you about the heartache and the loss of God
I’ll tell you about the hopeless night
The meager food for souls forgot
I’ll tell you about the maiden with wrought iron soul

Morrison never seemed to be aping his influences, but it’s certainly possible to imagine that he and the poets he admired were reporting from the same spiritual/psychological precipice. Of course, Morrison wasn’t content to be considered merely a “rock poet” either; he published two books of his own verse, eventually combined as The Lords and The New Creatures. But The Doors’ singular mix of music and imagery remains the most intoxicating indication of the Symbolists’ sway over Morrison.