A Lyrical View of History

The artistic interpretation of the seasons in his poetry has deep roots. In the poetry of classical and modern poets, the poetic depiction of the seasons is associated with human life, the reflection of the lyrical hero's psyche, as an important means of drawing philosophical conclusions from the poetic work. This article analyzes the poems dedicated to the winter season and reveals the harmony between the natural landscape and the human psyche in this season.

This article examines the work of Eshqobil Shukur, in particular, the features of the artistic language in his poetic works, the occasional units found in the poet's poetry, their semantic peculiarities in the language, artistic functions and stylistic significance, identifies the poetic nature of occasional units in the poet's poetry and their semantic, stylistic and aesthetic functions, and examines the poet's individual linguistic creativity.

This research article digs into the captivating realm of Kirāta myths as reflected in the selected poems of Birendra Rai. The study aims to shed light on the cultural significance of Rai's poetic works, particularly in preserving and reviving the rich tapestry of Kirāta myths, while also examining the intricate interplay of symbols and aesthetics within his selected poems. Through a comprehensive analysis, this research explores mythical elements and themes in Rai's poem, unravelling the layers of symbols and their cultural meanings. Furthermore, the article investigates the aesthetics employed by Rai, revealing how his poetic craftsmanship enhances the profound essence of Kirāta myths. Analysing the connection of aesthetics with mythical contents, this research highlights Rai's exceptional contributions to preserving Kirāta cultural heritage. The article discusses the implications of such literary endeavours for the Kirāta community, especially the Cāmliṅa Rais, and beyond. This study not only serves as a testament to the enduring power of myth and poetry but also emphasises the role of literature in safeguarding and revitalising cultural traditions for generations to come.

This is a brief presentation of the mid-seventeenth-century illuminated Judeo-Persian copy of Nizāmī’s Khosrow and Shīrīn from the collection of the Museum for Islamic Art in Jerusalem. The Khamsa of Nizāmī Ganjavi (d. 1209) is one of the most famous medieval Persian love stories and one of the most admired poetical works ever written in the Persian language. Khosrow and Shīrīn (composed 1175/6-1191) is the second book in the Quinary and recounts the tragic love story of the Sasanian king Khosrow II Parviz and the Armenian princess Shīrīn. Nizāmī’s poetry, in addition to other works of Persian classical masters, was regarded by the Jews of Iran as an integral part of their literary and cultural heritage. Over the years these renowned poetical works were largely transliterated into Judeo-Persian and copies of the texts can be found in various public and private collections. The manuscript in question and other illuminated Judeo-Persian manuscripts clearly testify to their owners and patrons’ awareness of long-established Persian artistic tradition and cultural conventions, representing Jewish-Persian encounter in text and image.

In this article I consider the creativity of the famous Russian-speaking Kabardian poet Inna Kashezheva. Her poetic works are the phenomena which united cultures of Russian and Caucasion peoples. According to the works of Inna Kashezheva and the facts of her biography, this article describes the experience of the cross-cultural communication. Cultural heritage of Russia is considered as one of the basic components of the Caucasian poetic culture.

The first of the “Two other very commendable letters” in the correspondence between Spenser and Harvey has been reprinted in every complete edition of the poet's works since it was first printed by Hughes in 1715 and has been frequently cited by scholars during the past century, either because of the general light which it throws on this oddly assorted pair, or because of its famous reference to the the “surceasing and silence of balde Rymers,” or because of the evidence which it supplies of a close relationship at this time between Spenser and the Earl of Leicester. Nevertheless, there seems to be no general agreement among editors and scholars as to the precise date at which this letter was written; and as a result, every one who has quoted it has put forward his own assumption as its proper interpretation. It is the object of this paper to discuss these assumptions, and to determine, if possible, the true explanation of the date at which this letter was composed.

One of the provisions for being a modern country is to preserve its history and exhibit that history to the service of humanity. The preservation of ‘cultural heritage’ created directly by humans or together with nature should be the joint effort of the whole of humanity. Historical artifacts may be damaged or totally destroyed due to neglect or various natural disasters. To maintain history from the past to the present, it is necessary to determine, document, repair and preserve the current situation of these historical artifacts. Different techniques are used in the documentation of cultural heritages in parallel with technological developments. Digital terrestrial photogrammetry has become a particularly important method used in this field in recent years. This study carried out a photogrammetric survey of Hizir Ilyas Mansion, situated in the town of Erkilet in the Kocasinan district of Kayseri. The mansion is situated on a tumulus, presumably built in the Hittites era in 2000 B.C. This mansion is a prominent artifact of Seljuk civil architecture and is presumed to have been built by a person named Ilyas in the 13th century. Photogrammetric measurements of the Hizir Ilyas Mansion were conducted with the digital terrestrial photogrammetry method. Scaled drawings, three-dimensional (3D) outline drawing and 3D photo models of the mansion were acquired from the measurements. This study shows that digital terrestrial photogrammetry provides great convenience in documentation studies regarding the maintenance of cultural and historical heritage; field surveys take a short time and all other work can be completed in the office. This study shows that documentation studies can be completed quickly and cheaply with digital terrestrial photogrammetry and also demonstrates that scaled archiving of historical and cultural heritage could be conducted digitally and 3D models could be obtained. In addition, 3D animation of the mansion was constructed from “AVI” format video files after the photogrammetric assessment. Key words: Hizir Ilyas mansion, photogrammetry, documentation, Kayseri, cultural heritage.

In the National University of Colombia there are currently 25 museums and collections including art, medicine, natural science, anthropology and history. Taken together, they comprise the largest, most diverse and most important museum in Colombia, and also the least known. The collections are the product of the conservation and research work of the university in the 141 years of its existence. In recent years, the National University of Colombia has not only become more aware of the importance of its cultural and scientific heritage, but also of the marginality of the work in the university museums. For that reason, in 2006 the university began to work on a Museums and Cultural Heritage Project to develop policies for the conservation, acquisition, documentation, research and communication of its own cultural heritage. The National University of Colombia hopes, through the development of a stronger, structured, ethical, responsible, efficient and representative project about Museums and Cultural Heritage to be better prepared for current challenges. In addition, the project hopes to generate a new landscape of accessibility to the museums and collections of the National University of Colombia. In short, the Museums and Cultural Heritage System of the National University of Colombia, through a ‘Museums portal’ located in a colonial building in Bogota known as Claustro de San Agustin (Cloister of St. Augustine) seeks to highlight the cultural heritage of the university, and become, beyond the classrooms and research centers of the campus, an important reference for the meeting of teachers, students, citizens and other cultural and academic institutions. Open door policy Colombia National University has 25 museums and collections, which together give the university the largest and most diverse collections in Columbia. The collections of science, art, medicine, natural science, and anthropology are the result of the research and collecting of the university during its 141 year history. The goal of the Cultural Patrimonio and Museums System (PMS) is to provide more public access to the cultural heritage of the university so that the university becomes meeting place; a place where teachers, students, academic and cultural institutions, social actors, and citizens can come together. In October 2007 the San Agustin Cloister opened its doors as the headquarters of the PMS of the National University. At that time we had 3 to 5 visitors daily and in December 2008, the average was 125 people daily. To date, we have had a total of 27,400 visitors. Yet even more important information can be obtained by looking beyond the numbers. The essential question is: Why is it so important open the doors of university to the citizens? The answer is as simple as it is political: because the audience has to have access in order to contribute to the preservation of National University heritage. Beyond the campus: The other visitors of the university museums The museums that are located on the campus of the university are known to the community because of the importance of the campus, but access to the museums was limited in the past because the activities of the museums were primarily linked to the university’s curriculum. The cloister is located strategically in downtown Bogota, in the main cultural zone. It is able to distribute information about the university museums, resulting in visits from people who work in the

1058 Reviews Paul Claudel 18: Claudel poete? de 'La Cantate a troisvoix' (igi2) d 'Poesies diverses' (ig52). Ed. by Didier Alexandre. Paris and Caen: Lettres Modernes Minard. 2003. 164 pp. ?18. ISBN 2-256-91053-9. The aim ofthis publication is to explore and celebrate the body of lesser-known poetry that appears in the 1952 edition of Claudel's (Euvres completes,ed. by Louis-Raymond Lefevre and Robert Mallet (Paris: Gallimard). The editor's engaging defence ofthe poet's use of the epic form as a successful means of conglomerating the paradoxical elements ofthe earthly and the factual, the celestial and the eternal, sets the standard for an analysis of the exhilarating diversity of form and style that characterizes this part of Claudel's poetic output. Didier Alexandre argues that the diversity of the poems brought together and the journeys travelled by the poetic subjects requires a reading that is both expansive and assimilative and that this, in turn, captures the principle of inclusiveness at the heart of Claudel's artistic and spiritual vision. Much later in the study, Pascal Alexandre-Bergues's detailed analysis of sections of Corona benignitatis anni Dei provides a fascinating insight into the nature of this creative reading. He identifies what he terms 'ce mouvement de reactualisation' (p. 97) that comes into play when Claudel transfuses an apparently chronological poetic narrative with biblical references that reactivate a spiritual past, thereby transforming his indi? vidual voice into a voice representative ofhumanity at large. Both these articles convey the book's general sense of admiration forthe challenging expansiveness of Claudel's artistic methodology, but there are times when the reader detects a disconcerting sense of unease in relation to the audacity characterized by Jacques Houriez as 'les familiarites de Claudel avec le divin' (p. 55). Dominique Millet-Gerard's article, however, is certainly free from this over-cautiousness, presenting an uplifting and particularly informative account of the relationship between Claudel's poetical methodology and his spiritual vision. Millet-Gerard makes particular reference to the way in which Claudel's hymns are steeped in the liturgical poetry of his spiritual forefathers,the Mass itself,and the pattern of sacraments that structure the Catholic calendar. Another tendency common to many different contributions to this study is the expansion of the discussion beyond the confines of the body of poetic work under scrutiny towards an analysis of the relationship between Claudel's poetic and theatri? cal works as a whole. Pierre Brunel comments on the subtextual drama of La Cantate a trois voix, Millet-Gerard points to the theatrical nature of liturgical celebration in general, and Michel Autrand suggests that the use of short strophes of short verse in Claudel's drama signals the passage from the earthly to the spiritual. I suspect that a more consistent investigation of this inspiring line of enquiry might have led to a more conclusive answer to the fundamental question posed by the study: Claudel, poete? University of Wales, Aberystwyth Anwen Jones Malraux: (La Condition humaine'. By Christopher Shorley. (Critical Guides to French Texts, 129) London: Grant & Cutler. 2003. 89 pp. ?7.95. ISBN 07293 -0438-8. Grant & Cutler's series of Critical Guides is now apparently coming to its end. Like all such, they have at times been uneven, but have brought out much work, especially by younger scholars, which might not otherwise have seen publication. Christopher Shorley's competent and relatively jargon-free study of one ofthe bestknown twentieth-century European novels will be welcomed. The ideal critics of a shortish monograph such as this would be intelligent final-year undergraduates who already know La Condition humaine and are not simply hoping to avoid reading the novel by mugging up a bluffer's guide. They would hope to find indications of the ...

Morocco is a country with a vibrant musical heritage, where many traditional genres, such as Rai, Berber, Gnawa, and Sufi, continue to be performed today. One particularly distinctive and unconventional style of music is Malhun. Included in the representative list of the intangible cultural heritage of UNESCO, Malḥun poetry is a key part of Moroccan oral tradition, serving as a popular form of memory that is expressed in melodic dialectal Arabic. Among the known poems in the Moroccan register, we find the well-known “Fiyachiya”. Originating in the 17th century, Ana Mani Fiyach a Qsida/ poem by Sidi Bahloul Cherki stands as a pillar of the Malhun poetic tradition, continuing to resonate deeply with audiences across Morocco. Known for its profound emotional and spiritual themes, the poem is often performed at religious and social gatherings, capturing feelings of love, longing, and existential reflection. Over the centuries, Ana Mani Fiyach has evolved into much more than a poetic work—it has become a defining element of Moroccan cultural identity, through shaping the nation’s artistic and spiritual heritage. This article examines the religious, cultural, and symbolic dimensions of Ana Mani Fiyach, focusing on the famous line "Ana Mani Fiyach" ("I haven’t got the force"), which encapsulates themes of longing, spiritual devotion, and existential questioning of the human soul. Through a close analysis of the poem’s structure and language and translating it into English, the article reveals how Ana Mani Fiyach intertwines personal desire with spiritual devotion. By situating the poem within its historical and cultural context. This study aims to uncover the layers of meaning in Ana Mani Fiyach, shedding light on its role as both a spiritual and cultural touchstone in Moroccan society

Abstract: A handwritten text is called a manuscript. It is considered a cultural heritage from a society’s history in the past. A manuscript contains various expressions of emotions and thoughts of culture in the past and has historical elements. Manuscripts become objects of research in various fields of science, including philology, history, archeology, codicology, and paleography. Each ancient manuscript holds cultural values, but its form does not appear explicitly, so gradual and careful research is needed to identify them. Purpose: Readers can understand the text and know the moral message it implies. Design/Methodology/Approach: Through contextual analysis, readers can recognize and understand the concept of cultural values. Findings: Readers can understand the moral message it carries. Originality/Value: Produces a critical edition that readers can understand.

Research HighlightsIn the quest to develop cities for the long run, the debate is whether to retain elements of culture or to reinvent such spaces for new uses. Cultural heritage preservation thus becomes an issue in urban planning, particularly in developing countries including Malaysia (Mohd Shakir Tamjes et al, 2017). Scholars mention that Kuala Lumpur needs to create a distinctive city identity and image if it is to achieve its bigger goal of becoming a World-Class City by 2020 (Mohamad Asri Ibrahim et al, 2017). A question raised by researchers is whether the policies to safeguard heritage buildings in Kuala Lumpur is comparable to the practices in UNESCO heritage sites such as Malacca and Georgetown (Mohd Shakir Tamjes et al, 2017). Through participant observation, combining focus group discussions, content analysis, photography, and videography, I outline how the preservation of one particular historical building, a Chinese clan association, increases the cultural value of the city’s surroundings in Kuala Lumpur, as well as being a major tourist attraction. This makes the case for the continued retention of historical buildings and practices, despite overarching social changes such as super-diversity (Vertovec, 2007). 
 Research Objectives
 This paper makes the case for preserving a particular heritage building, namely the Chan See Shu Yuen Clan Association Kuala Lumpur & Selangor (CSSYKL), a clan association, pre-war historical site, and tourist attraction. 
 Methodology
 How does the preservation of CSSYKL increase the cultural value of the city’s surroundings in Kuala Lumpur? This research question is answered through fieldwork by the project leader through participant observation which included photography, videography, content analysis of secondary documents, and focus group discussions with clan leaders and members. Photographic evidence is provided to argue for the case of enriching place attachment through the retention of meaning for inhabitants of Kuala Lumpur, due to the special nature it possesses. For example, Monnet (2014) conducted a photoethnography of urban space in the form of a multimedia essay, referring to the “production of data” rather than the “collection of data”. Monnet (2014) explained that images and sounds allow for attentive observation of the smallest details of daily life, and that the ethnographer experientially chooses to interpret and define what should be recorded in their photography - hence the “production of data”. This renders photographic evidence the best form of data for the case of cultural heritage preservation within the urban. Photographs were also harvested from stills captured in Google Maps under the Street View, where the journey was screen captured using Game DVR, a software which comes enclosed with Microsoft Windows 10.
 Results 
 The photographic evidence shows how the preservation of cultural heritage buildings add character to the presence of Kuala Lumpur Chinatown, or Petaling Street. In the case of CSSYKL, it provides the historical elements as well as familiarity given its longstanding association with Kuala Lumpur’s history, and thus evokes the symbolic aesthetic. It provides symbolic aesthetic meaning to the future of Kuala Lumpur’s development and enriches the local cultural expression in league with the Malaysian National Cultural Policy. Ultimately, it guarantees that no matter how developed or industrialised Kuala Lumpur is, what with the move into the Fourth Industrial Revolution and the Internet of Things, there will still be cultural meaning and place attachment resonant within the heart and soul of Kuala Lumpur. Even in the face of super-diversity, the clan association building will still reinvent itself as a place of attachment not only to those of Chinese descent but to all who are interested to appreciate its value.
 Findings
 Chan See Shu Yuen Clan Association Kuala Lumpur & Selangor (CSSYKL) is one example of a historical building which functioned not only in the past as a community centre for the Chinese who migrated to Malaya in search of economic opportunity, but still retains its functions today as a gateway to maintaining links with Mainland China, especially in the economic dimension. Simultaneously, the heritage building also attracts tourists from all around the world, including those from China and local tourists themselves.
 Acknowledgement
 This research work is supported by the Ministry of Education of Malaysia under Grant Number FRGS/1/2018/WAB12/UKM/02/1 (Superdiversity Networks: Cantonese Clan Associations in Malaysia as Transnational Social Support System).
 

Aim. To reveal key principles that contribute to increasing the effectiveness of the cultural integration of the territories liberated during the Special Military Operation into Russia. Methodology. The study utilized retrospective, cultural, historical, and sociological analysis. Results. The study established that the integration of the liberated territories of Novorossiya into the Russian Federation has deep cultural and historical roots, that the preservation and strengthening of the Russian World or Russian worldview is important for the self-identification of the Russian people in their relationship with the rest of the world, and that the cultural and historical heritage of the Luhansk region is a key element of the historical memory of representatives of Russian civilization. It is concluded that, amid tense political relations between Russia and the Western world, the cultural and historical heritage of the liberated southeastern territories of Ukraine creates a value-oriented foundation for the future of Russia and the Russian World as a whole. Research implications consist in the development of recommendations for preserving cultural heritage and strengthening Russian identity.

both as a rescue mission which will liberate Watson from the restrictive mold in which he has been cast by Canadian art historians and cultural institutions and, on a broader level, as a means of providing “insights into the development of art in the colony of Canada and into the interplay between Canada’s changing self-image and the new concepts of art and nature in the national psyche.” A similar desire to explore the relationship between cultural history and life-writing (in this case, the letter) lies behind Marlene Kadar’s examination of Frida Kahlo’s letters to Ella Wolfe, previously overlooked, Kadar claims, because of the dominant public roles of their husbands. In a close reading of a letter from Kahlo to Wolfe, Kadar reveals just how much cultural history can be embedded in a private text. However, since Kadar is involved in a full-length study of Kahlo’s letters, her challenge will be to establish how such documents — unquestionably a valuable resource for the compilation of cul­ tural history — can go beyond being periodic acts of self-reflection and intro­ spection to become sustained attempts at self-definition. In her introduction, Evelyn J. Hinz, acknowledging the difficulty of per­ ceiving a unity in the critical approaches of these essays, points to the presence of conflict as a shared characteristic. This observation is developed into the valuable theory that drama rather than prose fiction provides the most appro­ priate generic touchstone to life-writing. After an astute and imaginative outline of some key points at which they overlap, Hinz decides that a fuller pursuit of her argument must await another opportunity. Thus, while the essays, directly or indirectly, deal with many of the theoretical questions in­ evitably raised in any discussion of life-writing, no comprehensive poetics of the genre emerges. The great value of this collection, however, is the manner in which it illuminates a disparate range of texts and simultaneously con­ tributes to the ongoing critical dialogue on life-writing. m ig h a el k e n n e a l l y / Marianopolis College Alan Heuser, ed., Selected Literary Criticism of Louis MacNeice (Oxford: Clarendon Press, 1987). xxiii, 279. $58.50 Usher Caplan and M. W. Steinberg, eds., A. M. Klein: Literary Essays and Reviews (Toronto: University of Toronto Press, 1987). xxix, 424. $40.00 cloth; $19.95 paper One of the ironies of the post-structuralist critical debate is manifested by the two collections of essays under review: in emphasizing that literature is a construct, the post-structuralist position has shifted literary scholarship’s focus from the text as autonomous to the text as inter-text. In so doing, literary scholarship is returning to some of its more traditional activities that have to do with re-creating the literary, cultural, and political circumstances of a text’s production. Students of modem poetry and modernism, most of whom lack ready access to either MacNeice’s or Klein’s manuscript collections, will wel­ come these two collections of essays, not only for their reflection of the individ­ ual author’s ideas on literature and society, but also for their re-creation of the writers’ milieus. While speculation about national differences in the develop­ ment of modernism might be invited by considering Anglo-Irish and JewishCanadian poets’ essays in one review, I will resist the temptation, thereby resisting that temptation to use “every book received . . . [as] a point of de­ parture, a springboard, in a sense an inspiration to write your own” (Klein, “Book Reviewing, in Seven Easy Lessons” 193). Instead, I will begin with Klein’s second lesson, adopting the guise of “ the table-of-contents authority” (193). The books differ in their organization. Caplan and Steinberg divide Klein’s literary essays into seven sections, each of which is arranged chronologically: (1) Jewish Literature and Culture; (2) Jewish Folk Culture; (3) The Bible; (4) Literature and the Arts; (5) Canadian Literature; (6) American, European, and English Literature; and (7) James Joyce’s Ulysses. Heuser organizes MacNeice’s essays chrono­ logically, but he informs his readers that the essays included may be divided into three categories: classical reviews; articles on and reviews of poetry, especially...

Daughters of music: Finnish Women composers from the 19th Century to the 20th Century The book presents the biographies and work lists of 126 Finnish women composers born between 1784 and 1909. Based on large-scale archival research, it is the first comprehensive historical account of Finnish women composers and their cultural heritage. The authors draw on feminist music history and the sociohistorical approach to find out who these women were, what kind of music they wrote, and how their careers reflected European cultural and social history. The treatise highlights the influence of girls’ schools, women’s suffrage movements and other socio-political developments on the musical culture of women. Concepts such as “composer”, “woman” and “Finnish” were assumed to be open and inclusive throughout the research, in terms of both musical style and diversity in cultural background. In concentrating on music-making by women, the book opens up radically new vistas on Finland’s music and cultural history, and it rectifies previous erroneous conceptions about women’s composership and their artistic work. In short, it exposes the richness in the sonic and intellectual heritage of Finnish women composers, as well as its significance in society today.