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Journal articles on the topic 'Lingua poetica'
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Lucia, Carmela. "I “suoni dei sensi” e le partiture sonore nella lingua di scena del teatro di Ruggero Cappuccio." Forum Italicum: A Journal of Italian Studies 52, no. 2 (April 24, 2018): 648–66. http://dx.doi.org/10.1177/0014585818757730.
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Obiettivo del saggio è presentare una prima analisi della lingua del teatro di Ruggero Cappuccio, autore multanime e poliedrico, considerato una delle voci più originali della drammaturgia contemporanea, non solo dell’area napoletana. Oggetto della ricerca sono due opere pubblicate Shakespea Re di Napoli (2002) e Le ultime sette parole di Caravaggio (2012), con un copione inedito, intitolato Circus Don Chisciotte (2017). Le scelte formali, fortemente ancorate alla dialettalità del napoletano, ma anche del siciliano e, con minore frequenza, del veneziano, si affrancano dalla koinè regionale del napoletano, perché superano la diglossia italiano-dialetto della drammaturgia di Eduardo, per dare corpo a una lingua di scena poetica, lontana dal realismo mimetico, resa attraverso un raffinato e originale mlange verbale carico di sonorità, con un ben consolidato livello di scelte pluristilistiche. La rilevanza attribuita alla phoné, reinventata in un’entitè reificata e palpabile, o caratterizzata da una grottesca materialità, dà luogo a partiture sonore e a una scrittura votata all’adibizione di misure poetiche e strutture melodiche, a una “lingua di scena”, fatta soprattutto di intarsi e parallelismi fonici, con prevalenza di couplingassonantici, per l’interferenza di registri tonali dissonanti e per l’esaltazione del patrimonio orale delle koinai regionali del repertorio italiano, spesso accostate all’inglese e allo spagnolo.
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Dicuonzo, Angelo R. "Le risonanze infinite: Gnoseologia, lingua e poetica in Carlo Emilio Gadda." Italianist 20, no. 1 (June 2000): 156–92. http://dx.doi.org/10.1179/ita.2000.20.1.156.
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Liberti, Giuseppe Andrea. "Oltre Marechiare." Polisemie 3 (April 13, 2022): 1–22. http://dx.doi.org/10.31273/polisemie.v3.914.
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This paper describes some of the routes taken by Neapolitan poetry during the 21st century, paying particular attention to the most recognizable literary experiences and to authors whose works have been relevant for the evolution of the local poetic language. The paper traces a linguistic and formal path of the main tendencies of Neapolitan poetry: starting from the persistence of dialect, it continues by addressing experimentalism in Italian poetry written in Naples. Then, it focuses on the junction of performance and spoken strategies with long poems and narrative compositions, which I compare to the current directions of contemporary lyric poetry. The purpose of this paper is to offer a preliminary recognition of what happened in Neapolitan poetry from 2000 to 2020, overcoming the critical boycott of an area which has always expressed an outstanding literary and cultural vivacity. Pur senza pretendere di restituirne un quadro completo, il contributo intende descrivere alcuni percorsi della poesia del Duemila prodotta a Napoli. L’attenzione è rivolta alle scritture maggiormente riconoscibili e ad alcuni casi singoli di autrici e autori significativi per l’evoluzione della lingua poetica (non solo) locale. In particolare, l’articolo traccia un itinerario formale e linguistico delle tendenze più marcate della poesia partenopea: partendo dalla resistenza della linea dialettale, si passa allo sperimentalismo nella poesia in lingua italiana; la performatività e le possibilità esecutive del testo poetico si intrecciano poi con la forma-poemetto e le non poche narrazioni in versi, alle quali si contrappone un esame degli orientamenti della produzione lirica contemporanea. L’obiettivo è quello di offrire una prima ricognizione di quanto si è mosso nel primo XXI secolo in area napoletana, superando in questo modo un certo ostracismo critico nei confronti di una zona più che mai in fermento sul fronte poetico e letterario. English title Beyond Marechiare. First notes on Neapolitan poetry of the 21st century
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Di Nino, Nicola. "realismo poetico dell’American Idiom di William Carlos Williams." Quaderns d’Italià 27 (December 22, 2022): 151–64. http://dx.doi.org/10.5565/rev/qdi.562.
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L’articolo si sofferma su una quasi sconosciuta prefazione scritta da William Carlos Williams ai sonetti dialettali di Giuseppe Gioachino Belli tradotti da Harold Norse alla fine degli anni Cinquanta. Nel breve saggio, qui tradotto per la prima volta in italiano, il poeta americano ribadisce con forza la sua poetica realista basata sull’uso dell’American Idiom, una lingua considerata diversa dall’inglese parlato nel Regno Unito, e il cui valore letterario viene paragonato a quello raggiunto da Belli nello scrivere i suoi sonetti in dialetto
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Testa, Carlo. "Per una traduzione multidimensionale della poesia: “Notte, strada, lampione, farmacia” di Aleksandr Blok tra esistenzialismo e simbolismo." Quaderni d'italianistica 34, no. 1 (July 22, 2013): 217–40. http://dx.doi.org/10.33137/q.i..v34i1.19880.
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Questo articolo propone al pubblico di lingua italiana una nuova traduzione in verso e rima, commentata e ragionata, della classica poesia blokiana “Notte, strada, lampione, farmacia,” anche nota come Danza macabra II (1912), tratta dalla raccolta Un mondo terribile (Strashnyi mir). La mia proposta viene presentata analiticamente attraverso un confronto puntuale con quattro preesistenti traduzioni in italiano: in primo luogo quella di Renato Poggioli, ne Il fiore del verso russo (1949), e successivamente quelle di Angelo Maria Ripellino (1975), Bruno Carnevali (1977) e Sergio Pescatori (1981). La caratteristica precipua di questa mia proposta è la presentazione di una traduzione poetica, ovvero una traduzione “multidimensionale” che nella lingua destinataria conservi, oltre ovviamente ad un massimo possibile della dimensione semantica (il “senso” strettamente letterale), anche tratti di verso e rima quanto più possibile simili a quelli che il testo di partenza possiede nella propria veste originale.
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Scotti Jurić, Rita, and Lorena Lazarić. "TRADUZIONE E TRADIZIONE. ALCUNE RIFLESSIONI SULLA POESIA DI DANIEL NAČINOVIĆ." Folia linguistica et litteraria XI, no. 30 (2020): 175–93. http://dx.doi.org/10.31902/fll.30.2020.11.
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C’è una differenza sostanziale tra chi si esprime con la lingua standard e chi lo fa in dialetto. Gli studi sulla traduzione della poesia dialettale sono pochi e le prospettive teoriche denunciano per lo più difficoltà implicite in una tale operazione, ma non forniscono modelli operativi soddisfacenti. La domanda che ci si pone è se sia corretto tradurre la poesia ciacava nel dialetto istroveneto o lo si debba fare in italiano standard. Nel saggio si discuteranno le peculiarità della scrittura poetica dialettale di Daniel Načinović: l'espressività della lingua orale legata alla concretezza e all’immediatezza, l'uso frequente di immagini e paragoni, di suoni onomatopeici, di forme allocutive e di modi di dire. In particolare si analizzeranno le tecniche traduttive che permetteranno di recuperare quell'orizzonte antropologico che può essere testimoniato non solo dal ciacavo che lo esprime, ma anche dall'istroveneto che questo mondo lo conosce e lo vive.
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Fastelli, Federico. "Agamben, Delfini e l’indeterminazione di vissuto e poetato." Anuário de Literatura 22, no. 2 (December 14, 2017): 25–37. http://dx.doi.org/10.5007/2175-7917.2017v22n2p25.
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L’intervento discute l’originale interpretazione avanzata da Giorgio Agamben a proposito dell’opera dello scrittore italiano Antonio Delfini. In particolare il saggio analizza la centralità della riflessione poetica di Delfini nel sistema estetico agambeniano: l’intransigenza antimoderna di Delfini, infatti, è ricollegata da Agamben ad una riflessione generale sulla natura della parola poetica e relativamente alle mutazioni storiche del complesso rapporto tra opera e biografia nella cultura letteraria occidentale. In tal senso, il saggio riflette sul parallelo individuato da Agamben tra il significato profondo del racconto Il ricordo della Basca e l’idea di una “pura lingua” pre-babelica di cui parla Benjamin nel celebre intervento sul Compito del traduttore e in numerose altre occasioni. Saranno presi in esame anche altri testi dello scrittore modenese, principalmente dalla produzione in versi, tratti dalla raccolta Poesie della fine del mondo, del prima e del dopo; ma la riflessione non tralascerà anche i diari e le lettere di Delfini, cercando di offrire un ampio panorama della sua produzione.
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Maletta, Rosalba. "Durs Grünbein in cerca d’Europa tra scomparsa delle piazze e genius loci." Altre Modernità, no. 28 (November 30, 2022): 404–37. http://dx.doi.org/10.54103/2035-7680/19187.
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Programmata su basi tecno-scientifiche, la città europea del terzo millennio rischia di dimenticare o banalizzare le distruzioni e i massacri di massa provocati dalla Seconda guerra mondiale. La poetica del frottage di Durs Grünbein mostra quanto i camouflages che addobbano le nostre città sconfessino l’unicità del vivente, suscettibile di emergere in ogni pietra e piazza d’Europa. Il cosmopolitismo perseguito da Grünbein lo radica a Dresda e a Hellerau come luoghi in cui per un breve periodo si realizzarono progetti di Lebensreform, tra i quali un’architettura e un’istruzione che comprendesse le classi meno agiate e gli esclusi. Fantasticate e fantasmatizzate come possibilità per il futuro, le immagini dell'infanzia e dell'adolescenza di Grünbein punteggiano la sua poetica urbana. Insieme alla senese Piazza del Campo e alla ricerca del genius loci, l'isola che non c'è diventa per tanto, nell’opera dell'autore di lingua tedesca, la cornice di una rappresentabilità della cittadinanza europea nutrita delle istanze ideali del Manifesto di Ventotene (1941) e dei Colloqui di Hertenstein (1946).
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Kilibarda, Vesna. "TRADUZIONE MONTENEGRINA DELL’ODE PIEMONTE DI CARDUCCI CRNOGORSKI PREVOD KARDUČIJEVE ODE PIJEMONTU." Folia linguistica et litteraria XI, no. 30 (2020): 35–49. http://dx.doi.org/10.31902/fll.30.2020.2.
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Il presente contributo prende in esame le circostanze in cui nel 1896 fu pubblicata in Montenegro una traduzione dell'ode Piemonte di Carducci, che fino ad oggi è rimasta l'unica versione di questa poesia dal famoso poeta italiano presso gli Slavi del Sud. Inoltre, si tratta dell'unica traduzione dalla lingua italiana del professor Živko Dragović, uno dei pochi traduttori di letteratura italiana in Montenegro fino alla fine dell’Ottocento che non si era formato intellettualmente nelle Bocche di Cattaro o in Dalmazia, dove lingua, letteratura e cultura italiana erano presenti da secoli. La pubblicazione della traduzione dell'ode di Carducci che celebra la dinastia Savoia e la regione piemontese, da cui è stata avviata la lotta per l'unificazione dell'Italia, è legata all'annuncio del matrimonio della principessa montenegrina Jelena Petrovic Njegoš con l’erede al trono italiano Vittorio Emanuele di Savoia, ma anche all'idea del piemontismo montenegrino, che all’epoca era caldeggiata dall’ideologia dinastica e dall’opera poetica del principe montenegrino Nikola I. Nell’articolo approfondiamo anche altri rari contributi su Carducci pubblicati nei periodici montenegrini fino all'inizio della prima guerra mondiale.
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Brera, Matteo. "A dialogo con Dante. Possibilità semiotiche e riflessioni sulla traduzione poetica nella prima versione interlineare in lingua inglese dell’Inferno." Incontri. Rivista europea di studi italiani 27, no. 2 (December 31, 2012): 84. http://dx.doi.org/10.18352/incontri.8297.
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Zumbo, Nino Sottile. "Testimonianze e chiose sul futurismo: Nino Pino Balotta e Umberto Boccioni." Forum Italicum: A Journal of Italian Studies 54, no. 1 (March 22, 2020): 354–76. http://dx.doi.org/10.1177/0014585820910650.
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L’avanguardia futurista ha compiuto la rivoluzione copernicana delle arti; la sua grammatica, che ha innovato la lingua italiana, è stata un modello per la letteratura del tempo. Specchio della modernità, ha creato il mito dell’industrializzazione, della civiltà delle macchine, della tecnologia, del dinamismo universale, del vitalismo titanico, del bellicismo, del riscatto sociale, dell’italianismo, contro ogni nostalgia passatista. Come non si può staccare un fiore dalle radici, così nel movimento futurista non è possibile scindere nettamente il momento estetico dal contesto politico in cui è fermentato. La sua ideologia politica ha guardato a destra e a sinistra. Con gli occhi di Nino Pino Balotta, poeta e scienziato siciliano, personaggio controverso, ispirato dall’ideologia socialista, seguace e coscienza critica del movimento, viene qui letta una prima parte della vicenda futurista. Per la seconda, vale il racconto critico dalla genesi ai felici, odierni, esiti della poetica futurista, incluse le vicende storiche del futurismo di sinistra e di destra, con le posizioni non monolitiche di Filippo Tommaso Marinetti. Irrompe, nella terza, il vulcanico Umberto Boccioni, anch’egli socialista eterodosso.
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Malicka, Paulina. ""A ccanciu ri Maria" e "l’Antologia" di Nino De Vita. Il caso di una scrittura “latitante” allo scoperto." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 9, no. 3 (July 5, 2018): 256–65. http://dx.doi.org/10.24917/20837275.9.3.24.
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Lo scopo dell’articolo è di segnalare l’importanza dell’ultima produzione in versi del poeta siciliano Nino De Vita considerato una delle voci liriche e narrative più originali nell’ambito della poesia dialettale e della letteratura in lingua italiana. La riflessione verrà articolata attorno al poemetto devitiano A ccanciu ri Maria pubblicato nel 2015 che coincide con la pubblicazione dell’Antologia bilingue del poeta percepita nei termini di un vero e proprio evento editoriale. Un evento che copre oltre trent’anni dell’attività poetica e narrativa segnata da un continuo intrecciarsi dell’esperienza di vita e di scrittura “in latitanza”."A ccanciu ri Maria" i "Antologia" Nina De Vity. Przypadek ujawnionego pisania „w ukryciu”Celem artykułu jest zwrócenie uwagi na ostatnie dokonania sycylijskiego poety Nina De Vity, uważanego za jeden z najbardziej oryginalnych głosów poetyckich – zarówno w pisarstwie dialektalnym, jak i w literaturze włoskiej. Refleksja dotyczy jego ostatniego opowiadania, pisanego wierszem A ccanciu ri Maria (W zamian za Marię), które ukazało się w 2015 roku. Publikacja ta zbiega się w czasie z innym ważnym wydarzeniem edytorskim, a mianowicie z ukazaniem się dwujęzycznej antologii obejmującej 30 lat twórczości poetyckiej i narracyjnej De Vity, naznaczonej nieustannym przenikaniem się doświadczeń życia i pisania „w ukryciu”.
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Lattarico, Jean-François. "Ilaria Bonomi, Edoardo Buroni, (con i contributi di Valeria Marina Gaffuri e Stefano Saino), Il magnifico parassita. Libretti, librettisti e lingua poetica nella storia dell’opera." Italies, no. 14 (December 1, 2010): 597–603. http://dx.doi.org/10.4000/italies.4157.
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Żelazny, Jan W. "Język symbolu jako charakterystyczny wymiar teologii św. Efrema. Zarys problematyki." Vox Patrum 55 (July 15, 2010): 799–808. http://dx.doi.org/10.31743/vp.4369.
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Sant’Efrem il Siro, vissuto nel IV secolo, é il rappresentante di una delle tradizioni della cristianità, tradizione molto sconosciuta. É famoso come poeta, considerato il massimo dell’era patristica, perchè autore di tanti inni liturgici che sono in uso nelle comunitá della tradizione siriaca ancora oggi. Il suo valore teologico è spesso disprezzato. Nella sua bellezza poetica é trattato come poeta con una teologia non tanto originale. Ma le ricerche lo presentano invece come un teologo molto raffinato, con una metodologia completamente diversa e per questo difficile da comprendere. Sant’Efrem é difensore della realtá umana; la nostra incapacitá di comprendere Dio deriva non soltanto dalla nostra debolezza, ma anzitutto da questo: che Dio nella sua natura é invisibile e noi non possiamo con le nostre conoscenze e con la nostra lingua capire chi é veramente e descriverlo. Egli si é fatto uomo e nella creazione ha ideato lo strumento della comunicazione. Il mondo con tutte le creature é pieno di simboli e soltanto con i simboli possiamo avvicinarci a Lui. La nostra conoscenza avviene sempre attraverso i simboli che preparano lo spazio dell’incontro ma mai descrivendoLo! La metafora diventa una realtá non soltanto tecnica, ma una realtà voluta dal Signore. Così, afferma, Lui rimane Dio, assolutamente libero, Dio che si é vestito da uomo anche per farci capire. L’intervento vorrebbe presentare questa dimensione della teologia di Sant’Efrem il Siro basandosi sul suo inno di fede (31), uno di questi brani nei quali santo Diacono Siro spiega la sua motodologia.
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Santos, Maria Aparecida Cardoso, and Alice Rodrigues Crivano da Silva. "Sobre a tradução poética e o Poetry Slam: crepa! – uma análise e muitos diálogos." Revista Italiano UERJ 12, no. 1 (September 5, 2021): 14. http://dx.doi.org/10.12957/italianouerj.2021.62088.
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RESUMO: O presente trabalho visa a ratificar o papel do tradutor como mediador entre culturas ao discutir as estratégias utilizadas na tradução e na retradução de um poema escrito em língua italiana. O corpus de análise, o poema crepa! criado pelo escritor e poeta sardo Sergio Garau, traduzido para língua portuguesa e apresentado na edição da FLUP de 2016, é um expoente da poetry slam, atribuindo a importância da oralidade, da métrica e das rimas do original durante o ato tradutório. Nesta modalidade, cuja performance artística é essencial para agregar significado ao poema, a meta objetivada seria produzir uma tradução satisfatoriamente fiel tanto no que diz respeito à forma quanto ao conteúdo. À luz de teóricos como Paulo Henriques Brito, Umberto Eco, dentre outros, evidenciamos dificuldades e soluções durante o desafio da tradução poética intercultural. Neste, também comentamos sobre outras questões igualmente pertinentes como a possibilidade de contato com o autor para solucionar eventuais dúvidas; a importância do trabalho em equipe na busca de outras perspectivas para a transposição do poema à língua de chegada; a validade de uma tradução e a necessidade de uma nova versão da mesma em prol da aprimoração constante do trabalho realizado pelo tradutor.Palavras-chave: Tradução poética. Tradução intercultural. Italianística. ABSTRACT: Questo lavoro si propone di confermare il ruolo del traduttore come mediatore tra culture discutendo le strategie utilizzate nella traduzione e nella ritraduzione di una poesia scritta in italiano. Il corpus di analisi, il poema crepa! creato dallo scrittore e poeta sardo Sergio Garau, tradotto in portoghese e presentato nell'edizione della FLUP 2016, è un esponente del poetry slam, attribuendo l'importanza dell'oralità, della metrica e delle rime dell'originale durante l'atto di traduzione. In questa modalità, la cui esecuzione artistica è essenziale per aggiungere significato al poema, l'obiettivo mirato sarebbe quello di produrre una traduzione soddisfacentemente fedele sia in termini di forma che di contenuto. Alla luce di teorici come Paulo Henriques Brito, Umberto Eco, tra gli altri, mettiamo in evidenza difficoltà e soluzioni durante la sfida della traduzione poetica interculturale. In questo commentiamo anche altre questioni altrettanto pertinenti come la possibilità di contattare l'autore per risolvere eventuali dubbi; l'importanza del lavoro di squadra alla ricerca di altre prospettive per trasporre la poesia nella lingua di destinazione; la validità di una traduzione e la necessità di una nuova versione per migliorare costantemente il lavoro svolto dal traduttore.Parole chiave: Traduzione poetica. Traduzione interculturale. Italianistica.ABSTRACT: This work aims to confirm the role of the translator as a mediator between cultures by discussing the strategies used in the translation and re-translation of a poem written in Italian. The corpus of analysis, the poem crepa! created by sardinian writer and poet Sergio Garau, translated into portuguese and presented in the 2016 edition of FLUP, it’s an exponent of poetry slam, attributing the importance of orality, meter and rhymes of the original during the translation act. In this modality, whose artistic performance is essential to add meaning to the poem, the aimed goal would be to produce a satisfactorily faithful translation both in terms of form and content. In the light of theorists such as Paulo Henriques Brito, Umberto Eco, among others, we highlight difficulties and solutions during the challenge of intercultural poetic translation. In this work, we also comment on other equally pertinent issues such as the possibility of contacting the author to resolve any doubts; the importance of teamwork in search of other perspectives for transposing the poem to the target language; the validity of a translation and the need of a new version in order to constantly improve the work performed by the translator.Key words: Poetic Translation. Intercultural Translation. Italian Studies.
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Kačerauskas, Tomas. "Theology, Hermeneutics and Philosophical Poetics." International Studies. Interdisciplinary Political and Cultural Journal 14, no. 1 (November 1, 2012): 95–107. http://dx.doi.org/10.2478/v10223-012-0056-y.
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The article deals with Heidegger’s attitudes towards theology. Heidegger, stating that existential philosophy and theology are incompatible, advances a thesis of not objectivating poetic thinking. Whereas, Ricoeur’s biblical hermeneutics is based on his theory of metaphor. The lingual act here means the destruction of the old outlook for the sake of the new one. In this dramatic way cognition occurs as a meeting. The poetica thinking of the late Heidegger is also based on a meeting that covers both horizontal coexistence and vertical direction. The author raises the question whether the poetica thinking of the late Heidegger is not theological?
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Skubic, Mitja. "Goran Filipi, Istrorumunjski lingvistički atlas. Atlasul lingvistic istroromân.Atlante linguistico istrorumeno, Knjižnica Atlas, Knjiga 2, Znanstvena udruga Mediteran=Societas studiorum Mediterraneum, Pula 2002, pag. 785." Linguistica 43, no. 1 (December 1, 2003): 161–63. http://dx.doi.org/10.4312/linguistica.43.1.161-163.
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L'edizione di un atlante linguistico e sempre fonte di giustificato orgoglio per l'autore ed e nello stesso tempo fonte di allegria, di entusiasmo per chi si accinge a servirsene. II detto vale anche per l'apparizione dell'Atlante linguistico istrorumeno. Tuttavia, all'allegria si associa un sentimento di malinconia: si tratta di un pezzo della Romania che a poco a poco sta scomparendo, l'istrorumeno. II fenomeno non e proprio sorprendente, ne eccezionale: per limitarci al mondo romanzo si con statano territori latinizzati o romanizzati nell'epoca antica, l'epoca dell'espansione della forza politica romana e della lingua di Roma, dove la latinita fu sommersa nel corso della storia dalle ondate di altre lingue. Un esempio geograficamente vicino all'istrorumeno ci e offerto dalla sorte del dalmatico scomparso alla fine dell'Otto cento. "La morte di una lingua" e l'espressione abituale per un tale fenomeno. Certo, una lingua non muore: si tratta di un processo meno poetico, anzi molto prosaico. Per varie ragioni la gente a poco a poco abbandona la lingua materna e ricorre ad usare, dapprima nella vita sociale, poi addirittura in famiglia, un'altra lingua, evi dentemente di maggior prestigio.
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Ponzio, Augusto. "Semiotica della metafora in Vico." PARADIGMI, no. 1 (May 2009): 27–40. http://dx.doi.org/10.3280/para2009-001003.
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- According to Vico metaphor is a fundamental and primary instrument of thought. This concept was further developed by Du Marsais and Rousseau. Particularly important is Vico's concept of poetical logic. Linguistic creativity is the capacity to form new metaphorical associations, to propose new cognitive combinations, and invent new figurations. The species-specific trait of the human being is a modelling device capable of inventing an indeterminate number of worlds. This species-specific human modelling capacity is the lingua mutola, the mute language discussed by Vico: gesture or body language spoken by mankind in its origins. Keywords: Language, Metaphor, Modeling, Poetic Logic, Semiotics, Vico.
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Lelis, E. I. "POETICS OF LOVE (linguo-poetic interpretation of Dina Rubina’s short story “Area of Blinding Light”)." Учёные записки Петрозаводского государственного университета 44, no. 3 (March 2022): 23–28. http://dx.doi.org/10.15393/uchz.art.2022.747.
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Romanyshyn, Nataliia. "LINGUAL AND POETIC ACTUALIZATION OF POLITICAL AND SOCIAL CONCEPTS IN GEORGE GORDON BYRON’S POETIC DISCOURSE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 5(73) (March 28, 2019): 165–69. http://dx.doi.org/10.25264/2519-2558-2019-5(73)-165-169.
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SІUTA, Halyna. "ELITISM AND COMMON ACCESSIBILITY OF LINA KOSTENKO’S POETIC LANGUAGE." Culture of the Word, no. 92 (2020): 87–100. http://dx.doi.org/10.37919/0201-419x-2020.92.7.
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The article proves that elitism and universality, common accessibility defining creative and aesthetic features of Lina Kostenko’s poetic language. Their harmony is created by three aesthetic and creative dimensions: world, national and individual. World culture in L. Kostenko’s texts reflects by different lingual-and-aesthetic units – images, aphorized statements, quotations. Panoramic linguo-culturally holistic perception of world culture in the poetry of Lina Kostenko represents the dictionary of precedent names. This dictionary is formed by names from the texts of Bible, culture of antiquity, folklore, literature, fine arts. Together they form a holistic elitist-intellectual text, the perception of which presupposes the presence of a prepared, erudite reader. L. Kostenko’s mini-texts and definitions persuasively reflects the national worldview. That is why they were organically included to the dictionary of literary language, enriched the arsenal of means of intellectual communication as recognizable, emotionally resonant formulas. Today they are actively used to confirm the opinion in various discourses – in journalism, in political rhetoric, in educational, in didactic and scientific literature. One of the factors of elitism just like as of the common accessibility of L. Kostenko’s poetry is her unique ability to verbalize world and national experience as her own. This feature unites L. Kostenko’s poetics with the traditions of T. Shevchenko and, Lesya Ukrainka. The accessibility of L. Kostenko’s artistic maxims as units of communication is promoted by knowledge of psychology, mentality of our contemporaries. They determine the correct formulations of poetic definitions. Among the most frequently updated – existential concepts (life, death), moral categories (conscience, truth, truth), feelings (love, sadness), abstract concepts (irony, vulgarity, glory). Many of them have already become formulas for verbalization of both collective and personal intellectual and emotional experience. Important factor of accessibility of L. Kostenko’s language is its growth from aesthetics, melody and philosophy of national language. Folk words, forms, constructions reflect the natural flow of the author’s thinking. L. Kostenko’s poetic language is an illustrative intellectual-temporal fragment of Ukrainian literary and artistic language of the second half of the XX – beginning of the XXI century. It combines the intellectualism and emotionality, bookishness and deep nationality, national sensuality.
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Patroeva, Natal’ia V. "To the question of the poetics of the Antiochus Cantemir’s poems." Vestnik of Saint Petersburg University. Language and Literature 19, no. 4 (2022): 669–91. http://dx.doi.org/10.21638/spbu09.2022.402.
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The article offers generalizing data concerning the system of rhetorical techniques used by A.D.Kantemir in small and medium-sized poetic genres. The poetic practice of Kantemir is compared with the recommendations from the treatises of Feofan Prokopovich De arte poetica and De arte rhetorica libri X, concerning the use of various rhetorical devices in certain literary genres and styles. The hypothesis of the work is the assumption of the synthetic nature of the poetic syllable of Antiochus Kantemir, which is close not so much to the classicistic requirements of clarity and accuracy of the syllable as to the traditions of the Old Russian book style of weaving words. For the first time undertaken comprehensive analysis of tropes and figures used by Kantemir in his poetry, testifies to their qualitative and quantitative diversity and to the familiarity of the creator of Russian satire. The system of Kantemir tropes and figures analyzed in grammatical, stylistic and linguo-poetic aspects are introduced into scientific use for the first time. Inversion, ellipsis, amplification, lexical repetition, question and exclamation are the most common types of rhetorical devices in Kantemir’s poetry. Comparison, metonymy, personification and paraphrase are much more rare and genre conditioned in the works of Kantemir. The marginal varieties of tropes and figures of Kantemir include hyperbole, gradation, chiasm, silence, pun. Kantemir acts as an innovator who determined the further paths of the formation of Russian lyric poetry.
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Sokolova, Olga V., and Ekaterina V. Zakharkiv. "Linguo-Pragmatic Shifts in Contemporary Poetry: Russian-American Parallels." Literature of the Americas, no. 12 (2022): 115–42. http://dx.doi.org/10.22455/2541-7894-2022-12-115-142.
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The paper dwells upon the language and discourse processes in contemporary Russian and American poetry which focuses on “reformatting” the communicative situation coordinates under the influence of ordinary speech and the new media. The research suggests a linguo-pragmatic analysis of three Russian-American poetic vectors that characterize different strategies of subjectification, such as Gennady Aygi — Michael Palmer, Arkadii Dragomoshchenko — Barrett Watten, and Rachel Blau DuPlessis — Nika Skandiaka. These poetic practices manifest themselves in constructing a new communicative situation based on a referential shift along the lines of interiorization — exteriorization. Elaborating on this shift, we explore the interaction between inner speech, ordinary and poetic language, as well as the links between a poetic text and external (media)context. The unusual usage of pragmatic markers forms a new “poetic interface” and indicates the “transcoding” of the poetic subject in the coordinates of the actual communicative situation. Aygi and Palmer create different modes of poetic interface as a zone of active interaction between the addresser and the addressee, as well as inner speech, ordinary, and poetic language. In Dragomoshchenko’s and Watten’s poems, the “transcoding” of the subject manifests itself in various deictic shifts that mark complex relations of the subject with reality and language. The use of “graphic deixis” in DuPlessis’ and Skanidaka’s texts is informed by the impact of the Internet as a need to update the poetic statement in a new media-communicative situation.
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Macenka, Svitlana. "Perspectives of Ukrainian German Studies: Linguistic Literary Studies as a Modern Field of Research." Germanistik in der ukraine, no. 17 (February 28, 2023): 44–52. http://dx.doi.org/10.32589/2408-9885.2022.17.273340.
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The article presents a promising area of modern Germanic studies actively introduced by the Department of German Philology of the Ivan Franko National University of Lviv, i.e. linguo-literary studies. Based on the extensive scholarly experience of the Department, the feasibility and fruitfulness of linguo-literary studies as an interdisciplinary area of contemporary philology is proven. Because the two philological disciplines are closely related, it is argued that their interaction is vital, at the least in the problematic complexes that deal with texts, writing and discourse. The research topic is justified with the help of relative German-language academic discourse, which confirms the overt trend of shortening the distance between modern linguistics and literary studies. Literary texts and literary language are essential elements of mutual academic consideration of the two disciplines. The links between linguistics and literary studies are showcased from a scholarly and historical perspective. Particular attention is paid to the 1960s-1970s as a period of mutual convergence of the two philological disciplines under the umbrella of linguo-literary studies. The key theoretical provisions used are those expressed by Roman Jakobson in his Linguistics and Poetics (1960). Among the functions of language, the scholar singles out “poetic function” and discusses literary use of language using linguistic terms as it is preconditioned by linguistic structures. It is emphasized that the integration of closely related disciplines is justified and ensured by the academic course “Belles-lettres”. Despite all of the interaction challenges, both disciplines work with texts and must consider their linguistic nature. Using the example of the academic discussion presented in the Literary Studies and Linguistics journal and given the activities of the Literaturlinguistik Internet platform and some recent academic papers, new directions of linguo-literary studies are set forth. In this context, the cooperation of the two philological disciplines at the Department of German Philology appears particularly promising.
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Diadchenko, Hanna. "Ukrainian poetic generations second half of XX century: language-aesthetic analysis." Culture of the Word, no. 90 (2019): 104–19. http://dx.doi.org/10.37919/0201-419x-2019.90.10.
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In the article chronological as well as lingual and aesthetical stratification of the Ukrainian poetry at the end of the ХХ century is observed. With the aim of revealing of the traditional and individual features correlation the notion of the poetic generation is used. The author of the article gives the analyses of the lingual creative activity of the literary generations at the end of the ХХ century such as man of the sixties, seventies, eighties and nineties. It is stressed that the dominant creative principals of the Ukrainian poetry of the period observed are lingual and expressive freedom, indifference towards politics, inequality of the aesthetic programs, stylistic eccentricity, imaginative and aesthetic relativity, creative deconstruction, irony, “antipoetry”, tend to the complicated metaphorics, contiguity, intertextuality. As a result, the poetic creative activity at the end of the XX century is defined as an original, ingenious phenomenon which differs greatly from the national lingual and aesthetic tradition.
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Chernyakov, Alexey N. "YU. LEVITANSKY'S "CINEMATOGRAPH". (LINGUO-)POETICS OF THE FRAGMENT." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 2 (2018): 100–110. http://dx.doi.org/10.28995/2073-6355-2018-2-100-110.
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DANYLІUK, N. O. "UKRAINIAN LINGUO-FOLKLORE STUDIES: THEIR HISTORY, CURRENT STATE, AND PERSPECTIVES." Movoznavstvo 320, no. 5 (October 28, 2021): 34–48. http://dx.doi.org/10.33190/0027-2833-320-2021-5-003.
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The article is devoted to the evolution, present state and perspectives of development of the Ukrainian linguo-folklore studies that are conducted by Sv. Yеrmolenko, N. Zhuravliova, A. Moisiienko, T. Betsenko, Y. Diadyshcheva-Rosovetska, N. Kolesnyk, R. Serdeha and others. The main aspects of the analysis of the language of the Ukrainian folk poetic texts of the period from the end of the 19th century until the middle of the 20th century were considered. They are historical linguistic, linguo-stylistic, linguo-didactic, linguo-cultural, ethnolinguistic, linguo-conceptual, linguo-semiotic. Two stages in the development of linguo-folklore studies were distinguished: 1) 60s — 80s of the 20th c., and 2) 90s of the 20th c. — the early 21st c. It was pointed out that the Ukrainian linguo-folklore studies had already evolved into a separate branch of philology and an educational course with its own object (a linguostructural, artistic-figurative organization of folkloristic texts of various genres, peculiar features of a folkloristic style formation), and subject of research, tasks and trends. There were mentioned the present day approaches to the analysis of folk poetic texts, being based on the language layers (folklore stylistics of language units), language expressive means (folklore stylistics of language expressive means), genres (folklore stylistics of genres) and separate parts of linguistics. The following perspectives of the linguo-folklore studies were defined: the analysis of understudied language units and figurative means, used in the texts of various genres (not only the traditional but new ones as well), development of a folklore lexicography, folklore dialectology, folklore linguo-cognitology, folklore linguosemiotics, folklore communication, linguo-genderology, contrastive linguo-folklore studies, and other trends, as well as a wider application of modern systems of an automatic analysis of texts, dictionaries’ compilation, and data creation.
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Vorobyeva, N. А., and P. N. Khromenkov. "LINGUO-PRAGMATICS OF GERMAN MUSICAL AND POETIC TEXTS." Issues of applied linguistics, no. 36 (2019): 31–54. http://dx.doi.org/10.25076/vpl.36.02.
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Ohrynchuk, O. P. "THE STYLISTIC FUNCTIONS OF REPEATED VERB UNITS IN A SEPARATE TEXT." Opera in linguistica ukrainiana, no. 28 (September 28, 2021): 207–14. http://dx.doi.org/10.18524/2414-0627.2021.28.235540.
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The article is devoted to the complex study of functional features of verbs and verb lexical-semantic repetitionsin poetic texts M. Bazhan and I. Drach. Advantages of linguopoetic approach, which gives possibility to define, how linguistic unit is included by the author in the process of word-artistic creative work, provides creation of aesthetic effect, structural and semantic integrity of the text is substantiated in the thesis. Linguistic and stylistic approach doesn’t give us comprehensive answers to the question about notional, structural and communicative organization of the text, that is why today they become a prerogative of linguo-poetics and linguistics of text. Taking into account new directions, approaches in modern linguistic science in the last decades, such key concepts as “text”, “poetic text” were specified; advantages of communicative functional approach to its study were specified; constant features of text and text categories were specified; style, idiostyle, idiolect concept was defined. At determining the poetic text, we proceed from the fact that this is a special semiotic system, which has its own laws of formation of self-organization. Decoding the poetic text takes into consideration apertception moments of each word in the works of writer, who, staying within the limits of national-language picture of the world, creates a unique linguistic world according to his world view, his own psychology, philosophy. Let us motivate the use of idiostyle concept, closely connected with the author’s image, which we understand as a “word- conversational structure”, which permeates all work and leads to comprehensive study of literary text. Linguostylistic verb potential as lexicogrammatical word class, which has detailed system of personal-methodical and kindtime morphological forms was analyzed in the work; figurative and expressive features of verbal categories of manner, time, kind and person were tracked in the poetic texts of M. Bazhan and I. Drach; certain writers’ priorities in use of one or another verbal form were revealed. An important means of actualization of poetic content, dynamization of descriptive world, which assists the reader to focus attention on one or another reality, actions, feelings, and provides a link between the parts of the text, is repetition. Decoding of the poetic texts of M. Bazhan and I. Drach provided considering different apperception moments of verbal repetition.
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Vilchynska, Tetyana. "Linguo-cultural Nature of the Concept “Native Land” in the Early Poetry of V. Stus." Ukrainian Linguistics, no. 49 (2019): 84–93. http://dx.doi.org/10.17721/um/49(2019).84-93.
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The article is devoted to the study of the linguo-mental nature of the concept “native land” in the early poetic work of the well-known Ukrainian writer of the sixties V. Stus. The topicality of the theme, on the one hand, is determined by the linguo-conceptual and linguo- cultural approaches that are the key to understanding the cultural values of the people and make it possible to stratify the linguistic and cultural nature of individual concepts at different stages of language development and to establish the specifics of the linguistic personality, and, on the other, the research interest in the poetic heritage of V. Stus, an artist who became personification of his time. The collection “Winter Trees” was the material of the study, which presents an early, but important period of creativity of the poet, that remains little studied. The purpose of the article was to determine the linguo-cultural nature of the concept “native land”. The analysis showed the cognitive diversity of the concept, which is manifested by the branched system of verbalizers, including land, earth, Ukraine, state, etc., and its semantic-axiological characteristics. It is established that the artistic concept “native land” in Stus’s poetic texts is polysemantic and ambivalent, and its verbalisation demonstrated not only the general and ethnocultural understanding of the corresponding conceptualized image, but also the peculiarities of the author’s worldview. The presented research is actual as it activates scientific interest in other linguo-mental notions and not only in the work of V. Stus, which makes it possible to get deeper into the phenomenon of the Ukrainian linguistic personality.
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Kurbanov, Davronbek, and Botir Pulatovich Zaripov. "LINGUA-CULTURAL AND LINGUA-POETIC FEATURES OF LIMITED LAYER WORDS USED IN UTKIR HOSHIMOV'S NOVEL “IKKI ESHIK ORASI”." Theoretical & Applied Science 99, no. 07 (July 30, 2021): 6–9. http://dx.doi.org/10.15863/tas.2021.07.99.2.
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Davis, Alex. "Collaborator: Ezra Pound, Translation, and Appropriation." Modernist Cultures 14, no. 1 (February 2019): 17–35. http://dx.doi.org/10.3366/mod.2019.0238.
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This article discusses a number of Pound's poetic works, including Homage to Sextus Propertius, Hugh Selwyn Mauberley, and selected cantos, in relation to the practice of collaborative translation undertaken by numerous modernist authors. In Pound's case, such collaboration takes the form, in the main, of a creative partnership with poets central to his conception of the ‘Tradition’, for example, Homer and Propertius. In Pound's hands, the source text is ‘made new’ for a modernist target culture by means of strategies allied to his development of a poetics of appropriation, beginning with his composition of the Malatesta Cantos, in 1922–23. Pound's collaborative engagement with pre-existing texts, or ‘found materials’, is compared in detail to the notion of ‘translation as displacement’ developed in the recent conceptual writing of Kenneth Goldsmith, in particular, his multi-lingual Against Translation. This comparative reading, it is argued, assists in an appraisal of aspects of the politics of The Cantos, specifically the growing anti-capitalism of Pound's epic in the inter-war years.
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Oleksandr, Oleksandr. "VERBALIZATION OF MYTH OF THE «GARDEN» IN OLEKSII DOVHIY’S POETIC LANGUAGE." Studia Linguistica, no. 15 (2019): 250–60. http://dx.doi.org/10.17721/studling2019.15.250-260.
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The article analyzes peculiarities of interpretation of the myth «garden» of Oleksii Dovhiy’s lyrical hero and the nature of its lingual expression. During the research it was found out that within the anthropocentric approach in linguistics special attention was paid to the study of the peculiarities of lingual reflection of the worldview by the individual. Based on a review of linguistic research on the subject, it was concluded that the linguistic worldview is a way of reflecting reality in the human mind through the lens of the lingual and cultural-national features of a particular lingual collective. The problems of structure of the concept were investigated within the defined problems. The peculiarities of correlation of concept components are found out. During the analysis of concept it is proved that «mythologema» is a kind of continuation of the concept and is presented in the literature at the level of associations with mythical realities, allusions and reminiscences. A study of Oleksii Dovhiy’s poetic language showed that the myth «garden» is one of the most spread in the author’s language. Having studied the linguistic peculiarities of the expression of this myth and its correlative images, we have proved that it is interpreted by Oleksii Dovhiy’s lyrical hero as a certain otherworldly, as an ideal locus, as well as a harmoniously ordered universe.
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Siuta, Halyna. "Terminology of receptive stylistics: the adaptation of other-disciplinary concepts." Terminological Bulletin, no. 5 (2019): 104–11. http://dx.doi.org/10.37919/2221-8807-2019-5-13.
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Receptive stylistics is the latest trend in the stylistics of text. It studies the mechanisms of text perception, in view of the account time, socio-cultural and individual psychological factors of perception. This integrative model of textology combines the ideas of hermeneutics, phenomenology, receptive aesthetics and poetics, traditional poetics, linguоsynergetics etc. Maximum openness to the researching of the intellectual and communicative nature of the text is reflected in the terminology of receptive stylistics. One of the theoretical platforms of receptive stylistics is receptive aesthetics (aesthetics of the reception). Terminology of this scientific branch was actively accepted and integrated into the special language of the new stylistic direction. First of all, we are talking about key concepts such as aesthetic experience and horizon [expectations] of the author / reader, horizons of perception / understanding. empty spaces / semantic gaps in the structure of the text, identification of the reader with the text, specification of the text, actual dimension of the text, etc. Today, the Ukrainian receptive theory is structured by the concept of actualization of the text, the horizon of the text, the constitution of the text, the communicative certainty / uncertainty of the text. Emphasizing theoretical and methodological cores of contemporary Ukrainian receptive theory, it is necessary to focus on the national historical and cultural context of its constructing. Especially important from this point of view is the treatise by Ivan Franko From the Secrets of Poetic Art. Most of the theses of this work present a progressive vision of the deep psychological mechanisms of reading the artistic text in the measure of active perception, as lingual and aesthetic communication, dialogue between the author and the reader through the text. Also, the concurrence of Ivan Franko’s views with fundamental receptive principles of studying artistic text constitutes the scientific concepts of aesthetics, inductive aesthetics, perception, reception, suggestion, resonance, sensory vibration, etc. Consequently, the concept of reading and interpreting works of verbal art, formed in the treatise From the Secrets of Poetic Creativity, implicitly contains the basic principles of receptive aesthetics and poetics. Cardinally new philosophy of reconnaissance of the nature of artistic text, psycholinguistic mechanisms of influence on the reader, regularities of reception and interpretation at the end of the 20th century presented linguistic synergetic. Actual, and in some aspects methodological for receptive theory has become the following concepts of linguistic synergetic: nonlinearity of development, stability / instability of development, openness of the system, rhizomes, energy of the text, energy resonance, author’s energy, reader energy, etc. In contemporary receptive stylistic studies they do not stagnate, but are in a state of active deepening, refinement. For example, the concept energy of the text is coordinated with such established, well-known categories of stylistics as linguistic and literary tradition, lingual and cultural memory, reception and interpretation. Process of terminological borrowing and assimilation of units of other disciplines contributes to the development of an integrative terminological paradigm optimally adapted to the needs of the reciprocal description of the nature of artistic text.
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Sayidova, Gulrukh Yokubovna. "LINGUAPOETICS OF T TICS OF TASHBIH (COMP ASHBIH (COMPARISON) IN THE POE ARISON) IN THE POETIC WORKS OF ALISHER NAVOI." Scientific Reports of Bukhara State University 5, no. 1 (February 26, 2021): 205–23. http://dx.doi.org/10.52297/2181-1466/2021/5/1/17.
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Introduction. The article identifies and classifies the structure, internal and external features of the tahsbeh (comparison) as well as explaining its semantic peculiarities in lingua poetic and lingua culturiological aspects in the poetic works of Alisher Navoi, the great poet of the Turkic peoples, uniting the Turkic peoples from China to Khorasan under the banner of a single literary language. As there is a significant difference between similar and compared words in tashbih, it makes the reader think and reflect over it. The reader tries to find a logical connection in the tashbih, and in the process of it, he or she becomes interested in the artistic image or reality, and as a result, he/she enjoys the art of tashbih, which amazes the mind. The poet used many tashbihs in his poems. They were classified according to their external and internal characteristics into the following groups: 1) open tashbih (ташбиҳи сареҳ); 2) conditional tashbih (ташбиҳи машрут); 3) tashbih by retreat (ташбиҳи тафзил); 4) inverse tashbih (ташбиҳи акс); 5) hidden tashbih (ташбиҳи музмар); 6) equal tashbih (ташбиҳи тасвият); 7) one-by-one tashbih (ташбиҳи мусалсал); 8) tashbih through sarcasm and gestures (ташбиҳи киноят); 9) tashbih by emphasis (ташбиҳи мўъкад). Research methods.
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Melnyk, Ya H. "LINGUO-POETIC MEANS REALIZATION METAMORPHOSIS AND TRANSFORMATIONS IN THE POETIC HERITAGE OF B. OLEINIK." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 4, no. 4 (2020): 219–25. http://dx.doi.org/10.32838/2663-6069/2020.4-4/36.
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POHORLETSK, Nadiia. "Ethnocultural verbal image MANA in new zealand poetic texts: linguo-cognitive and linguo-cultural approaches." Humanities science current issues 3, no. 41 (2021): 97–103. http://dx.doi.org/10.24919/2308-4863/41-3-15.
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Alves, Cláudia Tavares. "Leitura e tradução de textos poéticos em aulas de italiano LA." Revista Italiano UERJ 13, no. 1 (October 17, 2022): 13. http://dx.doi.org/10.12957/italianouerj.2022.70750.
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RESUMO: Apesar de ser uma tipologia textual de inegável importância, tanto pela perspectiva da educação literária, quanto pela da educação linguística, a poesia ocupa, nos dias de hoje, uma posição bastante tímida em reflexões sobre ensino e aprendizagem de línguas adicionais (LAs), bem como em documentos de referência, utilizados para pautar as práticas pedagógicas em sala de aula. Partindo de tal constatação, este artigo se dedica a retomar a discussão sobre a presença da literatura em contexto de ensino de LAs, buscando lançar algumas reflexões sobre a pertinência desse tipo de texto em relação às competências linguísticas e socioculturais. O objetivo principal é refletir sobre as potencialidades do uso de textos literários, em específico, de textos poéticos, em aulas de italiano LA. Por isso, em seguida, tais potencialidades serão abordadas especificamente a partir das habilidades de leitura e tradução, dois pontos de apoio para o uso de textos poéticos nesse contexto.Palavras-chave: Ensino de italiano LA. Poesia. Literatura. Leitura. Tradução.ABSTRACT: Pur essendo una tipologia testuale di innegabile importanza, sia dal punto di vista dell'educazione letteraria che dell'educazione linguistica, la poesia occupa attualmente una posizione piuttosto timida nelle riflessioni sull'insegnamento e l'apprendimento delle lingue straniere/seconde lingue (LS/L2), oltre che nei documenti di riferimento, utilizzati per guidare le pratiche pedagogiche. Sulla base di questi risultati, quest'articolo è dedicato a riprendere la presenza della letteratura nel contesto dell'insegnamento di LS/L2, cercando di avviare alcune riflessioni sulla rilevanza di questo tipo testuale in relazione alle competenze linguistiche e socioculturali. L'obiettivo principale è riflettere sulle potenzialità dell'utilizzo dei testi letterari, in particolare dei testi poetici, nelle lezioni di italiano LS/L2. Tali potenzialità saranno affrontate in modo specifico a partire dalle capacità di lettura e traduzione, due punti di supporto per l'utilizzo dei testi poetici in questo contesto.Parole chiave: Insegnamento di italiano LS/L2. Poesia. Letteratura. Lettura. Traduzione. ABSTRACT: Despite being a textual typology of undeniable importance, from the perspective of literary and linguistic education, poetry currently occupies a rather timid position in reflections on teaching and learning additional languages, as well as in reference documents, used to guide pedagogical practices. Based on this finding, this article is dedicated to resuming the discussion about the presence of literature in the context of teaching additional languages, seeking to present some reflections on the relevance of this type of text in relation to linguistic and sociocultural competences. The main objective is to analyze potential uses of literary texts, in particular poetic texts, in Italian classes. Such potentialities will be addressed specifically from the reading and translation skills, two points of support for the use of poetic texts in this context.Keywords: Teaching of Italian as Additional Language. Poetry. Literature. Reading. Translation.
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Muxtar qızı Əliyeva, Gülnarə. "Linguopoetic analysis of changes in Turkish ashug poems." ANCIENT LAND 11, no. 5 (May 27, 2022): 9–13. http://dx.doi.org/10.36719/2706-6185/11/9-13.
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Məqalədə müxtəlif dövrlərdə yaşamış türk aşıqlarının atışmalar və onların linqvopoetik xüsusiyyətləri araşdırılır. Aşıqlərin çəkişmələrinin kökü el məclisləri, ocaqlarda keçirilən ayin və mərasimlərlə bağlıdır. Türkiyə türkcəsində "atışma" və ya “tartışma” adı ilə tanınır. Folklorşünaslıqda bu fenomen klassik şəkildə təsvir olunur: “sevgililər arasında yarış, yarışma şəklində olan şeir dava-dalaşı”. Deyişmələrin spesifik forması və ya qafiyəsi yoxdur demək düzgün olmaz, çünki atışmalar sözə başlayanın söylədiyi qaviyə əsasında davam etdirilir. Adından da göründüyü kimi, söz davası zamanı iki aşıq bir mövzuda şeir deyirlər. Atışmada məqsəd onların sənətkarlığını, biliyini və istedadını sübut etməkdir. Öz bacarığını sübut etmək üçün aşıqlar meydana daxil olaraq bir-birlərinə şeirlər söyləyiblər. Deyişmələrin nəticəsində qələbə çalan aşıq məğlub olanın sazını aldığı üçün hər özünə aşıq deyən bu yarışa qoşulmazdı. Açar sözlər: Türk aşıq ədəbiyyatı,atışma, linqvopoetik xüsusiyyət, qafiyə. Gulnara Mukhtar Aliyeva Linguopoetic analysis of changes in Turkish ashug poems Abstract The article examines "tartışma" - "poetic dispute" of Turkish ashugs who lived in different periods, and their linguo-poetic features. The roots of the "poetic disputes" of ashugs are associated with popular gatherings, rituals and ceremonies held in the hearths. In Turkish it is known as "tashlama" or "atyshma". In folklore, this phenomenon is described classically: "a dispute between lovers, a poetic quarrel in the form of a competition." It is not true that poetic disputes do not have a definite form or rhyme, because the poetic battles continue on the basis of the rhyme spoken by the older ashug. As the name suggests, during a speech dispute, two ashugs read a poem on some topic. The goal of a poetic debate is to prove your skills, knowledge and talent. To prove their skills, ashugs came out to the square and recited poetry to each other. As a result of exchanges ashug - the winner received saz - the loser's instrument, therefore, not everyone who called himself ashug participated in the competition. Key words: Turkish ashug literature, poetic dispute, linguo-poetic aspect, rhyme.
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Iqbal, Maimoona, Abdus Samad, and Mansoor Ali. "Lack of Recognition of Khattak Dialect is a Threat to Khattak Poetry." Global Language Review V, no. III (September 30, 2020): 97–107. http://dx.doi.org/10.31703/glr.2020(v-iii).11.
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Khattak dialect is one of the highlighted dialects of the Pashto language. The speakers of Khattak dialect fall between 2-3 million still this dialect is considered as a low resource language and is deprived of recognition which resultantly limits Khattak poetry only to its true natives. Yousafzai dialect has gained the status of lingua franca in documentation which has suffered the Khattak dialect on a large scale. This paper aims to highlight Danish Khattak's poetic work, which is unveiling the profound potential of Khattak's poetry and how it is alarming for the art of Khattak dialect, which is short-lived and asks for recognition. This research paper aims to explore the significance of the Khattak dialect in the poetic expression of Danish Khattak's work.
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Temirshina, Olesya R. "Bible code in Bashlachev's lyrics. Book review: Gavrikov, V.A. (2021). Eschatology of Bashlachev: Monograph. Moscow, Kaluga, Venice: Bull Terrier Records. (In Russ.)." RUDN Journal of Studies in Literature and Journalism 27, no. 4 (December 15, 2022): 833–37. http://dx.doi.org/10.22363/2312-9220-2022-27-4-833-837.
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The author discusses the specifics of the book under review, describes V.A. Gavrikov main research approaches to Bashlachev's texts, and defines the methodological platform of the monograph. The fruitfulness of considering the poetic world of Bashlachev through the “bible” prism is proved. The relevance of the monograph by V.A. Gavrikov, due to the need to study the artistic ontology of Bashlachev in a linguo-poetic perspective. The main results of the study are identified, their theoretical and historical-literary significance is stated.
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Shokirovna, Boltayeva Gulchehra, and Yuldasheva Dilnoza Hasankizi. "Linguo-poetic features of antonyms in alishernavoi's epic lisonut-tayr." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 5 (2020): 1732. http://dx.doi.org/10.5958/2249-7137.2020.00422.x.
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BABELYUK, Oksana, Olena KOLIASA, and Valeriia SMAGLII. "Language Means of Revealing Postmodern Ludic Absurd in English Literary Text." WISDOM 20, no. 4 (December 24, 2021): 166–79. http://dx.doi.org/10.24234/wisdom.v20i4.531.
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The fiction politics of contemporaneity reflects diversified patterns of language forms and their func- tions. This has brought to life experimental (postmodernist) writing the key principles of intertextuality, fragmentation, destruction, play. Postmodernist aesthetics caused a blurring of traditional genre canons that led to contamination of syncretic genre compounds through a grotesque transformation of traditional genre models and created an „estrangement? effect. The phenomenon of ludic absurd is viewed in three as- pects: 1) linguo-philosophical; 2) cognitive; 3) poetic. The present study focuses on the analysis of ludic absurd; the role of graphic, phonetic, morphemic, word-forming, syntactical, semantic mechanisms, based on the intentional deviation of language norm, play on words; cognitive mechanisms, generated by ad-hoc way of thinking. The conducted linguopoetic analysis of American postmodern short stories suggests that ludic absurd as a stylistic device of postmodern poetics manifests itself at all language levels (lexical, syn- tactic, semasiological, and textual) and is realized via the semantic asymmetry of lexical units, using illog- ical, but grammatically correct syntactic constructions, syntactic mismatch of sentences and whole text fragments. Prospects for further studies consist in clarifying the pragmatic role of ludic absurd in the postmodern literary text; expanding the taxonomy of lexico-semantic, stylistic, and syntactic and paragraphemic means of ludic absurd.
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Karpenko, I. E. "The teachings of Potebnya on the inner form of the word and the linguo-poetic phenomenon of ornamental prose." Язык и текст 5, no. 2 (2018): 3–8. http://dx.doi.org/10.17759/langt.2018050201.
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The article examines the legacy of A.A. Potebnya and representatives of his school, the teaching on the inner form of the word and their other concepts with reference to the linguo-poetical analysis of the texts of the original school of the Silver Age - ornamental prose, and also defines the main typological features of this phenomenon in Russian literature.
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Pritula, Anton. "From Tigris to Jerusalem: East Syriac Poetic Notes from the Ottoman Time." Hugoye: Journal of Syriac Studies 22, no. 1 (January 1, 2019): 193–234. http://dx.doi.org/10.31826/hug-2019-220106.
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Abstract The poems published and studied here - most of them for the first time - represent literary tastes of East Syriac educated circles of the Ottoman period. These text collections appeared as later additions in the manuscripts written by ʿAbdīšōʿ of Gāzartā, the Uniate East Syriac Church poet and the second patriarch (1555-1570). These small texts, usually having very little or even nothing to do with the main manuscript text, represent a kind of verse notes made by different pilgrims, and reflect popular poetic tastes of the period. Short poems, especially quatrains, are an ideal form for such poetic activities. Judging from their great number, the spread of short poems was constantly increasing since the time the Syriac Renaissance, when they were first borrowed from Arabic and Persian poetry. Apparently, the multi-lingual poems of the Mongol period (second half of the 13th-early 14thcentury) - the heyday of the Syriac tradition in the Islamic period - were treated as appropriate models to portray contemporary cultural life of the multi-lingual Christian communities in the Ottoman Empire.
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Patroeva, N. "Reduplication of Pronouns in Lyrical Text: Syntactic and Linguo-Poetic Interpretation." Russkaia rech, no. 4 (August 2019): 91–102. http://dx.doi.org/10.31857/s013161170005367-2.
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Kukueva, Galina V. "Lingua-poetic typology of the texts of short stories by V.M. Shukshin (theoretical aspect)." Sibirskiy filologicheskiy zhurnal, no. 3 (September 1, 2007): 57–65. http://dx.doi.org/10.17223/18137083/20/9.
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پیرۆت, بەرزان علی, and هێمن جاسم محمد. "ڕەنگدانەوەی سەبکی عێراقی لە شیعرەكانی حەریقدا." Journal of University of Raparin 6, no. 2 (October 23, 2019): 352–71. http://dx.doi.org/10.26750/vol(6).no(2).paper20.
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The title of the research is (The reflection of Iraqi Style on Hariqs poems) In Persian language the word (Sabk) stands for the word (Style) in English and (Shewaz) in Kurdish. Persian Literature stylistically is divided into (Khorasani Style, Iraqi style and Hindi style). style is the lingual, ideological and literary characteristics that is common in a certain period, and poets follow it. As Persian literature has had strong influence on Old Kurdish Literature, so in this research it has been tried to explain the lingual, ideological and literary characteristics that (Sirus Shamisa) has invented it of Iraqi style on Hariq.
The content of the research consists of two parts, the first aspect is about (concept of style, definition of style and the reasons of coming out Iraqi style, the second aspect is about (The characteristics of Iraqi style in terms of (lingual, ideological and literary).
The second part is about practicing Hariqs poems and determining the characteristics of Iraqi style with poetical examples.
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Babych, Vira, and Iryna Nedainova. "Lyrical I in Poetic Discourse of Carl Sandburg: A Linguo-Cognitive Approach." International Journal of English Linguistics 10, no. 3 (March 18, 2020): 133. http://dx.doi.org/10.5539/ijel.v10n3p133.
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The article deals with the linguo-cognitive analysis of the expression of the lyrical I in the poetic discourse of the prominent representative of the epoch of American modernism—Carl Sandburg.
The lyrical I is understood as a poet’s imagery in which the image of a lyrical hero and the image of the author are united in a syncretic way and which represents a three-fold linguo-cognitive construct that incorporates a conceptual, pragmatic and verbal embodiments.
Based on the analysis made in the research, the authors arrived at the conclusion that Carl Sandburg’s lyrical I describes a man of labor, depicts a difficult life of a man in an industrial city, shows the author’s appeal in support of a man’s fighting for his rights, for peace and freedom. In the poetic discourse of Carl Sandburg, the lyrical I is represented with the help of an urban figurativeness, a newspaper style of the language, a perfect skill of use of a blank verse resembling a song folklore, and a wide use of local expressions and dialectal words, colloquial language and prosaisms.
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Iribarren, Teresa. "Subaltern mediators in the digital landscape." Target. International Journal of Translation Studies 29, no. 2 (June 29, 2017): 319–38. http://dx.doi.org/10.1075/target.29.2.07iri.
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This article explores translational literary Web 2.0 practices and user-generated cultural creations on the Internet, focusing on video poetry that re-creates canonical poets’ bodies of work. It will be argued that the use of for-profit platforms like YouTube and Vimeo by indie creators and translators of video poetry favours the emergence of new translational attitudes, practices and objects that have positive but also contentious effects. One the one hand, these online mediators explore new poetic expressions and tend to make the most of the potential for dissemination of poetic heritage, providing visibility to non-hegemonic literatures. On the other hand, however, these translational digitally-born practices and creations by voluntary and subaltern mediators might reinforce the hegemonic position of large American Internet corporations at the risk of commodifying cultural capital, consolidating English as a lingua franca and perhaps, in the long run, even fostering a potentially monocultural and internationally homogeneous aesthetics.