Academic literature on the topic 'Poetic (artistic) language'

The paper is devoted to the analysis of Ihara Saikaku’s artistic language as a novelist of the Japanese literature of Genroku period. Through the lingvo-poetic analysis the author illustrates characteristic features of Saikaku’s unique language.

The goal of this research lies in the description of artistic uniqueness of the philosophical lyrics of S. S. Vasilyev. The author reviews the problem of the poetic language of Vasilyev’s philosophical poems from the perspective of determination of the role and function of poetic images, as well as the techniques of rhetorical patterns, stylistics and syntax as method of expressing the original philosophical views. Examination of the philosophical lyrics of S. S. Vasilyev required an overview of the context of philosophical poetry of the Yakut classics – A. E. Kulakovsky, A. I. Sofronov – the forerunners of S. S. Vasilyev.  It is worth noting that the poet scrupulously adhered to the experience and traditions of his forerunners. The lyrical works of S. S. Vasilyev were oriented towards the poetics of philosophical works of the first poets. The scientific novelty lies in the fact that the poetics of the philosophical lyrics of S. S. Vasilyev is examined on the basis of literary studies for the first time. The author determines the main ideological content of the poet's philosophical lyrics: he enhanced the semantic meaning of poetic images borrowed from the folk lyrics. The designated by the poet symbolic images are comprehensible and effective means of artistic reproduction of the philosophical concepts. The rhetorical references, questions that are specific to the philosophical lyrics overall, served as the main techniques of developing the theme of the philosophical works of S. S. Vasilyev, described his personal reflections, as well as the author’s idea of the lyrical works.

This article under discussion analyzes the use of linguistic opportunities, wide and narrow possibilities, the artistic implementation of linguistic units, occlusal constructions and factors that strengthen them, and speaking skills of the writer. The author of the article believes that a number of factors create conditions for the artistic embodiment of any linguistic opportunity, guided by the author. The harmony of these factors, determining the degree of reality realization, provides the aesthetic power of the literary text. Artistic intention, aesthetic purpose, and artistic skill are the leading personal factors that ensure the poetic realization of linguistic possibility.

The article analyses some features and variations of the use of various means of poetic language in the work of the Soviet uncensored poet Leonid Aronzon (1939–1970). Even despite the fact that most of his poems were written in accordance with all the norms of traditional syllabic-tonic versification, the author in his texts actively experiments with the use of certain means of language, exercises in the word and form creation, often creates new words and various sentences, devoid of a semantic layer, uses borrowings from foreign languages, ready-made quotations from other literary works, abusive or obscene vocabulary that is not recognized as the norm of the literary language, adapts phrases and other components of syntax to foreign or Russian forms. In some cases, he also experimented with visual poetry, non-standard graphic presentation of the text, trying to achieve, as far as possible, its ideal symmetry in writing. The examples of the use of certain means of poetic language considered in this article, their definition and systematization, allow the reader to better understand how the artistic world of the author works.

Introduction. The article provides a comparative analysis of artistic expressiveness means inherent to the Yakut Olonkho and Tuvan epics. The point is that poetics of the epic work Nurgun Bootur the Swift by P. A. Oyunsky recreated on the basis of folk tales has actually remained understudied, and this paper fills the gap. Goals. The work — as part of Yakut folklore studies — makes the first attempt to consider poetics and the system of artistic techniques of the Olonkho Nurgun Bootur the Swift in comparison to Tuvan heroic epics. Methods. The study employs a comprehensive approach that includes comparative historical and typological research methods. Results. The comparative analysis concludes that P. Oyunsky’s Nurgun Bootur the Swift is based on the principles of traditional folk epic, and reveals parallels to Tuvan heroic narratives. Special attention is paid to the means of artistic expression — hyperbole and comparison. There are functional semantic dependence and structural unity indicating a typological similarity of the epic works examined. The vivid language of Tuvan epic narratives and that of P. Oyunsky’s Olonkho are explicitly characterized by elements observed in heroic epic proper, and the poetic analysis shows the Yakut text is distinguished by artistic completeness. So, P. Oyunsky revived the Yakut heroic epic, enriched its conceptual/thematic essentials — to strengthen the unique poetic form.

The article is devoted to the study of the artistic style of the famous scientist-theologian, the outstanding poet Abdurakhman from Kakashura. Particular attention is paid to the philosophical and aesthetic principles that form the basis of his work. The artistic manner of Abdurahman from Kakashura is distinguished by the originality of his worldview, imagery and specific use of linguistic means. His poetic world contributes to the in-depth study of Sufism - one of the main phenomena in the political and cultural life of the Republic of Dagestan. The work of Abdurakhman from Kakashura carries a predominantly humanistic message; he is the founder of the humanistic trend in Kumyk literature and represents to some extent a transitional stage between the literature of the Middle Ages and the literature of Modern times. The influence of the work of Abdurakhman from Kakashura on the subsequent generations of Kumyk and Dagestan poets is also indisputable. It is also important to note that most of the issues in his poetry are understood very interestingly and had a great resonance in Dagestan and were important for the development of progressive thought of his time.

The paper deals with the poetic features of Zaim Azemović (1935 - 2015) i Faiz Softić (1958), the contemporary Sandžak poets, writers, publicists, essayists, critiques and researchers of folklore who have given the original poetic discourse to Sandzak-Bosniak and the entire Bosniak literature with their works, whereby enriching these literary traditions with new thematic-motive material and peculiar language expression. Zaim and Faiz shaped their artistic worlds with classic methodological acts, but also with modernistic literary and artistic techniques. Using the interpretative approach, in this paper we comparatively observe their most significant poetic accomplishments, basing the research on the hypothesis that identity mark significantly influenced the poetics of these two notable Sandžak poets. The richness and diversity of the opus of these two Sandžak and Bosniak poets, visible influences they left and are leaving on the contemporary literary messengers, and the esthetic qualities of their creativity, are the main incentive for choosing the authors and the corpus of works that are the subject of our research.

Architectural lighting design is generally believed to have visual and psychological consequences on humans, and has been investigated either as an artistic or a scientific endeavour. This paper explores the possibility that these two viewpoints are not mutually exclusive with a poetic approach. It builds upon two arguments: the first is that poetry, being an inherently compositional system like language, impacts the perceived meaning of lit environments; the second is that humans seek qualities with experiential richness when interacting with lit environments, which is very much aligned with poetry. This reasoning is supplemented by reflections on the poetic possibilities within realised projects used as simple artistic and scientific case studies to demonstrate this complex visual and psychological interplay. Opinions from academics and professionals from the field of architectural lighting design are sought on these poetic possibilities, the appropriateness of these realised projects in expressing their respective qualities, and on the role of poetics in architectural lighting design in general.

The article deals with the expression means of artistic imagery in the poetry of the Lviv literary group of the late 19th - early 20th century "Young Muse". Using the example from the texts of poetic works of "Young Muse's" representatives, the author proves their symbolic nature and suggests her own interpretation of the semantic loading of the symbolic images in young poets’ poetry. The symbolic continuum of this literary group is outlined by the author by means of the interpretation of symbolic images of "Young Muse" members’ poetic works. According to the author, the repetition of an image in a certain lexical environment indicates to its possible meanings and, despite the ambiguity of the artistic symbol, still tends to one or another semantic dominant in the semantic core of meanings. Analysing the achievements of modern studies of "Young Muse’s" works the author explains the artistic nature of this poetry and tends to the idea of eclecticism being a characteristic feature of "Young Muse’s" works. The author’s attention is drawn to the "Young Muse" poets’ artistic borrowings from various periods of the world literature, and antiquity in particular. A particular part of the paper is also devoted by the author to the illustration of artistic borrowings as well as the artistic reconsideration of images from the Holy Scripture. Thus the author also interprets Biblical images occurring in the texts of this literary group representatives. The study of the poetic texts of "Young Muse’s" members gives reason to claim that, apart from the decadent mood characteristic of the decadence era, the "Young Muse" poetry also contains life-affirming motives and characters. In general, the symbolic continuum of this literary group’s poetry is immersed not only into the Ukrainian mentality, but also extends as far as Eastern and Western cultures, that is, to a certain extent, claims the universality of its artistic codes.

This Master’s thesis explores the use of artistic design in a senior high school English class to teach the stylistic analysis of poetry. As a reflective, critical inquiry into my own classroom practice, this paper follows primarily the methodology of teacher research. A less prominent but equally important methodology is the autobiographical living inquiry of a/r/tography. My research features a poetry project for an English 12 class in a fine arts mini-school. Students conducted a close reading of a poem and then communicated their interpretation and analysis by creating an original artistic work in a non-textual mode. The students also articulated their own process of design. By exploring parallels between the poem and their artistic work, they developed a descriptive metalanguage to analyze the rhetorical connections between different modes of communication. This paper draws on the research areas of multiliteracies pedagogy and aesthetic education to investigate the implications of transmediating poetic texts. The study of the classroom project is framed within my overarching inquiry into the value of teaching literary close reading in an age when literacy educators face increasing obligations to prepare students for the world of the globalized knowledge economy. I use the notion of currency, both as monetary worth and as fluidity, to argue that the stylistic analysis of literature—which is usually not perceived as utilitarian—can indeed be useful outside the English language arts classroom. A project in which students explore literary close reading through multimodal design can help them develop critical and creative skills that do have value and can therefore be considered currency in the students’ social and economic futures.

Martin Heidegger in 'The Origin of the Work of Art' seeks to approach the self-subsistent nature of art. The Greek Temple opens up a space within which our Being may dwell. It is the site of human civilization and religion, and of our capacity to dwell within abstractions like peace, justice, truth and representation. Art breaks open a new place and presents things in a fresh light. Language is the primary model for this activity. Paul Celan in his poetry offers a challenge to Heideggerian abstraction. Both poet and philosopher were intimately familiar with each other's work, yet there is no essay on Celan, or even a reference, in the entire Heideggerian corpus. Celan's poem 'The Straitening' conveys the breakdown of meaning that has occurred after the holocaust. In form and content it challenges any Heideggerian notion of the higher univocity achieved by great poetry. We will explore recent examples of how poets have examined the idea of cultural belonging exclusion. We present a distillation of this idea in the writings of Paul Celan, particularly his presentation of the moment of 'Shibboleth'. We explore the biblical origin of the term 'Shibboleth' in a conflict between the army of Jephtah and the Ephraimites. We look at a contemporary poem with 'shibboleth' as it theme. Seamus Heaney's 'Broagh'. A consistent theme of Maurice Blanchot's critical reflection from The Work of Fire in 1949 up to and including The Space of Literature in 1955, is the manner in which our being creatures unto death allows us to create art, and to think and write in the abstraction that is language. Life endures death and maintains itself in it. For Blanchot Rainer Maria Rilke is one of the most significant modern poets in the way in which he has presented and explored this theme. We challenge Blanchot's inadequate reading of Rilke in The Space of Literature as an instance of his own pre-conceived philosophical nihilism.

Magister Artium - MA
This thesis aims at presenting a comprehensive study, through which more will be learnt about the art of the Andalusian Muwashaḥāt. This is a study of their artistic structure, types, and poetic purposes. The art of the Muwashaḥāt was different in form and rhythm from the classic Arabic poem, because the Muwashaḥāt had multi meters and rhymes, and it relied on the musical rhythm. Besides, the poetic language of the Muwashaḥāt was based on both classical and vernacular Arabic. The Muwashaḥāt was invented by the Andalusian poets to keep pace with the musical development in Andalusia, the researcher will shed light on aesthetic methods, and the poetic styles that characterized the Muwashaḥāt as an innovative poetic art which had strong ties with the music and singing, and showing the impact of the Andalusian environment on the development of this art. The art of the Muwashaḥāt left a distinguished mark on the Arabic poetry and music, especially in the Maghreb and North Africa where a lot of musical schools and poets still pay a lot of attention to such type of that Andalusian art. The continuous interest in this art, until current days, strongly motivated the researcher to proceed with this study.

A dissertação trata de Pau Brasil, de Oswald de Andrade, e Feuilles de Route: I. Le Formose e II. Sao-Paulo, de Blaise Cendrars, e pretende verificar como a cidade de São Paulo - em sua condição particular no contexto da modernidade brasileira - é transformada em matéria poética nessas obras. Em contraponto aos elementos do cosmopolitismo da metrópole, apresenta-se a vida rural no ambiente das fazendas do interior do Estado. Com base na análise das obras, procuro avaliar a poética dos autores em suas relações com a metrópole, considerando ainda temáticas associadas a outras questões da modernidade, como o progresso x a natureza e o tema da viagem. Na recomposição dos projetos poéticos dos autores nas obras estudadas, os desenhos elaborados por Tarsila do Amaral para ambas produções poéticas serão considerados como um ponto-chave.
This dissertation examines Oswald de Andrade´s Pau Brasil, and Blaise Cendrars´ Feuilles de Route: I. Le Formose and II. Sao-Paulo, and intents to verify how São Paulo has been - in its particular condition in the context of Brazilian modernity - transformed in poetic subject in these works. In contrast to the elements of metropolis´ cosmopolitism, presents the rural life in inner state farms. Based on work analysis, I attempt to evaluate the authors´ poetic in their relationship with the metropolis, considering also a subject matter associated to other modernity issues, like progress x nature and the travelling theme. In rearrangement of poetic projects from the authors in the studied works, the drawings created by Tarsila do Amaral for both poetic produtions are considered key-points.

The main objective of this thesis is to formulate a practical aesthetic framework from Giorgio Agamben’s writings, and to use his concepts as an interpretative tool in relation to certain aspects of poetry in contemporary art. The specific category of printed poetry by artists is studied from a meta perspective, looking primarily at the gesture performed by writing poetry as an artist. A selective history of poetry in art looks at Marcel Broodthaers and the Bernadette Corporation, including the ways in which they can clarify the aesthetics of Agamben, followed by a shorter interpretations of three contemporary artist-poets – Karl Larsson, Karl Holmqvist and Hanne Lippard. These works can be defined as a hybrid third with Agamben, not art, but making the absence of art present. Works that are neither poetry nor art but with the availability and potential for both. An aesthetic terminology from Agamben is an aesthetics of privation and potential, of absence and inoperability, as well as an aesthetics of negation and resistance. A framework for looking at the tension between activity and passivity, and the resistance present there. The concept of potentiality also proves to be a fruitful opening for the interpretation of art leaning toward negation or withdrawal.
Populärvetenskaplig sammanfattning Uppsatsen undersöker en samling filosofiska begrepp kopplade till konst, hämtade från några av den italienska filosofen Giorgio Agambens böcker. Dessa kan läsas som en estetisk modell, och användas för att tolka konst som tangerar aspekter av inaktivitet och frånvaro, eller befinner sig mellan konst och andra uttrycksformer. Poesi skriven av konstnärer läses här ur ett metaperspektiv, med hjälp av Agambens filosofiska ramverk. Poesins kvalitet eller effekt är inte det huvudsakliga intresset, utan den gest som skrivandet av poesin förkroppsligar. En historisk kontext presenteras genom konstnären Marcel Broodthaers och konstnärsgruppen Bernadette Corporation. De filosofiska begreppen prövas sedan på tre samtida artist-poets, konstnärer som skriver poesi. Agamben ger verktyg för tolkning av konst som dra sig undan definition och representation. Uppsatsen påvisar hur poesi, när den produceras av konstnärer, kan tolkas som ett motstånd mot konstmarknaden.

Orientador: Suzi Frankl Sperber
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-17T15:46:23Z (GMT). No. of bitstreams: 1 SilvaRomero_JorgeHenriqueda_M.pdf: 957479 bytes, checksum: baefb9b935cfaa6757e00bfe169cd9c3 (MD5) Previous issue date: 2011
Resumo: Este trabalho procura investigar a linguagem e a criação poética em Inspiração Nordestina. Publicado em 1956, esse livro representa um momento importante na trajetória poética de Patativa do Assaré. A questão que permeia toda a dissertação é como o poeta transita entre as formas de uma tradição popular, com um repertório composto por cordéis, desafios e pelejas, e uma tradição poética composta por formas pouco utilizadas pelos "poetas populares", como décimas, sonetos, oitavas. É utilizando essa diversidade de recursos poéticos e a possibilidade de se expressar em duas "línguas" ("matuta" e outra de acordo com a norma padrão) que o poeta redimensiona panorama da poesia brasileira dos séculos XX e XXI
Abstract: This study investigates the language and poetic creation in Inspiração Nordestina. Published in 1956, this book represents an important moment in the history of poetic Patativa do Assaré. The question that permeates the entire thesis is how the poet moves between forms of a popular tradition, with a repertoire consisting of "cordéis", "desafios" and "pelejas", and a tradition of poems composed by some forms used by the "folk poets" as decimals, sonnets , octaves. It is using this diversity of poetic devices and the possibility to express themselves in two "languages"("Matuta"and standard) that the poet resize the panorama of Brazilian poetry of XX and XXI century
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária

Cette thèse étudie le processus de variation continue comme une trame de fond de l’oeuvre complète de Gherasim Luca, afin de mettre en valeur ses aspects plastiques et phoniques, leur articulation ainsi que la façon dont la pictopoésie et l’ontophonie participent à l’autogénération textuelle. Considérant l’oeuvre à la croisée des arts, l’analyse souligne la structure des espaces textuel et iconique. Elle s’intéresse en outre aux figures (personae) émergeant d’une esthétique protéiforme et à l’espace figural du langage, mettant aussi à l’épreuve la théorie deleuzienne de la variation continue pour en montrer les ressorts et les dépassements. Enfin, la mise en oeuvre organique, phonique et linguistique del’ontophonie interroge les voix/voies nouvelles établies par la poésie orale et la médiopoétique, ménageant un accès vers l’analyse de la répétition et de la reformulation en tant que genèse infinie
The aim of this PHD is to study the process of the continuous variation, as the guiding principle for the complete works of Gherasim Luca. The purpose is to highlight both its plastic and its phonic aspects, how they work together, and also the way pictopoésie and ontophonie help create a perpetual selfgenerated text. Since the works stand at the crossroads of several arts, this analysis underlines the structure of the iconic and textual spaces. One of the axis of research, that focuses on the persona, as it emerges from a protean aesthetics, and on the figurative space proper to language, calls thus intoquestion Deleuze’s theory of “continuous variation”, while showing its internal mechanism and its exceedance. Finally, the phonic, the linguistic and the physical performance, in staging the ontophonie, brings into question the voices and the media as a means, established by the oral poetry and the mediopoetics, granting access to an analysis based on endless repetition and reformulation

Tematem rozprawy uczyniono analizę wycinka słownictwa poezji Wacława Potockiego (1621–1696). Na potrzeby badań ekscerpcji poddano próbę tekstową objętości 3000 linijek (wersów) pochodzących z trzech najbardziej znanych dzieł barokowego poety, to jest Transakcji wojny chocimskiej, Ogrodu nie plewionego i Moraliów. Podstawę źródłową badań stanowiło trzytomowe wydanie Dzieł W. Potockiego w edycji Leszka Kukulskiego (1987). Integralną częścią dysertacji stał się słownik języka autora, gromadzący całość zebranego materiału leksykalnego. Oprócz tegoż Słownika języka Wacława Potockiego (SJWPot), liczącego 6116 jednostek hasłowych, do pracy dołączono również dwa inne leksykony języka idiolektu, zawierające 1149 związków frazeologicznych (Słownik frazeologizmów Wacława Potockiego – SFWPot) oraz 679 łączliwych związków wyrazowych (Słownik kolokacji Wacława Potockiego – SKWPot). Na podstawie haseł SJWPot przeprowadzono kilkupłaszczyznową analizę językoznawczą, która przybrała postać analizy etymologicznej, słowotwórczej, semantycznej i leksykograficznej. Pomocniczo zgromadzoną leksykę poddano także analizie rejestrująco-opisowej, statystycznej, onomastycznej oraz analizie porównawczej. Każdy z wymienionych typów analizy miał na celu zbadanie wyekscerpowanego materiału pod innym kątem. Tak więc dzięki analizie genetycznej możliwe stało się oszacowanie, jaki procent słownictwa utworów W. Potockiego stanowiły jednostki rodzime, a jaki wyrazy obce. Wśród tych ostatnich za interesujące uznano zwłaszcza to, z którego języka wybrany pisarz czerpał najwięcej inspiracji. A zatem czy była to bardzo rozpowszechniona w XVII w. łacina, czy może W. Potocki preferował inne źródła zapożyczeń, np. niemieckie i czeskie? Zenon Klemensiewicz dowodził zbytniego nasycenia poezji autora Moraliów latynizmami, podczas gdy Aleksander Brückner wskazywał na dominujące w niej pożyczki węgierskie, tatarskie oraz ruskie. Autorka dysertacji starała się ustosunkować do opinii wymienionych badaczy, próbując zarazem dociec, w jakim stopniu ich sądy znalazły potwierdzenie w zebranym materiale. Z kolei słowa Janusza S. Gruchały zmotywowały ją do sprawdzenia, jak prezentuje się zgromadzone słownictwo pod względem realizowanych w jego obrębie kategorii, technik oraz typów słowotwórczych. Informacji na ten temat dostarczyła analiza strukturalna leksyki rodzimej, w tym analiza jednostek derywowanych od innych wyrazów już po wyodrębnieniu się języka polskiego ze wspólnoty prasłowiańskiej. Przyjęcie synchroniczno-diachronicznej perspektywy badawczej pozwoliło wskazać na pewne upodobania indywidualne W. Potockiego w zakresie tworzenia jednostek leksykalnych, jak też umożliwiło ono wysnucie pewnych wniosków dotyczących całego średniopolskiego podsystemu słowotwórczego polszczyzny. Dzięki obranemu trybowi postępowania chociaż w części możliwe stało się wypełnienie luki powstałej po opracowaniu przez językoznawców wzorca opisu staropolskiego systemu słowotwórczego (Kleszczowa, 1996, 1998, 2003, 2015), a jeszcze wcześniej – współczesnego (Grzegorczykowa, Laskowski i in, 1999). Strukturę tematyczną zebranego materiału zbadano z zastosowaniem metody pól leksykalno-semantycznych, wzorując się na podziale polowym słownictwa staropolskiego w opracowaniu Stanisława Dubisza. Zasadniczym celem tego etapu analizy było sprawdzenie, wokół jakich kręgów znaczeniowych sytuowało się słownictwo dzieł twórcy Ogrodu nie plewionego. Stosunki jakościowo- -ilościowe zaobserwowane pomiędzy wyodrębnionymi zbiorami wyrazów miały pomóc stwierdzić, czy najpłodniejszy poeta epoki baroku rzeczywiście interesował się „wszystkim” i „wszystkimi”. Dotychczas bowiem badacze tej spuścizny literackiej podkreślali ogromną różnorodność tematów w niej poruszanych. Kolejny etap podjętych badań stanowiła analiza leksykograficzna materiału, mająca na celu udokumentowanie kilkuset haseł SJWPot w reprezentatywnych opracowaniach słownikowych. Aby warstwę leksykalną utworów XVII-wiecznego autora móc ukazać w przekroju synchroniczno- -diachronicznym, kwerendą objęto słowniki gromadzące zasób wyrazowy polszczyzny, począwszy od epoki staropolskiej po początek wieku XIX. Były nimi: Słownik staropolski, Słownik polszczyzny XVI wieku, Elektroniczny słownik języka polskiego XVII i XVIII wieku, Słownik języka polskiego Samuela Bogumiła Lindego oraz leksykon pisarza w postaci Słownika języka Jana Chryzostoma Paska. Ze względu na obszerność prezentowanego materiału zrezygnowano zaś z oddzielnych rozdziałów poświęconych wyekscerpowanym nazwom własnym i frazeologizmom. Przedłożona rozprawa doktorska składa się z pięciu rozdziałów, w tym dwóch rozdziałów teoretycznych i trzech analitycznych. Po krótkim Wstępie informującym o celach, założeniach i strukturze pracy w rozdziale pierwszym autorka uzasadnia wybór tematu badawczego, objaśnia kryteria doboru próby materiałowej i podaję jej zakres, a także prezentuje stan badań nad twórczością W. Potockiego. Dalsza część rozdziału pierwszego zawiera charakterystykę epoki, w której żył i tworzył autor Moraliów, oraz omówienie najważniejszych pojęć i terminów związanych z barokiem. W tym fragmencie dysertacji zamieszczono również kalendarium życia i twórczości XVII-wiecznego poety. Rozdział drugi w całości poświęcono opisowi metodologii, kierunków i narzędzi badawczych wykorzystanych podczas analizy wybranego wycinka języka pisarza. Część teoretyczną pracy kończy podrozdział zatytułowany: Słownik języka Wacława Potockiego. Idea, struktura, zasady opracowania. Trzeci rozdział rozpoczyna część analityczną rozprawy i stanowi zarazem jej najobszerniejszy fragment. Tworzą go dwa mniejsze podrozdziały, wyodrębnione na podstawie wyników analizy genetycznej przyjętej próby materiałowej. W pierwszej części rozdziału zaprezentowano zbiór słownictwa rodzimego, w obrębie którego odpowiednio wcześniej wydzielono wyrazy podstawowe (niederywowane na gruncie polskim) oraz pochodne słowotwórczo. Ważny etap podjętych badań stanowiła analiza strukturalna tych ostatnich, polegająca na pogrupowaniu jednostek motywowanych słowotwórczo według typów, kategorii i technik derywacyjnych. W części drugiej rozdziału trzeciego, zawierającej charakterystykę zapożyczeń, umieszczono dane jakościowo-ilościowe obrazujące podział leksemów obcych według źródła pochodzenia, przedmiotu zapożyczenia oraz stopnia ich przyswojenia do polskiego systemu językowego. W rozdziale czwartym przedstawiono wyniki analizy leksykalno-semantycznej materiału, przeprowadzonej przy użyciu metody pól wyrazowych. Jeden z podrozdziałów rozdziału czwartego przeznaczono na charakterystykę słownictwa zgromadzonego w polu <„Metajęzyk” człowieka>, w którym to polu, zgodnie z przyjętą klasyfikacją, oprócz większości wyrazów funkcyjnych znalazły się również wyekscerpowane nazwy własne. Rozdział piąty dysertacji traktuje przede wszystkim o wynikach badań statystycznych. Ponadto w rozdziale tym omówiono wyniki badań leksykograficznych, obejmujących określony wycinek słownictwa dzieł W. Potockiego. Wnioski z przeprowadzonej analizy mieści syntetyzujące Zakończenie. Rozprawę zamykają: wykaz stosowanych skrótów i oznaczeń, indeks tabel znajdujących się w tekście głównym rozprawy, bibliografia uwzględniająca słowniki i inne źródła (elektroniczne) oraz dwuczęściowy aneks w wersji tradycyjnej i multimedialnej. Pierwszą część aneksu stanowią tabele załączone do dysertacji wraz z indeksem do nich. Drugi z aneksów, umieszczony na nośniku elektronicznym (płyta CD), zawiera trzy słowniki gromadzące leksykę utworów wybranego autora, tj. SJWPot, SFWPot oraz SKWPot. „Język J.Ch. Paska reprezentuje zasób leksykalny przeciętnego Polaka szlachcica z XVII wieku” – stwierdziła niegdyś Maria Borejszo w jednym z artykułów traktujących o leksyce Pamiętników Jana Chryzostoma Paska. Wnioski wyprowadzone z analizy porównawczej ujawniły podobieństwo jakościowo-ilościowe łączące warstwę słowną tekstu prozatorskiego z materiałem wyekscerpowanym z wycinka poezji W. Potockiego. Zarówno autor Ogrodu nie plewionego, jak i Jan Chryzostom Pasek najczęściej posługiwali się w swoich utworach wyrazami odziedziczonymi przez polszczyznę po wiekach poprzednich, w tym dużą liczbą jednostek niepodzielnych słowotwórczo i o najstarszej genezie w naszym języku. Wbrew też przypuszczeniom wysuwanym przez badaczy polszczyzny okresu średniopolskiego, żaden z autorów nie nadużywał zapożyczeń z języków obcych, przy czym XVII-wieczny poeta sięgał po nie rzadziej niż pamiętnikarz. Wacław Potocki okazał się tradycjonalistą językowym nie tylko w zakresie doboru słownictwa rodzimego, lecz także obcego i częściej niż średniopolskie latynizmy stosował w swoich wierszach pożyczki niemieckie, przejęte do polszczyzny przeważnie już w średniowieczu. Podobnie jak słownictwo zapożyczane z innych języków były to w zdecydowanej większości pożyczki formalnosemantyczne przyswojone drogą słuchową i spełniające określoną (utylitarną) funkcję w tekście. W przeciwieństwie do prozy Pamiętników J.Ch. Paska poezja W. Potockiego okazała się wolna od wspomnianej przez M. Borejszo „powodzi” makaronizmów, co jednak należy uznać za typowe dla ówcześnie powstających utworów wierszowanych.
The subject of this dissertation is the analysis of a part of Wacław Potocki's poetry vocabulary. For the purposes of the study, a text sample of 3000 verses from three representative works of the 17th-century poet (Transakcja wojny chocimskiej, Ogród nie plewiony, Moralia) was excerpted. The three-volume edition of Wacław Potocki's Dzieła edited by Leszek Kukulski (1987) was adopted as the source for the study. A dictionary of the author's language is an integral part of the dissertation, bringing together all the collected lexis: Słownik języka Wacława Potockiego (SJWPot), Słownik frazeologizmów Wacława Potockiego (SFWPot) and Słownik kolokacji Wacława Potockiego (SKWPot). On the basis of the SJWPot entries a linguistic analysis was conducted at several levels: etymological, word-formation, semantic and lexicographical. The collected lexica was auxiliary subjected to register-descriptive, statistical, onomastic and comparative analysis. The adoption of a synchronic-diachronic research perspective has made it possible to point to certain preferences of Wacław Potocki in the creation of lexical units, as well as to draw certain conclusions concerning the entire medieval Polish vocabulary subsystem. The thematic structure of the collected material was examined using the method of lexical-semantic fields. The next stage of the research was a lexicographic analysis of the material, aimed at documenting several hundred SJWPot entries in representative dictionary studies. The search covered five dictionaries collecting Polish word resources from the Old Polish period to the beginning of the 19th century. The dissertation consists of five chapters, including two theoretical and three analytical ones. After a short introduction informing about the aims, assumptions and structure of the work in the first chapter, the author justifies the choice of the research topic, explains the criteria for the selection of the material sample and gives its scope, as well as presents the state of research into the works of Wacław Potocki. The next part of chapter one contains the characteristics of the epoch, in which the author of Moralia lived and worked, and a discussion of the most important concepts and terms associated with the Baroque. In this part of the work there is also a calendar of life and work of the seventeenth-century poet. The second chapter is entirely devoted to the description of methodology, directions and research tools used in the analysis of a selected fragment of the writer's language. The theoretical part of the work ends with a subsection entitled: Słownik języka Wacława Potockiego. Idea, struktura, zasady opracowania. The third chapter begins the analytical part of the dissertation and constitutes its most extensive fragment. It consists of two smaller subsections, distinguished on the basis of the results of the genetic analysis of the material sample. In the first part of the chapter a set of native vocabulary is presented, within which basic (non-derivative) words and words derived from it are distinguished. The first stage of the research was a structural analysis of the latter, consisting in grouping the vocabulary-motivated units according to types, categories and derivational techniques. In the second part of the third chapter, which was devoted to the characteristics of borrowings, the qualitative-quantitative data were placed showing the division of foreign lexemes according to the source of origin, the object of borrowing and the degree of their assimilation into the Polish language system. The fourth chapter presents the results of lexical-semantic analysis of the material, conducted with the use of the word field method. The fifth chapter deals mainly with the results of statistical research. In addition, the chapter discusses the results of lexicographic research, covering a specific section of vocabulary of Wacław Potocki's works. Conclusions from the conducted analysis are included in the conclusion. The dissertation ends with a list of abbreviations and designations used, an index of tables included in the main text of the dissertation, a bibliography including dictionaries and other sources and a two-part appendix in traditional and multimedia versions. The first part of the appendix consists of tables attached to the dissertation together with an index to them. The second part of the appendix, placed on an electronic carrier, contains three dictionaries collecting the lexicon of works of a selected author – SJWPot, SFWPot and SKWPot. As the analysis has shown, Wacław Potocki most frequently used words inherited by the Polish language from previous centuries, including a large number of units with indivisible vocabulary and the oldest origins in our language. Contrary to the assumptions put forward by scholars of the Polish language of the Middle Polish period, the author of Moralia did not overuse borrowings from foreign languages. Wacław Potocki turned out to be a traditionalist not only in his choice of native vocabulary, but also of foreign languages, and more often than Middle Polish latinisms, he used German loans in his poems, which were brought into Polish mostly as early as the Middle Ages. Like the vocabulary borrowed from other languages, these were mostly formal- -semantic loans acquired by ear and fulfilling a utilitarian function in the text. In contrast to the prose of Pamiętniki of Jan Chryzostom Pasek, Wacław Potocki's poetry turned out to be free of macaronisms, which, however, should be considered typical of poems written at that time.

The focus of the author are the characteristics of creativity of the poet Nikolai Perovsky (1934-2007), which are considered in the triad: poetry-line verse in the whole creative process. Examines the richness of its vocabulary, the language of emotions, perception and many other components of style. Emphasizes asiaturkey and cultural mission of poetry. The question is raised about the inclusion of fragments of poetry N. Perovsky in different dictionaries. The result of the analysis is the annotated list of achievements of the poet. For specialists in the language of artistic expression, as well as for writers, journalists, culturologists.

Writing is an emotional process and it works when it makes us feel, both as writers and readers: it has the power to move—movere. Yet a certain emotional distance is necessary when one writes poetry with the language of oppression, especially when one has been the victim, and offers a historical as well as an artistic testimony. What kind of liberties can one take with the material? What constitutes appropriate artistic utterance when one navigates the territories of poetry about the hard truths? Translating screams of pain and anger into poetic expression, which shows the effect of oppression on the inner landscape of feeling, is what poetry offers as an art. But writing that courts the sympathy of the reader gratuitously, arouses anger, sermonizes, or is imbued with a sense of self-pity, represents a failure of the art. The healing aspects of writing (not only in terms of healing the writer, but also in terms of healing the language itself) form a significant part of this chapter.

Auden's death on September 29, 1973 prompted an enormous range of poetic responses from younger American poets, many of them following Auden's example as Auden had followed Yeats, both in using the poet's own language in their memorials for him and in turning the moment, and their readings of the meaning of Auden's life and work, toward their own individual artistic arguments and purposes. Indeed, no twentieth-century poet has spawned as many elegies, eulogies, and remembrances from as wide a range of practicing poets as Auden. This chapter surveys a few of these poetic farewells to Auden, from across a broad spectrum of American verse, which provide a compelling testimonial to, and concluding perspective on, his impact on an entire generation—and beyond—of American poetry. These include the work of James Schuyler, John Hollander, Richard Howard, Louis Simpson, Irving Feldman, and Derek Walcott.

This chapter discusses the conversational model of positioning the agency of the poet in relation to the speech and events depicted in the storyworld. This model quite strongly segregates the poet's artistic motivations from those of the speaker by heightening the sense that the speaker is reacting to his immediate context and minimizing his consciousness of the poetic status of his words. Poems structured on this model may or may not give a full picture of storyworld events, but the speaker's language tends to highlight features like questions and imperatives or shorter and simpler sentences. This model can be called “conversational,” not because its style is particularly colloquial, but because it situates the speaker's language as an attempt to meet needs in his social and emotional environment. Significantly, such poems exhibit a high degree of artistic polish and thus offer ample evidence of the poet's artistic agency and motivations, but these discursive features are not linked to the speaker's agency in the storyworld. The overall effect, then, makes clear the distance between the speaker's wholehearted focus on his own world and the poet's careful orchestration of the poetic discourse, thus expressing structurally the distinction between speaker and poet, in spite of the first-person form and in spite of the speaker's characterization as a poet. The chapter then analyzes the poems in Sextus Propertius's first book, which forcefully demonstrates this model.

From prehistory onward, poetic language has been widely used in the context of great personal, social, and emotional significance, reaching from large scale events, such as religious ceremonies, political occasions (including inaugurations of American presidents), and artistic contexts to more private gatherings, such as birthday parties, declarations of love, and parent–child interactions. Poetic language is capable of reaching deeply into the phylogenetically ancient structures of the human brain and providing profound aesthetic pleasures to its recipients. Yet a thorough scientific investigation of the workings of poetic language in the brain is only at its very beginnings. In the article under discussion, the authors review a study that focused on the emotional power of poetic language. In this project, they strived to integrate and interrelate perspectives from experimental psychology, neuroscience, rhetoric/poetics, psychophysiology, and philosophy. They argue that such a multidisciplinary approach is key to unraveling the mysteries of human aesthetic processing.

This chapter turns to the creative world of Marina Tsvetaeva, a poet whose early life has much in common with Boris Pasternak's. It links Tsvetaeva's interest in photography to her poetic practice by analyzing a series of photographs she took in 1934, following the death of her friend, the aspiring poet Nikolai Gronskii. The intersection of photography and poetry for Tsvetaeva consistently occurs at the crossroads of life and death. The chapter looks at how Tsvetaeva employs language, poetry, and the space of a photograph to bridge the divide between herself and the people and places she cannot access in the physical world. Ultimately, the chapter connects the images to Tsvetaeva's poetic elegy to Gronskii and contextualizes them within her other biographical and artistic encounters with photography, revealing that for Tsvetaeva the photograph operates — like dream motifs, tombstone imagery, and the poetic word itself — as a “third space” in which souls can commune across physical and metaphysical boundaries.

Michael Longley writes of Jamie: 'She has perfect pitch, a natural sense of cadence and verbal melody that helps to give her work the feel of organic inevitability'. Longley flies close to the heart of his own work, revealing their shared aesthetic practice, central to which is the idea of poetry as dialogue. This chapter tunes in to Longley and Jamie as poets in conversation with each other, across boundaries of nation, time and space, and not merely at the level of shared subject matter, but more profoundly at the level of poetic technique and formal concerns. Both are poets of the singing line and both are shifting, sea-faring poets crossing sound- and sight- lines in their endless probings of words and worlds. Both engage with and extend the limits of the lyric, in particular the sonnet form, and in the work of both the energies of translation lie at the core of the artistic enterprise. Jamie and Longley see into the life of poetry as an act of conversation, an art of conversion.

Etymology has been linked to poetry in various ways since the start of the twentieth century. Beginning with theory—from formalist understandings of etymology’s role in ambiguity through the contested place of philology in modern literary criticism to poststructuralist interpretations of etymology as a purely rhetorical category—this chapter surveys the use of etymology in critical practice. It also introduces the ‘etymological poetry’ of Auden, Prynne, and Muldoon through examples of their ‘self-inwoven etymologies’. Finally, a version of Paula Blank’s theory of the ‘quasi-disciplinarity of etymological desire’ is proposed: for poets who suspend its force between critical discovery and poetic invention, etymology can address profound tensions that lie at the heart of the use of language as an artistic medium.

Chapter 3 reads Wordsworth’s poetic theory as a far-reaching account of compositional pleasure. It considers the crucial relation between of poetry’s claims to truth and its claims to produce and communicate pleasure, and uses the question of poetic pleasure to explore the tense relation in Wordsworth’s prose between real language and events and the artificial and mechanical operation of verse. It goes on to position Wordsworth’s theory of poetry in opposition to the persistent critical problem of sublimation. In place of the assumption that artistic pleasures must be substitute satisfaction or sheer fantasy, it explores the claim that poetry might disclose existing but unacknowledged pleasure in the world. The challenges and pleasures of metrical verse, it argues, are for Wordsworth constitutive of its retrospective, reparative forms of attention. The chapter concludes by returning to Wordsworth’s poetry and considering how metrical pleasure might function as a form of mourning.

The article notes the relevance of a systematic, holistic study of the poetics of Russian literature of the Silver age, which is increasingly necessary as this era moves away from the modern reader. Typical of the culture of XIX–XX features: “the anthro pological turn”, “the expansion of artistic sensibility”, a new notion of psychological insight, lyrical exploration of the experience of the body — resulted in works of art the largest layer of the touch of poetic imagery reflecting the experience of individual sense of life. On the material of Russian poetry of the late XIX — early XX century the sound world of the Russian estate and the poetics of its sound space are analyzed. It is shown how the sound variety is gradually replaced by silence or new sounds — disturbing, foreshadowing the death of the estate as part of the old world. There are traced the mechanisms of transmission of sound “psychophysiological space”, methods of repre sentation of nonverbal language, including features of sound recording. An attempt is made to trace the internal reactions that this or that sound causes in the lyric hero, and in the subjective interpretations of a number of poets to reveal the “acoustic invariant” of the “estate” poetry of the Silver age in its historical dynamics.

"Abstract The Halabja case, and the genocide to which the people of this city were subjected, represented an international crime with all the dimensions and connotations of the word, and thus left a wound in the memory of the human conscience, the effects of which were reflected in various forms politically, socially, and culturally. The Halabja crime constituted intellectual and literary foundations for many Iraqi and Arab poets and writers, and it became an artistic theme for many poems and literary works in the contemporary creative achievement. Among these writers was the Iraqi poet (Ahmed al-Hamd al-Mandalawi), whose poem (Execution of a City in My Country) is regarded as an artistic painting that recorded the details of this tragedy, and depicted its bloody events, in a high literary style, and a language far from complex, embodied the poetry of sadness and the memory of pain. This is what makes it a rich sample in technical and objective terms, and worthy of research and study. The stylistic approach was adopted as a method of reading and a mechanism for analysis, to reveal the aesthetics of this poem, and the mechanisms of its artistic formation, according to a critical and analytical vision, highlighting the poetics of the text and the poeticity of the creator on the one hand, the depth of tragedy and the connotations of sadness and sorrow On the other hand, the text. The study methodology necessitated dividing the research into an introduction and three sections. The introduction formed a methodological threshold - including (Halabja - the poem - and the poet), which collectively represents the external / theoretical framework of the research. As for the research sections, it was devoted to the study of the three levels of the poem - according to the mechanisms of the stylistic approach - which are respectively: the structural level, the phonemic level, and the semantic level, which the poet was able through his employment of the elements of formation and artistic construction to highlight these stylistic levels and their poetics that tempt the researcher to approach the text and critically debate it what reveals its aesthetic beauty secrets."

The author of the article aims to introduce Russian poetic texts into the teaching of Czech students on B1 level. The chosen teaching methodology is based on motivating the students with the use of Czech symbolist poetry by O. Březina and a subsequent analysis of a poem by V. S. Solovyov. Work with the poetry of both authors focuses on perceptual lexicon, which plays key role in uncovering the meaning of a symbolist text. Students can thus gain knowledge of polysemous words and their different author’s connotations in an enticing and creative way. This enhances not only their knowledge of the content and language, but also of the aesthetic component related to the main function of an artistic text

The Slovak Romantic Messianism is perceived by us as a phenomenon growing from a specific current epochal situation relating to a relatively rich tradition, which existed in the Slovak cultural context already in previous historical periods. By considering the characteristic features of production, its existence was often relativised. Nevertheless, it represents an important testimony of a concrete epoch. Its artistic implementation (perhaps today more than in the past) is being well appreciated, thanks to its interesting form and to its expressive and narrative strength or value. By focusing our attention on its expressive and thematic means, it is possible to prove that the authors tried to mediate a mystical experience to the readers. As mystagogues, they introduced and initiated the readers to the mysteries of God’s plans aiming at transformation of this world. In this sense, through their literary production, they invoked and prayed God to give them a chance to live a direct mystic experience in the reality. By pursuing this purpose, they filled their poetry with curious archaisms and neologisms (the so-called self-creation of language). They gave way to a speculative etymologism and poetical forms. Generally, they were syncretically stylying poetical shapes. And they often exploited experiments or complex strophic structures.

The paper is devoted to teaching the interpretation of the artistic text in the master’s degree program at the Department of Russian Studies, Faculty of Arts, UCM. In the process of study, we look for the most effective way to bring students to learn about fiction, to help them discover the meaning of the work of art and find its place in the Russian and world artistic heritage. The paper aims to approach the teaching process as a synthesis of the reader’s own experiences and work with relevant scientific resources. The aim of such work is to gain deeper and more professional knowledge of students.

As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.

One of the key poets of Slovak post-November poetry was shaped in the Komúna dissent group headed by philosopher and artist M. Strýko during the communist regime. Operating in dissent supported the radicality of his poetic gesture and lifestyle, the image of an active, evolving individual freed from the senselessness of civilization, and also the idea that it is possible to integrate evil into a higher good. These ideas also form branches to the sanjuanist motifs and intellectual solutions that are close to Groch. The article seeks these penetrating places with special attention on the symbol of the journey and pilgrimage, and at the same time points to Groch’s creative updates of one of the most famous spiritual teachings of the West.

The complex contextualization of the work of James Lee Byars (1932–1997) in contemporary artistic practices was determined by its timelessness in both form and concept. Considered by Kevin Power as one of the key artists of the second half of the twentieth century alongside figures such as Joseph Beuys and Andy Warhol, his legacy seems to have declined probably because of the discomfort caused by the approach to his work, since any previous consideration and attempt at cataloging, escapes through the loopholes on which they are based. Byars’ performances and pieces were mostly structured around the cryptic concept of perfection. The artist’s mission, in this case, takes on the roles of a shaman and a magician who questions the illegibility of a world whose materialism seems to have expelled any consideration of the sacred, thus articulating a work that, far from providing answers, raises questions about the ultimate meaning of life. Gold, geometry, time (and its transience), space (re-signified by his cultural heritage), language and the body expressed a proposal in which installations and actions are the instruments he uses primarily to question us about the big questions. Byars in this sense has been considered a mystic, since he places us at the doors of a new perception to make us uncomfortable and provoke us, to transmit us the questions about being in the world. This article is modulated on the poetics of the work, thought and actions of James Lee Byars, one of the few contemporary artists who can be defined as mystic in the broad sense of the word and for whom the sacred, contrary to the current of unidirectional thought, is inherent to the contemporary subject.

The Czech Catholic writer Jan Čep (1902–1974) belonged to the group of authors who built their work on spiritual-religious motifs. Literary critic František Xaver Šalda stated in the bookmark of Čep’s novel The Border of a Shadow (1935) that he is a “poet of death”, namely “a very special, possessing a very special, unusual view of things of life and death”. The language and imagery of his artistic work are based on philosophical-reflexive and meditative lyricism, often with a contemplative overlap. We consider the image of a double home to be one of the key images of Čep’s poetics. Its development can be traced from the author’s juvenile prose work to the latest texts, which are mainly essay-like. In addition to this image, however, in Čep’s work, reflecting on the phenomenon of life and death also appears to be the mainstay, while it is obvious that these entities are very closely related to the image of a double home. In this context, it will be important to observe how the phenomenon of death is depicted in Čep’s only novel The Border of a Shadow.

The multidimensionality of the visual arts of the twentieth century due to the radicalism of manifestations can be studied more reliably through the current field of interdisciplinary approaches including the analytics of mythopoetics. As a theoretical model for studying the mythopoetic work basis appears tobe a point of intersection of related cultural codes. Fine art while relying on the structural units of myth does not copy them directly,but translates them into the language of plastic images and enriches them with its specific stable elements. In this context they are equivalent tothe elements of the structure of the myth. The “poetic” in the free flight of imagination plays with the metaphorical nature of images tearing them away from reality. The “mythological” for all the whimsical and metaphorical images is experienced and perceived by the subject as an absolute reliable reality. The main feature of the mythopoetics of the visual arts of the 20th century is that the range of this interaction in the allegorical nature of images predetermines the variability and plurality of mythopoetic models that are used by artists.

Psychoanalysis is a branch of science that focuses on the subconscious and unconscious aspects of human beings. “When it comes to the human soul, it is seen that almost the entire human ego is based on psychology.” (Emre, 2006: 16). The psychoanalytic literary theory is a theory that tries to reveal the unconscious and subconscious aspects of the artist in general, and is shaped on the theories of Sigmund Freud. This theory has a feature that reflects the bonds between the identity of the artist and his work. “Until Freud, the origin of human behavior was generally associated with physiology. After long studies, Freud reveals that the unconscious is as effective as physiological conditions and disorders on the basis of human behavior. (Cebeci, 2009: 72). Necip Fazıl Kısakürek, one of the important names of Turkish poetry in the Republican period, is generally known for his mystical and metaphysical poems. There are many uses in his poems that are suitable for psychoanalytic analysis. In the poems of Kısakürek, "subconscious and image, rebirth, sense of emptiness, self-complexity, struggle for existence" etc. elements are included. Key words: Necip Fazıl Kısakürek, Literary theory, Psychoanalytic.

The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.