Journal articles on the topic 'Poetic (artistic) language'
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1
Qosimova, Gulnorakhon Bakhtiyorjon qizi. "Artistic language of ihara saikaku." International journal of linguistics, literature and culture 7, no. 3 (May 5, 2021): 180–87. http://dx.doi.org/10.21744/ijllc.v7n3.1623.
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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.
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Stepanova, Varvara Egorovna. "Artistic peculiarities of the philosophical works of S. S. Vasilyev-Borogonsky." Litera, no. 12 (December 2021): 15–24. http://dx.doi.org/10.25136/2409-8698.2021.12.37099.
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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.
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Turdalieva, D. "Application of Language Facilities." Bulletin of Science and Practice 7, no. 4 (April 15, 2021): 508–11. http://dx.doi.org/10.33619/2414-2948/65/62.
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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.
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Pronin, Maksim V. "ABOUT SOME FEATURES OF LEONID ARONZON’S ARTISTIC WORLD." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2022): 36–48. http://dx.doi.org/10.28995/2686-7249-2022-3-36-48.
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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.
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Filon, Mykola. "THE LINGVOESTHETIC AND ARTISTIC-COGNITIVE PHENOMENALITY OF POETIC LANGUAGE." Collection of scientific works "Visnyk of Zaporizhzhya National University. Philological Sciences", no. 1 (2019): 72–77. http://dx.doi.org/10.26661/2414-9594-2019-1-16.
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Savvinova, Gulnara E. "О поэтике олонхо «Нюргун Боотур Стремительный» П. А. Ойунского и тувинских героических эпосов." Oriental Studies 13, no. 4 (December 25, 2020): 1155–66. http://dx.doi.org/10.22162/2619-0990-2020-50-4-1155-1166.
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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.
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Akamov, Abusup'yan Tatarkhanovich, and Aigul' Muratovna Bekeeva. "Poetic language features of Abdurakhman from Kakashura." Филология: научные исследования, no. 4 (April 2022): 52–60. http://dx.doi.org/10.7256/2454-0749.2022.4.36386.
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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.
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Džemić, Kemal, and Ramiz Tiganj. "Identity marks in the poetic worlds of Zaim Azemović and Faiz Softić." Univerzitetska misao - casopis za nauku, kulturu i umjetnost, Novi Pazar, no. 19 (2020): 127–36. http://dx.doi.org/10.5937/univmis2019127d.
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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.
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Dugar, AM. "The role of poetics in architectural lighting design." Lighting Research & Technology 50, no. 2 (August 23, 2016): 253–65. http://dx.doi.org/10.1177/1477153516664967.
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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.
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Pryshchepa, O. "THE LANGUAGE OF SYMBOLS IN THE POETRY OF "YOUNG MUSE"." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 3(98) (December 23, 2022): 57–67. http://dx.doi.org/10.35433/philology.3(98).2022.57-67.
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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.
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Bakula, V. B. "Features of artistic translations of the Saami poets into the Russian language." Bulletin of Ugric studies 10, no. 4 (2020): 615–23. http://dx.doi.org/10.30624/2220-4156-2020-10-4-615-623.
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Introduction: the article is devoted to the topical issue of cross-cultural relations of Kola Saami literature. The subject of the analysis is the interlinear translations of the Saami poets’ works into the Russian language. Objective: to identify the equivalence of translations of the Saami authors into the Russian language in the transmission of cultural meanings, values, and ethnic psychology. Research materials: the poetic works of the Saami authors and variants of their translations. Results and novelty of the research: the article analyzes Russian-Saami literary contacts for the first time. The focus of the work is on the accuracy and peculiarities of translations of the Saami poets into the Russian language. The analysis of the material allowed us to conclude that poetic translations of the Saami authors into the Russian language do not always accurately recreate the meanings and images of the interlinear translations, which is due to the complexity of the task in translating national literature. The Russian translators saturate the text with poetic liberties; adorn it with visual and expressive means that reflect the Russian national color; include Russian proverbs, sayings and stable phrases, religious and Christian notions; use translations as an excuse to create their own poem, which, in turn, distorts the general meaning of the original, deprives it of ethnicity, and makes poetic translations of Saami interlinear translations culturally adapted, authorized, and ethnocentric.
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Shatin, Yuri V. "The artistic paradox of the Russian ode." Sibirskiy filologicheskiy zhurnal, no. 3 (2021): 62–72. http://dx.doi.org/10.17223/18137083/76/5.
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The paper studies the Russian ode transformation during the three hundred years of its existence. The author considers that the main mechanisms of ode transformation were not only the result of its evolution but were initially embedded in the deep structure of the genre. In the 1750s, Sumarokov created his “Vzdornye ody,” mocking the principles of Lomonosov’s baroque poetics. Later, in 1782, Derzhavin composed the ode “Felitsa” and filled its content with specific features of the lifestyle of Catherine the Great while preserving some of the features of the solemn ode. After leaving the literary arena as the leading genre of lyric poetry, the ode retained its significance as the genre memory, with the process of disintegration of the unity of the signifier and the signified taking place. The signifier is associated with the traditional scheme of the odic decima - ababccdeed, and the signified retained the main core of the motifs characteristic of the solemn ode of the 18th century. At the same time, the decima itself actively penetrated the speech of large genres - the poem and the poetic story - as a quotation and thus restores the lost unity. In the 20th century, the irony penetrated the depths of nuclear motifs, preserving a secret meaning for the poet’s inner circle, for example, Akhmatova’s verses about Stalin. Thus, the poetic fate of the ode is somewhat similar to that of the novel, combining, to quote Boileau, the bizarre chaos of thoughts with the exceptional verification of its basic artistic parameters.
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Муратова, Елена Юрьевна. "ARTISTIC EXPRESSION OF PHILOLOGICAL THINKING IN POETIC TEXTS." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 1(110) (March 30, 2021): 62–69. http://dx.doi.org/10.37972/chgpu.2021.110.1.008.
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В статье анализируются стихи в модусе связи лингвистики и поэзии. Современную поэзию отличают не только новые темы и видение мира, но и во многом иной поэтический язык. Анализируются разные взгляды ученых на поэтический язык. Заметной особенностью современных поэтических текстов является употребление лингвистических терминов, названий частей речи, синтаксических конструкций и под. в качестве полноправных художественных элементов стихотворения. На материале стихов М. Цветаевой, А. Вознесенского, Б. Ахмадулиной, Д. Бураго и др. доказывается, что лингвистические термины могут выражать филологическое мышление поэта, становясь живой частью его стихотворений, и способны специфически отражать картину мира, мировоззрение и человеческие эмоции. Приводится подробный филологический анализ стихотворения А. Вознесенского «Плач по двум нерожденным поэмам». The article analyzes poems in the mode of communication between linguistics and poetry. Modern poetry is distinguished not only by new themes and visions of the world, but also by a largely different poetic language. The paper also analyzes different views of scientists on the poetic language. A notable feature of modern poetic texts is the use of linguistic terms, names of parts of speech, syntactic constructions as full artistic elements of the poem. Basing on the material of poems by M. Tsvetaeva, A. Voznesensky, B. Akhmadulina, D. Burago, etc. it is proved that linguistic terms can express the poet’s philological thinking, becoming a living part of his poems, and are able to specifically reflect the picture of the world, worldview and human emotions. Moreover, the article provides a detailed philological analysis of A. Voznesensky’s poem “Lament for Two Unborn Poems”.
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Gasharova, Aida R. "On the Peculiarities of the Artistic Form of the Lezgin Folk Proverbs and Sayings." Proceedings of Southern Federal University. Philology 2020, no. 1 (March 15, 2020): 46–52. http://dx.doi.org/10.18522/1995-0640-2020-1-46-52.
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National proverbs and sayings of Lezgins are analyzed. Attention is paid to the internal laws of proverbial poetics. The author dwells on a peculiar artistic form of Lezgin proverbs and sayings, which is evidence of a high level of creative thinking, aesthetic taste, poetic perception of various spheres of life by the people. The relevance of the study is due to the fact that the issues of sound organization and the poetic form of the Lezgin folk proverbs and sayings have not yet become the object of comprehensive study. In this regard, the analysis of emotional and expressive means in small aphoristic genres of folklore is of great scientific interest. The goal of our work is to give an objective assessment of the peculiar poetic form of folk paremias, which is in the rhythmic organization, but our analysis does not pretend to a full interpretation of the topic under study. It is proved that the specificity of the artistic form of folk sayings is alliteration, rhyme, rhythm, sound repetitions that contribute to the poetic language of speech, the most clear expression of thoughts and the selection of the main meaning. A number of pictorial and expressive means of poetic speech helps her in this. Thus, rhythm and various kinds of rhymes contribute not only to the preservation of the unity of proverbs and sayings, but also to the selection of the main idea. The rhyme in folk proverbs plays a rhythmic and semantic role.
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Seitbekova, A. A. "THE USE OF BORROWED EMOTIVE VOCABULARY IN TEXTS OF MEDIEVAL ARTISTIC POETIC WRITTEN MONUMENTS." Tiltanym 87, no. 3 (September 30, 2022): 69–80. http://dx.doi.org/10.55491/2411-6076-2022-3-69-80.
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Many abstract concepts in modern Turkic languages are borrowed from Arabic and Persian and have free use in the language system of the Turkic peoples. The use of some emotive lexical concepts that are absent in the Turkic languages, including Kazakh, can be traced in the texts of medieval written monuments. Emotive vocabulary is widely used in the fiction of the modern Kazakh language, and in colloquial speech. Since then, emotive lexical units have become the richest lexical means of language, firmly entrenched in our vocabulary. In this regard, this article in the XIII-XIV centuries examines the features of the use of emotive vocabulary in the texts of written monuments borrowed from Arabic and Persian languages, continuity with the modern Kazakh language. In the language of monuments of artistic poetic writing that have come down to our era, the special use of emotive lexical units was used by Turkic poets to glorify Allah, preach Islam, describe the beauty of a girl and glorify relationships between people. The article classifies Arabic, Persian emotive lexical units in the texts of written monuments of the Golden Horde era within the framework of the functional and semantic field, analyzes the continuity with the modern Kazakh language. As a result of the research, the main emotive concepts on the content of written monuments are revealed. That is, the emotive concept of "love" is systematized into microconceptual models of "love", "joy", "regret".
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Arzamazov, Aleksey A. "The Reality of Erzya-Russian Poetic Bilingualism: the Artistic Phenomenon of Alexander Arapov." Polylinguality and Transcultural Practices 19, no. 4 (December 9, 2022): 622–36. http://dx.doi.org/10.22363/2618-897x-2022-19-4-622-636.
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The article deals with the problematic and thematic projections of the work of Alexander Arapov (1959-2011), one of the most prominent representatives of modern Mordovian literature. The author focuses on the complex reality of Erzya-Russian poetic bilingualism, the study of which allows us to conclude that each of the languages has certain motive-figurative complexes, aesthetic ideas, ethno-psychological attitudes, linguo-poetic features, “voices” of traditions. So, the central place in the Russian-language poems of A.V. Arapova is occupied by existential-psychological motives, the “I”-subject analyzes the events of his life, gives them an assessment, while a negative emotional background prevails, a discrepancy between the desired and the actual is indicated. It is indicative that the theme of ethnic identity, almost obligatory for the national literature, is practically not revealed in the poems created in Russian, there are no examples of “connection” of the ethno-cultural component. One of the identified linguistic and poetic details is the representativeness of the infinitive writing. The Erzya texts analyzed by the author are far from social contexts, urban life, they have little reflection on the acutely experienced modernity. In the Erzya texts, landscape lyrics are dominant, the figurative and symbolic elements of the Mordovian ethnoculture are updated, the influence of national folklore is felt. The author’s desire for linguistic purism is noticeable in the poems in the Erzya language. Thus, it has been established that the reality of the Erzya-Russian poetic bilingualism of Alexander Arapov is not just two genetically different languages, but also two different artistic worldviews, the intersections between which are not so many.
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Butova, Anna, Angelina Dubskikh, and Ekaterina Lomakina. "The peculiarities of Zabolotsky’s poetic discourse." SHS Web of Conferences 55 (2018): 04015. http://dx.doi.org/10.1051/shsconf/20185504015.
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Although N. Zabolotsky’s creative work constantly attracted researchers, there are still problems that have not been reflected in the scientific literature. This article aims to define the features of Nikolai Zabolotsky’s poetic discourse in the Russian literary tradition. To achieve the aim, the authors deal with a wide range of challenges: the study of Zabolotsky’s worldviews in the context of the general mentality of the epoch; identifying the specific nature of figurative and semantic interactions in the poetic language and the objective reality in Zabolotsky’s and the Symbolists’ poetry; establishing the features in the poetic re-creation of artistic existence. Zabolotsky’s poetic heritage, considered from historical, literary and discoursive approaches is the material of the research. The material of this article can be used in teaching Russian literature of the XXth century and also promote the discovery of new facets in studies on poetics and culturology.
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ILIESKU, Viktoriia. "GRAMMAR OF THE IDIOSTYLE IN POETRY (on the example of Georgy Ivanov`s poems)." Astraea 3, no. 1 (2022): 45–64. http://dx.doi.org/10.34142/astraea.2021.3.1.03.
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The article deals with the study of the grammar of idiostyle in poetry. Theoretical basis of the study of grammar of poetic idiostyle based on the material of poetry is the doctrine of the inner form of a word and language features, the theory of morphological field and achievements of functional grammar, modern developments in the field of linguistics, linguopoetics, and poetic aesthetics. In the structure of the poetic text, a unit of any of the levels is capable of possessing expressiveness, being an expressive unit, interacting with other levels. The semantic and functional enrichment of grammatical means in the poetic language of the 19th-20th centuries has an individual-author character, based on the systemic grammatical potential of the national language. As a consequence, these enriched units and categories form the grammatical system of poetic language as a subset of the national language. “Poetic cognition” is verbal in nature. The tools of “poetic cognition” are the artistic word and the structure of language as a system of connections and relations between linguistic units. Linguopoetic mechanisms of grammatical meanings actualization and neutralization in poetic language are based on general linguistic characteristics of morphological categories and on the regularities of poetic functioning, the selection of neutral and marked grammemes. In addition to the violation of the grammatical norm, poetic language has a variety of artistic techniques and forms patterns, the basis of which is morphological selection and the formation of homogeneous groups, series, texts and their fragments, morphological attraction (assimilation of some morphological units to others). Besides, verse localization is a means of isolating and neutralizing the semantics of a certain unit. Within the framework of general poetic patterns in each text and “idiostyle” an authorial system of morphological selection and attraction is formed, which forms units and unities. The dynamics of the development of techniques and poetic means can be considered both within the framework of an individual work and in the comparative dimension, at the level of describing the idiostyle of an individual artist and in the idiostyles of different authors. Grammatical selection creates a variety of morphological dominants in individual works.
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Tsurtsilina, Natalya Nikolayevna. "RUSSIAN LANGUAGE TEACHING AS A FOREIGN LANGUAGE." Neophilology, no. 16 (2018): 32–38. http://dx.doi.org/10.20310/2587-6953-2018-4-16-32-38.
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We advise to use authentic materials in Russian language teaching as a foreign language. We focus on the textual approach. We give recommendations for methodical selection and literary and poetic text organization to form a foreign language communicative competence. We consider the specificity of communication in a foreign language teaching. The understanding and producing speech in a foreign language is also important. The teacher should have the means to analyze not only the authentic artistic/poetic texts he/she introduces into the teaching but also the texts produced by the students themselves in order to advise, support, assist and consult. The teacher’s aim is firstly to ensure that students are familiar with the maximum number of different texts samples in a foreign language, and then to help them to structure these data, to organize their presentation, and learn the data, to offer different activities using various linguistic and cognitive operations, finally to evaluate and to create conditions for self-assessment of their own communicative competence.
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Glesne, Corrine. "Commentary: Disappearing Into Another’s Words Through Poetry in Research and Education." LEARNing Landscapes 4, no. 1 (April 1, 2010): 29–37. http://dx.doi.org/10.36510/learnland.v4i1.358.
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Increasingly, researchers turn to literary and artistic forms such as drama, short story, and poetry to present data interpretations. Artistic representations of research highlight the contextual nature of knowledge, interconnections between research tale and teller, role of language in creating meaning, and serve to communicate with audiences beyond academic communities.This paper discusses use of poetic representations in qualitative research and then explores ways in which poetic representations could be used in public schools, their contributions to learning, and how they can be evaluated. Of most importance is that a sense of "play" be maintained so that language, form, and data become avenues for discovery and creativity.
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Al Askary, Payan Kaka Salih. "The Art of Paradox in Wafai’s Poems." Journal of University of Raparin 8, no. 2 (June 27, 2021): 440–68. http://dx.doi.org/10.26750/vol(8).no(2).paper19.
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The paradox is an artistic expression used for beautifying the poetic language, the poems of Kurdish poets like Arabic, Persian, and Western nations include these arts and the plays of the poetic language. This type of poetic art can be seen noticeably in every era of the Kurdish classic poems which is a reason for enriching and empowering the poetic language. It will also, produce modern imagination and expressions which will be thoughtful and speculative and it will attract readers’ attention due to its’ closeness to the contradictory art which is again a type of beautifying the semantic art. According to the earlier researches in this field, paradoxical art is a type of contradictory art but it has specific liberty by itself. The appearance of paradoxical expressions will be in the shape of semantical, lexical, and in one or two sentences. The Diwan of Wafay was focused on for this research amongst the diwans of classical Kurdish poets. Wafay (1844-1904) was a poet in the second half of the nineteenth century and the beginning of the twentieth. He had a warm poetic language and meaningful and vivid sentences. His poems are full of semantics and lexical artistic beautifications. For this purpose, the researcher will investigate the placement shapes of the generic paradoxical composition and analyzing them according to grammar and rhetorical in Wafay’s poems.
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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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Kostova-Panayotova, Magdalena. "The Russian Futuristic Experiment: the Language of the Poetic Resistance." Scientific knowledge - autonomy, dependence, resistance 29, no. 2 (May 30, 2020): 261–72. http://dx.doi.org/10.37708/bf.swu.v29i2.18.
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The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.
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Wang, Siqi. "Language of Poetry and Poetic Discourse (on the Problem of the Relationship of Concepts)." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 4–5 (2021): 119–28. http://dx.doi.org/10.26907/2541-7738.2021.4-5.119-128.
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The article examines the essential and logical-hierarchical relationships of such concepts as poetic discourse, poetic language, and the language of poetry. The relevance of the research is determined by fact that the understanding and interpretation of poetic discourse within the framework of the scientific theory is in a state of development, the methodology of literary criticism and linguistics is evolving, and many concepts are still confused. Opinions expressed by the researchers who have studied the essence of poetic language and language of poetry, as well as support the concept of poetic discourse, are analyzed. The main results of the study include the definition of concepts of ethical discourse, poetic language, and the language of poetry in close logical and epistemological relationship with each other. Based on the obtained results, the following conclusions are made. Firstly, the phenomenal essence of poetic language is described. Secondly, the mechanism of poetic discourse development is viewed as a result of two refractions (author’s and reader’s) of the language of poetry. At the same time, the language of poetry is presented as a locus (modus) of a worldview or a linguistic worldview. Thirdly, poetic discourse is considered as part of artistic discourse, which is not only emotional and aesthetic, but also cognitive and aesthetic content. The above-given conclusions are important for the theory of linguistics and literary criticism, because they contain the rationale for the statement that poetic discourse is a level of understanding and interpretation of the language of poetry as a mode of the linguistic reality. At the same time, poetic language is a skillfully applied technological side of a special kind of creative, heuristic activity.
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Vekshin, Georgy Viktorovich, and Marina Mikhaylovna Lemesheva. "Poet as a Role: on the Semantics and Pragmatics of Russian Poeticism." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 4 (December 15, 2019): 1067–87. http://dx.doi.org/10.22363/2313-2299-2019-10-4-1067-1087.
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The article is devoted to the semantics and pragmatics of Russian poetry as deictic pointers to the poetic sphere and one of the six universal socio-cultural roles - the role of the poet-writer. The communicative role is interpreted as an element of speech behavior, determined by the basic communication settings: to be and to seem . It is shown that the stylistic coloring of poetry is formed only due to its stable correlation with the typical context and role; poeticisms by themselves do not create poetry and cannot even be considered as its obligatory feature, so they are primarily the subject of literary language theory and reflects the general cultural consciousness of speakers. In connection with the requirement to distinguish between the stylistics of language and speech, we review the difference between the poetic style of the language, which is a repository of poeticisms, from the poetic language as a style of speech (an operational system of techniques and tactics that ensure the performance of an artistic task); a detailed definition of poetic language is given. There is also a short observation of poeticisms at different levels of the linguistic system. The article proposes the description of the semantic structure of Russian poeticisms. It is emphasized that poeticisms can be used according to their artistic perspective (as a narrative tool, role-playing tool, to eliminate any speech image, in an ironic manner, etc.), however, their condensation in the text discloses the priority of an extra-aesthetic strategy of self-presentation in the role of a poet and, as a result, can be an indicator of “bad poetry”. This idea is shown on the example of a typical text of mass poetry saturated with poeticisms. The experience of compiling the poetic corpus of “Russian Live Stylistic Dictionary” discovers the possibility to identify the stylistic semantics of the word and to predict the artistic quality of the text.
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Abilkamitkyzy, Rysgul. "REPETITION OF SOUNDS IN THE WORKS OF THE POET U. ESDAULETH." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 3 (September 15, 2022): 124–33. http://dx.doi.org/10.55808/1999-4214.2022-3.12.
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The article deals with the use and repetition of sounds in the works included in the collection of U. Esdaulet "Gumyr zhas". A word in versification is not only an element of a sentence, designed to complement or decorate a lyrical image. The word itself, and more specifically, the letters and sounds of which it is composed, can form a picture or its details in a poem. U. Esdaulet often uses this property of speech, using a number of phonetic devices in his works, such as anaphora, epiphora, various refrains, assonance and alliteration. The latter is one of the most common ways to create a special sound pattern of U. Esdaulet's speech. Analyzing the frequency of words in the poet’s works, their specificity, there was an attempt to reveal their artistic essence. Through a poetic text, he added to the treasury of the national language, creating new colors, new phrases brought a new poetic spirit. Demonstratinga high poetic skill through accessible words and phrases, he created new epithets, thereby singing the high aesthetics of the language. Choosing the most suitable means of language in the development of artistic poetry, he creates a unique work of art. Here the poet can skillfully choose the possibility of changing the aesthetic meaning of words. Thus, the poet creates original artistic images.
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Adeleke, Duro. "Poetic Exploration of Obasa’s Prolegomenous Poetry." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–43. http://dx.doi.org/10.32473/ysr.v5i1.130057.
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Mere mentioning of poetics often ignites the memory of Aristotle whose admiration is hinged on the elegance and clarity of his style in poetics. Tis is as a result of the historic influence of poetics or aesthetics as well as the quality of its thought. Tus, poetics is not devoid of philosophical nuances. Based on this premise, an attempt is made here to explore the poetic strands in Obasa’s trilogy, wherein Yorubá proverbs are strung together. The paper, therefore, considers aesthetic category of artistic mimesis, intertextuality and components of all diction alongside stylistic elements because the principal task of poetics is to measure its legitimate domain in language. Tus, it is averred that literature depends on linguistic structure for its existence since language is the substance of literature (in our own instance, poetry). The essay adopts an eclectic theoretical approach since Obasa’s craftsmanship and subject-matter span an avalanche of forms and structures imbued with stylistic features. Primary data are largely drawn from his anthologies which facilitate the content analysis. In its findings, the paper has brought to the fore the fact that Obasa employed adaptation and mimesis in his presentation creatively, ̣ while different stylistic elements in his trilogy are replete with deviation. An attempt is made to bring into bold relief the suggestion that metaphor forms the hub of all other tropes that give grandeur to poetics in Obasa.
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Pavlinchuk, T. "THE PAINFUL EXISTENCE IN THE BOLESŁAW LEŚMIAN’S POEM "AT NIGHT"." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(95) (December 17, 2021): 76–90. http://dx.doi.org/10.35433/philology.2(95).2021.76-90.
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The paper deals with poetic translation analysis of the poem "At Night"of the Polish poet Bolesław Leśmian. The appearance of Bolesław Leśmian’s poetry in Ukrainian translation (the collections of selected works "Садбожий спалахненець" and "Ангели" translated by M. Kiianovska) has become an important event. The researcher focuses their attention on the contextual, poetic, poetical, artistic and stylistic peculiarities of the poem "At Night", in connection with the philosophic and literary views of the poet. The wide range of scientific works on Bolesław Leśmian’s poetry in Polish literary studies allows us to study different aspects of this poet’s poetics: symbolism, peculiarities of the artistic images creation, the appeal to folk sources, the language of his literary works, the image of God in his poetry, the role of rhythm, immediacy of worldview and creating the world anew in "song without words" etc. The poetics of the poem has been studied, its interpretation is based on the unity of compositional, semantic, figurative elements of the poem.
The translation analysis, aimed at the study of structural and semantic features of the poem "At Night" in Ukrainian translation, is concentrated on the author’s peculiarities of creating images and their representation by M. Kiianovska in her translation of the poem. The author of the article focuses on the concept of the original and translation, the overall mood of the poem, its content, figurative system, structure, rhythmic organization, the rhyming system of the translation and the original. Special attention is paid to the analysis of the selection of lexical equivalents, the poetic syntax of the poem and other translation techniques on the way to better understanding of the text, the artistic images creation and grammatical and compositional integrity of the translation of the poem.
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IBRAHIM, Huiam AbuaL Kadhem, and AbdaLLah Habeeb KADHEM. "THE AESTHETIC OF THE LANGUAGE AND ITS DISPLACEMENT IN ABU AL-QASIMS AL-SHABBY'S POEM." International Journal of Humanities and Educational Research 03, no. 04 (August 1, 2021): 242–49. http://dx.doi.org/10.47832/2757-5403.4-3.21.
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The study aims to reveal the thrills of poetic language in(abu Qasim Al-Shabbi's) poem(Nasheed al-Jabbar), in terms of creative privacy that characterizes the rhythm of poetic language in terms of the opening of the introductory and the effectiveness of poetic images, and the aesthetic effectiveness of the text lock, to reveal the active axes Aesthetically, the stylistic variables contained in the poem in its stylistic transformations highlight the movement of aesthetic visions, and its artistic elements that appear in the captivating linguistic formations that adopt dialectic or the game of contrast and what it generates in the poetic pattern aesthetically to show the poem with all its artistic elements through The so-called aesthetic integration at the level of aesthetic patterns that this poem evokes in its dramatic aesthetic transformations. In fact, the poem (Nasheed al-Jabbar) by Abu Al-Qasim al-Shabi celebrates the exciting linguistic formations, not to mention the activation of aesthetic meanings, to defend life, this poem can be called (anthem of gloating and fathers) or anthem (steadfastness and confrontation) of the vices of the age such as disease, sorrow and misery, and it expresses the life of the poet in his final stage, and has been raided by disease and sanity, to live the spirit of confrontation and resistance in this poem, to be wrapped....
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Tieliezhkina, Olesia. "Means of expression of Ukrainian baroque poetry: linguistic style view." Ukrainian Linguistics, no. 51 (2021): 95–106. http://dx.doi.org/10.17721/um/51(2021).95-106.
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The mysterious world of Baroque poetry has scientific interest among both literary critics and linguists for a long time. However, despite some elaboration of the problem, there are some gaps that need linguistic and stylistic coverage. It determines the relevance of the consideration of expressive and pictorial means of different linguistic nature, manifested in the poetic works of the Baroque era. The purpose of the research is to identify and characterize the means of linguistic and artistic expression of the language of the Ukrainian Baroque poetic. Fundamental in the formation of a system of artistic means, realized in Baroque poetry at all levels of language, is a combination of rational and irrational principles. In the poetry of that time, the “atmosphere of the literary game” was consistently created, which was embodied with the help of certain linguistic and expressive units. The author concludes that Ukrainian Baroque poetry is characterized by the use of various tropes and stylistic figures, including assonance and alliteration, equiphony and metaphony, paronymic attraction and phonetic epanalepsis, sound imitation and capitalisation, metaphor and metonymy, comparison and epithets, personification and periphysis, hyperbole and meiosis, parallelism and gradation, antithesis and oxymoron, polyptoton and annomination, doubling and anadiplosis, anaphora and epiphora, homeothelium and chiasm, amplification and polysyndeton. Among them, the artists mostly used figures based on exaggeration, opposition, repetition, and metaphor. The masterful combination of different stylistic means ensured the creation of an expressive, unique and perfect linguistic and artistic picture of that time. The logical continuation of the started research is to find out the influence of the Baroque tradition of decorating the fabric of a poetic work on the further formation of the Ukrainian poetic language.
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Guimarães, Paula. "‘A FONDNESS FOR BEING SAD’: SOME PORTUGUESE SOURCES FOR ELIZABETH BARRETT BROWNING’S POETICS OF MELANCHOLY IN SONNETS FROM THE PORTUGUESE (1850)." Diacrítica 31, no. 2 (October 2, 2018): 23. http://dx.doi.org/10.21814/diacritica.230.
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In seeing melancholy as the antithesis of poetic creativity, the Victorians often broke with the traditional Renaissance and Romantic attitudes of equating melancholy moods with artistic or poetic genius. This article proposes to explore how, initially viewed as an emotional and ‘depressed’ woman poet, Elizabeth Barrett Browning tried to resist and escape the sickening disempowerment or abandonment which had affected poets such as Felicia Hemans and Letitia Landon, and engage in a new poetics of melancholy in Sonnets from the Portuguese (1850). It demonstrates how the poet plays this poetics out in most of her later sonnets, where she indeed attempts to prove that good poetry can be written without melancholy, even if she herself does not always succeed in this deliberate rejection of ‘dejection’. The article thus intends to suggest, through a brief comparative analysis, that her apparently contradictory poetics of melancholy very probably derived from a specifically Portuguese poetic tradition, namely the ‘fondness for being sad’ of Luís de Camões, as well as the sorrowful love of Mariana Alcoforado’s epistles (1669) and of Soror Maria do Céu’s mannerist poems, an influence that is supported in the great similarity of motives and language that can be found in the respective texts.
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Isabel Castelao-Gómez. "The Art of Life, the Dance of Poetry: Gender, Experiment and Experience in Mina Loy and Diane di Prima." Miscelánea: A Journal of English and American Studies 56 (December 20, 2017): 33–56. http://dx.doi.org/10.26754/ojs_misc/mj.20176786.
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Mina Loy and Diane di Prima’s experimental poetic contributions to their early “situational avant-gardes” (the 1910s Modernists and late 1950s Beats in New York) vindicated the relation of gender and experiment within their countercultural movements, redefining these groups’ poetic and ideological tenets. Firstly, I will connect and contextualize these two poets as part of American feminist avant-garde tradition. Then, I will study their early poetry’s specificities and their common particularity: a gendered approach to the interconnectivity between experiment and experience. The article develops the idea that Loy and di Prima’s “motional” poetics of alternate forces of expression and linguistic experimentation is a dynamic materialization of the ambivalence involved in their bodily and spatial experiences of inclusion and exclusion as bohemian women poets in their urban environment and their artistic communities. The last section theorizes the way these embodied positionalities, and the continuum formed by environment, space, body and language, interrelate with Loy and di Prima’s feminist motional avant-garde poetics based on material feminist philosophies and postmodern and experimental literary critics’ views.
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Szczeglacka-Pawłowska, Ewa. "Wyrafinowany koncept. O miejscu [Królewny Lali] Adama Mickiewicza w historii literatury." Roczniki Humanistyczne 67, no. 1 (July 4, 2019): 95. http://dx.doi.org/10.18290/rh.2019.67.1-7.
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The article attempts to define the place of Adam Mickiewicz’s unfinished work from the last stage of the poet’s artistic life, titled [Królewna Lala] [Princess Lala], in the history of literature, and thus in the history of literary research, and to outline the possible interpretations of the work using the category of Romantic irony and the idea of concept. A fine artistic idea behind [Królewna Lala] consists in using complex contrasts, combining fairy tale with realism, seriousness with comedy, simplicity of language with poetic mastery, dialogue with literary tradition. It is a virtuoso performance of the writer who creates a comic effect that is closer to the poetics of the absurd (pure nonsense) than to pure comedy. The work reveals a new aesthetic quality, unknown to Mickiewicz’s earlier works.
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حسین, عطا رشید. "بنیاتی ڕووداو له دهقی شانۆیی (هاڤاڵی بهئهمهگ) ی (میدیا زهندی) دا." Journal of University of Raparin 6, no. 2 (October 23, 2019): 494–519. http://dx.doi.org/10.26750/vol(6).no(2).paper26.
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Abstract:
This paper gives a detailed introduction to create the structure of event. Finally, We can conclude the following points:
-Narration is an important point of this play ,in other words ,narrator's role to practite the style of the writer and her ideology in this text .
-The techniques of Narration clarify all events as a classical style (series).
-The elements of the text are (time , location , characters , event,…).It is well known that event of text is the most important element to create an artistic play. In addition, the event simplifies the hidden points of the play and life.
-The writer narrates serial events using a simple poetic language to convince the readers about social and real events. This is not a weak point of this play but the simple language is necessity of this text.
-The dramatist (writer) could use the technique of drama to express her poetie aim (i.e Literary and Artistic) elements in the same text (play).
-The events of plot in this text, both sides (main events and secondary events)are quoted from people's daily life mixing realism and imagination. In this way, the dramatist uses a real poetic style to express
Social problems in society,it means all elements have been accomplished in dramatist's mentality and her imagination as a literary style and fantastic text.
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Jabborova, Dilafruz. "Interpretation of Fitrat Dramas in Literary Criticism." International Journal for Research in Applied Science and Engineering Technology 9, no. 12 (December 31, 2021): 2437–40. http://dx.doi.org/10.22214/ijraset.2021.39332.
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Abstract: This article examines the fact that after the independence of Uzbekistan, the works of modern literature began to be reevaluated on the basis of new approaches. Literary scholar Ilhom Ganiev's monograph "Poetics of Fitrat dramas" is analyzed and the poetic world of the playwright is covered. The article is based on the analysis of the physicist's focus on Fitrat's character creation skills, the symbolic and figurative motives used in dramas, and the use of artistic language. Keywords and word expressions: drama, jadid literature, criticism, natural science, jadid studies, jadid writers, playwright, drama, symbolism, theater, tragedy, soviet ideology, “Abulfayzkhan”, confection, “Hindu ihtilotonzhon”, conflict, independence ideas, poetic thought, hermeneutic thinking, vulgar-sociological approach, principle, reassessment, new scientific and aesthetic thinking, systematic approach, analysis and interpretation, hermeneutics, synergetics, structuralism, historical-biographical approach, historical-cultural approach, modernism, absurdity, existentialism.
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Ismail, Dr Nawzad Shukur, and Assist Lect Abdullah Ibrahim Faqi Salih. "Sensory and Mental images in the poetry of Hakim Nadim AL-Daoudi." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 227, no. 1 (December 1, 2018): 275–300. http://dx.doi.org/10.36473/ujhss.v227i1.695.
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The theme of the sensory and mental image in their general sense is a starting point for poets to enrich their poetic experiences and draw their artistic paintings that reflect their intellectual visions, feelings and emotions, taking into account the reality of living and imagination. This research deals with the patterns of sensory and mental images of the Iraqi expatriate poet Hakim Nadim Al- Daoudi, and reflects his poetic experiences, which were filled with visions, ideas and feelings in a beautiful artistic style with profound connotation based on his cultural references and linguistic vocabulary, which we rarely find in other poets who write in a non- native language. This is what enriched his poetic texts in terms of his realistic vision of the problems of his society with his intellectual and political dimensions, which cast a shadow on the identification of the features of his sensory and mental image, and the fact that he employs them through what he sees, hears, smells, touches, and tastes, his poetic vision formed a spirtual, spiritual paintings that takes the recipient away to the poetic self- worlds to share his artistic experience.
The research plan is based on the descriptive analytical approch divided in to two chapters, one of which deals with sensory images of the visual , physical, auditory, tactile and tactile types. In the second chapters we discussed the mental images that included the avator and the abstract images, concluded with the main findings of the research.
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Hatten, Robert S. "A Surfeit of Musics: What Goethe's Lyrics Concede When Set to Schubert's Music." Nineteenth-Century Music Review 5, no. 2 (November 2008): 7–18. http://dx.doi.org/10.1017/s1479409800003347.
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Of the many possible relationships between music and poetry, which are but a small subset of the possible relationships between music and text, I have chosen a still narrower focus for inquiry. I will investigate two independent, lyric poems whose musically poetic language and form was fully conceived without any expectation that a composer might use their texts as structural scaffolding and expressive inspiration for related, and emergent, musical and artistic ends. Two lyric poems by Goethe, each set by Schubert, will serve to illustrate the conflict between poetic and instrumental/vocal musics, in which the lyric poems inevitably concede something of their music to an appropriation by, and not merely a translation into, another artistic medium. Even when Schubert succeeds in exemplifying, or expanding upon, the symbolic richness of meaning embodied in the poem, we should consider the fate of overwritten meaning embodied in the musical language and form of the poem by itself.
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Talalaeva, Ekaterina. "Specifics of Expression of the Poetic Word in the Philosophy of H.-G. Hadamer’s and L. Wittgenstein’s Languages." Logos et Praxis, no. 4 (February 2019): 12–17. http://dx.doi.org/10.15688/lp.jvolsu.2018.4.2.
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The article compares the linguophilosophical views of H.-G. Gadamer and L. Wittgenstein on one of the key aspects of poetic perspective. The founder of philosophical hermeneutics, Gadamer, in many ways developed and supplemented the ideas of his outstanding mentor M. Heidegger on the special ontological role of poetry as a "pure language" with the introduction of the concept of "pure poetry" into the scientific revolution. According to Gadamer, the poetic language has only its inherent tightness. This property of poetry makes it possible to preserve the semantic unity and semantic integrity of the poetic text, and also prevents the poetic word from losing its unique intrinsic value. On the other hand, the tightness of poetry excludes the possibility of voicing it, allowing only a written fixation of the poetic text. According to Gadamer's philosophical convictions, the verbal expression of poetic utterances leads to a significant distortion of the original artistic intent. Wittgenstein, in turn, standing at the origins of analytical philosophy, insists on the impossibility of expressing poetic utterances by means of ordinary language, since they do not reflect the facts and the status quo in the world, i.e. are outside factual language. In accordance with the position of the Austrian thinker, everything that does not correlate with logically correct speaking should be immersed in the sphere of silence. Nevertheless, both philosophers agreed in their arguments that the problem of the unpredictability of a poetic word can be solved with the phenomenon of showing, which can convey the meaning of a poetic work in a different way. The show does not belong to the field of language or silence, but is able to fully express the meaning of the poetic work.
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Thwala, Jozi Joseph. "The Employment of Metaphor and Simile in Selected Siswati Poetry." IRA International Journal of Education and Multidisciplinary Studies 15, no. 5 (November 2, 2019): 181. http://dx.doi.org/10.21013/jems.v15.n5.p4.
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The focus of this research work on selected descriptive of images refers to the analytic survey of metaphor and simile. They are selected, defined, explained and interpreted. Their significances in bringing about poetic diction, licence, meaning, message and themes are highlighted. They are fundamental figures of speech that implicitly and explicitly display the emotive value, connotative meaning, literariness and language skills. The poetic images reflect and represent real life situations through poetic skills and meanings. The literary criticism, comparative and textual analysis is evident when the objects are looked at from animate to inanimate and inanimate to animate. They serve as basic methodologies that are backing the theories and strategies on selected figures of speech. Imagery is the use of words that brings picture of the mind of the receiver or recipient and appeal to the senses. It is, however, manifested in various forms for resemblances, contrasts and comparisons. Artistic language through images revealed poetic views, assertion and facts.
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Zhu, Yuanyan, Yixuan Zeng, Xiangyu Yan, and Jiayi Wu. "Poetic Dwelling of the Ocean: Appreciating the Man Who Has Never Seen the Sea from Heidegger’s Poetic View." BCP Social Sciences & Humanities 18 (June 30, 2022): 435–40. http://dx.doi.org/10.54691/bcpssh.v18i.1142.
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Heidegger believed that the origin of a nation’s historic existence is art. In the artistic world, we can expose the alienation of reality, uncover the original beauty, and return to poetic human habitation. In Le Clézio’s works The Man Who Has Never Seen the Sea, bystanders, as “intermediaries”, construct virtual dreams to escape from the city’s dreams. In the interaction with the natural ocean field, Daniel, a pure child messenger, is shaped, and his original experience is used to restore the original language, so as to realize the original awakening of human beings and create a poetic dwelling.
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Glebova, E. N. "The methods how to work with a poetry in teaching Russian as a foreign language." Язык и текст 3, no. 2 (2016): 54–61. http://dx.doi.org/10.17759/langt.2016030206.
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The article is devoted to using poetry in the practice of teaching Russian as foreign. With the aim of developing educational, developmental, educational and cognitive aspects of language education suggests principles for the selection of poetic works, are considered appropriate tasks, working with artistic and expressive means of the language adds emotion to the product and the brightness of the images. Development of grammatical skills, the author of the article refers to the playing technique and considers different types of games. Thus the work with a poetic text on the lesson, not only as a fact of culture but a base for a certain number of jobs, which together would ensure the inclusion of all aspects of language education and kinds of speech activity.
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Podvorchan, A. Z. "The syntax of a simple sentence in the poetry of Yevhen Malanyuk." Bulletin of Luhansk Taras Shevchenko National University, no. 3 (341) (2021): 37–42. http://dx.doi.org/10.12958/2227-2844-2021-3(341)-37-42.
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The article considers the peculiarities of the syntax in the simple sentence on the basis of small forms poetry which was written by Yevhen Malanyuk. It is analyzed and established that the stylistic resources of a simple sentence include special cases of using homogeneity, varieties of simple sentence models, various complicating components. Incomplete sentences are the most expressive syntactic constructions in Yevhen Malanyuk's poetic texts. It was found out, that the poet often uses the inversion, so in the sentence he changes the parts of the sentence in order to elicit different emotions (e.g. positive or negative feelings) of the reader, to focus his attention on a particular parts of the sentence. Also the author uses productive sentence models, but it is established that simple sentences with complex components are dominated in this way. The study clarifies the features of syntactic and stylistic organization of the language of poetic works, such as the specifics of subject and predicate coordination, cases of pictorial use of homogeneous parts of the sentence, the expressive possibilities of a simple sentence in poetic texts. The result of this work highlighted the features of syntactic and stylistic organization of the poetic text of the author. Thus, the study make it possible to recognize the contribution of the author in the development of syntactic system resources of Ukrainian artistic speech. Also, it helps to determine the patterns and trends in the development of literary language. The research of the syntactic linguistic aspect of Yevhen Malanyuk highlights the individual uniqueness of the poet. The perspective of the study is to research the syntax of a complex sentence in the works of Ye. Malaniuk. Besides to understand the features of the language of the poet's language as a unique phenomenon in the history of the Ukrainian literary language.
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PALASH, Alyona. "INTERTEXTUALITY IN THE POETIC LANGUAGE OF MAXYM RYLSKYI." Culture of the Word, no. 92 (2020): 114–22. http://dx.doi.org/10.37919/0201-419x-2020.92.9.
Full textAbstract:
Problem’s setting. The problem of interpretation and research of the term “intertextuality” today is a topical issue of philosophy, literary criticism, linguistics, modern Ukrainian linguistic poetics, and stylistics of the text. That is, no text can be created in an empty space, it must have an intertextual relationship with other works or texts. Analysis of recent studies. The theoretical basis for the study formed works in the field of modern linguistics, in particular, Robert de Bogrand, Alexander Veselovsky, Olga Vorobyova, Wolfgang Dressler, Alexander Potebnya considered “intertextuality” as a textual category; Yuri Lotman, Vladimir Lukin – as a prerequisite for textuality; Lyudmyla Babenko, Suren Zolyan, Larysa Omelchenko, Natalia Fateeva – as means of its implementation in specific texts. Objective of the research. The purpose of the work is to analyze the external and internal connections of the literary text of Maksym Rylsky and the means of their realization in the explicitly intertextual process of the text’s existence. The main part. The article studies the peculiarities of the artistic embodiment of intertextuality in the poems of Maxim Rylsky; the definition of intertext in a broad and narrow sense is traced; the classification of the intertextuality of Jennet is singled out. The focus is on the separation of language units, intertextual components in the language of Maxim Rylsky; examples and quotations, allusions, titles, epigraphs, hints, genre connection of texts, references to the pretext in the artist’s creative work are given and analyzed. Conclusions. Research and analysis of the intertextuality of the artist’s poetics show that in a new way the comprehension and depiction of quotations, allusions, epigraphs, titles, hints, paraphrases become differential features of the individual author’s style.
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Wilson, Clare. "Two artists and two mélodies." Journal of Romance Studies 21, no. 3 (December 1, 2021): 375–98. http://dx.doi.org/10.3828/jrs.2021.21.
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André Caplet (1878-1925) set just two of Baudelaire’s poems: La Cloche fêlée [‘The Cracked Bell’] and La Mort des pauvres [‘The Death of the Poor’]. These mélodies were composed in 1922, just three years before the artist’s death. For a composer with a tendency to shy away from setting poetry of the French giants of literature, the questions of how and why Caplet chose to translate Baudelaire’s poetry into the mélodie are intriguing. This exploration of La Cloche fêlée and La Mort des pauvres considers the ways in which Caplet reflects the poetic imagery of Baudelaire’s texts within musical structures. Caplet’s compositional language is distinctive, and his artistic approach to musically illuminating poetic meaning is perceptive and sensitive. Through viewing the creative intersection of these two artists, this article offers an interpretation that presents a perspective on Caplet’s musical character and reveals insight into his connection to Baudelaire’s poetic language.
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Alasgarova, Solmaz. "Anthroponyms in m. F. Akhundzade’s comedies." Scientific Bulletin 2 (2019): 101–7. http://dx.doi.org/10.54414/jfxr8144.
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Poetic onomatology is a study of onomastic units in artistic literature. With the help of onomastics we can get information about nation’s language, culture, history, worldview, ethical and aesthetic values and traditions. In M.F.Akhundov’s comedies beside compliance and contradictory of anthroponyms to the nature of character, appearance, also clarifies anthor’s attitude towards the character.
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KRAVETS, Larysa. "METAPHORS OF NATURE IN THE POETIC TEXTS OF M. RYLSKYI AND L. KOSTENKO." Culture of the Word, no. 92 (2020): 52–62. http://dx.doi.org/10.37919/0201-419x-2020.92.4.
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Metaphors of nature are very important in the works of Ukrainian poets M. Rylskyi and L. Kostenko. Metaphors of nature are a means of expressing key artistic ideas and a marker of individual style, and an indicator of the dynamics of figurative language. For M. Rylskyi and L. Kostenko, nature is a source of inspiration and an object of poetic image. Through the metaphorization of the concepts of nature, the authors realize a wide range of ideas about the eternal problems of mankind. Most often metaphorical expression in the poetic texts of M. Rylskyi and L. Kostenko have traditional for the lyrics images of the seasons (autumn, spring, summer, winter), flora (forest, individual trees (willow, oak), atmospheric phenomena, rain, snow, fog, wind), parts of the day (evening), reservoirs (river). A separate subject of metaphorization is nature, the world as a whole. Most of these metaphors profile the beauty and perfection of nature, but often have the semantics of time, memory, recollection, will, freedom. Metaphors of nature in the poetic texts of M. Rylskyi and L. Kostenko are characterized by a synthesis of intellectualism and emotionality. In the poetic texts of artists, they contribute to the realization of the author’s intentions and at the same time preserve the connection with tradition and show signs of a particular artistic style (romanticism, classicism, realism). Metaphors of nature evolve with the development of language creativity of artists, which is manifested in the associative and semantic-grammatical complication of the structure and expansion of the functions of these metaphors.
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Khanlar Yunusova, Gunel. "Personage names in a literary texts." SCIENTIFIC WORK 58, no. 9 (October 10, 2020): 84–86. http://dx.doi.org/10.36719/2663-4619/58/84-86.
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There are different views on the study of functional specifics of the artistic text. An important factor that should be taken into account when studying the functional specificities of the narrative texts is that the texts being analyzed relate to different functional styles of language. It is well known that the name varies depending on the functional styles and types of speech, reflecting the sociolinguistic parameters of the use of the name: birth, area, regulation, social group, situation. Key words: artistic text, literary style, poetic onomastics, proper names, anthroponym
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Siuta, Halyna М., Iryna M. Ivanenko, Zoriana R. Dubravska, Liudmyla M. Mialkovska, and Olha R. Senkovych. "Dynamics of stylistic norms in the artistic discourse of the xx century." LAPLAGE EM REVISTA 7, Extra-A (April 22, 2021): 26–37. http://dx.doi.org/10.24115/s2446-622020217extra-a773p.26-37.
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Ukrainian literary language is a complex communicative system, synchronous-diachronic section of which is informative regarding the state of development of national consciousness, intellectual level of society, and in a broader sense – concerning inscribing of the language in the history of national and world culture. This article is devoted to tracing the temporal and conceptual dynamics of the stylistic norm in the work of Ukrainian writers of the 20th century. The methodological basis for the study was made by such methods as comparison and analysis of literary works of Ukrainian writers of the XX century. As a result of the study, the authors concluded that the linguistic norm is a cognitive reference point for the scientific parameterization of the style norm of artistic discourse. The authors also emphasize that the dynamism of the stylistic artistic norm lies in the ability of the poetic language to respond to the development of artistic and linguistic consciousness, thinking of both the author and the reader in various manifestations.
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Mermigki, Dimitra. "Οι διαλεκτικές όψεις της ποιητικής." Epistēmēs Metron Logos, no. 3 (January 11, 2020): 93. http://dx.doi.org/10.12681/eml.22109.
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This text is dedicated to the Emeritus Professor of Analytical Philosophy and Poet, Aristophanes (Αris) Koutougos. From his prolific poetry (published, or under publication), emerges a dialectic of a characteristic poetic idiom, his own "Aristophanean-poetry". Its main element is the delimitation of the poetic shape in the breadth of the surface of artistic creation within philosophical depth in general. Ηis poetic discourse super-vises time reflections on the structural rivalries of its declarative propositions which, eventually, reshape the complexity and purify the uncontrolled outbursts or "sharp remainders" of the dramatized (comic-tragic) event. A.K. approaches poetry and philosophy by opening a new discussion about the idea of an aesthetic dialectic with painting, music and song, mostly in natural everyday language as philosophically influenced.
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Veckrācis, Jānis. "Poetic Cycles and Information Beyond the Micro-Level of Words: On the Translations of Joseph Brodsky's Cycle A Part of Speech Into English and Latvian." Research in Language 19, no. 3 (September 30, 2021): 251–65. http://dx.doi.org/10.18778/1731-7533.19.3.02.
Full textAbstract:
A poetic cycle is a specific case of poetic contextualisation and for translators this means additional efforts in identifying the micro- and macro-level network of functional and semantic links. Joseph Brodsky’s cycle A Part of Speech represents a highly conceptual approach and strong integration of each and every poem. In this context the paper briefly outlines different types of micro- and macroscopic approaches to poetry translation. Further practical analysis of some translation issues observed in the respective English and Latvian translations show that decisions of poetry translators are informed by different backgrounds in the author-text-reader relationships. Artistic creativity is certainly present in the translation activity but this does not mean that a completely independent target text is produced.