Relevant bibliographies by topics / Poetic reality

Academic literature on the topic 'Poetic reality'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Poetic reality"

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Kallo, Elena, and Anna Lileeva. "Give me a magazine – hooray for the game! (description of the magazines "Grotexny Mnogopotam" and "TraNvay 13", 1986–1998, executive editor M.V. Panov)." Professor’s Journal. Series: Russian and Literature: studying and teaching 1 (February 25, 2021): 35–45. http://dx.doi.org/10.18572/2687-0339-2021-1-35-45.

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The article describes the content and the poetics of the magazines “Grotexny Mnogopotam”, “TraNvay 13”. The “poetic shift” is a dominant technique in the home magazines edited by M.V. Panov. In the creating process of the magazines the poetic shift technique extends to non-verbal reality and combines word, image, and game.
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Moskvichova, Oksana. "Poetical Text as the Specific Way of the Reflection of Reality." Studia Linguistica, no. 13 (2018): 215–27. http://dx.doi.org/10.17721/studling2018.13.215-227.

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The article is dedicated to the embodiment of reality in the poetic model of the world of the British poetry by means of the linguistic and poetic analysis of tropes as the way to actualize cognitive processes in the formation of the world model. By means of linguistic, poetic and cognitive analysis the cognitive aspect of the poetry of the British romantic, modern and post-modern periods is investigated. From the position of cognitive linguistics and cognitive poetics poetry is analyzed as the embodiment in the poetical works the result of cognition of a poet and his interpretation of reality on the background of his physical, social and cultural experience. Reconstruction of the poetical model of the world on the base of British poetical texts is accentuated on the notion of poetry and poetic texts, on the reflection of reality in poetry, on esthetic aspect of poetry and on linguistic and communicative peculiarities of poetry. The article is actual as the generalization of linguistic, poetic and cognitive paradigms aimed to the construction of the model of the world of different cultural and historic periods. The aim and the results of investigation are determined by the specification of the poetical viewpoint embodied in the British poetry of romantic, modern and post-modern periods.
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Batista, Ozaias Antonio, and Ana Laudelina Ferreira Gomes. "CHILDHOOD IN THE SHADOW OF A LIME AND ORANGE BLOSSOM." Revista Inter-Legere 1, no. 22 (August 9, 2018): 112–35. http://dx.doi.org/10.21680/1982-1662.2018v1n22id15297.

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Understanding imagination as an anthropological faculty capable of instigating the being to completely recreate itself, this paper aims to present some experiences lived by Zezé, a protagonist of the novel “O meu pé de laranja-lima” (my lime-orange blossom) in order to problematize the role of the imagination in the constitution of the being, also embracing their sociocultural reality. To accomplish this purpose, we have adopted the phenomenology of Gaston Bachelard's poetic imagination in dialogue with literary images in the “Poetics of reveries” as a theoretical and methodological assumption, since this research is restricted to the novel mentioned. We were able to identify that the images conceived by Zeze enabled another understanding of himself and his reality, due to the creative movement provided by the imaginative. Keywords: My lime and orange blossom. Imagination and poetic. Imagination and poetic images. Oneiric childhood.
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Dubrovskaya, S. A., and S. P. Gudkova. "Pushkin’s Poetic Behavior: Myth and Reality." Russkaya Literatura 4 (2018): 250–51. http://dx.doi.org/10.31860/0131-6095-2018-4-250-251.

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Antonov, Yuri Grigorievich, and Nikolai Valerievich Karpov. "THE MOTIF-IMAGE WORLD OF DMITRY TAGANOV’s LYRICS." Yearbook of Finno-Ugric Studies 16, no. 3 (September 29, 2022): 462–69. http://dx.doi.org/10.35634/2224-9443-2022-16-3-462-469.

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The article examines the artistic specificity of the lyrics of Erzyan poet Dmitry Taganov, analyzes the motif-image system of his poetic experiments, defines the author's place in the modern national poetic system, points out the individual-author concepts that enrich Mordovian poetry. The most common constants of the author's poetry are outlined: the image of home which reveals the inner state of a lyrical hero, recreates the surrounding reality, indicates the ongoing transformation of human existence; his mother tongue, love and care for which is one of the creative dominants for the poet. The poet's great interest towards the theme of home is revealed through the images of close people and landscape, through which he recreates a picture of his second homeland and highlights the feelings of a lyrical hero. The description of seasons helps Taganov to reveal his state of mind. The analysis of the poet's lyrics allows us to state that the poet, possessing an individual poetic style, reveals the inner world of a lyrical hero and recreates the surrounding reality in a concise form and memorable artistic means.
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Tebegenov, Т., and S. Asilbekuli. "ARTISTIC CHARACTER OF ZHUMEKEN NAZHIMEDENOV'S POETRY." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 344–52. http://dx.doi.org/10.51889/2020-4.1728-7804.70.

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The article analyzes the artistic features of lyrical and ethical works in the poetry of the outstanding poet, laureate of the State prize of the Republic of Kazakhstan Zhumeken Nazhimedenov. The poet's poetry is dominated by civil-Patriotic lyric poetry, psychological and philosophical integrity of the sung questions: the native land of the great Steppe, the sacred homeland, the continuity of generations, respect for ancestors, etc. At the same time, the author analyzes the poetic and aesthetic semantic features of artistic images in lyrical poems about nature in the poet's poetry (personification, metaphor, epithet, comparison, symbol, allegory, psychological parallelism, etc.). the Lyrical and psychological nature of civil dedications to things and phenomena in nature is determined by text analysis. We also analyzed critical motives expressed by images of irony and sarcasm in the poet's poems, which assessed gaps and shortcomings in the system of relations in the domestic and social environment. Differentiated features of the historical-philosophical, aesthetic-poetic artistic solution of the poem in the epic poetry of the poet in the generalization and reflection of the reality of life with artistic reality. The research is highlighted in the context of a new consideration of the text analysis of the poetic features of works in the poet's poetry.
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Dijkstra, Cathrynke, and Martin Gosman. "Poetic fiction and poetic reality: The case of the romance crusade lyrics." Neophilologus 79, no. 1 (January 1995): 13–24. http://dx.doi.org/10.1007/bf00999559.

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Byford, Andy. "Art and Reality in Zamiatin's Poetic Theory." Symposium: A Quarterly Journal in Modern Literatures 54, no. 3 (January 2000): 139–58. http://dx.doi.org/10.1080/00397700009598295.

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Marković, Bojan. "The Meaning of Writing Modern Poetry in a/the New Century." Transcultural Studies 11, no. 1 (December 23, 2015): 22–34. http://dx.doi.org/10.1163/23751606-01101004.

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The paper deals with the sense of writing poetry as a form of text immanence that is antinomous to the contemporary age, which is also an alternative system of thought, of transformation, of imitation and of critical redefinition of the reality of that contemporary age. At the same time, poetry is a neglected, peripheral literary genre, but also a hyperbolized fictional form that opens the way to an alternative victory of opinions and feelings. Essayistic in structure, the paper discusses several poems and the poetics of three 20th century Serbian and Yugoslav Modernists (Kosovel, Dis, Crnjanski), in order to show, on the basis of their developing and differentiated poetic self-consciousness, what sense the writing of poetry might have in the 21st century. In these instances of poetics, paradigmatic of poetic self-consciousness in general, not all the possibilities of the sense of creativity and action have been exhausted, nor the poetic solutions leading to it.
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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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Dissertations / Theses on the topic "Poetic reality"

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Dickerson, Brendhan Bailie. "Magical realism and subjective reality : an investigation of poetic symbolism and the development of related sculptures." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/13862.

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Bibliography: leaves 58-62.
To meet the requirements for the Master of Fine Art degree at the University of Cape Town my intention was to develop a series of sculptural assemblages which address a sense of subjective or poetic reality, using symbolically resonant found and fabricated objects. The body of work is to be understood as a sculptural parallel to (but not illustrative of) Magical Realist literature, in which arcane phenomena are incorporated into a narrative in order to achieve just such a sense of subjective reality.
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Keim, Robert. "Words That Weave a Reality Reborn: Performative Language and the Theory of Poetic Translation." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1607547589681778.

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Sepúlveda, Jesús. "Toward a poetic of de-inhabitation /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080597.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 166-175). Also available for download via the World Wide Web; free to University of Oregon users.
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SANTOS, JANAINA DE OLIVEIRA. "POETRY AS A LANGUAGE OF REALITY: THE POETIC REFERENCES OF PIER PAOLO PASOLINI AN IDEA OF ITALIAN DIALECTAL POETRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26951@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Em 1960, Pier Paolo Pasolini publicou pela editora Einaudi seu livro de ensaios poéticos, intitulado Passione e Ideologia. Essa obra reflete a relação afetiva e intelectual do autor com a poesia dialetal italiana. Partindo do recolhimento dos cantos dialetais feitos por folcloristas do Oitocento, tais como Pitrè, Tommaseo e Nigra, Pasolini elucubrou a poesia dialetal como a poesia popular italiana por excelência. Nesse sentido, pretende-se demonstrar como Pasolini, mediado pela leitura dos trabalhos dos críticos Benedetto Croce e Gianfranco Contini, promoveu um mapeamento das principais referências que justificariam as possíveis afinidades da poesia em dialeto com a poesia dita popular. Autores como Dante, Vico, Rousseau, Herder e Giovanni Pascoli foram mobilizados por ele dentre aqueles que pensavam a poesia como sendo a primeira linguagem entre os homens, sendo ela proveniente do vulgo e, sobretudo, como fruto de uma atividade sentida e imaginada.
In 1960, Pier Paolo Pasolini published by Einaudi publishing his book of poetic essays entitled Passione e Ideologia. That work reflects the emotional and intellectual relationship of the author with the Italian dialectal poetry. Starting from the gathering of dialectal songs done by folklorists of the Italian Oitocento such as Pitrè, Tommaseo and Nigra, Pasolini thought over the dialectal poetry as a popular Italian poetry par excellence. In this sense, we intend to demonstrate how Pasolini, refereed by reading the works of the critics Benedetto Croce and Gianfranco Contini, promoted a mapping of the main references that justify the possible affinities of poetry in dialect with a alleged folk poetry. Authors such as Dante, Vico, Rousseau, Herder and Giovanni Pascoli were mobilized by him among those who thought poetry as the first language of men, coming from the vulgar, and above all, as the result of a felt and imagined activity.
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Elnitsky, Svetlana. "The conflict of the lyric hero and reality in the poetic world of Tsvetaeva = Konflikt liricheskogo geroi︠a︡ i deĭstvitelʹnosti v poėticheskom mire T︠S︡vetaevoĭ." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=76527.

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The study has two main aims: it presents an overview of Tsvetaeva's poetic world and it analyses one of her major themes, that of the conflict between the lyric hero and reality.
Close reading of Tsvetaeva's entire oeuvre reveals a system of invariant themes, motifs and their concrete manifestations; this system is hierarchically organized.
The study describes the structure of Tsvetaeva's artistic universe: its mutually opposed worlds ("this", non-authentic, and "the other", authentic) and its different types of characters.
Particular attention is given to the peculiarities of Tsvetaeva's lyric hero, notably intensity, the "two-fold nature", and the predilection for conflict. Analysis focuses on various forms of conflict of the lyric hero--with the world, with life, and with the self. This demonstrates the total disharmony of Tsvetaeva's universe.
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Baker, Jean Leslie. "Towards giving voice to internal reality : a study of the dialectic between internally and externally driven realities in the poetic of Anne Hébert /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/8286.

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Souza, Silva Patricia. "A Casa d’Heleno Godoy : présentation, critique et traduction." Thesis, Pau, 2018. http://www.theses.fr/2018PAUU1050/document.

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La maison est un lieu privilégié de l’intime, ayant des tonalités distinctes pour chacun. A Casa est un recueil de poèmes du poète contemporain brésilien Heleno Godoy, réunissant les aspects matériels de la maison par un langage objectif. En privilégiant la concréticité de cet espace, l’auteur propose au lecteur de bâtir son propre lieu intime. C’est une expérience poétique singulière, car en partant des images concrètes, le lecteur peut s’abstraire de la dureté du quotidien pour finalement l’envisager sous sa poéticité. C’est justement l’affrontement de la maison réelle par la poésie, qui permet au lecteur de se trouver dans une demeure qui ne se situe pas à l’extérieur, mais à l’intérieur de lui-même. Il s’agit effectivement d’un lyrisme de la réalité. Cette étude a pour objectif de présenter A Casa au public francophone, en apportant son exégèse ainsi que sa première traduction. Pour ce faire, la thèse comporte deux parties, ainsi qu’une proposition de traduction d’A Casa. La première partie situe l’auteur et l’œuvre dans leurs contextes, pour analyser ensuite le recueil choisi. La seconde partie traite du processus traductif de ce recueil, revenant sur les concepts de traduction, notamment celui de la traduction poétique, pour tenter d’en préciser le rapport entre la théorie et la pratique. Suit un commentaire détaillé des difficultés rencontrées lors de la translation de cette œuvre en français. Une version française d’A Casa conclut cette thèse
A house is a privileged place for intimacy, offering distinct tones for everyone who looks at it. A Casa, by the contemporary Brazilian poet Heleno Godoy, is a collection of poems combining the material aspects of a house with an objective language. Privileging the concreteness of this space, the author proposes to the reader to build his own intimate place. It is a singular poetic experience because, starting from concrete images, the reader can abstract or distance himself from the hardness of everyday life to finally consider it under its poeticity. It is precisely the confrontation of the real house with poetry, which allows the reader to find himself in a house that is not outside, but inside himself. Indeed, it is a lyricism of reality. This study aims to present A Casa to the French-speaking public, bringing its exegesis as well as its first translation. To do this, the thesis is composed of two parts, plus a translation proposal of A Casa. The first part situates the author and the book in their contexts, then analyzes the chosen collection. The second part deals with the translation process of this collection, returning to the concepts of translation, poetic translation in particular, to try to specify a relationship between theory and practice. What follows is a detailed commentary on the difficulties encountered during the process of translating the work into its French version. Finally, the thesis makes a bilingual presentation of A Casa in its original Portuguese form and its French translation in its end
A casa é um lugar privilegiado do íntimo, possuindo tons distintos para cada um. A Casa, do poeta contemporâneo brasileiro Heleno Godoy, é uma coleção de poemas que combina os aspectos materiais da casa com uma linguagem objetiva. Ao privilegiar a concretude desse espaço, o autor propõe ao leitor de construir seu próprio lugar íntimo. É uma experiência poética singular, pois, a partir das imagens concretas, o leitor pode abstrair-se da dureza do cotidiano para finalmente reconsiderá-lo sob seu carácter poético. É precisamente o confronto da casa real com a poesia, que permite ao leitor de reencontrar-se numa residência que não está no exterior, mas dentro de si mesmo. De fato, trata-se de um lirismo da realidade.Este estudo tem como objetivo apresentar A Casa para o público de língua francesa, trazendo sua exegese, bem como sua primeira tradução. Para isso, esta tese divide-se duas partes, além de uma proposta de tradução de A Casa. A primeira parte primeiro situa o autor e a obra em seus contextos, depois traz análises inéditas sobre esse trabalho. A segunda parte trata do processo de tradução desta obra, retornando aos conceitos de tradução e de tradução poética, especialmente, para tentar especificar uma relação entre teoria e prática. Seguido de um comentário detalhado das dificuldades encontradas durante a tradução deste livro para a língua francesa. Finalmente, a tradução bilíngue de A Casa será produzida ao final da tese
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Procópio, Mercia Maria da Silva. "O lapidar da palavra na superfície de Uma faca só lâmina." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14727.

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Made available in DSpace on 2016-04-28T19:58:51Z (GMT). No. of bitstreams: 1 Mercia Maria da Silva Procopio.pdf: 533019 bytes, checksum: 32c2afc6c1b510b1e7b925b5018c39ce (MD5) Previous issue date: 2013-10-30
Secretaria da Educação do Estado de São Paulo
The object of study in this dissertation is the poem "uma faca só lâmina" written by João Cabral de Melo Neto. It aims to get elements that compose the basis of the creation process in this poem, as well as analyze the role of images in the reality representation. The issue focuses on the discussion of a poetry which is built based on the refusal, in the poetic of negativeness based debugging and vacuum, which the view, hear and silence are part of the creation process of the poem. The theoretical and critical reasoning, which supports the work, is based on studies about the poetics of negativity, as, for instance, in the literary space Mallarmé, Maurice Blanchot (2011). The word and object representation supports in critical productions of João Alexandre Barbosa (1975), Benedito Nunes (2007), Marta Peixoto (1983), Solange Rebuzzi (1998). The poet's work presents a poetry laboriously architected. It is a poetry produced according to the calculation, in accuracy, specialy, in this poem, the accuracy of the cabralina poetic blade
O objeto de estudo desta dissertação é o poema Uma faca só lâmina , de João Cabral de Melo Neto. Tem como objetivos buscar elementos que compõem a base do processo de criação desse poema, assim como analisar o papel das imagens na apresentação da realidade. A problemática centra-se na discussão de uma poesia que se constrói fundamentada na recusa, na poética da negatividade, tendo como base a depuração e o esvaziamento, na qual o ver, o ouvir e o silenciar fazem parte do processo de criação do poema. A fundamentação teórico-crítica, na qual se apoia o trabalho, baseia-se em estudos acerca da poética da negatividade, como, por exemplo, em O espaço literário A experiência de Mallarmé, de Maurice Blanchot (2011). A representação palavra e objeto sustentam-se nas produções críticas, entre outras, de João Alexandre Barbosa (1975), Benedito Nunes (2007), Marta Peixoto (1983), Solange Rebuzzi (1998). O trabalho do poeta mostra uma poesia arquitetada laboriosamente. É uma poesia produzida no cálculo, na exatidão, em especial, nesse poema, na exatidão da lâmina poética cabralina
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Hultberg, Stina. ""I really needed to read this." : En undersökning av tematiska drag och poeternas betydelse inom instagram-poesi." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86303.

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In this thesis I investigate central features in Instagram poetry based on the hypothesis that it is a new form of literary phenomenon. The study analyses six accounts on Instagram, all dedicated to Instagram poetry, as well as a selection of feature articles about Instagram poetry and interviews with the poets. Through this investigation, four aspects where considered: the themes of the poetry, the variety of roles Instagram poets play in relation to their poetry and their readers, how representation plays a part in some of these roles, as well as how the poetry takes place on the platform. The form and display of the poetry are examined further through an intermedial analysis of the relation between text, image, and the Instagram medium.  This thesis argues that the themes of Instagram poetry are correlated with an assumption that the poet is honest and credible.Instagram poets play a crucial part in making the readers view their poetry as honest and credible, and they establish different roles to create and uphold that image. Through the intermedial analysis it has become clear that Instagram poets work with other aspects beside text, which is a quality of the poetry that has not been noticed in previous discussions and in dominant ideas of Instagram poetry. In conclusion, the thesis argues that Instagram poetry also shares traits with popular fiction and romance, in the poets’ aspiration to first of all connect with the readers and provide friendship, self-help, and comfort, through the poetry and the Instagram account.
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Nogueira, Ferreira de Jesus Maria Helena. "Gnose et poétique de la nudité dans l’œuvre de Sophia de Mello Breyner Andresen, Eugénio de Andrade et António Ramos Rosa." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030081/document.

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Cette recherche porte sur la poésie portugaise de la deuxième moitié du XXe siècle, plus précisément sur l’œuvre poétique et métapoétique de Sophia de Mello Breyner Andresen, Eugénio de Andrade et António Ramos Rosa. Ces auteurs révèlent une positivité marquée par une grande confiance dans le dire poétique. Celui-ci est perçu comme potentialité conciliatrice entre le sujet, le monde et la parole. C’est ainsi que la Poésie constitue chez eux une gnose ou une connaissance. Quoique néoromantique, c’est dans une mythification modérée de la parole poétique toujours entre la crainte et le désir que chaque poème invente sa possibilité. Après la crise du langage qui a mené à une poésie fataliste, leur originalité réside dans la capacité de réinventer ou reconstruire un sens pour le dire poétique et d’y puiser une énergie réparatrice. Dans cette construction de sens, l’image poétique assure un rôle essentiel et le thème de la nudité apparaît comme un paradigme de la vérité. Ainsi, le rapport complémentaire entre imagination productive et expérience vécue trouve une place importante dans cette réflexion au le sens où c’est ce rapport qui permet que la fable et le réel cohabitent dans le poème
This research concerns Portuguese poetry of the second half of the 20th century and, more specifically, the poetic and metapoetic works by Sophia de Mello Breyner Andresen, Eugénio de Andrade and António Ramos Rosa. These authors denote a positive attitude marked by a strong confidence in the poetic writing. They conceive poetry as a reconciling power that reinforces the ties between self, world and meaning. Thus, poetry becomes a mode of knowledge or a kind of gnosis. Despite their neoromantic sensitivity, their writing embodies a moderate mythification of the poetic powers, being aware of the oscillation between fear and desire in which every poem emerges as the invention of a new possibility. After the crisis of language and the fatalistic poetry that followed, their originality resides in the capacity of re-inventing or reconstructing a new significance for the poetic word and finding in it a source of reparatory energy. In such endeavour of meaning-construction, the poetic image assumes an essential role and nudity appears as a paradigm of truth. Therefore, the relationship between productive imagination and lived experience is located at the heart of this poetic world, for that relationship alone allows one to understand how fabulation and reality coexist in poetry
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Books on the topic "Poetic reality"

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Szarek, Dolores Endres. Poetic journeys into non-ordinary reality. Baltimore, MD: Horse Feather Pub., 2001.

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O'Driscoll, Dennis. Reality check. Port Townsend, Wash: Copper Canyon Press, 2008.

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Reality check. London: Anvil Press Poetry, 2007.

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Chalfi, Rachel. Reality crumbs: Selected poems. Albany: State University of New York Press, 2015.

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Norman, Katherine. A poetry of reality. Amsterdam: Harwood Academic Publishers, 1996.

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Jiménez, Juan Ramón. Invisible reality: (1917-1920, 1924) = La realidad invisible : (1917-1920, 1924). New York: Paragon House Publishers, 1987.

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Dudek, Louis. Paradise: Essays on myth, art & reality. Montréal: Véhicule Press, 1992.

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Neihardt, John Gneisenau. The divine enchantment: A mystical poem ; and, Poetic values : their reality and our need of them. Lincoln: University of Nebraska Press, 1989.

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G, Weststeijn Willem, ed. Velimir Chlebnikov, 1885-1922: Myth and reality : Amsterdam Symposium on the Centenary of Velimir Chlebnikov. Amsterdam: Rodopi, 1986.

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al-Wāqiʻ al-shiʻrī wa-al-mawqif al-naqdī: Min al-jāhilīyah ilá nihāyat al-qarn al-thālith al-Hijrī = Reality poetic and monetary stance. Irbid: ʻĀlam al-Kutub al-Ḥadīth, 2014.

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Book chapters on the topic "Poetic reality"

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Naji, Jeneen. "Poetic Mirror Worlds and Mixed Reality Poetry." In Digital Poetry, 65–77. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65962-2_6.

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Pajević, Marko. "Poetic Thinking and the Constitution of Our World: On Language and Reality." In Integrated Science, 493–510. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04075-7_24.

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Labahn, Antje. "Heart as a Conceptual Metaphor in Chronicles. Metaphors as Representations of Concepts of Reality: Conceptual Metaphors — a New Paradigm in Metaphor Research." In Conceptual Metaphors in Poetic Texts, edited by Antje Labahn, Susanne Gillmayr-Bucher, Elizabeth Hayes, Gert Kwakkel, Pierre Van Hecke, Karolien Vermeulen, and Stefan Wälchli, 1–30. Piscataway, NJ, USA: Gorgias Press, 2013. http://dx.doi.org/10.31826/9781463221676-002.

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Pietralunga, Mark. "The “Literature in Life” Philosophy vs. Reality: The Role of the River in Beppe Fenoglio’s Il Partigiano Johnny." In Poetics of the Elements in the Human Condition: Part 2 The Airy Elements in Poetic Imagination, 369–77. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-2841-1_25.

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O’Gorman, Francis. "Endless Breath? The Pipe Organ and Immortality." In The Life of Breath in Literature, Culture and Medicine, 305–24. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_15.

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AbstractThe fantasy of never running out of breath has long been alluring. But in the nineteenth century, the idea acquired a distinctive form of material reality. The pipe organ, existing at least from the ancient Greeks, has often been described as figuratively having lungs. But with the adoption of water/gas then electric-powered organ blowers in the nineteenth century, the organ, theoretically, could provide that which nothing else could: breath that could go on for ever. This essay explores two forms of poetic and narrative reflection on the new powers of the organ’s lungs. First, it considers writing that responded to the apparent instrument of endless breath by reinforcing the organ’s association with the eternal. Second, the essay examines writers who thought precisely the opposite and who acknowledged that, if new organ blowing technology implied unexpendable breathing, the reality—amid failed turbines, broken wind supplies, and insufficient power—reminded the listener of the grave.
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Hockenhull, Stella. "Women Directors and Poetic Realism." In British Women Film Directors in the New Millennium, 109–48. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-48992-0_4.

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Whalen, Terry. "Poetry of Reality." In Philip Larkin and English Poetry, 95–114. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-137-20729-6_6.

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Phillips, Ursula. "Psychological realism and Modernist poetics." In The Routledge World Companion to Polish Literature, 251–63. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003140689-24.

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Rehder, Robert. "My Reality-Imagination Complex." In The Poetry of Wallace Stevens, 133–78. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-18961-8_4.

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Mukherji, Nirmalangshu. "Poetic reality." In Tagore, Einstein and the Nature of Reality, 16–32. Routledge India, 2019. http://dx.doi.org/10.4324/9780367199289-3.

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Conference papers on the topic "Poetic reality"

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Løvlie, Anders Sundnes. "Poetic augmented reality." In the 13th International MindTrek Conference: Everyday Life in the Ubiquitous Era. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1621841.1621847.

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Ribeiro Rabello, Rafaelle. "Between absence and presence: Augmented Reality as a self-fiction poetic." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.

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This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.
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Muratova, Elena Yu. "LINGUISTIC EXPRESSION OF SOCIOCULTURAL REALITY IN A POETIC TEXT." In FUNCTIONAL ASPECTS OF INTERCULTURAL COMMUNICATION. TRANSLATION AND INTERPRETING ISSUES. Peoples' Friendship University of Russia, 2019. http://dx.doi.org/10.22363/2712-7974-2019-6-329-335.

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Nguyen, Phuong Lien. "Conceptualizing Religions (Confucianism and Buddhism): From Poetic-Stories to Reality in Indochina." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.14-1.

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Influenced by being situated between China and India, two historical giants, the people of the three nations of Viet, Lao and Khome exhibit strong histories of imported cultures. The religions of these regions, which closely connect to people’s lives, offer strong symbolisms of lifeworlds and enculturations. People in Indochina assign great significance to living and to interpersonal relationships, more so than toward deities and spiritual agents, as well as to the creation of the cosmos. Here, folk stories frequently include the ‘first man,’ the messages from which serve to educate society. This study aims to present that Indochinese poetic stories exhibit imported theories, the moral messages within which have reached levels of mastery in the literary genre, that is, the poetic story. These moral lessons emerge in texts such as Luc Van Tien (Vietnam), Thao Hung Thao Chuong (Lao) and Tum Tieu (Cambodia). Based on historical facts, these texts expose people’s attention to humanity’s opinions of Confucianism (China) and Buddhism (India). The stories also present differences and similarities, the descriptions of which can offer pathways to explaining social dynamics in modernity. As such, locating markers within figurative talk in this literary genre may inform theories in larger narratives and philosophical texts.
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Kaizerová, Petra. "A probe inside the poetic form of mysticism of Slovak Romantic Messianists." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-17.

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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.
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Bulycheva, E. "“MYTHOLOGICAL” AND “POETIC”: ON THE PROBLEM OF MYTHOPOETICS IN THE FINE ARTS OF THE 20TH CENTURY." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2563.978-5-317-06726-7/134-137.

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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.
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Malinovschi, Victoria. "The Evidence of Textual Narcissism in the Eighties Lyric from the Left of the Prut." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.35.

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n the eighty’s poetry from the left of the Prut, a kind of self-referential writing is highlighted, defined by literary exegesis by the term textual narcissism (Cristian Moraru). This own lyrical manner belongs the poets Emilian GalaicuPăun and Nicolae Leahu and It supposes the concentration on one’s own linguistic resources and their experimentation in the field of language. The developed lyrical constructions, frequently used in the work of these poets, they bring language games, quotations, allusions, parodies, rewritings, etc. Although, both poets don’t ignore the ideational plan, which an attentive reader can perceive, the finality of their writing consists, however, in the creating of the discourse, which It detaches itself from any other reality and It exists autonomously, being self-sufficient. Thus, such a poem returns the myth of Narcissus, stating the concept of self-referential and self-contemplative writing.
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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.

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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.
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Horka, Róbert. "Paradox as an expression of the inexpressible in Sedulius’ Paschal Song." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-13.

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In the middle of the fifth century, a relatively mysterious Christian poet, Sedulius, wrote his epic composition named Paschal Song. In terms of contents, it is notably a description of Christ’s miracles according to the four Gospels. The poet is facing the reality of something that transcends the common human experience – according to what was defined by the Council of Ephesus and Chalcedon regarding the real divine and human nature of Christ. For such reason, even his poetical language is adapted, in order to describe something that contravenes common reality. A useful and suitable means for reaching this purpose is the frequently employed paradox. The reader/listener can get closer to the indescribable, unprecedented, and inexpressible mysterious nature of Christ. In this way, the author creates a very specific and elegant mystic – and his epic composition becomes a meditative text.
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Vasconcelos, Ana. "Eisenman’s Conceptual-Generative Diagram: A Creative Interface between Intention, Randomness and Imagination and Space-Form." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002331.

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Digital diagrams are constituted as strategic-communicative-productive intermediate space-matrices among architecture, the architect and the digital machine, and between architecture and other disciplinary fields. According to Stan Allen, diagrams are a map of the possible worlds, a description of potential relationships, where a plethora of functions, actions and configurations are implicit in time, subject to continuous modifications.Alluding to the notions of diagrams, machinic and figural of Deleuze and Guattari, Eisenman’s conceptual-generative diagram functions as a hypertext and a creative and affective interface between intention, randomness and imagination, and architectural space and form. Proposing a new type of reality in a permanent state of evolution and of form-thinking and form-making, they have become a technique or poetic operation that, in addition to representing, also present and evoke, in between order and chaos, intention and the unexpected, mechanical and organic, real and virtual, presence and absence. For Eisenman, diagrams function as a heuristic instrument of criticism in the design process, in search of other spatial and conceptual qualities for a reflection within the discipline of architecture itself. Diagrams are a space-matrix, or as Eisenman puts it, a “meta-writing” in terms of the field of orientations and possibilities to be apprehended and inscribed, first in the project and later in the construction of the architectural place. These possibilities and orientations, guidelines or meanings are not totally contained within the diagram itself, rather they also reside in the intermediate space between the diagram and the observer, creator or architect. Diagrams are an evocative and inspiring space-formal matrix, the contents or evocations of which are not found “embedded” or “enclosed” in their shape or material, rather they are indicated or outlined, in varying degrees of explicitness, as signals or traces, evoking multiple interpretations and reflections. Eisenman uses digital diagrams as a mediating agent or instrument to investigate, explore, create and draw the architectural space within the thematic basis of the interstitial–“the “in-between”. He does so through a process that is intentional, random, interpretive, esthetic and poetic, all at the same time. In contrast to the traditional quest for form that is synthesized in the idea of a box or container, Eisenman proposes an alternative means, through which form or space can be found through a long process in which rational approaches and computerized drawing intermingle, introducing formal randomness, in which the diagram is the mediator. Eisenman refers to that procedure as “spacing”, ”espacement” or ”espaciamiento”, in opposition to “forming”.Eisenman’s conceptual-generative diagram constructs and develops a matrix field of forces and geometries that, acting in the project as a spatial-formal guide, opens up from the first record or first intention, to many possibilities of configuration/definition of the object or architectural place. Consequently, it makes possible the exploration and discovery in architecture of other ways of thinking, imagining and manifesting forms and spaces, that investigate new ways of occupancy and promote other possible ways of life. It is an architecture in which diagrams are constituted as an expression of the figural/imprecise/blurred condition, the traces of which persist in the space-form of the building; a diagram that is both a creative interface between the intrinsic exploration of its defined concepts and the final configured complexity of its spatialities and functional superpositions.
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Reports on the topic "Poetic reality"

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AKHADOVA, R. A., and M. L. SHTUKKERT. ‘THE DREAM OF A RIDICULOUS MAN’ F.M. DOSTOEVSKY AND A. PETROV: POETICS OF THE FEAR. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/978-0-615-67323-3-8-21.

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The purpose of the study is to determine the features of the structure and functioning of the fear motive in F.M. Dostoevsky’s “fantastic story” “The Dream of a Ridiculous Man” and in A. Petrov’s cartoon of the same name. The report first examines the images, details, etc., with which the fear motive is created in the story, and then analyzes the ways of embodying this motive and transmitting a certain frightening atmosphere in the cinema. There is revealed and determined the ontological significance and the main character of fear in the “The Dream of a Ridiculous Man”, which, in our opinion, manifests itself in the fundamental nature and primacy of this feeling in human nature. It can be observed in the transition from the dream world, not defiled by the fall, to the terrible reality of St. Petersburg, described in the story. The scientific novelty lies in the fact that a comprehensive analysis of the fear motive in the story of F. M. Dostoevsky and the peculiarities of the interpretation of this motive in the animated film by A. Petrov has not been carried out before. The study revealed, firstly, a number of repetitive means by which the fear motive is formed in both works (and their functions were determined), and secondly, there was noted the originality of the representation of the analyzed motive in the cinema.
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