Journal articles on the topic 'Poetic system'
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1
Boyko, Nadiya. "Dominants of the scientific and linguistic world of Anatolii Moisiienko." Ukrainian Linguistics, no. 53 (2023): 73–87. http://dx.doi.org/10.17721/um/53(2023).73-87.
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The analysis of scientific & linguistics dominants of A. Moisiienko revealed the synthesis of the fundamental knowledge of a linguist and literary critic, the dynamics of emotions, and the expression of the poet’s evaluations aimed at updating the national scientific and artistic paradigms. The linguist managed to combine several hypostases, appearing before the reader as a scrupulous linguist-researcher of the apperceptive system of Shevchenko’s poem, the worlds of symbols and the silent word, the world of poetics and the dynamics of text structures, the world of the intertextuality of the poetic text; and as an obsessed literary critic who, raising several extremely relevant problems of the modern scientific study of poetic idiostyles, specific features of individual authorial verse genres in the system of individual artistic texts, focuses on European intellectualism and modernism; and as an inspired poet, in whose poems the Ukrainian poetic language appears as a world of linguistic and aesthetic signs of national culture. The scientific texts of A. Moisiienko were studied from the standpoint of anthropocentrism and textocentrism, considering the structure of textual categories, means of their objectification, and factors of actualization of the author’s dominant constants. The multi-aspect studies of A. Moisiienko’s poetic linguistics are commented on, which gives an idea of the specificity of the figurative idiopoetic system, and its dominant features, which distinguish the author's language creation against the all-Ukrainian background and among traditional samples of national poetics. It was found that the dominant features of the author’s scientific linguistic world include the linguistic stylistic interpretation of the apperceptive system of Shevchenko’s poem, the artistic understanding of the linguistic worlds of symbol and silent word, the world of poetics and the dynamics of text structures, the world of the intertextuality of a poetic text.
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Pavlov, Evgeny. "“Only God Can Be”: Aleksandr Vvedensky, Kant, God, and Time." Religions 12, no. 8 (August 18, 2021): 658. http://dx.doi.org/10.3390/rel12080658.
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This article discusses the place of God in the poetic system of Aleksandr Vvedensky. Vvedensky’s famous pronouncement on his “poetic critique” is more throughgoing than Kant’s critical enterprise, and invites a comparison between the movement of Kant’s thought in the Critique of Judgment, and what Vvedensky’s recourse to senselessness aims to achieve. Time in Vvedensky poetics may be seen as a radical extension of Kant’s philosophical system where it ultimately resides in an equally inaccessible realm on which its entire edifice is founded.
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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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Buivytė, Giedrė. "The Manifestations of Fate in Medieval Germanic Poetry and Lithuanian Folk Songs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 8–21. http://dx.doi.org/10.37384/aplkp.2021.26-2.008.
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Reflections of mythical worldview are embedded in traditional oral poetry, viz. Old Icelandic collection of poems Poetic Edda, Old English poem Beowulf, and Lithuanian folk songs. Archaic motifs and archetypal imagery are conveyed by means of poetic grammar (alliteration, kennings, epithets, etc.). Through interpretation, the hidden (symbolic) meaning of the poetic grammar is unveiled, and the connection between the two worlds, the sacred (the divine) and the profane (the human) (Eliade 1959), is exposed. To advance the analysis of poetic narrative, the methodology employed in the paper combines comparative Indo-European poetics (Watkins 1995) and oral-formulaic theory (Kiparsky 1976; Foley 1996). The paper focuses on the poetic narrative’s motifs that encode the archetypal image of the goddess(es) of fate in the Germanic and Baltic traditions. Selected passages from Old Icelandic, Old English, and Lithuanian poetic texts reveal the motif of fate in the following contexts: the establishment of the laws governing human life, the courtship and wedding narrative, the inescapable decrees of misery and death, the warrior’s fame and fate, and the connection between the goddess of fate and the cuckoo bird (in the Lithuanian tradition). The poetic grammar and poetic formulas, in particular, reveal the prototypical characteristics of the supernatural beings who rule fate – Norns, Wyrd, and Laima – and present them as an integral part of the Indo-European mythological system.
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Vinokurova, Antonina Afanas'evna, and Sargylana Ivanovna Egorova. "The system of comparisons in the works of Even poets." Филология: научные исследования, no. 12 (December 2023): 69–79. http://dx.doi.org/10.7256/2454-0749.2023.12.69433.
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The article is devoted to the issue of the system of comparisons used in the language of Even poetry. The paper provides a list of means of expressing comparisons, distinguished from the positions of "subject", "predicate" and "argument". In order to develop a universal comprehensive model for studying the technique of poetic comparison as a component of the poet's style, we conducted observations on the language of poetic works by Even poets Nikolai Tarabukin, Platon Lamutsky, Andrei Krivoshapkin, Evdokia Bokova and Varvara Arkuk. The obtained material allows, first of all, to clarify the list of means of expressing poetic comparison. Analyzing the material on this topic, we came to the conclusion that comparisons help the poet convey the feeling and mood of the lyrical hero, create a poetic text mainly, such an approach performs such an important function as aesthetic. When classifying examples, we rely on the original Even language and the main research methods are semantic-stylistic, contextual, classification, and also use field methodology. The methodology uses the works of A.N. Veselovsky, A. A. Potebni, B. V. Tomashevsky. The novelty of this article is determined by the fact that Even poetry is one of the young literatures of the national literature of the Russian Federation. The means of enhancing the visual expressiveness of speech, the comparison used by the Even poets, reveal the art of the original culture of the Evens and the wonderful flair of the native Even language. Comparison is a universal cognitive structure where a person learns about the world around them. In Even poetry, the authors, revealing the picture of the world of the North and the Arctic, using a comparison, showed a special artistic perception. The North and the Arctic remain the space that was mastered by the northern peoples and they created a circumpolar culture where the world of people and nature are harmonious. In the poetry of the Even poets, we have identified some noteworthy comparisons that create their own special artistic poetic language.
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Grigoriev, Yuri. "System harmony of poetic text translation." Science Bulletin of the Novosibirsk State Technical University, no. 1 (March 20, 2018): 79–102. http://dx.doi.org/10.17212/1814-1196-2018-1-79-102.
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Khakimov, Mukhammad Khodjakhonovich, and Hilola Ravshan kizi Yunusova. "VISUAL POETIC TEXTS AS MULTISEMIOTIC SYSTEM." Theoretical & Applied Science 100, no. 08 (August 30, 2021): 185–88. http://dx.doi.org/10.15863/tas.2021.08.100.36.
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Yasakova, E. A. "«Beauty» in David Samoilov’s Poetic System." Russian language at school 80, no. 4 (July 18, 2019): 67–71. http://dx.doi.org/10.30515/0131-6141-2019-80-4-67-71.
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The purpose of the article is to analyse the functioning of the concept “beauty” in the works of D. Samoilov. Using lyrical texts as an example, the author describes the poetic vision of “beauty”, highlights the means of implementing the D. Samoilov’ worldview of, offers an original philological analysis of his poems in the light of the notions of beauty as one of the most important artistic components of D. Samoilov’s poetic system. The article draws parallels between the understanding of beauty in the works of various poets in the 19th – 20th centuries.
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Передерій, Ганна Миколаївна. "CATACHRESIS IN THE IMAGERY SPACE OF ENGLISH POETIC DRAMA: A COGNITIVE PERSPECTIVE." Scientific Bulletin of Kherson State University Series Germanic Studies and Intercultural Communication, no. 1 (August 21, 2023): 118–23. http://dx.doi.org/10.32999/ksu2663-3426/2023-1-16.
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This article focuses on revealing the nature of catachresis from a cognitive perspective in the imagery space of English poetic drama. The relevance of this article is determined by general tendency of modern linguistics on integration of traditional and novel approaches to analysis of semantics of literary texts in general and poetic drama in particular. The methodology of comprehensive analysis of the imagery space of English poetic drama is based on linguistic assumption of cognitive poetics. The application of such analysis made it possible to reveal genre properties and the specifics of the imagery space of English poetic drama. To formal properties of poetic drama we refer: special rhythmic-syntactic organization, enjambment, parallelism, specific compositional-graphic arrangement of a text (dialogue, monologue, polylogue, author’s remarks, act division, action, scene etc.) and types of narration. We consider lyricism+dramatism, eventfulness, tendency to ambiguity of meaning, the specifics of image system as content properties of poetic drama. The specifics of the imagery space of English poetic drama are clarified via linguistic and cognitive analysis of the types of verbal poetic images: ambivalent, parabolic, paradoxical and symbolic. A paradoxical verbal poetic image is seen as a textual construal and a cognitive structure which has two planes – conceptual and verbal. It is a multifaceted phenomenon, a verbalized knowledge in the text construed by pre-conceptual, conceptual and language domains. In the context of our research we refer oxymoron, antithesis, paradox and catachresis to contrastive stylistic devices that create a paradoxical verbal poetic image. It is maintained that catachresis as a contrastive figure of speech is predominantly manifested in paradoxical verbal poetic images in the imagery space of English poetic drama. In paradoxical verbal poetic images various linguocognitive processes and operations of creating specifics are traced. The formation of paradoxical verbal poetic images is associated with linguo-cognitive processes of categorization and verbalization (mainly with linguo-cognitive operations of contrastive mapping). It has been proved that the formation of paradoxical verbal poetic images is predetermined by cognitive operations of attributive, situational and relational contrastive mappings.
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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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Kokbas, Zhazira, Zhanat Aimukhambet, Karlygash Kurmambayeva, Nurgul Smagulova, and Mendykyz Yesmatova. "Mythical Cognition and Artistic Method." International Journal of Criminology and Sociology 9 (April 5, 2022): 3198–202. http://dx.doi.org/10.6000/1929-4409.2020.09.386.
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The aim of the study is to research mythical cognition, which is of particular importance for deep understanding of the issue of mythologism, mythopoetics in literature, and world literary science. The leading research methods for this issue is the analysis method. The specifics of using the mythopoetic method in poetry was given by the poetry of Tynyshtykbek Abdikakimov, the artistic and aesthetic value of mythical knowledge was revealed. The article also analyses the differences between mythological and poetic cognition and proves the value and power of the mythopoetic method in fiction. The system of mythological thinking of a mythological worldview not only determines Kazakh national worldview, but also transfers the fruits of mythical consciousness to the visual system, forming a huge channel of artistic approach. The novelty of the study is determined by the fact that the actual problem of literary criticism was analysed, which is a spiritual value, the transformation of mythological consciousness into poetic consciousness in the poems of the poet, into the basis of images and poetic expressions formed in the system of modern literary thinking. The practical significance of the study is determined by the necessity to study the activity of mythical knowledge in poetics.
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Romanyshyn, Nataliia. "POLITICAL CONCEPTS IN THE POETRY OF SAMUEL TAYLOR COLERIDGE." Inozenma Philologia, no. 135 (December 15, 2022): 27–39. http://dx.doi.org/10.30970/fpl.2022.135.3805.
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The presented article is aimed at disclosing the features of poetic conceptualization of political concepts in the poetry of famous English Romantic – Samuel Taylor Coleridge. The research is based on the cognitivediscursive approach and involves the application of research tools of cognitive poetics, cognitive stylistics, cultural and literary studies, which builds a vector of analysis from the concept as a social phenomenon to its embodiment, explicit and implicit, by the diversity of textual aesthetic resources at diff erent levels of textual matter. Artistic actualization of political notions in Coleridge’s poetic discourse is based on the textual system of poetic concepts “state/native land”, “society”, “war”, “enemy” positioned by the author in the center of artistic refl ection and synthesizing the appropriate social pragmatics. Key words: Samuel Taylor Coleridge, literary/artistic concept, English Romanticism, artistic conceptualization, English poetry
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Iplina, Antonina Alekandrovna. "Reconstruction of Uzbek poetry image system in translation." Interactive science, no. 10 (44) (October 19, 2019): 30–32. http://dx.doi.org/10.21661/r-508132.
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The article deals with the poetic system of images in the poetic speech of Uzbek lyrics on the material of the poem «Oshi halol» by the modern popular poet and translator Rustam Musurmon in the original language, as well as translations into English and Russian in a comparative aspect.
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Yelina, Evgeniya A. "Poetic discourse as a derivative of pictorial representation." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 21, no. 2 (May 25, 2021): 161–65. http://dx.doi.org/10.18500/1817-7115-2021-21-2-161-165.
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The article considers the directed interaction of different-code semiotic systems – verbal and pictorial (iconic), where the pictorial semiotic system is primary and is the basis for the secondary verbal system – poetic texts. It is argued that the phenomenon of poetic ‘translation’ and verbal actualization of painting is created while preserving a common cultural and moral code for both systems.
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Diak, T. P., and Yu I. Hrytsiuk. "Design of the system of automated generation of poetry works." Ukrainian Journal of Information Technology 3, no. 2 (November 23, 2021): 01–14. http://dx.doi.org/10.23939/ujit2021.02.001.
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Features of designing a system of automated generation of poetic works, which opens up new opportunities for artistic speech and show business, especially the preparation of poems and songs have been considered. Quite often lyrics without special content become successful due to the lack of complex plots, as well as due to the unobtrusiveness and ease of perception by listeners. Well-known literature sources and available software products that can generate poetic works by combining different methods and algorithms are analyzed. It has been established that none of them is able to ensure the content and uniqueness of the poetic work at the same time, especially in the Ukrainian language. The existing approaches to the generation of poetic works are analysed, among which the relevant is a method based on templates, generation and testing, evolutionary algorithms and the method based on specific cases. Peculiarities of generating poetical works, first of all rhyming rules, types of strophes, poetic rhythms and sizes have been investigated. An approach to automated generation of poetic works using evolutionary algorithms and a method based on specific cases have been developed. Their combination resembles a sequence of actions for creative personalities when creating poems or writing lyrics. Peculiarities of neural network organization for automated generation of poetic works have been considered. It is proposed to perform neural network training using the method of inverse propagation and using a genetic algorithm. The principle of operation of algorithms for finding optimal solutions which contain such consecutive stages as initialization, evaluation of solutions, population selection, evolution of solutions, is analysed. Their interaction and various opportunities for neural network learning have been investigated in detail. An algorithm has been developed according to which the software application will analyse the poetic works offered by the user and generate new variants of it on the basis received from the neural network of logically connected words or lines of the verse in the poem. The user can edit both the components of the poem and the generated poetic works, and thus can train the neural network. The specification of requirements to the software application has been developed, the basic requirements to the user interface are defined, and also potential classes of users who will use it are established. Keywords: computational linguistics; Artificial Intelligence; neural network; genetic algorithm; optimal solution.
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Magomedova, Zuleikhat Kadievna. "KNOWLEDGE OF THE WORLD AND HIMSELF: THE CREATIVITY OF EMIR-MAKHDY (EMIR MEKHTIEV)." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 22 (June 15, 2020): 20–27. http://dx.doi.org/10.31029/vestiyali22/3.
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The article examines the creativity of the modern Russian-speaking Dagestan poet Emir-Makhdy, identifies the main features of his poetics, which are characterized by a high degree of associativity, the use of mythopoetic codes of various cultures. Allusions and reminiscences from the poetry of classics, enriching the system of his poetic images, are revealed.
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Evans, R., R. Gaizauskas, L. J. Cahill, J. Walker, J. Richardson, and A. Dixon. "POETIC: A system for gathering and disseminating traffic information." Natural Language Engineering 1, no. 4 (December 1995): 363–88. http://dx.doi.org/10.1017/s1351324900000267.
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AbstractThe Portable Extendable Traffic Information Collator (POETIC) is an information extraction system that extracts traffic information from free text occurring in police incident logs and initiates (simulated) broadcasts of traffic bulletins to motorists when appropriate. POETIC is a second stage prototype system; the initial prototype (TIC, see Evans and Hartley 1990) was limited to the practices and requirements of a single police force. In POETIC, the architecture and data representations have been generalised to make the system tailorable to many different police force ‘domains’. In this paper we describe these developments, and report on tests of the system on authentic input data from three police domains.
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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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Kropacheva, Kseniya Aleksandrovna. "“Livre qui traictera de toutes sortes de poëmes”: list of genres of the “French Poetic Art” by Pierre Laudun d'Aigaliers." Litera, no. 8 (August 2020): 42–48. http://dx.doi.org/10.25136/2409-8698.2020.8.33594.
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This article is dedicated to the specificity of functionality of normative poetics in France at the turn of the XVI – XVII centuries on the example of “French Poetic Art” by of Pierre Laudun d'Aigaliers. Despite the fact that the author of the treatise raises a wide range of questions, the subject of this research becomes the narrow aspect of gradual systematization of genres in France of the XVI century. The goal is to examine the list of genres of the “French Poetic Art”, determine what makes it unique, as well as find out the role played by this treatise in the process of formation of the system of genres. The novelty of this work lies in an attempt of comprehensive evaluation of the question of gradual establishment and formation of the genre system in French poetry. Laudun’s poetic art did not receive due attention within the Russian literary tradition, thus this research is aimed at broadening the perspective on the theoretical texts of French Renaissance. The author reveals a number of characteristics, which underline a special role of the treatise in formation of the French system of genres: 1) Pierre Laudun d'Aigaliers describes the modern status of genres, which contributes to reconsideration of the meaning of one or another form within the gradually forming system; 2) he includes into the list of genres the solid forms, such as virile, coque à l'âne, blason, rehected by La Pléiade poets; 3) “French Poetic Art” stands out among other treatises due to the desire to capture the actual situation of modern poetry by describing the new genres that have not been previously mentions in the theoretical treatises. Therefore, the “French Poetic Art” by Pierre Laudun d'Aigaliers presents the original list of genres, one of the driving purposes of which was summarization of the evolution of national literature and theory of poetry towards the end of the XVI century.
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Mutiyev, Z., and A. Akbulatov. "ETERNAL HUMAN VALUES IN THE POETRY OF SAGAT ABDUGALIYEV." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 330–35. http://dx.doi.org/10.51889/2020-2.1728-7804.50.
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Kazakh fiction is an integral system of spiritual culture of the Kazakh nation, and its basis is the literature of the region. The article deals with the problems of literary local studies, the course of its development. The work of poets-writers in the history of literary local studies is studied, including the eternal human values in the poetry of SagatAbdugaliyev. The stylistic features of the author's poetry, creative research and poetics are widely studied and two stages of poetry are analyzed. In addition, this article reveals the nature of the poet's use of literary-visual devices, his methods of transmitting poetic speech. The article also explores the skill of the word artist in reviving the Treasury of language, in updating the national language and its lexicon.
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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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Patroeva, Natal’ia V. "To the question of the poetics of the Antiochus Cantemir’s poems." Vestnik of Saint Petersburg University. Language and Literature 19, no. 4 (2022): 669–91. http://dx.doi.org/10.21638/spbu09.2022.402.
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The article offers generalizing data concerning the system of rhetorical techniques used by A.D.Kantemir in small and medium-sized poetic genres. The poetic practice of Kantemir is compared with the recommendations from the treatises of Feofan Prokopovich De arte poetica and De arte rhetorica libri X, concerning the use of various rhetorical devices in certain literary genres and styles. The hypothesis of the work is the assumption of the synthetic nature of the poetic syllable of Antiochus Kantemir, which is close not so much to the classicistic requirements of clarity and accuracy of the syllable as to the traditions of the Old Russian book style of weaving words. For the first time undertaken comprehensive analysis of tropes and figures used by Kantemir in his poetry, testifies to their qualitative and quantitative diversity and to the familiarity of the creator of Russian satire. The system of Kantemir tropes and figures analyzed in grammatical, stylistic and linguo-poetic aspects are introduced into scientific use for the first time. Inversion, ellipsis, amplification, lexical repetition, question and exclamation are the most common types of rhetorical devices in Kantemir’s poetry. Comparison, metonymy, personification and paraphrase are much more rare and genre conditioned in the works of Kantemir. The marginal varieties of tropes and figures of Kantemir include hyperbole, gradation, chiasm, silence, pun. Kantemir acts as an innovator who determined the further paths of the formation of Russian lyric poetry.
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Khodakovska, N. G. "Poetic text as a concept of the theory of linguistic synergy." MESSENGER of Kyiv National Linguistic University. Series Philology 25, no. 2 (March 14, 2023): 101–12. http://dx.doi.org/10.32589/2311-0821.2.2022.274933.
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The article studies the linguistic synergistic characteristics of German poetic texts viewed as special linguistic and aesthetic formations. Additionally, the poetic text is considered as a synergistic system that has all the properties of this system and functions according to the principles of synergy. The article examines the basic concepts of linguistic synergy, on which the research is based. Special attention is focused on the features of the process of self-organization of the poetic text as a complex, dynamic, non-linear, open system. The genre requirements relevant for the self-organization of a poetic text for its author are the volume of the poetic text, traditions of construction, norms of presentation, regularities of the historical era. These requirements in synergy are called «repelers». The concept of «attractor» is introduced to indicate the purpose and intention of the author of the poetic text and their implementation by means of language.The poetic text features that prove its linguistic synergistic nature are specified and characterized as the ones which include openness, instability, non-linearity; hierarchy, emergency; symmetry, asymmetry. It has been established that the openness of a poetic text implies its interaction with other texts, including the external environment in which the text exists. It has been found out that the instability of the poetic text shows a commitment to external influences that cause changes in the picture of being. An attempt has also been made to explain the emergence of the poetic text, which is a manifestation of the special properties of the system, which are not inherent in any of its component subsystems and blocks. There has been expressed an opinion that a poetic text, striving for symmetry, is organized, and striving for asymmetry, is self-organised.
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Yanovskaya, Irina, Olga Chizhikova, and Natalya Zolotykh. "On Linguistic and Cognitive Mechanisms of Author’s Identity Representation in Poetic Discourse." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 3 (November 2019): 251–61. http://dx.doi.org/10.15688/jvolsu2.2019.3.21.
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The purpose of the article is to justify the linguistic-and-cognitive basis of an author's identity in poetic discourse. The analysis of linguistic-and-cognitive mechanisms of artistic idiosyncrasy individuality representation is carried out on the basis of Arseny Tarkovsky's works. The hermeneutic analysis of poetics in the works by Tarkovsky allowed confirming the assumption about a Gestalt-type cognitive structure that might generate meanings erasing in image-bearing systems and depict them as the system of interpenetrating motifs. The specificity of the above named structure is in its ad hock production, which does not allow to represent it as a pattern of a syntactic type that consists of some elements. This structure has the status of a fundamental (world-forming) cognitive model, which seems immanent to a prior structure of the poet's subjectivity and acquires the highest value rank in its axiological universe. Its status of immanent mediation between powerful faceless meanings circling in the sphere of the unconscious, and the manifest (created) aspect of the artistic world, that is, its sophianic, substantive (text-forming) nature, is confirmed in the article. The semiotic and cognitive specificity of Arseny Tarkovsky's idiosyncrasy is predetermined by the fact that the metaphysical source of his texts is introspection, immanent to insight, in which the "intelligent face" of the world is revealed, that determines the gnostic character of the conceptually defining motives of his poetics.
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Tatarkhanovich, Akamov Abusup'yan, Mukhamedova Fatyma Khamzaevna, Alkhlavova Inna Khumkerkhanovna, and Bekeeva Aygul Muratovna. "Artistic Originality of Children's Poetry of Dzhaminat Kerimova." International Linguistics Research 2, no. 1 (March 30, 2019): p31. http://dx.doi.org/10.30560/ilr.v2n1p31.
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In this article, the poems of the famous modern Kumyk poet Dzhaminat Kerimova for children of preschool and school age are analyzed. The artistic originality of poetic texts is considered, their comparative analysis is given. There are a thematic range, figurative system and poetics of the works in the focus of attention. In the course of the study, we have found that the works of children's lyrics of Dzh. Kerimova are various in the themes and intonation. The deep penetration into the wonderful world of the childhood and transfer in poetic texts of a live children's view of surrounding reality are observed. The author’s poems are original, full of national color. It is established that the lyrical expressions are profound, edification is reflected.
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Panchenko, T. F. "IMAGE OF THE WORLD IN I. ANNENSKY’S LYRIC POETRY: STEPS TO COMPREHENSION." Humanities And Social Studies In The Far East 18, no. 1 (2021): 116–21. http://dx.doi.org/10.31079/1992-2868-2021-18-1-116-121.
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The article discusses methods of introducing a poetic text of I. F. Annensky to students majoring in philology in the conditions of distance learning. The material of the article comprises three poems from the collections "Quiet Songs" and "Cypress Casket": Harmony, Longing, Palm Week. The logic of comprehending the originality of the poetic world is presented through a system of questions that activate different areas of reader's perception and lead to an understanding of the meaning. The role of the teacher as the organizer of the educational dialogue (teacher-student), and the semantic dialogue – the reader with the author (student-the artistic world of the poet) is revealed. The result is immersion in the complex Annensky’s "worlds", based on coupling symbolic and "real" (acoustical) poetics.
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Mawhorter, Peter, Michael Mateas, and Noah Wardrip-Fruin. "Generating Relaxed, Obvious, and Dilemma Choices with Dunyazad." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 11, no. 1 (June 24, 2021): 58–64. http://dx.doi.org/10.1609/aiide.v11i1.12791.
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Dunyazad is a system which creates narrative choices à la Choose-Your-Own-Adventure books. It attempts to generate choices that achieve specific poetic effects. This paper demonstrates Dunyazad’s ability to manage player expectations by having it generate three distinct choice structures: obvious choices, relaxed choices, and dilemmas. Using answer set programming, Dunyazad’s choice generation system directly encodes a theory of choice poetics, so flaws in its output can inform both the system and the theory itself. Survey data presented here thus not only validate that players’ perceptions match Dunyazad’s intentions, but also have implications for the theory of choice poetics. Statistical analysis of our data indicates that Dunyazad can successfully construct obvious choices, relaxed choices, and dilemmas.
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Luo, Jun, and Qing Yin. "On the Theoretical Construction of the Structural System of Semiotic Atoms in the Semantic Signs of Poetic Narrative Texts." Asian Journal of Social Science Studies 1, no. 1 (February 26, 2016): 39. http://dx.doi.org/10.20849/ajsss.v1i1.16.
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<p>The studies of poetic narratology has been extended to the macro-studies of the narrative language of poetic narrative texts ranging from narrative grammar to narrative model with a special attention paid to the exploration of the semiotic atoms of its semantic narration and the semiotic atoms of its pragmatic narration in poetic narrative texts as well as their interrelationships. What hasn’t been paid attention to in this area is the atomic structural system of the semiotic atoms of the narrative signs in poetic narrative texts. Grounded on the absence of studies in this regard, this essay aims to deal with the theoretical construction of the structure of the semiotic atoms of the semantic signs in the narrative language in the narrative poetic texts in terms of the semiotic atoms of the phonetic narration, the semiotic atoms of its semantic narration, the semiotic atoms of its pragmatic narration, the semiotic atoms of its grammatical narration as much as the semiotic atoms of its spatial narration in poetic narrative texts to develop and improve the theories of poetic narratology and expand its studies from macro-studies to micro-studies.</p>
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Ohrynchuk, O. P. "THE STYLISTIC FUNCTIONS OF REPEATED VERB UNITS IN A SEPARATE TEXT." Opera in linguistica ukrainiana, no. 28 (September 28, 2021): 207–14. http://dx.doi.org/10.18524/2414-0627.2021.28.235540.
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The article is devoted to the complex study of functional features of verbs and verb lexical-semantic repetitionsin poetic texts M. Bazhan and I. Drach. Advantages of linguopoetic approach, which gives possibility to define, how linguistic unit is included by the author in the process of word-artistic creative work, provides creation of aesthetic effect, structural and semantic integrity of the text is substantiated in the thesis. Linguistic and stylistic approach doesn’t give us comprehensive answers to the question about notional, structural and communicative organization of the text, that is why today they become a prerogative of linguo-poetics and linguistics of text. Taking into account new directions, approaches in modern linguistic science in the last decades, such key concepts as “text”, “poetic text” were specified; advantages of communicative functional approach to its study were specified; constant features of text and text categories were specified; style, idiostyle, idiolect concept was defined. At determining the poetic text, we proceed from the fact that this is a special semiotic system, which has its own laws of formation of self-organization. Decoding the poetic text takes into consideration apertception moments of each word in the works of writer, who, staying within the limits of national-language picture of the world, creates a unique linguistic world according to his world view, his own psychology, philosophy. Let us motivate the use of idiostyle concept, closely connected with the author’s image, which we understand as a “word- conversational structure”, which permeates all work and leads to comprehensive study of literary text. Linguostylistic verb potential as lexicogrammatical word class, which has detailed system of personal-methodical and kindtime morphological forms was analyzed in the work; figurative and expressive features of verbal categories of manner, time, kind and person were tracked in the poetic texts of M. Bazhan and I. Drach; certain writers’ priorities in use of one or another verbal form were revealed. An important means of actualization of poetic content, dynamization of descriptive world, which assists the reader to focus attention on one or another reality, actions, feelings, and provides a link between the parts of the text, is repetition. Decoding of the poetic texts of M. Bazhan and I. Drach provided considering different apperception moments of verbal repetition.
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King, Rob. "Fettled in on forme: reading Patience as a poetic imitation." Translation Matters 5, no. 2 (2023): 31–52. http://dx.doi.org/10.21747/21844585/tm5_2a3.
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: This study offers a critical analysis of the Medieval poem Patienceand its relation to the Vulgate Bible's version of The Book of Jonah. The poet's translation method is seen as being much closer to the Eighteenth-Century idea of 'poetic imitation', rather than 'paraphrase'. The article is in two sections, the first of which offers a detailed appraisal of the Latin text of the Vulgate, with the focus being on the system of parallelism which characterises the Biblical style; the second section explores the poet's response to this structural system and relates his significant transformation of the source to thepoem's 'homiletic' theme. The critical method is that of close textual reading.
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Guseva, Svetlana I. "Non-letter characters in writing system. Exclamation mark." Theoretical and Applied Linguistics, no. 4 (2021): 29–38. http://dx.doi.org/10.22250/2410-7190_2021_7_4_29_38.
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The article examines phrases with the exclamation mark in poetic discourse. Perceptual experiment was used to determine the degree of their emotional load. The material for the study was A. A. Block’s poem read by professional performers. The paper discusses a set of reasons that cause different emotional interpretation of the same poetic work and varying intonation patterns employed by the readers. It is argued that the multidimensional and mobile semiosis of poetic discourse, the mismatch of presuppositions and the lack of a common communicative base between the author and the reader account for differences in the actualization of the non-letter symbol additional function in writing. The results of the experiment show high degree of intonation shades variability whose graphic referent is the exclamation mark. The results also indicate the existence of a hierarchy in distributing emotional load, particularly, its increase towards the end of the poem which, in general, corresponds to the strategy of communicative patterns arrangement in the utterance.
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Edwall, Christy. "Clare's Poetic Binomials." Romanticism 26, no. 2 (July 2020): 116–27. http://dx.doi.org/10.3366/rom.2020.0458.
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John Clare's confessed preference for the ‘vulgar’ names of flowers and his apparent dismissal of the sexual system as ‘darkness visible’ seems to keeps the taint of Linnaean influence at a distance. His enumeration of flowers in ‘The Wild Flower Nosgay’, however, looks very much like two eighteenth-century descriptive procedures: poetic diction and binomial nomenclature. Dryden's popular translation of Virgil's Georgics modified a classical inheritance of compound epithets into phrases later recognised as poetic diction. This inheritance finds an unexpected consonance in the binomial nomenclature of Linnaeus, who loved the Georgics and referred to them in his work. By comparing poetic diction and binomial nomenclature, this essay investigates the resources of compression or visibility which either procedure might offer to a bookish and keen-sighted poet like Clare. In doing so, it reiterates the case for Clare's immersion in eighteenth-century poetic procedure.
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Sydorenko, Valentyna Oleksandrivna, and Iryna Viktorivna Panchuk. "Occasionalisms in the poetic system of Anna Akhmatova." Literature and Culture of Polissya 89, no. 9 (2017): 164–71. http://dx.doi.org/10.31654/2520-6966-2017-9-89-164-171.
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Gudzina Victoria Anatolyevna. "System of gender attitudes of the poetic system of anna akhmatova." Middle European Scientific Bulletin 2, no. 1 (January 15, 2021): 6–12. http://dx.doi.org/10.47494/mesb.2021.2.154.
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As you know, the study of the female worldview and the female experience of living life allows you to look deep into the creative laboratory of the poetess, see the system of correlations and ratios of the female and male in her lyrics and trace the extent to which the nature of this interaction has formed the system of Akhmatova's gender attitudes
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Ebers, Mark. "Understanding Organizations: The Poetic Mode." Journal of Management 11, no. 2 (July 1985): 51–62. http://dx.doi.org/10.1177/014920638501100207.
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As a system of understanding reality, the organizational culture and symbolism perspective is similar to Romanticism. Both movements arose out of the recognition of the inadequacies of rationalism, and both attempt to chart areas of the human experience through the imagination in terms of metaphors, symbols, and myths. A comparison of the two, therefore, serves to explain the rise of the cultural and symbolic perspective in organizational studies and its theoretical basis. Further, the comparison at once suggests the potential of the symbolist perspective as well as its problems, especially relativism and the love of distance, while indicating how that perspective may evolve as a total system.
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Шульдишова, А. А. "ABOUT IMITATORS AND SUCCESSORS ()." Актуальные вопросы современной филологии и журналистики, no. 1(40) (March 19, 2021): 17–24. http://dx.doi.org/10.36622/aqmpj.2021.27.27.003.
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На материале стихотворений «Когда объятый туманами Шуман …» и «Когда великий Шуман …» представлен анализ поэтики образов музыки, созданных с использованием онимных средств. Исследуется функционирование антропоэтонимов как компонентов системы средств, формирующих индивидульно-авторское отношение к образам музыкального искусства в поэтическом мире И. Сельвинского. Уделено внимание аллюзиям и реминисценциям, формирующим связи каждого из антропоэтонимов с поэтическим целым и их взаимовлияние в поэтонимосферах двух текстов поэта. Основная цель работы состоит в выявлении приёмов и способов «внедрения» в поэтический текст реминисцентных рядов из фамилий выдающихся композиторов, приводящих к преобразованию антропоэтонимов в авторские новообразования - коннотонимы - и формирующих одну из ярких черт идиостиля И. Сельвинского. В результате анализа функционирования антропоэтонимов автор приходит к выводу о том, что поэтика «музыкальных» антропоэтонимов цикла «О музыке, но не только» является важной составляющей подтекстуально выраженной мысли поэта о «достойном» обращении автора-художника, творца, а не подражателя к великому наследию Гениев. При использовании имён для поэтических образов - Шумана , Шопена , Паганини , Чайковского и Гуно - И. Сельвинский продемонстрировал не только поэтическое мастерство, но и широкую музыкальную эрудицию. Использованные в текстах цикла-дилогии музыкальные антропоэтонимы отражают не только музыкальные предпочтения, но и индивидуально-авторские способы использования поэтонимии. On the basis of the poems “When Shuman enveloped in fog ...” and “When the great Schuman ...” the analysis of the poetics for the music images, created with the help of onymic means, is presented. The article examines the functioning of anthropoietonyms as components of the means system that form the individual-author's attitude to the images of musical art in the poetic world of I. Selvinsky. It is paid attention to allusions and reminiscences that form the connections of each anthropoietonym with the poetic whole and their mutual influence in the poetonyms of the poet’s two texts. The main purpose of the work is to identify the techniques and methods of “introducing” into the poetic text of the reminiscent series from the names of outstanding composers, leading to the transformation of anthropoietonyms into the author's new formations-connotonyms and forming one of the brightest features of I. Selvinsky's idiostyle. As a result of the analysis for anthropoietonyms functioning, the author comes to the conclusion that the poetics of the “musical” anthropoietonyms in the cycle “About music, but not only” is an important component of the poet's subtextually expressed thought about the “worthy” appeal of the author-artist, creator, but not an imitator to the great heritage of Geniuses. Using the names for poetic images - Schumann, Chopin, Paganini, Tchaikovsky and Gounod - I. Selvinsky demonstrated not only poetic skill, but also a wide musical erudition. Musical anthropoietonyms used in the texts of the cycle-dilogy reflect not only musical preferences, but also the individual author's ways of using poetonymy.Key word: anthropoietonym, poetonymosphere, poetonym-mask, musical artyonym, metonymy, piece of music.
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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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Wagstaff, Emma, and Nina Parish. "Translating Contemporary French Poetry." Irish Journal of French Studies 18, no. 1 (December 13, 2018): 163–94. http://dx.doi.org/10.7173/164913318825258347.
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This article examines a bilingual anthology edited by the authors and published in 2016. It argues that the process of editing an anthology of contemporary poetry with multiple translators is a form of re-writing that not only introduces new writers into the target-language poetic system, but also recasts their positions in the poetic system of the source culture by giving them new readers who have no or few preconceptions about the writers' place in that system. Anthologizing operates in tandem with translating in this instance, and we additionally use the notions of inference and cognitive stylistics to discuss the particular habitus of academic translators who are not poets, and the opportunities those approaches offer to produce a creative translation. Style is an appropriate lens through which to consider poems included in this anthology because it is a contested question in contemporary French poetic practice. The article therefore treats the question of présence that this special issue addresses in three ways. It discusses, on the most literal level, the new or more visible presence that French poetry can acquire in the anglophone context through translation and anthologies. Moreover, it examines the ways in which the presence of new or decontextualized voices affects poetic systems. Finally, it considers whether an approach to translation that sees it as an embodied, interpretative process may allow some access to the présence of the 'original' poetic work.
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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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Kurakina, N., and E. Haritonova. "Automated Methods of Phonosemantic Analysis of Poetic Text: Communicative and Pragmatic Aspect." Scientific Research and Development. Modern Communication Studies 12, no. 5 (November 10, 2023): 23–28. http://dx.doi.org/10.12737/2587-9103-2023-12-5-23-28.
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On the material of modern poetic texts of the poem "Ten Moons» in the original by the British writer S. Dugdale and translation, the phonosemantic analysis of the tone of the text using the automated system ParallelDots (and the others) is carried out. The aim of the study is to identify the effectiveness of automated systems of tonality analysis in general and in the translation of poetic literature, and to determine which of these systems have the greatest functionality, the highest accuracy and analyze the text on the greatest number of levels. Various methods of automated sentiment analysis are used: ParallelDots, SentiStrength, SentiWordNet, Social Media Monitoring Tool, VAAL, Zvukotsvet.ru. The analysis allows to establish the possibility of using this automated system in the work of a translator with the aim of self-testing for the compliance with the adequate transfer of the pragmatic potential of the poetic text in the fiction translation. The relevance and novelty of the study is beyond any doubt in view of the growing digitalization and the need to resort to different types of artificial intelligence to achieve quality and ergonomics in the translation process. The study has undoubted practical relevance: the results obtained allow us to identify the most successful automated systems for sentiment analysis of poetic discourse.
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Grinevich, A. A. "Resistant elements of the poetic system of ritual Khanty songs of the bear festival: poetic formula." Sibirskiy filologicheskiy zhurnal, no. 4 (December 1, 2016): 19–28. http://dx.doi.org/10.17223/18137083/57/2.
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Bučan, Jagor. "Creative derivatives the poetics of derivation and its formative assumptions." Zbornik Akademije umetnosti, no. 9 (2021): 233–52. http://dx.doi.org/10.5937/zbaku2109233b.
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The creative derivatives phrase has in itself two terms: creativity (lat. creatus - having been created) and derivation (lat. derivatio - derivation, departure). Creativity presupposes the realisation of the new, the non-existent. Derivation, on the other hand, means transition, formation or arrangement. A derivative is what is derived or comes from something else (like gasoline which is a petroleum derivative). Creative derivations would therefore be processes in which a new is derived from the existing; procedures of rearranging the existing, conversion (transitioning) from one system to another. There are two basic requirements that are necessary for the realisation of these and such actions: an adequate poetic means and a common denominator of two or more phenomena, i.e. two or more systems that are brought into contact. We define the poetic means here in Jakobson's terms as the axis of combination (syntagm) and the axis of selection (paradigm). The paper systematises the poetic possibilities of artistic modeling, which is based on the template of already existing works of art. Different versions of the approach to modern and postmodern practice of taking over the already existing form and content aspects of a work of art are briefly explained and described. When choosing examples, the author adheres to the principle of representativeness instead of compendial comprehensiveness. The outcome of the paper should be twofold. On the one hand, the aim is to get to know and understand the poetics of taking over, which is one of the preconditions for aesthetic pleasure and cognitive insight when encountering works of art of that provenance. On the other hand, the work should be useful to students in their own creative work. The poetic means exhibited in it should facilitate a creative approach to the inexhaustible source of tradition.
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Mukhamedova, Fatyma Khamzaevna, and Fatima Abdulovna Alieva. "Family and household songs in the Dargin folklore." Litera, no. 7 (July 2021): 99–106. http://dx.doi.org/10.25136/2409-8698.2021.7.36058.
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The subject of this research is the family and household songs as one of the genre varieties of non-ritual lyrics in the Dargin folklore. They are thematically related with family life, household, customs and traditions of the Dargins. Their content reflects the typical aspects of patriarchal family of the prerevolutionary Dagestan, when due to the rigid local customary laws, women were deprived of the right to decide their fate; therefore, multiple songs resemble sadness, sorrow, suffering, and distress of the heroes. This article explores the thematic diversity of family and household songs in the Dargin folklore, their poetics and nature of visual-expressive means; as well as reveals their ideological-aesthetic, artistic, stylistic and compositional functions in poetry. The novelty of this research lies in introduction of Dargin family and household songs into the scientific discourse, as well as description of the uniqueness and poetic means and techniques used therein. Analysis of the songs demonstrated that the poetic system of song lyrics as a whole, and family-household in particular, are characterized by the use of such literary techniques as metaphor, epithet, symbols, contrasts, iteration, etc., which play a significant role in the poetic text, reflecting the emotional state and the depth of feelings of the lyrical heroes.
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Govorukhina, Nataliya. "The Principles of Interpretation of the Poetic Primary Source in Ballads by F. Schubert, S. Moniuszhko, H. Wolf on Goethe’s Text «Kennst du das Land»." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 103–13. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.07.
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"We propose to study the ways of embodying the poetic text of Goethe’s poem by three composers (F. Schubert, S. Moniuszko, H. Wolf) by analyzing the patterns of the poetic text structural and functional method (repetition, system of repetitions, update) and its relationship with the musical and poetic method at the level of the general structure and individual techniques (duplication, replacement) with the involvement of the comparative method. The need to reveal the meaning and value of a particular technique led to the use of the semantic method. In comparison with other romantic examples – F. Schubert and H. Wolf, which continuously attract the attention of researchers, the composer’s version of S. Moniuszko is involved. As a result of the analysis, we made a conclusion about the relative constancy in all three selected samples of the implementation of repetition both at the level of the entire text (three stanzas), the structure of the stanza, and at the level of keywords (question “Kennst du…”), at that time, the renewal in the poetic text observed in the second and third stanzas of Goethe’s poem, is embodied in different musical and poetic forms — from leveling changes (S. Moniuszko) to their consistent implementation (H. Wolf). The only exception to this is the “chorus”, in which J. Goethe presents variant appeals of the female protagonist to different addressees — composers interpret them identically (the poetic text is renewed and the musical text remains unchanged), which also acts as a constant element of the interpretation of the poetic original source. Keywords: interaction of textual and musical repetition, transformation of the poetic primary source, musical and poetic text, duplication techniques, repetition system, constant and variant principles. "
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Alieva, Fatima Abdulovna, Fatyma Khamzaevna Mukhamedova, and Aigul' Muratovna Bekeeva. "Artistic system of the children’s poetic folklore of Dagestan." Litera, no. 11 (November 2020): 42–56. http://dx.doi.org/10.25136/2409-8698.2020.11.34158.
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The subject of this research is the artistic system of children's folklore of Dagestan. Based on the analysis the example of cradlesongs, play poetry, and calendar songs, the author determines their thoughtful humanistic and democratic motif, high ideological focus, and aesthetic perfection. The article covers the ideological, thematic and artistic content, and highlights the archaic elements of cradlesong poetry, which enjoys most popularity among other genres of the poetic folklore. The author’s special contribution consists in explication of specificity of artistic means and aesthetic foundations of the folk worldview and culture reflected in folk poetry; as well as in analysis of compositions of various folklore genres as the elements of single literary system, which indicates their focus on labor, strong ideals of patriotism, kindness and continuity throughout the entire social practice of the people. The oriented towards a young developing individual, children's poetic folklore reconstructs the work and life experience in a form comprehensible to a child. This is why were created the cradlesongs, nursery rhymes, games that involved poetry, and all these word-creating activities, which in their centuries-long evolution led to higher imagery, infused and gifted each upcoming generation truly humanistic values. Children's poetic folklore that reflects the questions of folk pedagogy based on life experience of the mountaineers, had a major impact upon the development Dagestan children's literature.
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Mammadov, Nizami. "Sound personification in the poetic system of Magzhan Zhumabay." Comparative Literature Studies, no. 1 (2023): 12. http://dx.doi.org/10.59849/2663-4414.2023.1.12.
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Ivanchenko, Galina. "The Perception of a Poetic Text in Light of the Evolution of a System of Poetic Creativity." Journal of Russian & East European Psychology 38, no. 3 (May 2000): 87–102. http://dx.doi.org/10.2753/rpo1061-0405380387.
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Kumar, Meena, C. S. Warneka, and Saurabh Saxena. "Binary Pattern Generation of Poetic Order in Sanskrit Poetic Meters." International Journal of Advance Research in Education & Literature (ISSN: 2208-2441) 1, no. 3 (March 31, 2015): 01–10. http://dx.doi.org/10.53555/nnel.v1i3.593.
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The Pattern generation and Analysis is the technique of recognizing an object say, a target in combat space. The combat space T consists of targets of three types i) Wanted Targets W ii) Rejected Targets R iii) Unknown Targets U So that T = W ? R ? U The description of object is called pattern.Charaterization of pattern class by common properties shared by all of its members is another basic concept used in design of an pattern recognisation system. Main objective of this approach is to determine common properties from finite set of samples patterns and to examine a new pattern for a suitable switch. In signal processing , the role of input is vital to recognize objects. The input to the digital computer refers to any data or instructions entered into the memory. Data is a set of meaningful perceptual observations about an entity expressed in numerical ,alphabetical, graphical or mixed form. While Instructions refer to a set of action commands issued to CPU to tell a computer how to perform the tasks necessary to process data into information. Digital computer can accept the input via written/typed form through keyboard or the spoken/audio form through microphone. A great deal of work has been done in evaluating speech as a means of computer input. The present paper suggests the rhythmic syllable arrangements in various poetic meters as a means of audio input, directly producing binary code. Such binary syllable arrangement has been envisaged by Pingalacharya [1] . His Chhandas Shastra or science of poetic meters in Sanskrit is a well known classical treatise on Prosody. It deals with the rhythmic syllable arrangements in various poetic meters. According to Chhandas Shastra [2] every pronounced letter is either “Laghu” or Short [0] and “Guru” or Long[1] and each poetic meter is based on their fixed sequence[3]. Hence desired binary input sequence could be produced merely by utterance of corresponding syllables. Case studies of over 15 sets of such voice samples by male/ female/child candidates were conducted and the resulting binary sequences are presented with corresponding accuracies.
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Bittirova, Tamara Shamsudinovna. "Synthesis of European and national traditions in the poetry of Dina Mamchuyeva." Philology. Issues of Theory and Practice 17, no. 1 (January 25, 2024): 171–76. http://dx.doi.org/10.30853/phil20240025.
Full textAbstract:
The article examines the creative work of the famous Karachay-Balkarian poetess Dina Mamchuyeva, whose innovation has not been sufficiently studied, despite the fact that she has made a great contribution to the development of national poetic structures and has long occupied a place on the literary Olympus of the North Caucasus region. D. Mamchuyeva’s innovation manifested itself both in the subject matter of her poems and in poetics, primarily in introducing a new genre into Karachay-Balkarian poetry, i.e., the sonnet genre in its original form, as well as in giving new features to the classic Karachay-Balkarian versification. The research aims to identify the features of D. Mamchuyeva’s versification, their conditionality by new cultural circumstances – the widespread publication of Russian translations of Shakespeare’s works and works by other poets who adhered to the classical sonnet, which has helped many authors to hone their skills. The scientific novelty of the research is seen in the fact that the article is the first to shed light on the complex of poetic techniques used by D. Mamchuyeva in verse organization, her preference to the sonnet genre and at the same time commitment to the Karachay-Balkarian system of versification, which reflects the specificity of her creative work. The research findings showed the relevance of the topic, revealed the richness and originality of the author’s poetic skill. The chosen research perspective demonstrated its importance for understanding D. Mamchuyeva’s creative searches in the field of versification and its significance for understanding the formal and semantic structures of the author’s poetics, as well as the need for further study of the author’s innovations in national literature, primarily in poetry.
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Gadzhilova, Shanisat Magomedovna. "The system of images and the image of the poet in the poems of M. Akhmedov." Litera, no. 7 (July 2022): 152–63. http://dx.doi.org/10.25136/2409-8698.2022.7.35192.
Full textAbstract:
The subject of this article is the artistic features of the system of images and the image of the poet in the poems of M. Akhmedov. The system of images in the poems of M. Akhmedov is an integral mechanism that reveals the results of the poet's tireless artistic search, interprets many answers to the questions of the person and the poet. Modeling the poet's image in the system of images is not a new phenomenon in Avar poetry, nevertheless, it is an attempt by the poet to draw the reader's attention to universal problems again, to reveal the poet's vocation and the significance of his image in a new way, both in the system of images of the poetic text and in the consciousness of the poet himself, man and society. The object of the study is the image of the poet and the system of images in the poems of M. Akhmedov. The purpose of the work is to identify characteristic artistic techniques in creating the image of the poet, which occupies a significant place in the system of images of M. Akhmedov's poems, in understanding the essence of the artistic image, its dynamics and connections with the integral figurative system of the poet's poems. The scientific novelty of the research is due to the fact that the artistic analysis of the system of images and the image of the poet in the poems of M. Akhmedov in this aspect was undertaken for the first time. The obtained results showed that the artistic structure of the poet's image and the figurative system in the poems of M. Akhmedov allows to reconstruct, expand the poetic concept of the world order, to allocate a well-deserved place in it to the poet-man. The study of details related to the author's artistic intention showed the deep ideological content of M. Akhmedov's poems, as well as important features of the author's worldview. The theme of the poet and poetry, which is revealed through the image of the poet and the figurative system of M. Akhmedov's poems, evolves in the ways of cognition of life and the image of man and society.