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1
Glaser, Ben. "Forms of Poetic Attention." Genre 53, no. 3 (December 1, 2020): 241–46. http://dx.doi.org/10.1215/00166928-8847188.
2
Tavlin, Zachary. "Forms of Poetic Attention." Comparative Literature 73, no. 4 (December 1, 2021): 506–8. http://dx.doi.org/10.1215/00104124-9313157.
3
Bartczak, Kacper. "The Poetics of Plenitude in Peter Gizzi’s Recent Poetry." Polish Journal for American Studies, no. 11 (Autumn 2017) (2023): 391–407. http://dx.doi.org/10.7311/pjas.11/2/2017.11.
Анотація:
This article continues my earlier exploration of an aesthetic, poetic, and cognitive phenomenon that I am calling “the poetics of plenitude.” Here, I trace this poetics in Peter Gizzi’s more recent volumes, with special attention given to his 2015 collection Archeophonics. In my discussion, I show how the term “plenitude,” which I distinguish against a number of other uses of this concept, evolves in Gizzi’s poems toward an emergence of a subjectivity. Such emergence is triggered within the space of a poem working as a device that modulates a specifically understood excess of externality. The externality engaged by Gizzi’s poetry is a kind of pragmatist composite that links the sense of the material presence of the world with the larger body of the earlier poetic descriptions of this presence. Since such amalgamation of matter with its existent poetic description entails contact with the poetic predecessors of the newly emerging poet, Gizzi’s variety of the poetics of plenitude also shows a new understanding of what Harold Bloom conceptualized when he argued that poetry is a response to the “anxiety of influence.”
4
Bochettaz, Olivier. "A New Language for a New Perception: A Study of the Influence of Chinese Poetry on the Composition of Spring and All." William Carlos Williams Review 40, no. 2 (December 1, 2023): 243–61. http://dx.doi.org/10.5325/willcarlwillrevi.40.2.0243.
Анотація:
Abstract This essay highlights the numerous evidences of Chinese influences on Williams’s poetry, and particularly on the composition of Spring and All. What was it in Chinese poetry that could help Williams accomplish his poetic modernization which Pound was urging him to perform? In which ways and to which extent did Williams use Chinese poetic forms and concepts to compose his modernist masterpiece? As a continuation of the research of Wai-Lim Yip and Zhaoming Qian, two of the very few scholars who have focused their attention on this topic, this essay asks how much of what is seen by Western critics as poetic innovations by Williams can actually be seen as appropriations or derivations from Chinese language and poetics. It highlights that many of the poetic devices used in Spring and All, Williams’s breakthrough volume as a modernist, are actually either borrowed from traditional Chinese poetics, or result from the fusion of the English language with ideogramic linguistic concepts.
5
Sultangalyeva, Zh. "MODERN KAZAKH POETRY AND LYRICS F.UNGARSYNOVA." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 330–35. http://dx.doi.org/10.51889/2020-4.1728-7804.67.
Анотація:
The article presents a detailed analysis of the multifaceted poetic work of the famous poetess F. Ungarsynova. This is the indissoluble unity of the lyrical hero and author, and the poet's finest poetic speech, and the variety of the genre of her works, and the complex world of the image of the lyrical hero. The article attempts to describe the aesthetic worldview and work of F. Ungarsynova in a comparative manner. Particular attention is paid to the artistic world and the linguistic means of F. Ungarsynova, who have her own poetic style. Also considered is the enormous influence of the poet's work on modern Kazakh poetry. The article draws attention to the fact that the poetess managed to combine such principles as open citizenship and piercing lyricism, purity and nobility of human relations and the tragedy of unrequited love, lines about sacred friendship and wise thoughts about the poet’s craft. Her poems are an impressive picture of modern reality.
6
Finch, Zachary. "Forms of Poetic Attention by Lucy Alford." Wallace Stevens Journal 45, no. 1 (2021): 123–25. http://dx.doi.org/10.1353/wsj.2021.0017.
7
Oakley, Mark. "Going Upstream: Poetic Attention and Religious Resonance." Modern Believing 65, no. 2 (April 2024): 144–51. http://dx.doi.org/10.3828/mb.2024.11.
Анотація:
The poetry of Mary Oliver is used here as an example of how, for many people who have not encountered religious language or been part of a faith community, poems can have what might be termed a ‘religious resonance’. The poet’s art of attention is identified as a primary tool for replacing the traditional role that religion has played in human communities and consciousness – exploring the sense of life as a gift from a transcendent source, infusing intuitions of meaning into experience and confronting us with ethical demands.
8
Odysseos, Louiza. "Stolen Life’s Poetic Revolt." Millennium: Journal of International Studies 47, no. 3 (June 2019): 341–72. http://dx.doi.org/10.1177/0305829819860199.
Анотація:
Joining the discussion of revolution and resistance in world politics, this article puts forward the idea of poetic revolt as a necessary companion to these terms, one which centres attention on the ongoing reverberations of transatlantic slavery – what have been called its ‘afterlives’ (Saidiya Hartman, Édouard Glissant). Engaging with contributions to poetics, black studies and black feminist thought, it first develops a theoretical orientation of the ongoingness of slavery as a ‘grammar of captivity’ (Hortense Spillers) that ‘wake work’, a term proposed by Christina Sharpe, aims to disrupt. The article calls for methodological attention to the fugitive and wayward arts and acts of living, that is, what Sylvia Wynter and Fred Moten call the ‘sociopoetic’ practices of enslaved and legally-emancipated populations to illuminate the simultaneity and entanglement of structuring violence and poetic revolt. Second, drawing on Spillers’ scholarship on homiletics – the study of and participation in sermons – in particular United States contexts, it identifies and discusses three aspects of poetic revolt: ‘fabulation’, world-making otherwise and resignification, through which such communities developed a critical and insurgent posture aimed at rupturing this grammar of captivity and at forging critical, futurally-oriented sociabilities. Third, in conclusion, it discusses the links of poetic revolt, in its specificity in Atlantic slavery, to wider systemic critique. Pluralising our thinking on revolution and resistance, poetic revolt, it argues, is best seen as a critical meditation on futurity.
9
Hellberg, Dustin. "‘Making New’ and ‘Attention’ in Poe’s ‘Poetic Principle’ and Olson’s ‘Projective Verse’." Philosophies 6, no. 4 (December 11, 2021): 102. http://dx.doi.org/10.3390/philosophies6040102.
Анотація:
This article argues for a neural basis behind Edgar Allen Poe’s ‘Poetic Principle’ and Charles Olson’s ‘Projective Verse’ to create a more robust cross-disciplinary aesthetic model. Brian Boyd and Ellen Dissanayake show that ‘attention’ and ‘making new’ in poetry is a stable but evolving technique. This shows up in constant variation in ‘classic’ and ‘modern’ poetry and it forms a pattern for interpretation. This article will look at Poe’s and Olson’s essays in relation to this technique, steering their conclusions toward a partially naturalized conception of poetics in conjunction with more standard literary models in order to broaden aesthetic understanding.
10
Aleksić, Jana. "Christian inspiration in contemporary Serbian poetry." Kultura, no. 178-179 (2023): 99–136. http://dx.doi.org/10.5937/kultura2379099a.
Анотація:
The subject of our research in this paper are aspects of religious spirituality in contemporary Serbian poetry. First, we give an overview of poetic, ideological and cultural characteristics of poetic production in the last three decades, with certain value categorizations. We then direct our attention to the individual poetics of poets born in the seventies and eighties, whose poetry has a proven presence of Christian inspiration. Our goal is to establish a literary-historical and culturally distinct poetic flow and situate it within the History of Modern and Contemporary Serbian literature, predominantly secular. The focus of our analysis is not exclusively quotes, narratives or motifs from the Bible and patristic literature. We examine how Christian (Serbian-Byzantine and Western-Christian) spirituality participates in the formation of an individual poetic view of the world, as well as poetic spirituality that manifests itself through poetic images, expressions and figures. We are interested in the work of the religious consciousness of our poets in shaping their artistic, moral and value attitudes towards the phenomena of our epoch, but also towards the culture to which they belong. Therefore, we analyse the cultural models that these poets embrace in their poetry, as well as the humanistic messages that they place within their immanent poetics. We come to the conclusion that male and female poets, with their poetic and spiritual commitment, have taken the risk of deciding to give up poetry as a form of social engagement, aware in advance of the burden of the alternative and the minority.
11
Schweppenhäuser, Jakob. "Poetikkens kunstformer: Om forholdet mellem poesi og poetik i Niels Lyngsøs MORFEUS." K&K - Kultur og Klasse 37, no. 108 (August 22, 2009): 160–87. http://dx.doi.org/10.7146/kok.v37i108.22002.
Анотація:
Art Forms in Poetics: On the Relationship between Poetry and Poetics in Niels Lyngsø’s MORFEUS:In Denmark, the genre of poetics has to a high degree developed into poets’ own reflections on their literary work and working process. This turn has resulted in a textual hybridity, restlessly oscillating between essayistic-theoretical orientation and poetic discourse. It has been pointed out that scholars have generally failed to pay attention to the artistic elements of such poetological writings. This is where this article takes its point of departure, probing Danish poet Niels Lyngsø’s abundant, complex and ambitious bastard piece MORFEUS from 2004 – a blend of visual poetry, sonnets, associative lists, essays on literature and the arts and many other forms. Inserted in a slipcase, the large quadratic, unpaged sheets, fastened with metal rings, seem extremely tactile; the reader becomes a percipient, a sensing body. As the poetry and the poetics are inseparably wrapped in each other, the poetic, sensuous perception mode is encouraged to be transferred to the ordinarily content-orientated reading of theoretical reflections. The point is now that this transfer turns out to be fruitful: the poetic function is at times strikingly operative. Passages where this is the case are analysed profoundly and the implications and perspectives of this fusion of poetry and poetics are unfolded.
12
Porter, D. A. "Navigating Sacred Languages: Paraphrasing the Psalms in Renaissance Scotland." Renaissance and Reformation 45, no. 2 (December 1, 2022): 83–104. http://dx.doi.org/10.33137/rr.v45i2.39759.
Анотація:
Translations and paraphrases of the Biblical psalms were popular throughout early modern Europe. The Latin poetic paraphrase of Psalm 51 by George Buchanan is examined alongside the Scots-language translation of Psalm 2 by Alexander Montgomerie to illustrate some of the complexities of the Renaissance interplay between Latin and vernacular translation, poetics, confession, and politics. Both poets engage with contemporary debates over the meaning of the Biblical texts, and both display a high degree of poetic and rhetorical sophistication in transforming the psalms according to their own interpretative commitments. Each demonstrates close attention towards and care for correct interpretation, and each shows a high degree of freedom in adapting and recreating the polysemous meanings of the original while also applying new meanings to serve their own liturgical, spiritual, and poetic purposes.
13
Pavlovna, Natalia. "POETIC DISCOURSE IN A TIME OF CRISIS: THE CONCEPT OF LYRICISM." Grail of Science, no. 18-19 (September 4, 2022): 222–34. http://dx.doi.org/10.36074/grail-of-science.26.08.2022.40.
Анотація:
The study of poetic discourse received great impetus from the beginning of the twentieth century onward with the rise of general linguistics (Linguistic Poetics), and sociology (Sociological Poetics). As for Linguistic Poetics, presented in the framework of Roman Jakobson, it had exhausted its potential for theoretical inquiry. Sociological Poetics, on the contrary, has not yet received the attention it deserves. This paper provides a brief account of two projects of Sociological Poetics devised by Voloshinov/Bakhtin, and T. Adorno. It offers schematic conceptualization of the notion of lyricism; contains some observations on the aesthetic evaluation of the realization of the concept lyricism through the prism of rhetorical sublime.
14
Bragato, Stefano. "Of attention: D’Annunzio’s sixth sense." Forum Italicum: A Journal of Italian Studies 51, no. 2 (March 15, 2017): 396–412. http://dx.doi.org/10.1177/0014585817698399.
Анотація:
This article examines the concept of attention in Gabriele D’Annunzio’s oeuvre, arguing for its central position in the development of his aesthetic thought and of his creative activity. In one of his Faville del maglio ( Sparks from the Hammer) entitled ‘Dell’attenzione’ (‘Of attention’, 1911), D’Annunzio referred to attention as his ability to exceptionally stretch his senses in order to perceive every detail of things, people and events surrounding him. This permanent effort enabled him not only to gather a thorough comprehension of reality, but also to reach its ultrasensitive sides and to perceive what is usually hidden to sensory perception. D’Annunzio’s attention can thus be considered as a sort of ‘sixth sense’, an instrument for both investigating the world and translating it into literature through poetic activity. The first part of the article discusses the concept of attention in the Spark, focusing especially on its links with D’Annunzio’s symbolist poetics and on its chiefly practical nature. In the second section I argue that this faculty was exercised by D’Annunzio through a specific physical tool, i.e. his notebooks, which can be considered as the concrete embodiment of this extraordinary sense.
15
Shvets, Alla. "FRANKO’S POETIC CYCLE “MOURNING SONGS”: ASPECTS OF POETICS." Слово і Час, no. 5 (October 11, 2021): 3–21. http://dx.doi.org/10.33608/0236-1477.2021.05.3-21.
Анотація:
Franko’s poetic cycle “Mourning Songs” became the third in his collection “From the Heights and Lowlands” (1893), however, this cycle was not included in the first edition of the collection in 1887. Nine lyrical poems of the cycle “Mourning Songs” mainly belong to the genre of reflective-meditative lyrics, in which the author (lyrical subject) reflects on social structure, ontological and existential problems. The articulation of the mental state of the lyrical hero, his inner suffering, loneliness, social vacuum, feeling of being unwanted in the world are important motives here.
Franko purposely doesn’t arrange poems in chronological order but instead develops the inner plotline of the cycle with the following motives: guilt for the mournful mood of his muse, inner rebellion against social evil, apocalyptic vision of destroying the old world order, declaration of his solidarity with the humiliated, obsession with the idea of service, emotional despair, resignation and passive reconciliation with one’s own misfortune, statement of one’s social credo, the experience of loneliness and marginality, optimistic vision of the earthly paradise against the background of prison-like gloom.
As a result, eschatological motives appear: the domination of evil on earth inevitably will lead to its destruction for the sake of a new life and restoration of just law and order. In mood and stylistically, Franko’s jail poetry corresponds to the prison lyrics by Taras Shevchenko.
Each of the nine poems in the cycle has been considered in terms of poetics, genre, imagery, literary means, versification, as well as intertextual parallels at the level of reminiscences and allusions. The researcher paid attention to the character of the lyrical hero, the internal plot of the cycle, chronotopic organization, leitmotifs, folklore structures.
The philosophical meditations of the cycle “Mourning Songs”, perceived in the context of Franko’s biography, reflect the parallelism of the lyrical hero’s existence and the author’s psychobiography of the period marked by the first two arrests.
16
Trott, Emma. "Creative Ecologies: Derek Walcott’s Postcolonial Ecopoetics." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 16 (June 5, 2013): 1–14. http://dx.doi.org/10.2218/forum.16.524.
Анотація:
This essay explores the centrality of Derek Walcott’s poetics of nature to his creative imagination. Forensic attention to language illustrates how connections between the mind and its environments engage critical work at the intersection of ecocriticism and postcolonialism. Poetry’s contribution to a resolution of these discourses’ conflicting concerns is revealed, in a fresh analysis of Walcott’s poetic ecology.
17
Erkinova, N. "PRECEDENCE AND ITS EXPRESSION THROUGH SYNTACTIC UNITS IN THE POETRY OF ESHKABIL SHUKUR." Journal of Social Research in Uzbekistan 03, no. 02 (March 1, 2023): 17–22. http://dx.doi.org/10.37547/supsci-jsru-03-02-03.
Анотація:
Eshkabil Shukur's poetry is distinguished by special attention to the artistic word. The poet's creativity is based on the skill of using words. Famous phrases, sentences, and texts used in E. Shukur's poems have a poetic value by fulfilling the role of a precedent unit.
18
Kalmykova, Vera V. "Osip Mandelstam as the author of the unwritten “Poetics”." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 61–72. http://dx.doi.org/10.20339/phs.5-22.061.
Анотація:
In Russia 1910–20s — the time of the formation of poetics as a scientific discipline. Poetics as a science also attracted the attention of O.E. Mandelstam, who correlate his poetic practice with the current state of philology. N.S. Gumilev assumed that Mandelstam would write a study on poetics. In the articles and essays of the 1910 –30s, many categories of poetics were comprehended by Mandelstam: poet and poetry, art and reality, author, reader, the theme of a work of art, language and speech, etc. The original terminology of Mandelstam, which has no scientific character (“omitted links”, “meanings”, “Mention keyboard”).
19
Et. al., Riyadh KareemAbdullah,. "The mythical structure and bridging of functions A nominal reading in the poetry of KhazalMajidi." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 5 (April 10, 2021): 1985–98. http://dx.doi.org/10.17762/turcomat.v12i5.2282.
Анотація:
: Interconnectednessin the cultural center of the poetic text of Khazaal al-Majidi embodies the actions of the focus of differentiation in employing the myth, and it connects at the other end to the possible rays of what the mythical event is, right up to the poetic dramatization of that event in the text, so that the mythical character becomes the focus of the poet’s attention, poetic employment from the point of view of the format implicit represents a formats own culture poet mm of making the choice myth employee tends to favor the poetic vision of the poet Majidi Although Tmahiaa with methods of recruitment of myth in contemporary poem, making the opening of the text of poetic commonplace and acceptable in the architectural light the modern poem , is not too much that we went to that all the formats that have appeared in this chapter or the next chapters later in the poetry Majidi her mythological roots, identifies with Alostor of mother sometimes approaching, moving away altogether, but the result is orbiting the legend, and draw Its manifestations and existence came from the womb of the myths that lived in the poet's imagination.
20
Yeo, Jinsook. "‘Poetic Justice’ of Kim Jong-sam on Nussbaum's Philosophy of Sympathy." Korean Society of Culture and Convergence 44, no. 12 (December 31, 2022): 1185–97. http://dx.doi.org/10.33645/cnc.2022.12.44.12.1185.
Анотація:
This paper aims to reveal the ‘poetic justice’ that Kim Jong-sam’s poetry embodies. The path from the emotion of sympathy implied in Kim Jong-sam's poem to public power was captured and analyzed as a 'virtuous cycle of sympathy'. We paid attention to the fact that ‘empathy’ revealed in the work becomes a pivot point for converting negative emotions such as loss and deprivation into tolerance, and as a result, the influence of empathy contributes to public judgment. The fact that sympathy forms the core of Kim Jong-sam's poetic world is that his life was aligned with the face of a painful other in the turbulent times of liberation, national division, and war. The virtuous cycle of sympathy, which is the driving force of Kim Jong-sam's poetry, is the context of poetic imagery that captures the shabby reality in the wretchedness of the times, and at the same time, his poetic pursuit through the course of the poem. This paper focuses on the path of sympathy that stands out in Kim Jong-sam's poem, and attempts to reveal the poet's vocation and poetic direction as he realizes it.
21
Simmons, Sanda K. "Wagstaff, Emma. André du Bouchet: Poetic Forms of Attention." Comptes rendus, no. 122 (July 13, 2023): 143–44. http://dx.doi.org/10.7202/1101638ar.
22
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.
Анотація:
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.
23
Locke Hart, Jonathan. "The Culture of Poetics and the Poetics of Culture of Marshall McLuhan – Toronto and Canada, Text and Context." University of Toronto Quarterly 91, no. 4 (November 1, 2022): 74–99. http://dx.doi.org/10.3138/utq.91.4.04.
Анотація:
This article discusses Marshall McLuhan’s idea of Canada and his work on poetry, poetics, humanities, and related subjects. McLuhan’s sense of poetry, poetics, technology, culture, and nature depends in part upon his view of Canada. He sees the connections between the United States and Canada while also admitting some distinctions. Britain, France, Canada, and the United States are interrelated in the forging of boundaries and identities. The article assumes that McLuhan’s contribution to the long-time debate on Canadian identity is thoughtful, poetic, far-reaching, and deserving of detailed attention. The figure of the artist is important for McLuhan, who says that the electric age should be the opposite of surface and requires more thought and work. Discussing poetry, McLuhan examines Ezra Pound, who wrote notes to T.S. Eliot’s The Waste Land. McLuhan provides notes or glosses to his own work in his poetic vision in The Gutenberg Galaxy, and his culture of poetics and poetics of culture were of Toronto, the University of Toronto, Canada, North America, and beyond. For McLuhan, the electric age gives Canada – a borderline case – advantages and provides new ways of thinking.
24
Hirsch, Alexander Keller. "Witnessing and Waiting in Walt Whitman’s Democratic Arts of Attention." Humanities 10, no. 3 (June 25, 2021): 85. http://dx.doi.org/10.3390/h10030085.
Анотація:
What is often overstated by democratic theorists enthralled by the poetic vision of Walt Whitman is the extent to which he excised the self in order to exalt a world where the sensed and the sensing collapse into reversibility. Throughout “Song of Myself,” I argue, Whitman experiments with an arts of attention—which he describes as “witnessing and waiting”—that adapts the self to the surplus vitality immanent to perceptual and sensual experience. I contrast this with democratic theories of “relational surrender” that stress self-sacrifice as the precondition for democratic sovereignty. In particular, I contrast Whitman’s poetics of touch with Elaine Scarry’s theory of beauty, which favors what she calls “opiated adjacency,” a vivid pleasure experienced in self-loss. By contrast, Whitman discloses a vision of democracy that emphasizes “cleaving things asunder,” a sense of intensified awareness that forms in spaces of proximity that are also spaces of separation.
25
Liberti, Giuseppe Andrea. "Oltre Marechiare." Polisemie 3 (April 13, 2022): 1–22. http://dx.doi.org/10.31273/polisemie.v3.914.
Анотація:
This paper describes some of the routes taken by Neapolitan poetry during the 21st century, paying particular attention to the most recognizable literary experiences and to authors whose works have been relevant for the evolution of the local poetic language. The paper traces a linguistic and formal path of the main tendencies of Neapolitan poetry: starting from the persistence of dialect, it continues by addressing experimentalism in Italian poetry written in Naples. Then, it focuses on the junction of performance and spoken strategies with long poems and narrative compositions, which I compare to the current directions of contemporary lyric poetry. The purpose of this paper is to offer a preliminary recognition of what happened in Neapolitan poetry from 2000 to 2020, overcoming the critical boycott of an area which has always expressed an outstanding literary and cultural vivacity. Pur senza pretendere di restituirne un quadro completo, il contributo intende descrivere alcuni percorsi della poesia del Duemila prodotta a Napoli. L’attenzione è rivolta alle scritture maggiormente riconoscibili e ad alcuni casi singoli di autrici e autori significativi per l’evoluzione della lingua poetica (non solo) locale. In particolare, l’articolo traccia un itinerario formale e linguistico delle tendenze più marcate della poesia partenopea: partendo dalla resistenza della linea dialettale, si passa allo sperimentalismo nella poesia in lingua italiana; la performatività e le possibilità esecutive del testo poetico si intrecciano poi con la forma-poemetto e le non poche narrazioni in versi, alle quali si contrappone un esame degli orientamenti della produzione lirica contemporanea. L’obiettivo è quello di offrire una prima ricognizione di quanto si è mosso nel primo XXI secolo in area napoletana, superando in questo modo un certo ostracismo critico nei confronti di una zona più che mai in fermento sul fronte poetico e letterario. English title Beyond Marechiare. First notes on Neapolitan poetry of the 21st century
26
Ogurechnikova, Natalija. "Theme of Lucifer and forms of speech in Icelandic biblical paraphrase." Scandinavian Philology 20, no. 1 (2022): 127–49. http://dx.doi.org/10.21638/11701/spbu21.2022.109.
Анотація:
The subject of the article is the theme of Lucifer in Lilja, a poetic Icelandic biblical paraphrase dating from the first half of the 14th century. When analyzing Lucifer stanzas, attention is paid to the forms of speech of the author, their communicative properties and distribution. Attention to the sources of the monologue is determined by specificity of its structure and by peculiarities of the internal monologue as a form of speech. One thesis is that the context of St. Anselm’s speculative theology supports an interpretation of the monologue, which corresponds to the main idea of all Lucifer stanzas in Lilja. The article contains two sections, within the framework of which the following tasks are solved: In the first section, the forms of speech in Lucifer stanzas are compared with the forms of speech in the songs of the Poetic Edda; the purpose of the comparative analysis is to clarify relationship of Icelandic biblical paraphrase to the poetic traditions of Iceland. The second section of the article examines Lucifer’s monologue and its sources; here the structure of the monologue is considered and its meaning is clarified in the context of Lucifer stanzas on the one hand and the works of St. Anselm on the other. Results of the analysis are summarized in the Conclusion. The main method of work is comparative textual analysis from the standpoint of historical poetics.
27
Wooffitt, Robin. "Poetic confluence." Journal of Anomalous Experience and Cognition 2, no. 1 (May 13, 2022): 80–110. http://dx.doi.org/10.31156/jaex.23818.
Анотація:
This paper is an exploratory sociological analysis of poetic confluence, a spontaneous telepathic phenomenon that occurs in everyday social interaction. In poetic confluence, one person’s talk exhibits an enigmatic relationship to another’s unstated thoughts or imagery at that moment. The analyses draw from an empirical approach called Conversation Analysis, a formal qualitative method for the analysis of naturally occurring interaction in everyday life. In Conversation Analysis, talk-in-interaction is analyzed as coordinated and sequentially organized action. The focus on the action orientation of talk informs this analysis, treating poetic confluence as a form of social action. The data are (unavoidably) anecdotal accounts of experiences. Although the techniques of Conversation Analysis cannot be applied to anecdotal reports, its methodological principles and substantive focus can inform a systematic analysis of anecdotal data. A case is made for the robustness of poetic confluence via analysis of recurrent properties found in examples from three corpora of candidate cases. The analysis identifies three interpersonal functions of poetic confluence: its role in restoring mutual attention; its affiliative, affective function; and its role as a mechanism for managing threats to social propriety, or keeping “face.” In the discussion, alternative skeptical explanations are assessed; the empirical approach is framed in terms of Cardeña’s (2019) observations on the metaphoric quality of some psi phenomena and Carpenter’s (2012) first sight theory, and some suggestions are offered for further research on social interaction and psi phenomena.
28
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.
Анотація:
<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>
29
Chau, Kevin. "METAPHOR’S FORGOTTEN BROTHER: A SURVEY OF METONYMY IN BIBLICAL HEBREW POETRY." Journal for Semitics 23, no. 2 (November 21, 2017): 633–52. http://dx.doi.org/10.25159/1013-8471/3510.
Анотація:
Metaphor has long been a subject of interest for biblical scholarship; however metonymy, which is closely related to metaphor, has received far less attention. Metaphor and metonymy are distinct in their conceptual processes, metaphor juxtaposes two conceptually distinct domains and metonymy creates relationships within one conceptual domain, but they share many similarities and often function in concert in poetry. Although metaphor has received the lion’s share of our attention, further study of metonymy will enrich our knowledge of metaphor and the poetics behind biblical poetry (i.e., the mechanisms and principles that govern poetry). This article introduces the two main forms of metonymy: taxonomic and partonomic. Taxonomic metonymy is based upon relationships between a more comprehensive and less comprehensive category (e.g., SPECIFIC FOR GENERAL), and partonomic metonymy is based upon contiguous relationships (e.g., PART FOR WHOLE). It surveys the various poetic functions of partonomic metonymy (semantic compaction, oblique reference, and semantic multivalency), and concludes by illustrating how accounting for metonymy can aid in solving the interpretive difficulties in the poetic passage of Jr 5:15-16.
30
Gasharova, Aida R. "On the Peculiarities of the Artistic Form of the Lezgin Folk Proverbs and Sayings." Proceedings of Southern Federal University. Philology 2020, no. 1 (March 15, 2020): 46–52. http://dx.doi.org/10.18522/1995-0640-2020-1-46-52.
Анотація:
National proverbs and sayings of Lezgins are analyzed. Attention is paid to the internal laws of proverbial poetics. The author dwells on a peculiar artistic form of Lezgin proverbs and sayings, which is evidence of a high level of creative thinking, aesthetic taste, poetic perception of various spheres of life by the people. The relevance of the study is due to the fact that the issues of sound organization and the poetic form of the Lezgin folk proverbs and sayings have not yet become the object of comprehensive study. In this regard, the analysis of emotional and expressive means in small aphoristic genres of folklore is of great scientific interest. The goal of our work is to give an objective assessment of the peculiar poetic form of folk paremias, which is in the rhythmic organization, but our analysis does not pretend to a full interpretation of the topic under study. It is proved that the specificity of the artistic form of folk sayings is alliteration, rhyme, rhythm, sound repetitions that contribute to the poetic language of speech, the most clear expression of thoughts and the selection of the main meaning. A number of pictorial and expressive means of poetic speech helps her in this. Thus, rhythm and various kinds of rhymes contribute not only to the preservation of the unity of proverbs and sayings, but also to the selection of the main idea. The rhyme in folk proverbs plays a rhythmic and semantic role.
31
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.
Анотація:
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.
32
Francis, Norbert. "New poetics in China." Chinese Language and Discourse 6, no. 2 (December 30, 2015): 205–17. http://dx.doi.org/10.1075/cld.6.2.05fra.
Анотація:
A new study of modern Chinese poetry has been published that deserves the attention of linguists working in both the applied and theoretical fields. The focus of the book is experimental and avant-garde literature, and as such it raises questions that are different than the ones we are accustomed to considering in the field of poetics. This review essay considers proposals for understanding poetic ability and sensibility from the point of view of applications of cognitive science.
33
Prevots, Aaron. "André du Bouchet: Poetic Forms of Attention by Emma Wagstaff." French Review 95, no. 4 (May 2022): 217–18. http://dx.doi.org/10.1353/tfr.2022.0126.
34
Anders, Jaroslaw. "Poetics of Loss and Dislocation." Polish Review 67, no. 1 (April 1, 2022): 9–26. http://dx.doi.org/10.5406/23300841.67.1.02.
Анотація:
Abstract This essay examines several recurring themes, references, and poetic tropes in Anna Frajlich's poetry, to establish how her personal experience of exile and dislocation shapes and enriches her poetic universe. It focuses on the poet's treatment of space, time, memory, human relations, and the nagging sense of incompleteness often expressed by her lyrical personae. The essay combines historical and structural analysis of the main features of Frajlich's poetry, paying special attention to the prosodic organization of her verse, types of poetic diction, the intermittent use of traditional and innovative poetic forms to show that the poet's work, though highly diverse in form and content, inclines toward the “classical” model of expression characterized by a sense of poise, emotional restraint, and search for order, while at the same time avoiding intellectual and moral aloofness, didacticism, abstractness usually associated with “classicist” literary style. Frajlich's poetry acknowledges life's confusion without yielding to it, resists chaos without denying its presence in our lives. Her personal experience presents itself primarily as a heightened sensitivity to all forms of discord and discontinuity in the lives of people, communities, and nations. Born of a “wound,” it surmounts a personal tale of anguish and alienation, and forges it into a universal tale of the modern human condition. An escape, an exile from home, a painful dislocation, self-doubt, and uncertainty, is transformed into what the poet calls a “perfect journey” of self-affirmation, self-renewal, and intellectual as well as emotional discovery.
35
Severskaya, O. I. "The role of phonosemantic correspondences in the formation of the implicatures of a poetic text." Verba Northwest Linguistic Journal, no. 3 (2023): 23–33. http://dx.doi.org/10.34680/verba-2023-3(8)-23-33.
Анотація:
The article deals with the processes of formation of implicatures, or inferential knowledge, characteristic of a poetic text, based on phonosemantic connections that underlie paronymic attraction, pun and anagram. The study is based on the material of Russian poetry of the 20th century using the methods of linguistic and cognitive poetics, corpus, intertextual and cultural analysis. The author proceeds from the fact that phonosemantic correlations provide the addressee with a transition from direct perception of poetic reality, represented by the sound matter of linguistic signs, to its comprehension at the surface and deep levels. First, text fragments marked with paronymic attraction are singled out, then the correlations of attractants are subjected to semantic analysis, on the basis of which implicatures are derived that link “general” and “new” world knowledge and language competence. Implicatures are classified in the article according to their function in interpreting the text. The author identifies the implications of actualization (focusing attention on an object or situation and their attributes), semantic inference and indication of the subtext. Particular attention is paid to the implicit paronymic attraction that activates the “sound memory” of the word. The author comes to the conclusion that communicative (logically derived) implicatures in a poetic text are based on conventional ones (conditioned by “world knowledge” and language conventions) and are predetermined by the author of the text – by the created by him semantic, grammatical and pragmatic rules of utterance structuring. Paronymic attraction, highlighting objects in the relevant denotative space of the poetic text, is perceived as an individual nomination of the same “non-standard” denotation with the help of several formally correlated words of the standard language, thereby giving the key to the search for “new” in relation to “immediately given” and “given in context”.
36
Hanauer, David I. "The scientific study of poetic writing." Future of Scientific Studies in Literature 1, no. 1 (May 23, 2011): 79–87. http://dx.doi.org/10.1075/ssol.1.1.08han.
Анотація:
This aim of this brief paper is to promote the scientific study of creative writing and make it an integral part of the research agenda of the scientific study of literature. This paper focuses on the genre of poetry and is organized around three basic questions: (1) What do we currently know about poetry writing? (2) Why study poetry writing? (3) How can poetry writing be studied? Together the answers to these questions provide a rationale for the proposed research agenda and an overview of ways in which this project can be accomplished. A review of the literature on poetry writing reveals a process which involves extensive revision within a recursive writing process that reaffirms the characterization of poetry as a genre that combines attention to meaning with attention to form.
37
Meimei, Huang. "POEMS OF KYIV PERIOD OF TEOPHAN PROKOPOVYCH: IDEAS, TOPICS AND GENRES." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 2(34) (2023): 134–39. http://dx.doi.org/10.17721/1728-2659.2023.34.26.
Анотація:
This paper explores the specificities of Theophan Prokopovich's poetic legacy during his time in Kyiv, focusing on its ideological, thematic, and genre foundations. The article outlines the chronological boundaries of Prokopovich's Kyiv period, analyzing their connection to the writer's biography, and for the first time, identifies two distinct stages within this period. The first stage is characterized by the author's staunch defense of Ukrainian values and interests. The second stage reflects the evolution of Prokopovich's poetics towards imperial positions under Peter I. The article analyzes the diverse range of poetic genres used by the author. The paper argues that Prokopovich introduced an innovative direction in his poetry, featuring a simple verse form and a clear, comprehensible artistic style devoid of contradictions. The key aspects of the poetic legacy from the Kyiv period include the exploration of various genres and the fluctuating social perspectives of the author, which significantly influenced his poetics. The first stage encompasses the earliest works on Ukrainian themes, artistic-historical descriptions of Rus-Ukraine as the homeland, the author's interpretations of moral and ethical questions, and depictions of the internal emotions and experiences of the lyrical protagonist. The poetry of the second stage is characterized by the variability of Prokopovich's political views following the defeat of Hetman Ivan Mazepa in the Battle of Poltava in 1709. The poetic works introduce ideas that testify to the author's betrayal of Ukrainian interests and his shift towards pro-Russian positions. Special attention is given to these artistically accomplished yet politically treacherous compositions. The article represents an innovative and objective analysis of the texts, their artistic value, and their ideological positions, shedding light on the phenomenon of Prokopovich's poetic legacy during his Kyiv period. The Kyiv texts are characterized by artistic excellence, combining classicistic and baroque styles, achieving perfection and clarity, simplicity, and formalism, as well as exploring various genre varieties. The author's experimental approach with traditional genres and their modernization in response to the challenges of the Baroque era is also discussed.
38
Zakharkiv, E. V. "Verbal aggression in modern poetry: conventional and unconventional functioning of discourse markers." Slovo.ru: Baltic accent 11, no. 4 (2020): 15–27. http://dx.doi.org/10.5922/2225-5346-2020-4-2.
Анотація:
The article examines the specifics of speech aggression in poetic communication. Special attention is paid to the unconventional functioning of discourse markers of aggression. The aim of the study is to analyse aggressive verbal behaviour in poetic communication and identify distinctive characteristics of expressing aggression in everyday discourse. The research methodology includes methods of linguopragmatic, linguopoetic and discourse analyses. The author studies discourse markers of verbal aggression in poetic speech acts, where aggression can be expressed explicitly and implicitly. The study reveals specific strategies of expressing verbal aggression in poetic communication, which can include the self-referential criticism (through verbal aggression directed at the language of the poetic utterance, the actor of utterance, the poetic utterance as such and also the perceptual mechanism). The author studies the formation of aggressive message in poetic discourse and its subjectification.
39
Caponi, Mattia. "Obliterarsi." Polisemie 1 (April 3, 2020): 99–127. http://dx.doi.org/10.31273/polisemie.v1.609.
Анотація:
The paper analyses the first three works published by Franca Mancinelli, outlining their thematic continuities as well as their foundational unity. By studying the chronological progress of specific themes, the article sheds a new light on the intertextual connections that can be found both within a single book as well as across the three works. The study of these links has the purpose of showing the singular structure as well as the formational dynamics at the basis of a poetic work by Mancinelli. With particular attention towards the declarations of a poetics by the author as well as the variants within the microtexts, the objective of the paper is to define the intentions behind the production of new poetic and prose versions of the author’s texts. The process of rewriting finds its explanation through a thematic, stylistic and structural perspective, ultimately identifying a distinctive feature of Mancinelli’s style.
40
Berdnikova, Olga A. "On the Poetics of Titles in I. A. Bunin’s Poetic Heritage." Izvestia of the Ural federal university. Series 2. Humanities and Arts 22, no. 4 (202) (2020): 238–55. http://dx.doi.org/10.15826/izv2.2020.22.4.074.
Анотація:
This article considers I. A. Bunin’s poetic oeuvre from the point of view of title poetics in order to identify the main patterns and author’s strategies in working with the title complex. The methodology is based on the correlation of the title with the text, subtext, and metatext of the poem, taking into account textual refinements. In Bunin’s principle of working with the title complex, there is a noticeable striving for accuracy and at the same time for a metaphorical semantic comprehensiveness that includes existential, natural, and cultural constants. Thus, the main features of Bunin’s poetics of titles are changes in the titles of one text, removal of titles and dedications, repetition of titles in two or more poems, combination of the theme and genre in a number of titles, and the addressing factor. In recurring titles, the researcher finds key images of Bunin’s poetry that include him in the Russian poetic tradition. However, a tendency to modernism is also noticeable in Bunin’s poetry in the titles of poems that contain Bunin’s philosophical and poetical reflection. The titles of such poems refer to the theme of death and often contain the words “grave” / “tomb”, but the text of the poem enters into an antinomic relationship with the title, i.e. a person belonging to the “world of art”, culture, and tradition (myth and religious tradition) has already ascended over the world and is doomed to immortality. The removal of titles as a strong position in texts on political topics shifts the reader’s attention from the temporary to the eternal and metahistorical, which is found in the text itself and clarifies the author’s position.
41
Hunter, Walt. "Contemporary Poetry and Capitalism." American Literary History 31, no. 4 (2019): 860–69. http://dx.doi.org/10.1093/alh/ajz039.
Анотація:
Abstract The field of poetry and poetics has been revitalized by a decade and a half of close attention to many of its enduring premises and assumptions. Three new books by Jasper Bernes, Margaret Ronda, and Heather Milne show how US poetry from 1945 to the present responds to the changing conditions of historical capitalism. Departing from older periodizing narratives anchored in the shift from modernism to postmodernism, these books uncover the poetic histories that emerge in tandem with changes in economic structures and political regimes.
42
Morkina, Julia. "The scientific and poetic creativity: knowledge in the culture." E3S Web of Conferences 258 (2021): 07003. http://dx.doi.org/10.1051/e3sconf/202125807003.
Анотація:
This article describes the role of apperception and imagination (scientific and poetic) in scientific and poetic creativity in order to compare with each other. It demonstrates the importance of imagination for scientific creativity and highlights typological features of ideal objects (according to V.S. Stepin) that are common to scientific ideal objects and poetic images. The article discusses the concept of scientific and poetic meaningfulness and scientific and poetic meanings. According to the definition of N.M. Smirnova creativity is understood as the process of creation of new cultural meanings. The scientific imagination is analyzed as a necessary factor of scientific activity. The role of imagination in the apperception of the results of scientific and poetic creativity is demonstrated. It’s shown that in term of phenomenology, human culture appears as the horizon where the meanings circulate as ideal objects of culture. Special attention is paid to the concepts of intersubjectivity of scientific and poetic contents. The reasons and the sources of special reliability of scientific and poetic knowledge are presented. Poetic creativity is considered as a kind of spiritual activity that has cognitive meaning. It’s demonstrated that poetic creativity as well as scientific one has its own object and subject. From this perspective the analysis of poetic seems heuristic for theory of knowledge.
43
Sokhatmamatovna, Eshboyeva Tursuntosh. "ISSUES OF LINGUOPOETIC ANALYSIS IN MODERN POETRY." Current Research Journal of Philological Sciences 5, no. 4 (April 1, 2024): 21–27. http://dx.doi.org/10.37547/philological-crjps-05-04-05.
Анотація:
This article examines the features of weight and rhyme in literary translation, focusing on poetic translation. Various aspects of artistic translation, in particular, are focused on the relation to other forms of poetic translation (synchronous, scientific-technical, political-journalistic and information-analytical translation of materials). The most important thing is creativity, which is very important in poetic translation, which is the center of analysis of this article. In addition, great attention is paid to the issue of tone.
44
Popova, Matrena Petrovna, and Varvara Borisovna Okorokova. "Poetic world of Andrey Krivoshapkin." Litera, no. 12 (December 2020): 147–58. http://dx.doi.org/10.25136/2409-8698.2020.12.34735.
Анотація:
The subject of this research is the poetics of poems of the national Yakut poet Andrey Vasilyevich Krivoshapkin. A. Krivoshapkin is a prominent writer not only in the Even literature, but also in the national literatures of the peoples of the North. His talent is versatile: poet, prose writer, and publicist. The pinnacle of his literary heritage are the poems “World of the Even” and “The Sacred Deer”. The article examines such aspects of the topic, as the reflection of sacred images of the Even people, national worldview in the poetic world of A. Krivoshapkin. Special attention is given to Krivoshapkin’s poetic description of the bravery of native people in development of the Far North and struggling for survival in its severe conditions for many centuries. The conclusion is made that in his poems “The Sacred Deer” and “World of the Even”, Andrey Vasilyevich Krivoshapkin reveals the strength of the soul, stiffness of the northern people before severe natural conditions, and their wisdom. Depicting a peculiar world of the Even people and their national character, he writer creates a complete image of the entire lifestyle of his native people. The novelty of this work lies consists in the description of the specific poetic world of Andrey Krivoshapkin, where the spiritual-ethical values of all peoples of the North are presented through the realistic descriptions of everyday life of the Evens. The poet conveys their aspirations and hopes for the future.
45
Golburt, Luba. "Ian Satunovskii: Identity and Biography, from the War to the Lyric." Slavic Review 82, no. 3 (2023): 640–47. http://dx.doi.org/10.1017/slr.2023.281.
Анотація:
Ian Satunovskii's war lyric is an extensive corpus drawn from the entirety of his poetic career (early 1940s–early 1980s). Focusing on a few closely read selections, this essay attempts to make sense of this body of work, paying particular attention to the compounding of identities and temporalities in Satunovskii's very short texts. How does Satunovskii's poetry resist the hardening and polarization of identities occasioned by war? And how can we interpret Satunovskii's identification of war as a structuring event of his biography as well as the source of his poetics?
46
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.
Анотація:
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.
47
Gillott, Brendan C. "Concrete Poetics and Non-Art in John Cage and Dom Sylvester Houédard." Modernist Cultures 18, no. 1 (February 2023): 68–93. http://dx.doi.org/10.3366/mod.2023.0387.
Анотація:
This essay considers the work of John Cage and Dom Sylvester Houédard (dsh) as both concrete poetry and non- or anti-art, paying special attention to their statements of poetics from the early Fifties through to the early Seventies. Although their contribution to the various manifestations of mid-century concrete poetics is well recognised, this recognition has served to obscure their concurrent commitment to anti-art and ‘Neo-Dada’. The inclusion of concrete poetry among the movements of poetic modernism is much debated, and I argue that the accompanying anti-art gestures of these two writers further troubles that designation; for them, concrete poetry as non-art intimated a rejection of their modernist inheritance.
48
Denisova, Nataliya, and Dinara Yusipova. "A Comparative Analysis of Temporal Structure of English Poetic Texts for Adults and Children." Journal of Language and Education 2, no. 2 (June 1, 2016): 6–13. http://dx.doi.org/10.17323/2411-7390-2016-2-2-6-13.
Анотація:
Poetry has always been under the focus of scholars’ attention, though the problem of performing a comparative analysis of children’s and adults’ poetry has not received enough attention yet. The study undertaken is aimed to fill in this gap and provide the analysis of English poetry for adults and children with the attempt to identify some grammatical peculiarities of the corresponding poetic texts. The scope of the texts for examination is limited to English poetry of the nineteenth – twentieth centuries focused on the animal theme. The analysis of the temporal structure of the texts selected was based on the method elaborated by Ludmila Nozdrina in her work “Poetics of grammar categories” (2004). The results of the study have proved the hypothesis stated: there are some differences in temporal structuring of the nineteenth–twentieth century poetic English texts focused on the animal theme. The main difference lies in targeting the poem: whether it appeals to adults or children. The current study contains quantitative information on the usage of certain grammatical phenomena within the texts analyzed, and the attempts of their interpretations. Consequently, the study might be of particular interest for those scholars who do research on differentiating grammatical peculiarities of poetry in general and drawing differences between children’s and adults’ poetry, in particular.
49
Marangoni, Alessandra. "Darci Gardner, Reading, Attention, and Poetic Suggestion: “Éventail (de Madame Mallarmé)”." Studi Francesi, no. 199 (LXVII | I) (April 1, 2023): 182. http://dx.doi.org/10.4000/studifrancesi.53006.
50
Gardi, Sardar Ahmed, and Mahdi Mohammed Bashuri. "The poetry of language deviation in Muhsin Awara's Karezamarjan." Twejer 4, no. 2 (December 2021): 199–240. http://dx.doi.org/10.31918/twejer.2142.5.
Анотація:
Abstract In modern literary criticism, the concept of poetic has occupied an enormous scope, it has been paid a great attention and concentrated in the literature of the people, and some concerned research papers and studies have been written in relation to it in the Kurdish literature. This research (Poetic Language Deviation in Muhsin Awara’s Kareza Marjan) is an attempt to pay much more consideration to the poetic concept and to familiarize to the readers and critics. This research consists of an entrance and two sections; in the entrance, we have tried to identify the poetic as a term and concept. For this purpose, we have stated a brief description of the beliefs of the experts and a brief history of its emergence. In the first section, (Poetic Deviation in Morphological Principle) has been focused on and accomplished with example of poems. In the second section, it states (The Poetic Deviation in Syntactic Principle) in the field of theory and accomplishes with example of poems.