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Автор: Grafiati

Опубліковано: 14 грудня 2024

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Статті в журналах з теми "Poetic conceptions of language"

Baxodirjon, Burxonov. "THE MAIN CONCEPTIONS FOR LANGUAGE 1 AND LANGUAGE 2 ACQUIRING." International Journal Of Literature And Languages 03, no. 04 (April 1, 2023): 1–5. http://dx.doi.org/10.37547/ijll/volume03issue04-01.

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Socio-biology is the Darwinian framework of aimless natural selection for random changes in matter in motion derives an atheistic position from But from the first cosmic singularity to free will, explanatory gaps in the sociobiological account of religion invite God's foot at the door. Yoga about the anatomical connection between humans and God By interpreting the Taoist, Taoist, and Kabbalistic descriptions not as primitive, poetic tropes, but as internal receptions of little-known, enigmatic, epigenetically repressed structures, Leissner fibers and called the nervous system. I propose a new theistic sociobiological theory of religion. A valid belief in this theory could epigenetically awaken repressed Leissner fiber genes and initiate empirical testing of the theory.

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Stougaard-Nielsen, Jakob. "Tidens rytmik." K&K - Kultur og Klasse 34, no. 102 (October 2, 2006): 108–28. http://dx.doi.org/10.7146/kok.v34i102.22319.

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Dante Alighieri, William Carlos Williams’ prosodi og Michel Serres Rhythm of TimeThe article discusses William Carlos Williams’s poetics and his particular conception of a modern prosody as expressed in the essay »Speech Rhythm« (1913) and as materialized in his experiments with a poetic form he himself termed »the variable foot« in »the triadic verse«. The article suggests that Williams’s poetics should be conceived as both an attempt to reinvigorate a typographically governed poetic language, his reaction to free verse, and as a larger figure for a poetic project which attempts to offer a poetic form to an unruly American idiom. Additionally, Williams’s new poetic measure is considered as an attempt to produce a poetic voice that could capture the rhythms and temporalities suggested by the modern age. Williams’s poetics present, then, a conflation of poetic scheme and trope, of prosody and anthropology, and are presented here as in tune with Ezra Pound, George Antheil, Albert Einstein and Michel Serres’ aesthetic and scientific abstractions of temporality. Williams’s poetic experiments offer a new measure for a modern »time«.

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Sainsbury, Daisy. "Towards a Minor Poetry: Reading Twentieth-Century French Poetry with Deleuze–Guattari and Bakhtin." Paragraph 42, no. 2 (July 2019): 135–53. http://dx.doi.org/10.3366/para.2019.0295.

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Drawing on Deleuze and Guattari's analysis of minor literature, deterritorialization and agrammaticality, this article explores the possibility of a ‘minor poetry’, considering various interpretations of the term, and interrogating the value of the distinction between minor poetry and minor literature. The article considers Bakhtin's work, which offers several parallels to Deleuze and Guattari's in its consideration of the language system and the place of literature within it, but which also addresses questions of genre. It pursues Christian Prigent's hypothesis, in contrast to Bakhtin's account of poetic discourse, that Deleuze and Guattari's notion of deterritorialization might offer a definition of poetic language. Considering the work of two French-language poets, Ghérasim Luca and Olivier Cadiot, the article argues that the term ‘minor poetry’ gains an additional relevance for experimental twentieth-century poetry which grapples with its own generic identity, deterritorializing established conceptions of poetry, and making ‘minor’ the major poetic discourses on which it is contingent.

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Morkina, Julia. "Language and poetics: analysis of the conceptions of A.A. Potebnja’s followers. Part I: A.A. Potebnja, V. Kharzeev, B.A. Lezin." Filosofiya osvity. Philosophy of Education 24, no. 1 (December 5, 2019): 154–73. http://dx.doi.org/10.31874/2309-1606-2019-24-1-154-173.

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In 1907 – 1923 in Kharkov a non-periodical collection of works of the so-called "Kharkov school" – the followers of A.A. Potebnja and A.N. Veselovskiy – was published. Its title was "Questions of Theory and Psychology of Creativity". This article deals with the works included in this collection and in one way or another connected with the theory of poetic creativity. I show that some ideas of the researchers of the "Kharkov school" are still relevant for the philosophy of poetic creativity and philosophy of education and analyze the relevance of A.A. Potebnja’s, V. Kharzeev’s and B.A. Lezin’s works for the contemporary philosophy. A famous linguist of the 19th century A.A. Potebnja (now a classic of philology), considered language to be an elementary form of poetry. Language, he believed, is poetic in its essence; a word is the simplest, most elementary form of a poetic work. Word as a poetic work originated in the prehistoric times and continues to re-emerge in everyone who speaks and hears nowadays. According to Potebnja, understanding takes place in such a way: the meaning of a word is not directly transmitted from the speaker to the listener, but the spoken word of the speaker induces the birth of meaning in the mind of the listener from its own semantic stock, semantic reserves. Therefore, both the pronunciation (birth) of a word by a speaker (teacher) and the understanding of it (rebirth) by a listener (student) is a creative act: in verbal communication a movement of thought takes place. In the article, the relevance of some ideas of such of Potebnja’s followers as V. Kharzeev, B.А. Lezin for the leaching process is also studied. Kharzeev in detail considers such tropes as metonymy, synecdoche and metaphor from the point of view of their use in literary poetry. But the main Kharzeev’s achievement is precisely the descriptions and analysis of the elementary forms of poetry, which is the language (word) functioning according to the laws described above by the author. Lezin considers creativity as a kind of economy of thought. His ideas on creativity seem valuable for the philosophy of education.

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Barda, Jeff. "Boules de sensations-pensées-formes in Christophe Tarkos's Poetry." Nottingham French Studies 57, no. 1 (March 2018): 18–32. http://dx.doi.org/10.3366/nfs.2018.0201.

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This article explores Christophe Tarkos's poetic work and analyses which conception of thought and sensation is developed in his work. His poetry, I argue, rests on a materialist conception of poetic writing construed as a kneading process in which language can be shaped and reshaped continually. This manipulation gives rise to a complex, paradoxical discourse, characterized by a lack of causality which reflects an idiotic perception of the world and objects. This immanent conception of language reduced to its simplest expression stands in stark contrast with past poetic models and conveys a new definition of anti-lyrical poetic writing and of the poetic subject.

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Picchione, John. "Poetry, Science, and the Epistemological Debate." TTR : traduction, terminologie, rédaction 12, no. 1 (February 26, 2007): 19–30. http://dx.doi.org/10.7202/037351ar.

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Abstract Poetry, Science, and the Epistemological Debate — The last few decades have witnessed a radical questioning of the cognitive possibilities traditionally associated both with science and literature. This article gives a brief overview of the debate and provides a critique of the deconstructive and post-modern theories in their attempt to subvert fundamental epistemological claims. The article then addresses the specificity of poetic cognition and, distancing itself from mimetic conceptions of poetry, proposes that poiêsis entails a peculiar creation of reality, unattainable with other tools. It is the uniqueness of the materiality of poetic language that contributes to the formation of subjectivity and to the expansion of human reality and consciousness.

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Ospovat, Kirill. "Doublespeak: Poetic Language, Lyric Hero, and Soviet Subjectivity in Mandel΄shtam's K nemetskoi rechi." Slavic Review 78, no. 01 (2019): 126–48. http://dx.doi.org/10.1017/slr.2019.11.

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This paper analyzes a poem by Osip Mandel΄shtam, his 1932 “To the German Tongue,” as it explores and reveals the tensions and dangers of Soviet discursivity and subjectivity. Tracing its semantic unfolding shaped by ambiguities, nuances, and subtle transitions, and illuminating its evocations of the cultural past, I approach the poem as a consistent, if meaningfully opaque, reflection on the Soviet experience. Mandel΄shtam built upon and self-consciously enacted theoretically-informed conceptions of the lyric, the poetic subject, and poetic language developed in Formalist scholarship and adopted in some of his own critical writing. I argue that in the poem, as well as in the criticism which framed it, these Formalist concepts revealed an undercurrent of political signification, made even more evident in the reflections on Soviet political and aesthetic experience in the memoirist writing of a Lidiia Ginzburg or a Nadezhda Mandel΄shtam.

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Olesiejko, Jacek. "Heaven, Hell and Middangeard: The Presentation of the Universe in the Old English Genesis A." Studia Anglica Posnaniensia 45, no. 1 (January 1, 2009): 153–62. http://dx.doi.org/10.2478/v10121-009-0010-9.

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Heaven, Hell and Middangeard: The Presentation of the Universe in the Old English Genesis A Since the times of Antiquity, people have looked up to the sky and developed various conceptions of Heaven and Hell. Already in the ancient Egypt people developed the tripartite conception of universe with earth placed between the Heaven inhabited by gods above and Hell below. The Old English poetic text of Genesis (MS Junius 11; compilation dated to the 10th century) presents the earthly paradise, Hell and Middangeard (or the middle earth). Both Genesis A and B that comprise the poem indeed show a single and consistent descriptions of cosmos. The overt consistency may well seem as interesting as the tradition that the poem draws upon as well as distorts. The universe found in the poem is a fusion of the Christian religious learning as well as Germanic tradition. The idea that marries Heaven, earth and Hell in the poetic sequence of OE Genesis is the concept of hall and anti-hall, city and anti-city. The aim of the following paper is to investigate the modes of this presentation of these parts of the universe by the analysis of the clusters of meaning that are associated with hall and city.

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Rodríguez López, Elia. "Tiempo y memoria en el espacio: el mar como metáfora en la poesía de Kim Chunsu." Revista de Filología de la Universidad de La Laguna 47 (2023): 287–303. http://dx.doi.org/10.25145/j.refiull.2023.47.15.

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"The prevalence of spatial metaphors to refer to temporal experiences suggests the existence of cognitive processes according to which the physical and concrete experience of space structures the human temporal dimension and serves for anchoring memory. Approached as a means to access such subjective interpretations of the world, the poetic text allows an inquiry into the conceptions of the subject concerning time, memory, and space. Based on these considerations, this paper examines the images of the sea in two poems by Korean poet Kim Chunsu (1922-2004), in which it appears as a metaphor for time and memory. A detailed analysis of these poems reveals how the poet uses maritime space metaphorically to represent both the inevitable destiny of human life –death– and its origin, crystallized in childhood memories. Likewise, the study of the conceptual metaphors in the poems also demonstrates a distinct conception of time, characterized by a circularity that affects both the individuals and the communities to which they belong."

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Feshchenko, V. V. "From the History of Cognitive Linguistic Approaches in Russian and Western- European Poetics." Critique and Semiotics 37, no. 2 (2019): 128–35. http://dx.doi.org/10.25205/2307-1737-2019-2-128-135.

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The article provides an overview of some recent works on cognitive poetics. Of particular interest are studies close to linguistic problematic of cognition in literary texts. A separate analysis tackles the case from the history of Russian thought about language and poetry – the theory of artistic (poetic) concepts by the Russian philosopher S. А. Askoldov. The paper also considers conceptions of Western-European linguists that emerged at the peak of the “cognitive turn” in the 1970s: theories of T. van Dijk and J. Lakoff – M. Turner, as well as criticism of these works by the Israeli literary critic R. Tsur; the approaches of P. Stockwell (author of the theory of deictic shifts), the Sheffield School of Text Worlds Analysis (J. Gavins, A. Gibbons), and M. Freeman (applications of cognitive linguistics to the study of literary text).

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Дисертації з теми "Poetic conceptions of language"

Coyle, Derek. "'Out to an other side' : the poetry of Paul Celan and Seamus Heaney and the poetic challenge to post-modern discussions of absence and presence in the context of theological and philosophical conceptions of language and artistic production." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1765/.

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

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Arsich, Milena. "L'examen du langage : les questionnements métalinguistiques dans la poésie française, russe et nord-américaine (1970-2000)." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC010.

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Cette thèse est consacrée aux problématisations du langage dans la poésie française, nord-américaine et russe de la fin du XXe siècle (1970-2000). En menant un dialogue critique avec la notion de langage poétique, la thèse envisage la relation entre la poésie et son médium dans la perspective de questionnements ou conceptions problématisées du langage qui circulent dans l'histoire de ce genre sous la forme de topoï et s'élaborent dans les dialogues avec les autres arts (telle la peinture) et champs du savoir (philosophie, linguistique, sémiotique). La conférence internationale « Langage – Conscience – Société », qui se tient à Léningrad en 1989, oriente le choix du corpus puisqu'elle réunit des participants particulièrement attentifs à leur médium : les auteurs nord-américains Language (Michael Davidson, Lyn Hejinian, Ron Silliman, Barrett Watten), les poètes non-officiels russes Dmitri Prigov et Arkadi Dragomochtchenko, ainsi que le poète français Emmanuel Hocquard. La thèse explore la réception des théories du langage wittgensteinienne(s) et post-saussuriennes chez certains auteurs mentionnés et leurs collaborateurs. Elle identifie les écarts, mais également les effets de continuité qui caractérisent leurs questionnements vis-à-vis des problématisations du médium propres à leurs prédécesseurs littéraires (trans-)nationaux. Cette approche comparatiste se prolonge par une étude typologique des corrélations tissées entre les écrits métalinguistiques des poètes des années 1970 et les aspects formels et génériques de leurs oeuvres. Enfin, la thèse révèle les conditions qui favorisent l'écriture poétique et métapoétique sur le thème du langage et identifie les ancrages éditoriaux et les sociabilités littéraires permettant aux auteurs de mener les quêtes réflexives vis-à-vis de leur médium de travail
This dissertation examines the questionings of language in French, Russian, and North American poetry of the late 20th century (1970-2000). Engaging in a critical dialogue with the notion of “poetic language”, the thesis considers the relationship between poetry and its medium in terms of questionings or problematized conceptions of language, which circulate in the history of this genre as topoi and emerge in dialogues with other arts (such as painting) and fields of knowledge (philosophy, linguistics, semiotics). The international conference “Language — Consciousness — Society”, hosted in Leningrad in 1989, shapes the corpus as it brought together participants who were especially attentive to their medium: the US Language poets (Michael Davidson, Lyn Hejinian, Ron Silliman, Barrett Watten), the Russian unofficial writers Dmitri Prigov and Arkady Dragomoshchenko, and the French poet Emmanuel Hocquard. The thesis explores the reception of Wittgensteinian and post-Saussurean language theories by these authors and their collaborators. It identifies the legacies and deviations that characterize their questioning of the medium in relation to those affirmed by their (trans-)national literary predecessors. The comparative analysis is extended by a typological study correlating the metalinguistic writings of these poets with the formal and generic features of their works. Finally, the thesis reveals the conditions that favor poetic and metapoetic writing on the theme of language, scrutinizing the editorial foundations and literary sociability that enable authors to undertake reflective explorations of their medium

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Thoms, Gary Stewart. "Poetic language : a minimalist theory." Thesis, University of Strathclyde, 2010. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=14360.

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Santos, Jesse dos. "The poetic language of cinema." reponame:Repositório Institucional da UFSC, 2017. https://repositorio.ufsc.br/xmlui/handle/123456789/182801.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2017.
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Abstract : This study has as main objective to analyze the representations of water, from a poetic perspective, in the documentaries Elena, directed by Petra Costa, 2012, and To the Other Shore, directed by Jeni Thornley, 1996. In order to do so, I examine some sequences that present water both in the image and sound tracks, and interlace it with the contexts of each story. The first chapter focuses on theoretical questions, drawing discussions on documentary, the poetic mode, poetics and poetic image, metaphor, film studies and, mainly, studies on representations of water. The second and third chapter present, respectively, an analysis of the representations of water in the films Elena and To the Other Shore. The last chapter presents the final considerations about the work developed in thesis and, based on the analyses, it approaches succinctly both films.
Este estudo aborda os filmes documentários Elena, dirigido por Petra Costa, ano de 2012, e To the Other Shore, lançado em 1996, com direção de Jeni Thornley, com o intuito de realizar uma análise das representações da água nos filmes sob uma perspectiva poética. Para tanto, são consideradas, especialmente, algumas sequências de tais filmes as quais denotam o uso da água enquanto elemento imagético e, também, quando esse uso é percebido por meio de efeitos sonoros, em entrelaçamento com os contextos de cada história. O primeiro capítulo da dissertação se debruça sobre questões de cunho mais teórico, das quais se destacam discussões sobre documentário, o modo poético, o poético e a imagem poética, metáfora, estudos fílmicos e, principalmente, estudos sobre representações da água. O segundo e o terceiro capítulo apresentam, respectivamente, uma análise das representações da água nos filmes Elena e To the Other Shore. Já o último capítulo apresenta as considerações finais acerca do trabalho desenvolvido nesta tese, abordando sucintamente aspectos de ambos os filmes com base nas análises apresentadas.

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Mehta, R. (Rajesh). "Metaphor in Ricoeur's hermeneutics of poetic language." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61170.

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Ricoeur advances a theory of metaphor as discourse. The notion of metaphor as event and as meaning is complicated by the form of written discourse and the distanciation which inscription engenders. By specifying the autonomy of the text in relation to the author's intention, the original audience, and the original context, Ricoeur argues that metaphor refers to its own world. Suggesting that the metaphorical arises from a "seeing-as" which contains a non-verbal element, he contends metaphors indicate a extra-linguistic mode of existence. The possibility of conceptualization lies for Ricoeur, at the core of the dynamism of the metaphorical. It is proposed in this thesis that Ricoeur's defence of the autonomy of speculative discourse is inadequate.

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Lloyd, J. F. "Geoffrey Hill and British poetry 1956-1986 : an analysis of poetic language and poetic voice." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358538.

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Carnegie, F. L. "Language theory and urban design." Thesis, University of Westminster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323128.

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Lee, Su-Yong. "The aesthetic politics of poetic language : language and representation in Shelley's dramatic poetry." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396616.

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Feeney, Andrew Stephe. "Language evolution as a constraint on conceptions of a minimalist language faculty." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2768.

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Language appears to be special. Well-rehearsed arguments that appeal to aspects of language acquisition, psycholinguistic processing and linguistic universals all suggest that language has certain properties that distinguish it from other domain general capacities. The most widely discussed theory of an innate, modular, domain specific language faculty is Chomskyan generative grammar (CGG) in its various guises. However, an examination of the history and development of CGG reveals a constant tension in the relationship of syntax, phonology and semantics that has endured up to, and fatally undermines, the latest manifestation of the theory: the Minimalist Program. Evidence from language evolution can be deployed to arrive at a more coherent understanding of the nature of the human faculty for language. I suggest that all current theories can be classed on the basis of two binary distinctions: firstly, that between nativist and non-nativist accounts, and secondly between hypotheses that rely on a sudden explanation for the origins of language and those that rely on a gradual, incremental picture. All four consequent possibilities have serious flaws. By scrutinising the extant cross-disciplinary data on the evolution of hominins it becomes clear that there were two significant periods of rapid evolutionary change, corresponding to stages of punctuated equilibrium. The first of these occurred approximately two million years ago with the speciation event of Homo, saw a doubling in the size, alongside some reorganisation, of hominin brains, and resulted in the first irrefutable evidence of cognitive behaviour that distinguishes the species from that of our last common ancestor with chimpanzees. The second period began seven to eight hundred thousand years ago, again involving reorganisation and growth of the brain with associated behavioural innovations, and gave rise to modern humans by at least two hundred thousand years ago. ii I suggest that as a consequence of the first of these evolutionary breakthroughs, the species Homo erectus was endowed with a proto-‘language of thought’ (LoT), a development of the cognitive capacity evident in modern chimpanzees, accompanied by a gestural, and then vocal, symbolic protolanguage. The second breakthrough constituted a great leap involving the emergence of advanced theory of mind and a fully recursive, creative LoT. I propose that the theory outlined in the Representational Hypothesis (RH) clarifies an understanding of the nature of language as having evolved to represent externally this wholly internal, universal LoT, and it is the latter which is the sole locus of syntax and semantics. By clearly distinguishing between a phonological system for semiotic representation, and that which it represents, a syntactico-semantic LoT, the RH offers a fully logical and consistent understanding of the human faculty for language. Language may have the appearance of domain specific properties, but this is entirely derived from both the nature of that which it represents, and the natural constraints of symbolic representation.

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Hanley, Fiona Marie Cecelia. "Towards a language of inquiry : the gesture of etho-poetic thinking." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/30991.

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This thesis presents a recollection of the relation of “being” and thinking through an articulation of the gesture of etho-poetic thinking. Part I marks out a path towards such a thinking through an encounter with Martin Heidegger’s “sketch” of the self as Dasein, where his description of being-there is read as an originary language of inquiry – one which attempts to respond to the issue of being, to the questionability and groundlessness of existence stemming from simply being-in-the-world. Part I follows out a description of this language of inquiry as a pre-conceptual, pre-cognitive, attuned, bodily understanding, through chapters which unfold this sketch of Dasein. This language of inquiry is construed as a two-fold action of being begun, being sketched, and beginning, sketching-out. The final chapter of part I connects Heidegger’s articulation of “Care” to the ancient practice of “care of the self” and the transformative, etho-poetic potentiality of thinking. As the thesis proffers, it is this pre-conceptual language of inquiry which must be repeated in a resolute thinking, as Heidegger articulates it in Being and Time, seeking not to objectivise the world, to represent it, but to resonate with it. In this sense, the “purpose” of thinking is not so much the obtainment of knowledge as it is an attempt to come back into “Care” for the questionability of one’s existence. As the thesis gestures to in the conclusion, part of the attempt of the thesis is, thus, an implicit critique of the contemporary situation and discourse on thinking with its emphasis on outcomes and outputs. The thesis itself follows the two-fold structure of the language of inquiry. Whilst part I depicts Heidegger’s sketch of this originary language of inquiry, part II sketches-out this language, seeking to articulate how an etho-poetic language of inquiry can occur in writing by bringing the sketch of part one into conversation with other etho-poetic thinkers; Walter Benjamin, Henri Meschonnic, Jan Zwicky, Giorgio Agamben, Lisa Robertson. In this way, through the textual composition of the writing, the thesis presents itself as the primary example of such a language of inquiry, making it not an investigation which objectifies an etho-poetic thinking, but makes an attempt at its own performance of it.

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Книги з теми "Poetic conceptions of language"

Čarkić, Milosav Ž. On poetic language. Beograd: Institute for the Servian Lanuage, Serbian Academy of Sciences and Arts, 2010.

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Watson, R. A. Language and human action: Conceptions of language in the Essais of Montaigne. New York: P. Lang, 1996.

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Botha, Rudolf P. Twentieth century conceptions of language: Mastering the metaphysics market. Oxford UK: Blackwell, 1992.

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McCumber, John. Poetic interaction: Language, freedom, reason. Chicago: University of Chicago Press, 1989.

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1951-, Vogelzang Marianna E., and Vanstiphout H. L. J, eds. Mesopotamian poetic language: Sumerian and Akkadian. Groningen: Styx Publications, 1996.

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Regier, Alexander, and Stefan H. Uhlig. Wordsworth's poetic theory: Knowledge, language, experience. New York: Palgrave Macmillan, 2009.

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Carson, Ciaran. First language: Poems. Winston-Salem, NC: Wake Forest University Press, 1994.

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Boase-Beier, Jean. Poetic compounds: The principles of poetic language in modern English poetry. Tübingen: Niemeyer, 1987.

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Hollander, John. Melodious guile: Fictive pattern in poetic language. New Haven: Yale University Press, 1989.

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Krishnamoorthy, K. Aspects of poetic language, an Indian perspective. Pune: Board of Extra-Mural Studies, University of Poona, 1988.

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Частини книг з теми "Poetic conceptions of language"

Gu, Ming Dong. "Chinese and Western Conceptions of Metaphor." In Fusion of Critical Horizons in Chinese and Western Language, Poetics, Aesthetics, 95–130. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73730-6_4.

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Kortum, Richard D. "Poetic Language." In Varieties of Tone, 75–81. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137263544_14.

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Pajević, Marko. "Thinking language." In Poetic Thinking. Now, 51–68. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003367703-9.

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Geertsema, Marius Johan. "Language." In Heidegger's Poetic Projection of Being, 111–31. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78072-6_8.

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Chapelle, Carol A., and Hye-won Lee. "Conceptions of validity." In The Routledge Handbook of Language Testing, 17–31. 2nd ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003220756-3.

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Sokolova, Olga, and Vladimir Feshchenko. "Eugene Jolas and the Revolution of Language." In Music, the Avant-Garde, and Counterculture, 83–96. Cham: Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-69514-8_7.

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AbstractThe chapter examines the concept of universal language of the American-French avant-garde poet, literary critic, and publisher Eugene Jolas. Universal language was a project aimed at an “interracial synthesis” of all the languages “being spoken in America today.” In this conception, Jolas goes beyond multilingualism as an integration of languages to a transformation of the very basis of language. Central to this transformation is Jolas’s theory of the universal language as a “mantic compost,” that is constantly changing and developing at all linguistic levels. The study focuses on such issues as the images of language in Jolas’s works; the “revolution of language” as the dominant feature of his linguistic theory; the transformation of the linguistic and communicative aspects of his aesthetic program in the process of transition from the concept of “vertical poetry” to a new understanding of creative communication between individuals, which he called “vertigralism.”

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Mann, Jenny C. "Softening." In The Trials of Orpheus, 128–56. Princeton University Press, 2021. http://dx.doi.org/10.23943/princeton/9780691219226.003.0005.

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This chapter begins by investigating the complicated virtue of softness and softening in the classical and early modern language arts. Having established the “drawing” force of verbal eloquence, which places makers and audiences in thrall to desire and to language, the chapter specifies the dissolute texture of that thralldom. It follows how the complex gendering of the Orphic figure shapes conceptions of verbal persuasion and literary transmission in early modern England. Through Ovid's revaluing of softening as poetic force, this chapter also reveals how normative sex/gender configurations fail to account for the gender or the desires of the Orphic poet. Ultimately, it examines the elaboration of a “soft” poetics in Marlowe's English translation of Ovid's Amores (ca. 1599), which presents softness as the very ground of poetic invention. The chapter then suggests that the early modern discourse of poetic softness is a queer discourse of sexuality without or, perhaps, in excess of gender.

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Mattison, Mike, and Ernest Suarez. "The Fantastic." In Poetic Song Verse, 119–44. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496837271.003.0005.

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This chapter examines how in the sixties the fantastic was used—with varying degrees of success—to invigorate language and sound in poetic song verse. The chapter discusses how surrealism primarily entered American poetry through the work of French and Spanish language artists, including Arthur Rimbaud, Cesar Vallejo, and Fredrico Garcia Lorca, and how surrealistic imagery came to the blues through African and Western mysticism. Both manifestations of the fantastic melded in rock during the mid-to-late 60s and played a vital role in the development of poetic song verse. Drawing on Lewis Hyde’s conception of “the trickster,” the chapter examines how Bob Dylan, Leonard Cohen, Jimi Hendrix, the Who, the Grateful Dead, and others cunningly reanimated our cultural narrative against a backdrop of sixties culture.

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LaMarque, Peter. "Poetry and Private Language." In The Paideia Archive: Twentieth World Congress of Philosophy, 105–13. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia1998115.

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The paper discusses three theses in relation to poetry: (1) the Inadequacy Thesis: language is inadequate to capture, portray, do justice to, the quality and intensity of the inner life; (2) the Empathy Thesis: descriptions of certain kinds of experiences can only be (adequately) understood by a person who has had similar experiences; (3) the Poetic Thesis, which has two parts: (a) only through poetry can we hope to overcome the problem of the Inadequacy Thesis and (b) the difficulty of (some) poetry is at least partly explained by the Empathy Thesis. The paper argues that there are important truths underlying each thesis but that it would be wrong to connect this kernel of truth with a Lockean view of language, and in particular with a view of language as 'private', in the sense implied by Locke and criticized by Wittgenstein. The romantic conception of poetry, to which the theses are related, neither relies on the Lockean view nor does it succumb to the Wittgensteinian view.

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Pajević, Marko. "Meschonnic’s Poetics of Society." In The Henri Meschonnic Reader, 32–45. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474445962.003.0003.

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By systematically establishing what Meschonnic called a poetics of society, this chapter explores the connection between a theory of language and a theory of society. Meschonnic makes use of the old debate between realism and nominalism to criticize a language theory exclusively based on the sign. The particular accent system of the Hebrew Bible represents for Meschonnic an alternative model for thinking language, changing our ideas about poetics and subjectivity, with ethical and political consequences. This article sheds light on this political dimension of Meschonnic’s poetics, making the case for the cultivation of language awareness, for poetic thinking as a socially and politically formative activity. It contends that a different approach to language is a different approach to society, which entails that literature is of general social importance and poetics concerns much more than a narrow conception of literature.

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Тези доповідей конференцій з теми "Poetic conceptions of language"

Tojiboyev, Muso. "HERMENEUTIC CONCEPTION OF BABUR'S CREATIVE HERITAGE." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/wjxl9487.

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The article analyzes the place of toponymy of that period in the work "Baburnama", which is a perfect example of the Uzbek literary language of the XVI century. The analysis of a rubai reveals the poet's ability to use linguopoetic tools skillfully.The article analyzes the principles of social and political factors in the creation of art poetic language.

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Lebedeva, Anna. "POETIC LANGUAGE OF WANG JI'S POETRY." In Россия и Китай: история и перспективы сотрудничества. Благовещенск: Благовещенский государственный педагогический университет, 2021. http://dx.doi.org/10.48344/bspu.2021.44.16.077.

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Savchenko, Tatiana. "INTEGRATING POETRY INTO THE FOREIGN LANGUAGE CLASSROOM FROM THE POINT OF VIEW OF SECOND LANGUAGE ACQUISITION." In Aktuální problémy výuky ruského jazyka XIV. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9781-2020-8.

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The article deals with the theoretical foundations of foreign language acquisition which are related to the integration of poetic texts into foreign language teaching. The article defines poetic text and its role in foreign language teaching and focuses on the selected foreign language acquisition theories and their interconnectedness with using poetic texts in the teaching of foreign languages.

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Malanici-Mămăligă, Elena. "Language Trends in Contemporary Bessarabian Poetic Texts." In Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN" cu genericul G. Călinescu. 125 ani de la naştere, Ediţia a 18-a, 343–47. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2024. http://dx.doi.org/10.52505/filomod.2024.18.37.

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Poetic language in Bessarabian literature highlights its diversity and complexity through the combination of phonetic, lexical, and grammatical elements. Bessarabian literature has served as an act of affirming the Romanian language, with contemporary poets exploring significant creative freedom. Features of poetic language include the use of postmodernist techniques, such as intertextuality and irony, to reflect current sensitivities and perspectives. Examples of contemporary poetry demonstrate a blend of traditional themes and stylistic innovations, highlighting both cultural ruptures and universal aspects of the human experience. The article proposes a detailed study of these trends, emphasizing the need for an in-depth exploration of poetic language in the Bessarabian context.

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Nabhan, Salim. "Conceptions of Literacy in English Language Education Context." In 2nd Annual Conference on Social Science and Humanities (ANCOSH 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210413.047.

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Nastenko, Olha. "PHONICS OF POETIC LANGUAGE IN THE ASPECT OF IDIOSTYLE RESEARCH." In EDUCATION AND SCIENCE OF TODAY: INTERSECTORAL ISSUES AND DEVELOPMENT OF SCIENCES. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-19.03.2021.v2.50.

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Juhásová, Jana. "Sanjuanist motifs in the poetic work of Erik Jakub Groch." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-19.

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

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Kovyneva, Elena. "AUTHOR NEOLOGISMS IN POETRY OF E. M. REMARQUE." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.16.

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Barnés, Antonio. "The paths of dreams. A rereading of Antonio Machado’s Galleries." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-9.

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Poetic creation and encounter with God are two concepts that the Spanish poet Antonio Machado relates to dreams and childhood. He thus recovers the dream as a sphere of contact with God, overcoming in a certain way the faith/reason dialectic that modernity takes pleasure in emphasising. The dream is beyond reason, and there comes the divine inspiration which can then be translated into “a few true words”. Poetic language thus acquires a status far superior to that of delight: it is the key that allows us to touch the mystery. The relationship between dream and childhood also allows Machado to explore a lost innocence to which one always aspires to return.

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Bierganns, Morten. "The Creative Process in 18th Century Poetics: A Prologue to Psychological Conceptualisations of the 20th Century." In 14th European Conference on Creativity in Innovation. AIJR Publisher, 2023. http://dx.doi.org/10.21467/proceedings.154.1.

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Since Rhodes’ 4P model, the creative process has been of great interest to the psychology of creativity. Although most psychologists were not aware of it, their conceptions of the creative process on a structural level reiterated those of 18th century poetics. To demonstrate this, the paper methodologically draws on the analytical tools of historical semantics. It proposes to broaden our approach to the creative process by studying poetic views of the past and encourages practitioners to consult these aesthetic texts as inspiration for the development of creativity techniques. Above all, the paper sees itself as a contribution to understanding the history of a concept that is inscribed in our contemporary culture.

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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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

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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, August 2024. http://dx.doi.org/10.3384/9789180757638.

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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of studies, students take the course Critical Cases in Ethnic and Migration Studies, led by Erik Berggren as course coordinator and Kenna Sim-Sarka. The course is designed for students to apply the theoretical knowledge and experiences gained throughout the first year’s courses to produce articles beyond an academic audience for the broader public. Each REMS report is based around a specific theme, with previous themes including migration and Covid-19, migration and Ukraine, and migration and democracy. The REMS report is one of the many ways in which we, as students, are trained to identify and analyse issues related to migration, integration, and diversity and to make research accessible to a wider audience. This year’s overarching theme is Migration and Culture, sparked by recent developments in Sweden’s and Norrköping’s politics of decreasing and cutting funds for cultural activities. Arts and culture are both areas of expression for migrant communities and people on the move, as well as those fighting against racism, discrimination, and exclusion. The current debate on “Swedish culture” and on a “Swedish cultural canon” recalls monolithic understandings of culture as a natural and immutable construct, contributing to the polarisation of views rather than the multiplication of perspectives and conceptions of it. Like culture, which can be visualised as a tapestry created from different threads, different contributions, woven together to form something complex, this report is also a collection of varied articles, united by a common theme. Some articles in this report look at the accessibility of culture in Sweden and its transmission through all kinds of mediums, such as TV programmes; others engage artists or “social artists” who care about issues like migration and the fight against racism and discrimination, and some focus on specific aspects of culture and arts, such as language, food, and music. The first-year students of EMS, 2024.

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