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1
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.
Повний текст джерелаАнотація:
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.
2
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.
Повний текст джерелаАнотація:
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«.
3
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.
Повний текст джерелаАнотація:
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.
4
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.
Повний текст джерелаАнотація:
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.
5
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
"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.
Повний текст джерелаАнотація:
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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Morkina, Julia. "Language and Poetics: Analysis of the Conceptions of A. A. Potebnya’s Followers. Part II: D.N. Ovsyaniko-Kulikovsky, A. Gornfeld, T. Raynov, P. Engelmeier." Filosofiya osvity. Philosophy of Education 25, no. 2 (July 3, 2020): 251–72. http://dx.doi.org/10.31874/2309-1606-2019-25-2-14.
Повний текст джерелаАнотація:
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 D.N. Ovsyaniko-Kulikovsky’s, A. Gornfeld’s, T. Raynov’s and P. Engelmeier’s works for the contemporary philosophy.
These works are examined from the point of view of their modern character and relevance for the philosophy of poetic creativity, as well as usefulness for the philosophy of education. D.N. Ovsyaniko-Kulikovsky analyzes the lyrical feeling that arises in the reader- interpreter reading a poetic work. We emphasize the importance of lyrical feeling in teaching as well. Gornfeld addresses the ideas of Potebnja recognizing any artistic work as symbolic and allegorical, as well as postulating an infinite number of possible interpretations of each artwork. This fact is also important for the education process. T. Raynov writes a chapter called “Lyrics of Scientific and Philosophical Creativity,” which also studies factors important for the philosophy of education. He analyses the factors influencing the way an individual conceives the problem being solved and solved, which may well be a teaching one. Finally, Engelmeyer intends to establish his science of creativity - Evrology. We also show that a reflection on teaching can be developed in parallel with his arguments about creativity.
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Tate, Daniel L. "The Verge of Silence." Research in Phenomenology 49, no. 2 (June 17, 2019): 163–82. http://dx.doi.org/10.1163/15691640-12341417.
Повний текст джерелаАнотація:
Abstract Gadamer’s question “Are Poets Falling Silent?” is motivated by the “linguistic need” (Sprachnot) of modern lyric indicative of the “forgetfulness of language” (Sprachvergessenheit) that prevails today. In Paul Celan’s late work, Gadamer finds poetry that, bordering on the cryptic, stands on the verge of silence. Nevertheless, he insists that these poems do speak and that the title of Celan’s poem series, Breath-crystal, figures the truth of the poetic word. From this standpoint the paper discusses Gadamer’s hermeneutic understanding of the poetic word treating the constitutive elements of the poetic word as an event of language, the way this conception of the poetic word both embraces and yet departs from the usual understanding of the radical turn to language in modern lyric, and the meaning of Gadamer’s claim regarding the truth of the poetic word that fulfills the original saying power of language.
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Sokolova, Olga V. "Ezra Pound and Vorticism: Transatlantic Vectors in Politics and Semantic Shifts in Language." Critique and Semiotics 10, no. 2 (2022): 18–36. http://dx.doi.org/10.25205/2307-1737-2022-2-18-36.
Повний текст джерелаАнотація:
The article examines the key provisions of Ezra Pound's aesthetic conception of poet-ic language. On the one hand, this concept resonates with the general tendencies to-wards the interaction of poetic and political discourses of the early twentieth century. On the other hand, the conception indicates the role of poetic language for world cul-ture and modern politics. Analysis of Pound’s essays corpus for the period from 1912 to the 1940s provides identification of three main vectors: the vector of transatlantic policy (American Risorgimento); the vector of political and poetic performativity: (Literature is language charged with meaning), and the vector of semantic shift (Make it new). The article scrutinizes the pragmatic and sematic techniques that man-ifest Pound’s intention to update the language and increase the performativity of the statement that can have an active effect on the addressee and reality.
14
Bécel, Laurence. "“Poethic” Particulars: Anne Waldman’s Poetics of Detail in Manatee/Humanity." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 11 (October 18, 2019): 50. http://dx.doi.org/10.12681/syn.20893.
Повний текст джерелаАнотація:
In Manatee/Humanity (2009), Anne Waldman investigates our world through a poetics of detail that records diversity in what Édouard Glissant calls the ‘totality- world,’ against the threat of ‘monolithic’ representations of the world that, inWaldman’s terms, are shaped by totalitarian discourses. The poet’s language engagesher own relationship with the world. As Waldman asks: “What is poetry’srelationship to the composite world, /in the relative world?” In Manatee/Humanity, Waldman deals with relativity through a Buddhist conception of time. Besides, her poetic quest echoes Édouard Glissant’s definition of a poetics of Relation and challenges the ability of poetic writing to account for a Glissantian relationship with the world. Waldman’s interrogation also entails a questioning of the relation betweenthe ‘particulars’ of the world and the world as structure. This essay argues that Waldman uses detail as an epistemological standpoint for herpoetics of interconnected particulars which is entwined with an ethical approach to our contingent world, and may be defined as a poetics of Relation.
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Ihanus, Juhani. "Therapeutic Poems for Advancing Coping, Empathy, and Cultural Well-Being." Creative Arts in Education and Therapy 8, no. 1 (August 23, 2022): 18–31. http://dx.doi.org/10.15212/caet/2022/8/8.
Повний текст джерелаАнотація:
From the perspective of poetry therapy, the author relates Western views of poetic time, rhythm, literary creation, and metaphoric language to ancient Chinese conceptions of literature and to the haiku tradition. The author analyzes and develops practical approaches to using haiku for therapeutic, rehabilitative, and preventive purposes. In haikus, he detects potential to explorative and meditative self- and communal transformation, flexible coping with current anxieties, and the advancement of social and cultural well-being. The ecopoetic applications of haiku pave way to more empathic connections of human beings to nature and the whole cosmos.
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Kaczmarski, Paweł. "Adam Ważyk, the New Sentence and the question of entropy." Acta Universitatis Lodziensis. Folia Litteraria Polonica 40, no. 2 (August 27, 2018): 91–105. http://dx.doi.org/10.18778/1505-9057.40.04.
Повний текст джерелаАнотація:
In its first section, the article focuses on certain concepts belonging to Adam Ważyk’s theory of poetics. Specifically, I note the role of entropy in Ważyk’s thought on the form of the poem. Ważyk’s thinking of entropy served the poet to regulate his more general conception of the formal constitution of the poem. Although entropy seems to be an unavoidable process, the poet’s role and duty is to partly control it. For Ważyk, such partial containment of entropy is the condition of poetic communication.The second section of the article places the entropy-related tensions identified by Ważyk in the context of poetic debates of the 90’s between Fredric Jameson, a prominent Marxist critic, and the American poets identified as the LANGUAGE group.
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Pajević, Marko. "A Poetics of Society: Thinking Language with Henri Meschonnic." Comparative Critical Studies 15, no. 3 (October 2018): 291–310. http://dx.doi.org/10.3366/ccs.2018.0297.
Повний текст джерелаАнотація:
Throughout his oeuvre, Henri Meschonnic pursued language and literary studies as a means to better understand meaning-making processes and the functioning of society. By systematically establishing what Meschonnic called a poetics of society, this article 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 realism as totalitarian, and situates this on the side of a language theory exclusively based on the sign, to which he opposes his theory of rhythm, which emphasizes the semantic value of the continuous dimension of language. The language of the Hebrew Bible, with its particular accent system, 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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Bucharkin, Petr E. "Die klassische Tradition in der russischen Literatur: zum Problem ihrer Genesis." Zeitschrift für Slawistik 65, no. 3 (August 4, 2020): 368–81. http://dx.doi.org/10.1515/slaw-2020-0018.
Повний текст джерелаАнотація:
SummaryThe article considers the poetry of S. S. Averintsev. The analysis of its dominating thematic, generic and verse features allows us to see in this poetry a peculiar development of literary trends of the late 17th/early 18th centuries, which were connected with the transformation of autochthonous artistic sources and generated a whole range of original texts, including poetic ones (“Povest’ o Gore-Zlochastii”, Songs of P. Kvashnin-Samarin). On the basis of another historic correlation Averintsev’s poetry can be considered an attempt to present the classical tradition of Russian literature as a direct development of medieval verbal principles in their Moscow variant. This position was supported by the scholar’s philological conceptions and was also confirmed by the statements of a number of literary critics, as well as by the poetic practice of Olga Sedakova, which was close to that of Averintsev. The article explores the correlation of these perceptions with historical and literary facts.
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Bezugla, Liliia, and Viktoriia Ostapchenko. "Intentionality of Poetic Discourse." Theory and Practice in Language Studies 12, no. 2 (February 1, 2022): 248–53. http://dx.doi.org/10.17507/tpls.1202.05.
Повний текст джерелаАнотація:
This paper provides a new conception of analysing poetic text in terms of speech act theory proceeding from Searle’s concept of intentionality, from Dijk’s view on literary speech act based on the intention of the author and from Merilai’s understanding of pragmapoetics. We argue that the author’s intention in the poetic discourse comes in two varieties: the referential and the aesthetic ones. The referential intention is the author’s attitude towards the text content. The aesthetic intention is the author’s attitude towards the language form, through which the content is expressed. Thus, two kinds of speech acts are performed simultaneously: 1) referential, based on the referential intention, involving an illocution and being fictional, as the sincerity rule is violated; 2) aesthetic, based on the aesthetic intention. The latter is a specific subtype of expressive illocution as the author's illocutionary goal is to express a positive emotional-evaluative attitude solely toward the language form, while the perlocutionary goal is to influence the reader's aesthetic feelings regarding this form. These kinds of intention are reflected at both the level of the utterance and the whole text. Thus two communication levels are taken into consideration: the vertical and horizontal ones. The poetic texts of “New objectivity”, a literary movement in German Weimar Republic in 1918–1933 have been used to observe these regularities.
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Hendren, T. George. "Catullus’s Ameana Cycle as Literary Criticism." Mnemosyne 69, no. 2 (February 4, 2016): 262–75. http://dx.doi.org/10.1163/1568525x-12341769.
Повний текст джерелаАнотація:
This paper will reevaluate Catullus’s venom in poems 41 and 43 (the so-called ‘Ameana Cycle’) to show that his attacks on Ameana are in fact veiled criticisms of Mamurra’s loathsome poetry. Catullus’s descriptions of Ameana substantiate this reading: her physical features are disproportionate and ill suited to Roman conceptions of beauty, she is entirely without wit, and despite her patent imperfections, she has no idea how hideous she really is. The use of a poetic mistress in this manner has parallels within the Catullan corpus, and is also referenced in the work of Martial.
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Wen, Mingzhen. "Exploring on the Poetic Pragmatic Structure in Chinese Classical Philosophical Texts." Communications in Humanities Research 24, no. 1 (January 3, 2024): 146–49. http://dx.doi.org/10.54254/2753-7064/24/20231636.
Повний текст джерелаАнотація:
In Chinese classical philosophical texts, the use of poetic explications to convey concepts is a unique and fascinating phenomenon. Unlike Western philosophy, where conceptions are often explained by definition of connotation and extension. Classical Chinese philosophy relies on direct experiential understanding through poetry and metaphorical language. This pragmatic structure in Classical Chinese allows for a deeper connection between the reader and the text, even opening up the possibility of personal interpretation. By recalling or forming certain experiences, even mystical ones, readers can gain a more profound understanding of the concepts being discussed. This article explores the ontology of the unity of heaven and man() that is preset in these texts and makes this process (what people called tiwu()) possible. Taking the Five Elements as an example, this article reveals unique concepts born on the basis of this pragmatic structure that is different from Western philosophy.
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Renno, Frédérique. "Die deutschsprachige weltliche Liedkultur um 1600." Artes 2, no. 2 (September 18, 2023): 277–98. http://dx.doi.org/10.30965/27727629-20230012.
Повний текст джерелаАнотація:
Abstract Far-reaching changes in poetry and music emerge at the turn of the 16th and 17th centuries. Poetry and Lied can hardly be separated around 1600, as the lyric poetry of this period is generally singable and decisively influenced by the secular Lied. The significant contribution of the Lied to aesthetic change and to the modernisation and Europeanisation of German-language lyric poetry (themes, motifs, metrics, forms, sentence structures) will be worked out on the basis of some 5 200 songs in about 340 printed song collections between 1567 and 1642. Against the background of this broad corpus of sources, the interdisciplinary study analyses individual songs and song collections from the German-speaking world in terms of both musicology and literary studies. In addition to social and sociological aspects, dimensions of novelty are addressed as well as the relationship between theory, poetics and practice, cultural transfer processes, and questions about continuities and dynamics of literary and musical phenomena. The case studies as well as the theoretical and poetic statements on the Lied show how two conceptions of the Lied are profiled: In becoming independent, both song concepts are valorised in literature and music. In this way, the secular German-language Lied contributes to the modernisation and Europeanisation of German literature.
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Tahseen Ali, Noor Al-Huda, and Omar Saadoon Ayyed. "The Reversal of Negro’s Stereotype Image in Audre Lorde’s Selected Poems: A Poststructuralist Study." JOURNAL OF LANGUAGE STUDIES 7, no. 2 (December 31, 2023): 264–87. http://dx.doi.org/10.25130/lang.7.2.13.
Повний текст джерелаАнотація:
The present study tackles the linguistic creative ability of Audre Lorde’s poetic language to change the concepts and perceptions of Negro image signification. It is a sensitive issue that is affecting the life of African American community, namely the Blacks. The researcher in this study aims for seeking vicissitude and reverse the black image signification to indicate it as a graceful one. Besides, the researcher aims to document the black’s agony out of the dominant conceptions by the harsh white society over them during 1960 and 1970. This is done through selecting poems from Audre Lorde’s ‘’Coal’’ volume as a Data analysis under approaching the poststructuralist Susan K. Langer and her book entitled ‘’ Philosophy in a new key: A Study in the Symbolism of Reason, Rite and Art’’ (1954). Therefore, the paper discusses a rooted and renewed problem, which is judging on skin color. The researcher applies in his investigation a quantitative descriptive methodology that starts with an introduction, literature view, Theoretical background and concepts that are affecting language and black culture in addition to Lorde’s poetic language quality. The study concludes that the signifier is not a must to represent the signified. This is true with Lorde’s call of the black ‘’Coal’, which is a source of fortune and energy, despite being black. Thus, it shows the importance of the self and the black identity.
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Townsend, Chris. "Nature and the Language of the Sense: Berkeley's Thought in Coleridge and Wordsworth." Romanticism 25, no. 2 (July 2019): 129–42. http://dx.doi.org/10.3366/rom.2019.0414.
Повний текст джерелаАнотація:
Though George Berkeley's name appears in a number of studies of British Romantic poetry, sustained readings of his influence on poets of the period are scarce. This is in large part because our modern understanding of Berkeley as an idealist philosopher often precludes us from seeing the role that his theory of nature as a divine language played in poetic conceptions of the relations between mind, world, and God. In this essay I explore the writings of Coleridge and Wordsworth from the 1790s, sketching as complete a picture as possible of their knowledge of Berkeley, and offering readings of Berkeleian moments in their poetry. These moments, which draw Berkeley's ideas into a complex dialogue with philosophical materialism, centre around a rhetoric of semblance – in which the world can ‘seem’ less gross than bodily. I offer this reading as a step towards a fuller understanding of the Romantic understanding of Berkeley.
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Sokolova, O. V. "War and Language in Italian Futurism, Russian Cubofuturism and British Vorticism (Cognitive-Discursive Approach)." Critique and Semiotics 37, no. 2 (2019): 229–48. http://dx.doi.org/10.25205/2307-1737-2019-2-229-248.
Повний текст джерелаАнотація:
The paper explores the conceptualization of war in the texts of different avant-garde movements. The article considers the case of manifestos, articles, journal issues and poetic collections of Italian Futurism, Russian Cubofuturism and British Vorticism, primarily, texts by F. T. Marinetti, V. Mayakovsky and W. Lewis. The war served as a trigger for artistic and language experiments. That is why Benjamin’s conception of “politicization of aesthetics” and Deleuze and Guattari’s conception of the “war machine” are relevant for the analysis. The text analysis is based on discourse-pragmatic and cognitive-linguistic approaches. These approcaches make it possible to reveal the specifics of avant-garde experiments aimed at the formation of a new artistic language with the help of a fundamental transformation and activation of cognitive, communicative and linguistic resources. Avant-garde movements formulated the conceptions underlying their communicative strategies: Marinetti’s performance-actional strategy “Art as action” (l'Arte-azione), Mayakovsky’s linguistic-creative strategy “Cacophony of war” as “sermon of new beauty”, and Lewis’s performance-contextual “Blast and Bless-strategy”. Cognitive approach reveals the overcoming of the border between art and reality, artistic and conceptual metaphors, as well as bridging the “source area” and “target area” in conceptual metaphor. In Italian Futurism, the target area can be both Art and War, which affects the choice of source area: Art is War, but War is Medicine, War is Holiday. Russian Cubofuturists formed a special type of “introvertive” (Jakobson’s term) conceptual metaphors: Poetry is War. War is Poetry; Art is War. War is Art. In British Vorticism both “traditional” (Art is War, War is Game) and “introvertive” conceptual metaphors meets: Enemy / Poet is Ally / Soldier. Ally / Soldier is Enemy / Poet.
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Gerlier, Valentin. "Recovering World-Welcoming Words: Language, Metaphysics, and the Voice of Nature." Religions 12, no. 7 (July 5, 2021): 501. http://dx.doi.org/10.3390/rel12070501.
Повний текст джерелаАнотація:
This article presents a theological–literary response to a concern in contemporary theory with heeding and articulating the speech of nonhuman things. Drawing from Rowan Williams’ metaphysics of poetic addition, I argue that an ‘ecotheological’ literary practice challenges us to become attentive and responsive to the language of the nonhuman, by creatively performing the co-mingling of nonhuman and human language. Drawing from Jean-Louis Chrétien’s phenomenology of the voice, I propose a theological conception of language as a gift of hospitality to the voice of nonhuman things that is also a gift of poetic addition—a ‘saying more’ which, adding being to the world, also manifests its gift-like nature. In contrast to recent critical approaches, I argue for the qualified retrieval of ‘nature’ as a figure both literary and theological, a voice that gives voice to things and speaks by means of human literary production. Through a reading of Shakespeare’s King Lear, I show that the paradoxical and poetic ambiguities of the literary sense of ‘nature’ serve precisely to shed light on its suspect modern iteration, while at the same time taking us beyond critique to enable a cautious yet attentive retrieval of its poetic and symbolic scope.
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Burmistrov, Sergey L. "On One Intercultural Parallel in the Philosophy of Language: Humboldt, Emerson, Bhartrhari." Vestnik Tomskogo gosudarstvennogo universiteta, no. 458 (2020): 60–71. http://dx.doi.org/10.17223/15617793/458/7.
Повний текст джерелаАнотація:
The aim of the study was to reveal the cause of the noteworthy resemblance between Wilhelm von Humboldt’s view of the nature of language, the conception of poetry in American Romanticism, and the philosophy of language in early Vedānta (Bhartṛhari, 5th century AD) that demonstrates a non-accidental affinity of the views on the associations of language and poetry between Indian and Western cultures. Five tasks were set for solving the problem: (1) to reveal the basic principles of Humboldt’s conception of language; (2) to explicate the basic traits of Ralf Emerson’s views on the nature of poetry; (3) to discover their common source; (4) to reveal the fundamental principles of Bhartṛhari’s conception of language; (5) to define the common cultural basis of these conceptions. The study was based on the works by Humboldt, Emerson, Plato, on Bhartṛhari’s treatise Vākyapadīya, and on modern works on shamanism. The principal methods of the study were: (1) a hermeneutic method, presupposing that any term of a philosophical treatise is treated as an integral part of the conception explicated; (2) a comparative historical method based on the analysis of the context where a phenomenon of culture took place; and (3) a comparative philosophical method based on the explication and definition of fundamental concepts of theories in comparison, their origin, place of each concept in its system, and function of each system in the general cultural context. Humboldt treated language as a product of a human need for a semantic organization of the world. Language in his philosophy is a primary manifestation of Volksgeist (people’s spirit) generating firstly the language specific for it, and the language forms the basis for any other aspects of culture. Emerson’s Over-Soul also reveals itself as an inner need that must be verbalized to become conscious. Self-reliance is necessary for human to hear the inner voice of Over-Soul. The poet for Emerson is a person whose inner hearing is more acute than that of other people, and this allows him to hear the voice of Over-Soul more clearly and transform it to words that can be apprehended by common people. The poet in his creative activity can perform only the inspirations of Over-Soul. Both these theories go back to Ancient Greece with its peculiar interpretation of poetic works as induced not by the will of a poet himself, but by a supernatural power. Similar ideas were elaborated in ancient Indian philosophy. According to Bhartṛhari, Brahman is an eternal Sacred Speech that creates the world. Any real language is a partial and scanty form of this Sacred Speech audible only for prophets (ṛṣi) having a “supernatural ear” (divya-śrotra). The conclusion of the study is that Humboldt’s and Emerson’s conceptions go back to Ancient Greek view of poetry as inspired by a supernatural power that cannot be controlled consciously, and this view, together with Bhartṛhari’s theory, has roots in the idea of the magical character of poetry, peculiar to ancient cultures.
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Hutta, J. S. "The affective life of semiotics." Geographica Helvetica 70, no. 4 (October 14, 2015): 295–309. http://dx.doi.org/10.5194/gh-70-295-2015.
Повний текст джерелаАнотація:
Abstract. The paper challenges writings on affect that locate affective dynamism in autonomic bodily responses while positing discourse and language as "capturing" affect. To move beyond such "verticalism", the paper seeks to further an understanding of language, and semiotics more broadly, as itself affective. Drawing on participatory research conducted in Rio de Janeiro, it uses poetic expression as a paradigmatic case of the affective life of semiotics. Conceptually, it builds on Guattari's discussion of affect in connection to Hjelmslev's semiotic approach and Bakhtin's account of the process of enunciation. It is argued that semiotics play a crucial role in conjuring affective intensities, whereby expressions themselves become affective, as they modify sensory and material registers including prosody and the voice. The argument thus leads to a new understanding of the expression of affect as well as the affectivity of expressions. As expressions become affective, they draw subjects into ongoing processes of affecting and being affected. Such a view moves away from conceptions of semiotics "capturing" or even "translating" or "constructing" affect. It also displaces prevalent conceptions of "affective transmission" in terms of the circulation of physical substances body to body. Moreover, it furthers discursive and semiotic methodologies while also inviting a reconsideration of affective ontologies.
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Kostova-Panayotova, Magdalena. "The Russian Futuristic Experiment: the Language of the Poetic Resistance." Scientific knowledge - autonomy, dependence, resistance 29, no. 2 (May 30, 2020): 261–72. http://dx.doi.org/10.37708/bf.swu.v29i2.18.
Повний текст джерелаАнотація:
The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.
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Graff, Richard. "Prose versus Poetry in Early Greek Theories of Style." Rhetorica 23, no. 4 (2005): 303–35. http://dx.doi.org/10.1525/rh.2005.23.4.303.
Повний текст джерелаАнотація:
Abstract The rise of prose in Greece has been linked to broader cultural and intellectual developments under way in the classical period. Prose has also been characterized as challenging poetry's traditional status as the privileged expression of the culture. Yet throughout the classical period and beyond, poetry was still regularly invoked as the yardstick by which innovation was measured. This paper investigates how poetry figures in the earliest accounts of prose style. Focusing on Isocrates, Alcidamas, and Aristotle, it argues that although each author distinguishes between the styles of prose and poetry, none is able to sustain the distinction consistently. The criteria for what constitutes an acceptable level of poeticality in prose were unstable. The diverse conceptions of poetic style were tied to intellectual polemics and professional rivalries of the early- to mid-fourth century bce and reflect competing aims and ideals for rhetorical performance in prose.
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Otte, Michael Friedrich, Luiz Gonzaga Xavier de Barros, Alexandre Silva Abido, Geslane Figueiredo da Silva Santana, and Luciene de Paula. "WHY SHOULD WE SPEAK ABOUT A COMPLEMENTARITY OF SENSE AND REFERENCE?" REAMEC - Rede Amazônica de Educação em Ciências e Matemática 8, no. 1 (January 31, 2020): 77–95. http://dx.doi.org/10.26571/reamec.v8i1.9197.
Повний текст джерелаАнотація:
Until around 1800, Western philosophy believed that there were two types of conception in the world: the mental and the physical. Hence the extensive discussions about the analytical and synthetic knowledge that dominated the philosophy of Kant, the greatest Enlightenment philosopher. However, from the Peircean studies, the discussion about the conceptions has expanded, giving rise to the complementarity, which currently addresses the conceptions of extension and intensionof logic and philosophy. In the educational context it is often claimed that mathematics is a language, since it provides both a means of communication and a substantiation of our thoughts. As a result, mathematical fluidity is now considered the most important. From this perspective, the pedagogical principles underlying mathematics teaching become similar to those used in language teaching. But mathematics is not mere language. Language is a wonderful instrument of the human spirit, yet it serves logic, poetics, and rhetoric far better than mathematics. Thus, this article aims to show that the approach of elementary mathematics education must consist in teaching to read a term beyond its correspondence between letters and sounds, and also to permit the understanding how a skill set can be worked completely in abstract in relation to content. The semiotic methodology is utilized as input to analyze what is really the mathematics.
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Vyshenskaya, Yuliya P. "Stylistic Syntax of the Middle French Poetical Literary Composition." RUDN Journal of Language Studies, Semiotics and Semantics 14, no. 4 (December 15, 2023): 1337–56. http://dx.doi.org/10.22363/2313-2299-2023-14-4-1337-1356.
Повний текст джерелаАнотація:
The study suggests some evidence of studying the “poetic style” of the initial stage. The stage corresponds to the mediaeval European period. The actual character of the work is determined by the stable interest to the category under study in the scientific society as well as by the unstable character of the contents of its meaningful volume. The analytical procedure being realized on the literary heritage of troubadours and trouvères, contributes to the research challenge of the paper. The analysis made is aimed at the study of the specific features of the style generating processes on the poetic texts in the universal context of the medieval culture. The purpose of the work makes necessary solving a number of particular tasks, namely, clarifying and description the poetic style connections with its original roots, the role of the literary-stylistic traditions and medieval aesthetic conceptions in the style generating processes, stylistic traditional and individual proportion. Thus, the study contributes to the number of complex investigations of textual categories within the scope of diachrony and synchrony to be expanded. To achieve the tasks traditional methods are used, i.e., descriptive-analytical, contextual, philological interpretation of the text. Ancient texts study, a case of particular practical applying of the triad “text - style - discourse”, causes the address to the idea of particular and universal discourses. Style, the materialized aesthetic emotion, is considered as the result of the materialization of courtois ideals by means of a certain set of stylistic devices, differentiated in the literary compositions of the courtois Provençal school. Syntactic segment gains in the course of time the etalon status. Due to the volatility of particular discourses of the universal courtois cultural discourse the courtois etalon of the mature stage of the courtois lyrics development, under some altering turned into the etalon of the Northern courtois modification, close to the Provençal one. The analysis also confirms the fact of some existence courtois universalia modified in the courtois discourse.
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Kasng, Sukjin. "The Metaphor and its Cognitive Implications for English Education in the 21st Century." Society of English Education in Korea 54 (June 30, 2024): 7–42. http://dx.doi.org/10.69822/kdps.2024.54.7.
Повний текст джерелаАнотація:
This study explores conceptual metaphors of Have You Ever Seen a Flower? through the theories of cognitive linguistics such as categorization, image schemata, and prominence, attempting to apply cognitive linguistics to English education in this process. The conception that everyday language and poetic language are fundamentally different, and that literary language is a departure from everyday language use ultimately confine the metaphor within the self-sufficient and closed linguistic system or within the poet's imagination, away from our daily lives. For this reason, the metaphor has been regarded as secondary or non-essential in language learning. Yet from a cognitive linguistic point of view, the metaphor is in an inseparable relationship with thinking and cognition. The status of the metaphor in English education needs to be re-evaluated, and it should not be regarded as a secondary learning subject trapped in the stereotype of figurative expression.
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Barros de Oliveira, Rafael. "Entre philosophie et linguistique: Autour de “Philosophie et langage” de Paul Ricœur." Études Ricoeuriennes / Ricoeur Studies 11, no. 1 (July 22, 2020): 65–85. http://dx.doi.org/10.5195/errs.2020.500.
Повний текст джерелаАнотація:
What is the task – rather than the contribution – of philosophy with regards to language? In this article, we revisit Paul Ricœur’s answer to this question in his text “Philosophie et langage.” Ricœur sets forth as the task of philosophy the recovery of a triple linguistic mediation: from language to the world, from language to the subject, and from language to the human community. Starting from the concrete experience of speaking subjects, Ricœur opposes the systemic closure presupposed by the structuralistic view on language, which suspends the function of reference in the relation of meaning between two ideas. Provided with an enlarged conception of reference, one that includes the poetic function of language, the philosopher extricates from the notion of “the world of the text” the constitutive ontological dimension of language, since in its poetic function the latter reveals the multiple possibilities of our mode of existence. We point towards the connection between the reopening of that triple linguistic mediation and the call to an elaboration of a new ontology, one that Ricœur accomplishes through the notion of attestation.
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Rimpau, Laetitia. "<i>A noir – O bleu !</i> Von Laut und Schrift zur Fläche. Joan Miró und seine Methode der <i>peinture-poétique</i>." Zeitschrift für Katalanistik 21 (July 1, 2008): 121–50. http://dx.doi.org/10.46586/zfk.2008.121-150.
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Summary: Joan Miró is a towering figure in the landscape of modern art. In the 1920s, when the Catalan painter came to Paris, he totally renewed his conception of techniques and aesthetics. Generally, the works of this period are regarded as “dream pictures”, “automatic paintings”, as a constant part of French Surrealism. The following study tries, in opposition to the current approach, to show that Miró was sceptical about the surrealistic theories and practise of art, conceding having only “une tendance surréaliste”. In the Écrits, Miró offers details about important origins of inspiration: the poetry of Arthur Rimbaud (poet-seer), Guillaume Apollinaire (poet-painter) and the Dadaists (poetry-provocation). Miró not only developed a “poetic style”, but experimented with poetic texts for the process of painting. Miró’s peinture poétique can be related to Rimbaud’s famous sonnet Les voyelles (1871). The painter transferred Rimbaud’s vision of pure sounds, his suggestive and metaphysical dimension of letters into visual painting, using the language as phonetic material. In different drawings, paintings and collages the vocals A, E, I, U, O correspond to symbolic signs and can be seen as objective, abstract geometric forms. For the painter-poet Miró, writing and painting are analogue processes. Various combinations of “letter-pictures” seem to have offered an inexhaustible inventory for Miró’s poetic art. [Keywords: Miró, Rimbaud [Arthur], poetics, Les voyelles, Apollinaire [Guillaume], Calligrammes, Dadaism, Surrealism, peinture poétique].
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Glover, Adam. "Alejandra Pizarnik and the Poetics of Radical Incarnation." Religion and the Arts 21, no. 4 (2017): 514–44. http://dx.doi.org/10.1163/15685292-02104003.
Повний текст джерелаАнотація:
Generally appreciated as one of the most original and creative voices in twentieth-century Latin American poetry, Alejandra Pizarnik (Argentina, 1936–1972) has not been regarded as a religious poet. Yet despite her explicit disavowal of all forms of religious commitment, Pizarnik’s work is nonetheless animated by fundamentally theological concerns. This article examines in detail the theological motif of “incarnation” in Pizarnik’s verse. It argues that, despite her avowed secularism, Pizarnik frames her own poetic project in explicitly incarnational language and that this theologically inflected vision underwrites her conception of poetic meaning-making.
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Hommen, David. "Wittgenstein, Ordinary Language, and Poeticity." KRITERION – Journal of Philosophy 35, no. 4 (December 1, 2021): 313–34. http://dx.doi.org/10.1515/krt-2021-0036.
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Abstract The later Wittgenstein famously holds that an understanding which tries to run up against the limits of language bumps itself and results in nothing but plain nonsense. Therefore, the task of philosophy cannot be to create an ‘ideal’ language so as to produce a ‘real’ understanding for the first time; its aim must be to remove particular misunderstandings by clarifying the use of our ordinary language. Accordingly, Wittgenstein opposes both the sublime terms of traditional philosophy and the formal frameworks of modern logics—and adheres to a pointedly casual, colloquial style in his own philosophizing. However, there seems to lurk a certain inconsistency in Wittgenstein’s ordinary language approach: his philosophical remarks frequently remain enigmatic, and many of the terms Wittgenstein coins seem to be highly technical. Thus, one might wonder whether his verdicts on the limits of language and on philosophical jargons might not be turned against his own practice. The present essay probes the extent to which the contravening tendencies in Wittgenstein’s mature philosophy might be reconciled. Section 2 sketches Wittgenstein’s general approach to philosophy and tracks the special rôle that the language of everyday life occupies therein. Section 3 reconstructs Wittgenstein’s preferred method for philosophy, which he calls perspicuous representation, and argues that this method implements an aesthetic conception of philosophy and a poetic approach to philosophical language, in which philosophical insights are not explicitly stated, but mediated through well-worded and creatively composed descriptions. Section 4 discusses how Wittgenstein’s philosophical poetics relates to artificial terminologies and grammars in philosophy and science.
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Fang, Junnan. "Wittgenstein’s Conception of Translation in His Later Philosophy of Language as an Approach to Cummings’s Untranslatable Concrete Poetry." Theory and Practice in Language Studies 14, no. 4 (April 29, 2024): 1048–56. http://dx.doi.org/10.17507/tpls.1404.13.
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E.E. Cummings’s concrete poetry raises the canonical problem of poetic untranslatability. It is commonly accepted that a poem is constituted as a unity of form and content, and any change in the form of a poem results in the loss of the poetic value and, eventually, translation failure. Two basic approaches have been proposed regarding the untranslatability of Cummings’s concrete poetry: mimicry and equivalence of effect. However, the former is impractical, and the latter is an indirect one. This paper proposes employing Wittgenstein’s conception of translation in his later philosophy of language to solve the question of the untranslatability of Cummings’s concrete poetry. By analysing three of Cummings’s concrete poems ‘r-p-o-p-h-e-s-s-a-g-r’, ‘mOOn Over tOwns mOOn’, and ‘Buffalo Bill’s’, this study suggests that poetry is translatable in the sense that the same language-game in the source text (ST) can be played in the target text (TT) by reconstruction or invention.
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RudeWalker, Sarah. "“a thunderin/lightenin poet-talkin / female / is a sign of things to come”." Langston Hughes Review 28, no. 1 (March 1, 2022): 25–48. http://dx.doi.org/10.5325/langhughrevi.28.1.0025.
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ABSTRACT Ntozake Shange had a notably complex relationship with her inheritance of the Black Arts project. While she was clearly influenced by the politics of Black nationalism and the aesthetic innovations of the movement in claiming Black language practices as powerful tools of poetic expression, she also struggled to feel accepted and represented within Black nationalist camps. However, this conflict in fact puts her in the company of women writers of the Black Arts Movement, who themselves had been working for years within the movement to move the needle on problematic conceptions of gender and sexuality. In her unpublished early poems written between 1970 and 1972, Shange’s use of Black linguistic and rhetorical resources aligns with the contemporaneous work of other Black Arts women poets and successfully demonstrates the most generative elements of the Black Arts project. But by the beginning of her public career in the mid-1970s, Shange importantly moves independently beyond the Black Arts project to insist on a necessary reckoning with the barriers, within and outside of the Black community, to Black women’s liberation. This article draws upon archival research to reveal the ways Shange’s early work demonstrates both her inheritance and her innovation of the rhetorical and poetic strategies that Black Arts women writers used to make their case that Black women should be central to and vocal within Black nationalist movements.
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Hokin, Tess. "Divided to the Vein." Groundings Undergraduate 9 (April 1, 2016): 32–46. http://dx.doi.org/10.36399/groundingsug.9.196.
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This article explores the development of West Indian cultural identity through its expression in poetry from and about the West Indies. Early forms of cultural expression from the Anglophone Caribbean were frequently realised through mimicry of British poetic forms, themes, and language. Later post-Independence poetry frequently denounced such reverence and aimed to identify the West Indian poetic voice with a conception of ‘Africa’ as an alternative parent culture. Ultimately however, neither Africa nor Britain provides a suitable comparison for the fragmented and diverse West Indies. Rather, the most apt expressions of West Indian cultural identity are found in poetry which focuses on racial hybridity, West Indian landscapes, and local dialects.
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Savin-Zgardan, Angela, and Ion Manoli. "Art and Language in the Vision of Eugeniu Coseriu’s Integral Linguistics." Arta 32, no. 1 (September 2023): 120–23. http://dx.doi.org/10.52603/arta.2023.32-1.16.
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In the present study, we address the conception of the philosopher and linguist Eugeniu Coseriu regarding culture and the common features between art and language, as constituents of culture, as well as the distinctive feature between them. With respect to culture, therefore - to art and language, the scholar claims that any human activity has its internal norm, a norm that implies a certain morality and a certain ethics of this activity. In art, the norm is not to make any concession to the empirical subject, which means that the universal subject in the person of the artist, who is also an ethical and moral person, should create in the way he/she considers, but not according to the taste of the public or of any party. These norms imply for culture and, respectively, for art and language, constancies such as: universality, non-dogmatics, tradition, national specificity, universal culture, culture in history, the relevance of culture, the duty of man of culture, of art, to the cultural situation of his community in history. In the matter of the differentiated characteristic between art and language, with the exclusion of poetic language, which is considered to be art in the conception of the great linguist, it is about the characteristic of the universal subject that excludes alterity in art, but which is specific to language. However, in the end, as far as art and poetic language are concerned, the existence of alterity is admitted on the condition that „the absolute self” addresses „the internalized self” of the creator in art.
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De Villa, Massimiliano. "“Es gibt nur eine Sprache”: The ‘Task of the Translator’ in Rosenzweig’s Idea of Language and Redemption. Its Conceptual Homologies and Expansions." Naharaim 14, no. 2 (December 16, 2020): 153–71. http://dx.doi.org/10.1515/naha-2019-0018.
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AbstractThe concurrence of different languages is one of the tenets of Rosenzweig Sprachdenken and of his translation activity which finds its main theoretical explication in the afterword to his ‘Zweiundneunzig Hymnen und Gedichte des Yehuda Halevi’ (Konstanz, Wöhrle, 1924). In the afterword to the translation of ha-Levi’s lyrical corpus, Rosenzweig outlines a translation model which, trying to convey all the morphological, syntactic and lexical traits of the source language into the target language, gives way to a real linguistic fusion which defies the limits and boundaries of expression and opens onto a redemptive perspective. On the basis of this concluding note and of some passages from ‘The Star of Redemption’, the article tries to analyse Rosenzweig’s idea of language and of its nexus with the idea of redemption with reference to Walter Benjamin’s famous essay ‘The Task of the Translator’ and, as a point of convergence, with Paul Celan’s conception of poetic language.
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Judy, R. A. "Restless Flying, A Black Study of Revolutionary Humanism." boundary 2 47, no. 2 (May 1, 2020): 91–118. http://dx.doi.org/10.1215/01903659-8193257.
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This is an expository essay of “restless flying,” the terms of which are gleaned from engagement with two poetic lines. One is from Aimé Césaire’s 1956 poem, “Le verbe marronner.” The other is from the tenth-century Abbasid poet al-Mutanabbī’s qaṣīda, لااحترا مه سيل ءاش يئاقب (“Baqā’ī šā’ laisa hum irtiḥālan,” “My Constant Wish Is They Not Be Departing”), apropos the literary and political work of twentieth-century Tunisian thinker Mahmud al-Mas‘adī. Both the flight and its exposition belong to what J. Kameron Carter and Sara Jane Cervenak call “the Black Outdoors,” invoking in part Michel Foucault’s notion of “the thought of the outside,” whereby the domineering speaking subject of knowledge disappears in the infinite boundedness of language. Restless flying, it is argued, is elemental of what I term poiēsis in black, referencing a set of practices-of-living articulating conceptions of humanity that are appositive to the anthropology of “Man” concomitant with capitalist modernity.
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Magnusson, Lynne. "Milton, Shakespeare, and the English Grammar of Possibility." Milton Studies 65, no. 1 (January 2023): 122–52. http://dx.doi.org/10.5325/miltonstudies.65.1.0122.
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ABSTRACT This article considers Milton’s art in relation to modality and the evolving grammar of possibility in Early Modern English. Specifically, it reads the surprisingly complex modal auxiliary verbs, may and its rival can, as keywords in poetic scenes of mental deliberation. A comparative analysis of Shakespearean drama sets the scene, demonstrating how the polysemy of may contributes not only to a psychology of potential action in Brutus’s deliberation over Caesar’s assassination but also to his political conceptions. In Milton’s Sonnet 8, by comparison, the ascendance of ability-can over may affirms the poet’s power and the potential reach of the English language. In the translated epigraph to Areopagitica, genuine liberty finds definition in the interplay of a distinctive English liberty-may with a meritocratic ability can-and-will. Can and will are again lead performers in the deliberative interrogation of divine agency in Paradise Regained, whereas the role of might is questioned in Milton’s tragic depiction of fallen agency in Samson Agonistes.
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Shuneyko, Aleksandr, and Olga Chibisova. "Buddhism in the Poetic Works of Innokenty Annensky." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 1 (April 2019): 180–86. http://dx.doi.org/10.15688/jvolsu2.2019.1.15.
Повний текст джерелаАнотація:
The importance of the work is determined by the place which I. Annensky occupies in Russian poetry and his unrelenting influence on generations of readers. The purpose of the work is to reveal the presence and linguistic ways of implementing the semantics of the Buddhist understanding of the world in the poetic heritage of I. Annensky. The material for the study is all original poems of the poet. The main methods are semantic, comparative and intertextual analysis. From the days of his study at the university, the poet was well acquainted with the basics of Buddhism and demonstrated obsession with it throughout his life. Several poems undoubtedly present semantic complexes that are directly referred to Buddhism, refurbishing its major provisions. The ways of translating Buddhist semantics are diverse and they are always organically interwoven into an artistic whole. The language of the poet is consistently focused on ambiguity, uncertainty and ambivalence, which is manifested at various text levels. The work lists the main language transformations used by the poet. It is illustrated on the example of the poem "", which mysteriousness steadily draws the attention of readers and researchers. The author shows that the poem realizes the Buddhist conception of the ratio of extremely small and infinitely large quantities, implying their identity. The authors draw a parallel between the lines of I. Annensky and W. Blake which implement identical Buddhist ideas. The conclusion outlines the prospects for a detailed analysis of other texts.
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Charef, Djihed. "Philosophie de l’hétérogénéité : échoïsation des langues dans la création littéraire." Traduction et Langues 23, no. 1 (July 30, 2024): 108–24. http://dx.doi.org/10.52919/translang.v23i1.972.
Повний текст джерелаАнотація:
Philosophy of Heterogeneity: Echoization of languages in literary creation This article aims to analyse, from a poetic and philosophical perspective, heterolingual practices, or even the intersection of several semiological systems in the same text. In her book entitled Heidegger questions, stimmung, translation, poetry (2010), Éliane Escoubas shows that from 1935, the German philosopher Martin Heidegger began a study on the poetic work of Hölderlin which led him to conceive the act of translation from a broad perspective, not only the internal movement of thought but also that of the development and creation of languages and texts. A new path is then inaugurated in the history of thought as translation. This is highlighted in order to show the originality of the work of “translating” by designing language, shaping speech and forming the body of languages or even writing itself. To better understand this phenomenon, we rely on some reflections and practices that relate to the Maghrebi cultural field. From this perspective, it quickly becomes apparent that the translation paradigm should necessarily figure at the heart of any somewhat coherent critical reflection on the “Text”. In the context of literary creation, the act of translation does not concern questions linked to the comparison between the original and its translation(s). On the other hand, it will be a question of accounting for the writing when it is a translation, not having an original work of reference. This is, obviously, an approach which attempts to radically break with a certain tradition of Algerian criticism which often persists in considering the issues of poetic activity in the Maghrebi literary fields from an essentially (socio)linguistic angle. To reduce a text to its geographical or socio-cultural origin is to refuse to consider the deep complexity of linguistic processes and their historical development, but above all, it is to constantly force the writer into a monolingualism which now seems a conception which denies the interaction of different semiological systems within the same language.
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Chapman, Alison. "INTERNATIONALISING THE SONNET: TORU DUTT'S “SONNET – BAUGMAREE”." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 595–608. http://dx.doi.org/10.1017/s1060150314000163.
Повний текст джерелаАнотація:
“When the history of theliterature of our country comes to be written, there is sure to be a page in it dedicated to this fragile exotic blossom of song” (Dutt xxvii). This sentence is Edmund Gosse's famous final flourish to his memoir of Toru Dutt, which introduced her posthumous volumeAncient Ballads and Legends of Hindustan, published in 1882, five years after her death from tuberculosis at the age of twenty-one. But what would Dutt's page look like in the history of “our country,” by which Gosse means of course England? This question is a tricky one, because placing a late nineteenth-century Bengali who was a Europhile, a Christian convert, and an English-language woman poet within a British Victorian tradition is a simplistic, if not a problematic appropriation of a colonial subject into the centre of the British Empire. Where Dutt belongs has long preoccupied critics who try to recuperate her poetry for an Indian national poetic tradition, or for a transnational, cosmopolitan poetics. The issue of placing Dutt allows us also to press questions about the conception of Victorian poetry studies, its geographical, cultural, and national boundaries, not just in the nineteenth-century creation of a canon but in our current conception of the symbolic map of Victorian poetry. But, while recent critics have celebrated her poetry's embrace of global poetry as a challenge to the parochialism of national literary boundaries, Dutt's original English-language poetry also suggests an uneven, uncomfortable hybridity, and a wry, ironic interplay between distance and proximity that unfolds through her use of poetic form. This essay investigates what it means to “make something” of Toru Dutt, in the nineteenth century and in the twenty-first century, what is at stake for Victorian poetry studies in privileging Dutt and her multi-lingual writing, and whether her celebrated transnationalism might not also include a discomfort with hybridity that reveals itself through the relation between space and literary form in her poetry.
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Shen, Lisa Chu. "Transcending the Nationalist Conception of Modernity: Poetic Children’s Literature in Early Twentieth-Century China." Children's Literature in Education 49, no. 4 (January 17, 2017): 396–412. http://dx.doi.org/10.1007/s10583-016-9311-5.
Повний текст джерела
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Vimos, Victor. "La nada germinal: Desplazamiento y transformación ritual en La Noche de Jaime Saenz." Bolivian Studies Journal 26 (December 10, 2021): 107–26. http://dx.doi.org/10.5195/bsj.2021.251.
Повний текст джерелаАнотація:
In Jaime Saenz’s poem La Noche, mystical, linguistic, and symbolic elements interact to alter our conception of reality. I carry out such a reading by focusing on ritual and the ways that it influences Saenz’s poetic language. I show that this poem proposes to think about night as a cyclical territory in which time and space are decentered from their daily useage. This decentering reflects an identity crisis that emerges when we come face to face with the alterity within ourselves.
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Ivanenko, Iryna. "Notions “association”, “associativity” in modern linguo-stylistics." Terminological Bulletin, no. 5 (2019): 84–89. http://dx.doi.org/10.37919/2221-807-2019-5-10.
Повний текст джерелаАнотація:
Charles Bally’s works laid the basis for the linguistic interpretation of the conceptions of association and associativity and understanding of associative mechanisms with regard to the fundamentals of psychology and systemacy of semantic links in thinking and language. The foundation of the modern theory of associativity is the classification of associations (mnemonic and necessary, close and distant, internal and external) developed by Charles Bally in his works. In linguo-stylistics the conception of association and associativity are associated with understanding of the psycholinguistic mechanisms of figurative use of language units and the realization of the aesthetic function of a literary language (S.Ya. Yermolenko, A.A. Moisiienko, L.V. Tailor, O. Malenkov, H.M. Siuta). Among the mechanisms for the formation of linguistic associations are the following factors: objective, social and intellectual experience, dependence on cultural and historical traditions, the gender identity of the speaker, etc. One of them dominates in each specific communicative situation. Currently known classifications of types of associative links take into account the basic positions of psycholinguistics, and the needs of lexicology and stylistics, etc. General differentiation is carried out: 1) for contiguity, similarity and contrast, 2) according to the scheme “word-stimulus, word-reaction”, 3) according to the type of relationship between the stimulus and the associate). Deep differentiation of associations according to the type of relationship between stimulus and associate) determines the allocation of several associative types: paradigmatic (food – bread) / syntagmatic (food – consume); thematic (friend – childhood > childhood friend); empirical (associated with the subjective experience of the speaker); social (associated with the social experience of the speaker), etc. The use of other criteria motivates the allocation of these types of associations: a) audio, visual, adorational, tangential; b) the usual and unexpected; c) direct and indirect, mediated; d) positive and negative; e) cultural, ethnic and author’’s individual. Understanding the connection between associativity and imagery is a primary issue in the modern literary language theory. Being a basis of concrete and sensual perception of the literary text, associations serve as a basis of creation of character in literature (S.Ya. Yermolenko, L.O. Pustovit, L.O. Stavitska, V.A. Chabanenko). It is necessary to consider the ideas of Franko’s treatise according to the history of the formation of the associativity theory. In particular, the proposed division of poetic associations by content (“ordinary”, that is, simple, and “linked by force”, that is, complex), remains undeniable. During the twentieth century the understanding of the mechanisms of implementation of associativity significantly deepened. One of the main subjects of intensive processing was the paradigmatic ordering of words in language and in human memory, the presence of clear mental connections between certain objects, realities on the basis of commonality or adjacency of their individual traits, features, etc. (compare.: spring – green, light, sun, warmth, flowers, feelings). This motivates the associative grouping of words into semantic fields. From linguo-stylistics point of view the associative-semantic field is a text structure, the model of the functional and stylistic implication of lexical-semantic units. The core of such a field, as a rule, are the keywords – the semantic and estimated coordinates of the entire work. Another type of lexicon combination, taking into account the associative links between the components, is an associative and imaginative field. It arises on the basis of associative and semantic or lexical and semantic association due to the identity of the denotative properties of linguistic signs, the general tradition of common language and poetic usage. Its center is the most active unit (dominant) – the core component of the series, which organizes the relationship of all other components. Associative-figurative series (lexical-thematic lines) go from this dominant, which work together semantically with the center for associative and creative field. Associativity is one of the key concepts of modern linguistic style. Terminological functionality of the conception of association and associativity is associated with the activity of cognition of the problems of “language association”, “artistic association”, “associativity and creative work”.