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1
Kallo, Elena, and Anna Lileeva. "Give me a magazine – hooray for the game! (description of the magazines "Grotexny Mnogopotam" and "TraNvay 13", 1986–1998, executive editor M.V. Panov)." Professor’s Journal. Series: Russian and Literature: studying and teaching 1 (February 25, 2021): 35–45. http://dx.doi.org/10.18572/2687-0339-2021-1-35-45.
Повний текст джерелаАнотація:
The article describes the content and the poetics of the magazines “Grotexny Mnogopotam”, “TraNvay 13”. The “poetic shift” is a dominant technique in the home magazines edited by M.V. Panov. In the creating process of the magazines the poetic shift technique extends to non-verbal reality and combines word, image, and game.
2
Moskvichova, Oksana. "Poetical Text as the Specific Way of the Reflection of Reality." Studia Linguistica, no. 13 (2018): 215–27. http://dx.doi.org/10.17721/studling2018.13.215-227.
Повний текст джерелаАнотація:
The article is dedicated to the embodiment of reality in the poetic model of the world of the British poetry by means of the linguistic and poetic analysis of tropes as the way to actualize cognitive processes in the formation of the world model. By means of linguistic, poetic and cognitive analysis the cognitive aspect of the poetry of the British romantic, modern and post-modern periods is investigated. From the position of cognitive linguistics and cognitive poetics poetry is analyzed as the embodiment in the poetical works the result of cognition of a poet and his interpretation of reality on the background of his physical, social and cultural experience. Reconstruction of the poetical model of the world on the base of British poetical texts is accentuated on the notion of poetry and poetic texts, on the reflection of reality in poetry, on esthetic aspect of poetry and on linguistic and communicative peculiarities of poetry. The article is actual as the generalization of linguistic, poetic and cognitive paradigms aimed to the construction of the model of the world of different cultural and historic periods. The aim and the results of investigation are determined by the specification of the poetical viewpoint embodied in the British poetry of romantic, modern and post-modern periods.
3
Batista, Ozaias Antonio, and Ana Laudelina Ferreira Gomes. "CHILDHOOD IN THE SHADOW OF A LIME AND ORANGE BLOSSOM." Revista Inter-Legere 1, no. 22 (August 9, 2018): 112–35. http://dx.doi.org/10.21680/1982-1662.2018v1n22id15297.
Повний текст джерелаАнотація:
Understanding imagination as an anthropological faculty capable of instigating the being to completely recreate itself, this paper aims to present some experiences lived by Zezé, a protagonist of the novel “O meu pé de laranja-lima” (my lime-orange blossom) in order to problematize the role of the imagination in the constitution of the being, also embracing their sociocultural reality. To accomplish this purpose, we have adopted the phenomenology of Gaston Bachelard's poetic imagination in dialogue with literary images in the “Poetics of reveries” as a theoretical and methodological assumption, since this research is restricted to the novel mentioned. We were able to identify that the images conceived by Zeze enabled another understanding of himself and his reality, due to the creative movement provided by the imaginative. Keywords: My lime and orange blossom. Imagination and poetic. Imagination and poetic images. Oneiric childhood.
4
Dubrovskaya, S. A., and S. P. Gudkova. "Pushkin’s Poetic Behavior: Myth and Reality." Russkaya Literatura 4 (2018): 250–51. http://dx.doi.org/10.31860/0131-6095-2018-4-250-251.
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Antonov, Yuri Grigorievich, and Nikolai Valerievich Karpov. "THE MOTIF-IMAGE WORLD OF DMITRY TAGANOV’s LYRICS." Yearbook of Finno-Ugric Studies 16, no. 3 (September 29, 2022): 462–69. http://dx.doi.org/10.35634/2224-9443-2022-16-3-462-469.
Повний текст джерелаАнотація:
The article examines the artistic specificity of the lyrics of Erzyan poet Dmitry Taganov, analyzes the motif-image system of his poetic experiments, defines the author's place in the modern national poetic system, points out the individual-author concepts that enrich Mordovian poetry. The most common constants of the author's poetry are outlined: the image of home which reveals the inner state of a lyrical hero, recreates the surrounding reality, indicates the ongoing transformation of human existence; his mother tongue, love and care for which is one of the creative dominants for the poet. The poet's great interest towards the theme of home is revealed through the images of close people and landscape, through which he recreates a picture of his second homeland and highlights the feelings of a lyrical hero. The description of seasons helps Taganov to reveal his state of mind. The analysis of the poet's lyrics allows us to state that the poet, possessing an individual poetic style, reveals the inner world of a lyrical hero and recreates the surrounding reality in a concise form and memorable artistic means.
6
Tebegenov, Т., and S. Asilbekuli. "ARTISTIC CHARACTER OF ZHUMEKEN NAZHIMEDENOV'S POETRY." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 344–52. http://dx.doi.org/10.51889/2020-4.1728-7804.70.
Повний текст джерелаАнотація:
The article analyzes the artistic features of lyrical and ethical works in the poetry of the outstanding poet, laureate of the State prize of the Republic of Kazakhstan Zhumeken Nazhimedenov. The poet's poetry is dominated by civil-Patriotic lyric poetry, psychological and philosophical integrity of the sung questions: the native land of the great Steppe, the sacred homeland, the continuity of generations, respect for ancestors, etc. At the same time, the author analyzes the poetic and aesthetic semantic features of artistic images in lyrical poems about nature in the poet's poetry (personification, metaphor, epithet, comparison, symbol, allegory, psychological parallelism, etc.). the Lyrical and psychological nature of civil dedications to things and phenomena in nature is determined by text analysis. We also analyzed critical motives expressed by images of irony and sarcasm in the poet's poems, which assessed gaps and shortcomings in the system of relations in the domestic and social environment. Differentiated features of the historical-philosophical, aesthetic-poetic artistic solution of the poem in the epic poetry of the poet in the generalization and reflection of the reality of life with artistic reality. The research is highlighted in the context of a new consideration of the text analysis of the poetic features of works in the poet's poetry.
7
Dijkstra, Cathrynke, and Martin Gosman. "Poetic fiction and poetic reality: The case of the romance crusade lyrics." Neophilologus 79, no. 1 (January 1995): 13–24. http://dx.doi.org/10.1007/bf00999559.
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8
Byford, Andy. "Art and Reality in Zamiatin's Poetic Theory." Symposium: A Quarterly Journal in Modern Literatures 54, no. 3 (January 2000): 139–58. http://dx.doi.org/10.1080/00397700009598295.
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Marković, Bojan. "The Meaning of Writing Modern Poetry in a/the New Century." Transcultural Studies 11, no. 1 (December 23, 2015): 22–34. http://dx.doi.org/10.1163/23751606-01101004.
Повний текст джерелаАнотація:
The paper deals with the sense of writing poetry as a form of text immanence that is antinomous to the contemporary age, which is also an alternative system of thought, of transformation, of imitation and of critical redefinition of the reality of that contemporary age. At the same time, poetry is a neglected, peripheral literary genre, but also a hyperbolized fictional form that opens the way to an alternative victory of opinions and feelings. Essayistic in structure, the paper discusses several poems and the poetics of three 20th century Serbian and Yugoslav Modernists (Kosovel, Dis, Crnjanski), in order to show, on the basis of their developing and differentiated poetic self-consciousness, what sense the writing of poetry might have in the 21st century. In these instances of poetics, paradigmatic of poetic self-consciousness in general, not all the possibilities of the sense of creativity and action have been exhausted, nor the poetic solutions leading to it.
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Butova, Anna, Angelina Dubskikh, and Ekaterina Lomakina. "The peculiarities of Zabolotsky’s poetic discourse." SHS Web of Conferences 55 (2018): 04015. http://dx.doi.org/10.1051/shsconf/20185504015.
Повний текст джерелаАнотація:
Although N. Zabolotsky’s creative work constantly attracted researchers, there are still problems that have not been reflected in the scientific literature. This article aims to define the features of Nikolai Zabolotsky’s poetic discourse in the Russian literary tradition. To achieve the aim, the authors deal with a wide range of challenges: the study of Zabolotsky’s worldviews in the context of the general mentality of the epoch; identifying the specific nature of figurative and semantic interactions in the poetic language and the objective reality in Zabolotsky’s and the Symbolists’ poetry; establishing the features in the poetic re-creation of artistic existence. Zabolotsky’s poetic heritage, considered from historical, literary and discoursive approaches is the material of the research. The material of this article can be used in teaching Russian literature of the XXth century and also promote the discovery of new facets in studies on poetics and culturology.
11
Gorelov, Oleg S. "Media as a desire in contemporary poetic production." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2020): 62–69. http://dx.doi.org/10.20339/phs.5-20.062.
Повний текст джерелаАнотація:
The article analyzes the principles of surrealism shown in the modern media environment and contemporary poetry: the discovery or production of the paradoxality of the surrounding reality; the overcoming the binary nature of subject-object relationships (this may concern the boundary between intimate and social); as well as the working with the concept of desire and its specific realizations. With the example of V. Bannikov’s poetic project, options for representing the media as desires are considered. In particular, digital media, like the art world itself, are not sterile, but bodily, emitting erotic energy. Bannikov’s subject lives in media, letting in “chaos of thickets”, sensuality and imperfection. Constant search (changes of poetic style), constant desire becomes one of the variants of the isomorphism of Bannikov’s poetic text with the media environment. The innovative poetics of contemporary poetry is faced with the demand of the new in media and FoMO syndrome; the satisfaction of this desire remains the only constant. The medial nature of Bannikov’s language machine of desire is also manifested in the interpretation of his poems as recordings of dreams, oneiric reports on the events of the day. Dream poems offer fragmentary recollection and a secondary processing of reality.
12
Qatanani, Khalel. "Features of Popular Resistance in Diwan "Glory Bows Before You" Approaches to Subject and Poetic composition." مجلة جامعة فلسطين التقنية للأبحاث 8, no. 3 (December 1, 2020): 120–36. http://dx.doi.org/10.53671/pturj.v8i3.116.
Повний текст джерелаАнотація:
The study deals with the "Glory bends before you" by the poet Abdel Nasser Saleh, as an appropriate model to study the subject of popular resistance and its role in confronting the occupier through the use of popular resistance methods and means, and the statement of its foundations, and objective and poetic features.He lived the experiences of struggle and arrest in the Uprising. He practiced peaceful resistance on the homeland by his pencil and actions.The study attempts to dismantle the vocabulary of the texts of the Diwan by employing the analytical methodology in order to demonstrate the extent to which the text copes with the reality of the event "popular resistance" against the other Israeli, through the study of technical techniques and poetic formation, and the effectiveness of reality and practice, culture and ideology. The researcher found the poet's artistic ability to root the state of popular resistance, whether at the level of term or poetic image, and the resulting positive impact on the conscience of the resistance people.
13
Qatanani, Khalel. "Features of Popular Resistance in Diwan "Glory Bows Before You" Approaches to Subject and Poetic composition." مجلة جامعة فلسطين التقنية خضوري للأبحاث 8, no. 3 (December 1, 2020): 120–36. http://dx.doi.org/10.53671/ptukrj.v8i3.116.
Повний текст джерелаАнотація:
The study deals with the "Glory bends before you" by the poet Abdel Nasser Saleh, as an appropriate model to study the subject of popular resistance and its role in confronting the occupier through the use of popular resistance methods and means, and the statement of its foundations, and objective and poetic features.He lived the experiences of struggle and arrest in the Uprising. He practiced peaceful resistance on the homeland by his pencil and actions.The study attempts to dismantle the vocabulary of the texts of the Diwan by employing the analytical methodology in order to demonstrate the extent to which the text copes with the reality of the event "popular resistance" against the other Israeli, through the study of technical techniques and poetic formation, and the effectiveness of reality and practice, culture and ideology. The researcher found the poet's artistic ability to root the state of popular resistance, whether at the level of term or poetic image, and the resulting positive impact on the conscience of the resistance people.
14
Pakhsaryan, Natalia. "TOUCH THE "TRUTH": POETRY IN FACE OF SCIENCE AND KNOWLEDGE. (REVIEW OF THE SPECIAL ISSUE OF THE JOURNAL "HISTORY. LITERATURE. THEORY")." RZ-Literaturovedenie, no. 3 (2021): 23–30. http://dx.doi.org/10.31249/lit/2021.03.02.
Повний текст джерелаАнотація:
The special issue considers the problem of «poetry and the truth» in historical evolution from Middle Ages (F. Villon) to the present time (Ph. Jaccottet, I. Bonnefoy) and demonstrates a wide variety of relations between poetry and reality, poetry and the truth, imagination and science. The articles in consideration focus on some new aspects of poetics of S. Coleridge and M. Leiris, clarify some paradoxes of poetic journeys in the eighteenth century, explore the specifics of poetic discources of S. Mallarmé and certain features of «deontology» in the poetry of R. Kaillois. The specificity of communication forms due to the process of reading poetry is emphasized.
15
Hoben, John L. "How Can My Poem Be True?" Art/Research International: A Transdisciplinary Journal 6, no. 2 (September 4, 2021): 369–88. http://dx.doi.org/10.18432/ari29569.
Повний текст джерелаАнотація:
How can a poem be true? This autoethnographic study uses poetic inquiry to explore the boundaries between fiction and reality within poetic experience. A series of poems composed during, and about, the current COVID-19 pandemic, provides a means of understanding the experience of having one’s everyday reality overturned by crisis. A central theme of the author’s poems and accompanying reflections is how art can be used to explore psychological experiences, such as melancholia and depression, and, in turn how the experience of suffering can be used to facilitate artistic expression. Using poetic inquiry, the author examines the complex interplay between speaker and authorial intention, fiction and truth, text and the performance of writing, reading, and poetic interpretation.
16
Kalmykova, Vera V. "Osip Mandelstam as the author of the unwritten “Poetics”." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 61–72. http://dx.doi.org/10.20339/phs.5-22.061.
Повний текст джерелаАнотація:
In Russia 1910–20s — the time of the formation of poetics as a scientific discipline. Poetics as a science also attracted the attention of O.E. Mandelstam, who correlate his poetic practice with the current state of philology. N.S. Gumilev assumed that Mandelstam would write a study on poetics. In the articles and essays of the 1910 –30s, many categories of poetics were comprehended by Mandelstam: poet and poetry, art and reality, author, reader, the theme of a work of art, language and speech, etc. The original terminology of Mandelstam, which has no scientific character (“omitted links”, “meanings”, “Mention keyboard”).
17
Kleut, Marija, and Ljiljana Pešikan-Ljuštanović. "Uskoks of Senj: Reality and oral poetic fiction." Kultura, no. 174-175 (2022): 93–112. http://dx.doi.org/10.5937/kultura2275093k.
Повний текст джерелаАнотація:
The paper examines Uskok poems, especially those dedicated to the Uskoks of Senj, primarily from the point of view of the relationship between epic poems and history. The people of Senj worked from 1537 to 1617, fighting as paid soldiers or volunteers on the side of the Austrian Monarchy, but also going on campaigns on their own, fighting almost to the same extent with the Turkish invaders and the Christians from the wider region. In contrast to the relatively short period of eight decades of their historical presence, the people of Senj have survived in the oral epics in a very wide Balkan area over a long period of time covering a wide anachronistic field. The paper presents an assumption that the Uskoks of Senj were a warrior-patriarchal world, one that has created and spread oral epics. There were many events in their real lives that were themed in the oral epics. In addition, those who jumped from the mainland to the Austrian territory and settled in Senj probably carried some songs/ poems in their spiritual baggage, primarily those about Hajduks. And they were ready to create new ones. Thus, the first known records are proof that the early poetic narrative was suitable for depicting the Uskoks of Senj, and then that it survived in time and space. In certain interpretations, to which the second part of the work is dedicated, it is shown on the basis of anthological examples of poems, how the mythical, ritual and the historical intersect in the poetics of oral epic poetry; how the anachronistic field of a particular poem is formed, whether it is about gathering "power and dominance" in wedding processions, about concentrating heroes around certain events, personalities or spaces important for national history, or about opposing worthy opponents, and how it affects the aesthetic values and meanings that are shaped in the poems; how different genre features intertwine in such poems (epic and epic-lyric poetry, for example); and form complex and witty, full of twists novelistic plots. All this contributes to the meaning of the epic story: it seems that the past of one's own community is brought into a meaningful, paradigmatic order, which can serve as a basis for future actions.
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Sultangalyeva, Zh. "MODERN KAZAKH POETRY AND LYRICS F.UNGARSYNOVA." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 330–35. http://dx.doi.org/10.51889/2020-4.1728-7804.67.
Повний текст джерелаАнотація:
The article presents a detailed analysis of the multifaceted poetic work of the famous poetess F. Ungarsynova. This is the indissoluble unity of the lyrical hero and author, and the poet's finest poetic speech, and the variety of the genre of her works, and the complex world of the image of the lyrical hero. The article attempts to describe the aesthetic worldview and work of F. Ungarsynova in a comparative manner. Particular attention is paid to the artistic world and the linguistic means of F. Ungarsynova, who have her own poetic style. Also considered is the enormous influence of the poet's work on modern Kazakh poetry. The article draws attention to the fact that the poetess managed to combine such principles as open citizenship and piercing lyricism, purity and nobility of human relations and the tragedy of unrequited love, lines about sacred friendship and wise thoughts about the poet’s craft. Her poems are an impressive picture of modern reality.
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Reinsdorf, Walter. "Schizophrenia, Poetic Imagery and Metaphor." Imagination, Cognition and Personality 13, no. 4 (June 1994): 335–45. http://dx.doi.org/10.2190/grh8-kqj0-ck2q-ae6w.
Повний текст джерелаАнотація:
Poetic imagism and metaphor illustrate important similarities and differences to schizoid uses of figurative language. Both seem to come from similar causes to assuage similar needs, but the poetic succeeds where the schizoid fails. Imagistic poetry, itself a record of sense perception, attempts to fuse word and thing to present them to our senses for understanding. Metaphor also presents objects so that they might suggest further meanings to help us understand reality. A close look at poetic uses of image and metaphor shows how metaphor proceeds from image and illustrates how schizoid attempts to use these psycholinguistic processes fail. First, poetic imagism is compared to schizoid concretization to delineate specifically how one succeeds, and the other fails in imaging offering reasons for the failure. After examining imaging and relating it to identification, poiesis, or metaphor-making is also explained and related to imagery and identification. Closing remarks consider illusion and reality in poetry and schizophrenia.
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Tatarkhanovich, Akamov Abusup'yan, Mukhamedova Fatyma Khamzaevna, Alkhlavova Inna Khumkerkhanovna, and Bekeeva Aygul Muratovna. "Artistic Originality of Children's Poetry of Dzhaminat Kerimova." International Linguistics Research 2, no. 1 (March 30, 2019): p31. http://dx.doi.org/10.30560/ilr.v2n1p31.
Повний текст джерелаАнотація:
In this article, the poems of the famous modern Kumyk poet Dzhaminat Kerimova for children of preschool and school age are analyzed. The artistic originality of poetic texts is considered, their comparative analysis is given. There are a thematic range, figurative system and poetics of the works in the focus of attention. In the course of the study, we have found that the works of children's lyrics of Dzh. Kerimova are various in the themes and intonation. The deep penetration into the wonderful world of the childhood and transfer in poetic texts of a live children's view of surrounding reality are observed. The author’s poems are original, full of national color. It is established that the lyrical expressions are profound, edification is reflected.
21
Yeo, Jinsook. "‘Poetic Justice’ of Kim Jong-sam on Nussbaum's Philosophy of Sympathy." Korean Society of Culture and Convergence 44, no. 12 (December 31, 2022): 1185–97. http://dx.doi.org/10.33645/cnc.2022.12.44.12.1185.
Повний текст джерелаАнотація:
This paper aims to reveal the ‘poetic justice’ that Kim Jong-sam’s poetry embodies. The path from the emotion of sympathy implied in Kim Jong-sam's poem to public power was captured and analyzed as a 'virtuous cycle of sympathy'. We paid attention to the fact that ‘empathy’ revealed in the work becomes a pivot point for converting negative emotions such as loss and deprivation into tolerance, and as a result, the influence of empathy contributes to public judgment. The fact that sympathy forms the core of Kim Jong-sam's poetic world is that his life was aligned with the face of a painful other in the turbulent times of liberation, national division, and war. The virtuous cycle of sympathy, which is the driving force of Kim Jong-sam's poetry, is the context of poetic imagery that captures the shabby reality in the wretchedness of the times, and at the same time, his poetic pursuit through the course of the poem. This paper focuses on the path of sympathy that stands out in Kim Jong-sam's poem, and attempts to reveal the poet's vocation and poetic direction as he realizes it.
22
Cvijanović, Igor. "APOKALIPSA U POETICI NIKA KEJVA: OD TUPELA DO ŽENEVE." Nasledje Kragujevac XIX, no. 51 (2022): 303–17. http://dx.doi.org/10.46793/naskg2251.303c.
Повний текст джерелаАнотація:
Apocalypse in Nick Cave’s lyrics is at the center of their poetic potential or a way of con- textualizing the narratives. As a transgressive artist, Nick Cave uses meaning and symbolism in order to transcend, erase or bend restricting categories that determine reality. His apoca- lypse merges freedom and chaos to generate a grotesquely playful world. The aim of this paper is to examine how apocalypse is used in Nick Cave’s poetics. The paper focuses on his lyrics in which apocalypse is the key element of his poetic creation. The overview of the songs is chronological, starting from “Tupelo” to “Higgs Boson Blues”, which offers a glimpse into the evolution of Cave’s perception of apocalypse in his poetry: from the vengeful Old Testament God to the modern spiritual wastelands of the information age.
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Dronyakina, N. V., and A. O. Pirozhkova. "Methodological tools for teaching prospective teachers-philologists to interpret English poetic texts." SHS Web of Conferences 113 (2021): 00010. http://dx.doi.org/10.1051/shsconf/202111300010.
Повний текст джерелаАнотація:
The article deals with the results of the work with graduate students of philology. The study provides the methodological tools for interpreting the texts in relation to modern interpretative tendencies. In the context of our study a literary text is a model of reality representing the real world – its material and ideal components. The reconstruction of such components requires the use of certain methodology and contributes to the perception of the world picture of a nation. The research develops a typology of English poetic texts based on the principle of interpretativeness. The article provides methodological tools for acquainting students of philological department with these strategies and tactics. The poetic text interpretation in cognitive poetics was made by four-year students of the philological orientation of training. The study was grounded on a competence-based approach in the training of prospective philologists.
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Lempertienė, Lara. "Moyshe Kulbak's and Zalman Shneour's Vilnius: Poetic Reality versus Gloriours Contruct." Colloquia 48 (December 30, 2021): 227–38. http://dx.doi.org/10.51554/coll.21.48.14.
Повний текст джерелаАнотація:
During the interwar period, many attempts were made to perceive and interpret the legacy of Jewish Vilnius, both in the city itself and abroad. Many of the images of the city created in that period betray nostalgic and half-mythological features, even while they present a living and breathing Jewish environment. This essay is a comparative case study of two literary texts that might provide some answers to these questions. One is the Hebrew poem Vilna by Zalman Shneour (1919), and the other is the Yiddish poem ‘Vilne’ by Moyshe Kulbak (1926). Each poet, the paper argues, set opposing goals for himself: for Shneour, it was creating an ode to a legendary centre of Jewish learning and spirituality; while Kulbak attempted to capture the pulse of the actual city that he lived in. Accordingly, Shneour essentially reiterated every traditional rhetorical trope of Jewish Vilnius, without creating a new poetic vision of it; whereas Kulbak used the potential of modernised Yiddish and Expressionist poetics to paint a vibrant and exciting portrait of the city. However, after the trauma of the physical loss of Jewish Vilnius during the Second World War, it was Shneour’s stylistic approach and depiction of the city that would prevail.
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Niżyńska, Joanna. "The Impossibility of Shrugging One's Shoulders: O'Harists, O'Hara, and Post-1989 Polish Poetry." Slavic Review 66, no. 3 (2007): 463–83. http://dx.doi.org/10.2307/20060297.
Повний текст джерелаАнотація:
In this article, Joanna Niżyńska explores the modes used by poets of the bruLion generation (whose debuts coincided with the end of communism) to import Frank O'Hara's poetics into Polish literature and the significance of their doing so. By employing Harold Bloom's concepts of the “anxiety of influence,” “kenosis,” and “daemonization,” Niżyńska analyzes the intergenerational impulses manifested in O'Harism in relation to the Romantic paradigm in Poland's poetic tradition. Niżyńska claims that in turning to O'Hara, such poets as Marcin Świetlicki, Jacek Podsiadło, and Miłosz Biedrzycki engaged in dialectically related modes of revisionary reading of both domestic and foreign traditions. O'Harism is interpreted as a sign of a multifaceted cultural morphogenesis that was simultaneously an act of compensation for Romantic “Polish complexes,” a self-exploration of a new poetic generation in the face of a new political and cultural reality, and a misreading of a foreign source.
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Ebers, Mark. "Understanding Organizations: The Poetic Mode." Journal of Management 11, no. 2 (July 1985): 51–62. http://dx.doi.org/10.1177/014920638501100207.
Повний текст джерелаАнотація:
As a system of understanding reality, the organizational culture and symbolism perspective is similar to Romanticism. Both movements arose out of the recognition of the inadequacies of rationalism, and both attempt to chart areas of the human experience through the imagination in terms of metaphors, symbols, and myths. A comparison of the two, therefore, serves to explain the rise of the cultural and symbolic perspective in organizational studies and its theoretical basis. Further, the comparison at once suggests the potential of the symbolist perspective as well as its problems, especially relativism and the love of distance, while indicating how that perspective may evolve as a total system.
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Ołdakowska-Kuflowa, Mirosława. "„Stopy szukają w trawie – jest ziemia”. Ziemia w twórczości poetyckiej Karola Wojtyły – Jana Pawła II." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 33–49. http://dx.doi.org/10.18290/rh.2068s-3.
Повний текст джерелаАнотація:
This article deals with the widely understood motif of “earth” and its polysemy in the poetic works of Karol Wojtyła / John Paul II. The method of literary analysis and interpretation has allowed for the discerning of a semantic field and to demonstrate the function of the motif of “earth” in the author’s outlook on material reality, his attitude towards the fertility of the soil, nature, fatherland, the Earth, the cosmos and, finally, spiritual reality, combined, in man, with material reality in a particular way, through the Incarnation and Redemption. The analysis of the individual poetic style, especially the method of evoking landscapes, has proved to be a particularly useful interpretational tool, and helps distinguish Karol Wojtyła from his predecessors, interwar poets, and contemporaries – the young poets of the war generation.
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Khvostenko, Y., and I. Redka. "EMOTIVES OF SURPRISE IN MODERN ENGLISH POETRY." Studia Philologica 1, no. 16 (2021): 29–34. http://dx.doi.org/10.28925/2311-2425.2021.164.
Повний текст джерелаАнотація:
The paper focuses on linguistic manifestation of emotion of surprise in modern English poetic texts. The study is guided by the statement that emotions – psychosomatic processes – can be fixed in fictional texts (including the poetic ones) in the form of emotives – the linguistic units that manifest emotions and/or feelings of the addresser. The emotion of surprise differs from other basic emotions of a person due to its ambivalence and specific prerequisites to emergence. As surprise comes forth unexpectedly, the study looks for basic situations in the context of poetic texts when emotives of surprise appear. To study the phenomenon, the concept of emotional situation is employed. It marks the circumstances under which the persona experiences the emotion of surprise. The results obtained from the analysis of modern English poems distinguish several emotional situations in which emotives of surprise appear. They occur at the junction of image-bearing spaces of 1) dream and reality; 2) reality and fantasy; 3) expectations and their fulfilment; 4) two contrasting situations in reality. These image-bearing spaces may have either contrasting or complementing features. The defeated expectancy effect that occurs due their interaction manifests itself verbally via the emotives of surprise.
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Shaf, Olha. "EMMA ANDIIEVSKA’S (UN)REPEATABLE POETRY, OR TWO COMPARATIVE SKETCHES." Слово і Час, no. 1 (February 3, 2022): 38–51. http://dx.doi.org/10.33608/0236-1477.2022.01.38-51.
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Emma Andiievska’s poetic manner is quite experimental in modern literary milieu due to dense metaphoric imagology, daring alliteration, specific subject’s representation, cosmogonic transformation motive, etc., so it hardly correlates with European art styles (modernism and postmodernism in particular), albeit her early oeuvre (1950—1960) is being consequently considered as surrealistic one. It is also hard to outline stylistic and mental links between Emma Andiievska’s poetry and Ukrainian or European one since she has been moving in her art creativity strictly towards poetic originality. At the same time, the poetess’ works can’t be excluded from the world literary process — that is the reason for a comparative search. Some literary parallels have been found in Ukrainian (Bohdan Ihor Antonych) and American (Emily Dickinson) poetry. Both authors could influence Emma Andiievska’s poetic manner. There is a similar attitude to reality and own creativity in Emma’s Andiievska’s poetic oeuvre and Emily Dickinson’s one, caused by a desire for solitude and priority of the author’s subjectivity in the lyrical view. There are also some similar syntactic means in the poetics of both female authors. The poetic manner of Emma Andiievska’s works written in the 1950s—1960s also resembles Bohdan Ihor Antonych’s poetical style, represented in his collections “Salute to Life”, “Three Rings” and “The Green Gospel”. The two authors have a similar phenomenological focus of lyrical reflection, surrealistic metaphors, and acoustic mode of connecting words in an utterance. The childlike features of a worldview and oneiric elements of narrative in the literary works realize the surrealistic mode of writing attributable both to Bohdan Ihor Antonych and Emma Andiievska.
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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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Lacomba, Marta. "La voz poética en el Cantar de mio Cid: ver y descifrar “los claroscuros de la realidad”." Medievalia 54, no. 1 (June 7, 2022): 69–86. http://dx.doi.org/10.19130/medievalia.2022.1.370x74.
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This article will try to characterize the Cantar de Mio Cid as a literary object from matters linked to the writing process, mainly the configuration of the poetic voice. We will analyse the way in which the poetic voice establishes a reality marked by clarity and control of what is sensitive and how its constant motivation lies on showing and understanding.
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Kyungjoo Ko. "Ovid's Exile Poetry: Ovid's ‘Poetic Reality’ against Augustus' Public Image." Journal of Classical Studies ll, no. 24 (June 2009): 307–24. http://dx.doi.org/10.20975/jcskor.2009..24.307.
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Yuqiu, Meng. "From Colonial Reality to Poetic Truth: Baudelaire’s Indian Ocean Poems." IJOHMN (International Journal online of Humanities) 5, no. 5 (October 17, 2019): 90–103. http://dx.doi.org/10.24113/ijohmn.v5i5.138.
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Correcting the early Manichean interpretation of the abundant Baudelairian image of the black, later criticism tends to downplay the realist slavery framework and put emphasis on the psychological and philosophical dimension of the relationship between the master and the slave. My historicized analysis of “A une dame créole” uncovers evocations of slavery, violence and revolution in the vocabulary and imagery of the poem. By inscribing into the Ronsardian tradition a former French slave colony whose ruling elite never embraced revolutionary ideas, I argue, the poem puts the colonial enterprise into the perspective of France’s nation building and problematizes both. The 1863 prose poem “La belle Dorothée” in which Baudelaire refers back again to his experience in the Mascarene Islands, exposes the crude nature of the French policy that pretended to give the slaves freedom while forced them to live in idleness, poverty or prostitution. If Baudelaire’s oft discussed exoticism manifests a rejection of the society of his time, his longing for Africa and the Indian Ocean should not be dismissed as escapism.
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Nawaz, Rafida, Syed Hussain Murtaza, and Muqarab Akbar. "Language as Power: Construction of Social Reality on Riffat Abbas Poetry "A Dream on the Intersection of Past and Future"." Global Language Review VI, no. IV (December 30, 2021): 30–38. http://dx.doi.org/10.31703/glr.2021(vi-iv).03.
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The poetic approach to constructing social reality is a significant source of reflection on the livedexperience of voiceless ordinary men and women. Poetic expression becomes a source of power andresistance expressed through language. Social reality expressed in poetry constructs a vision of historybeyond time. The civilizational heritage of Multan dates back to the time of Rag Ved. The City's richesattracted many conquerors, subdued but never defeated. As Poet himself is the product of land andculture, Riffat Abbas's poetry expresses all the imprints that land has carved on his Cognition. His poetryrepresents the phenomena of continuity and preservation of cultural heritage in the face of all historicalupheavals. The paper aims to analyze the social reality constructed in Riffat Abbas's poetry opting forthe method of discourse analysis given by Mitchel Foucault to study the progressive trends on socialattributes, societal relations, and socio-political system.
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Econimo, Francesca. "EPIC VOICES IN STATIUS’ ACHILLEID: CALCHAS’ VISION AND ULYSSES’ PLAN." Classical Quarterly 71, no. 2 (November 15, 2021): 759–76. http://dx.doi.org/10.1017/s0009838821000975.
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AbstractThis article deals with Calchas’ prophecy and Diomedes’ and Ulysses’ interventions during the mustering of the Greeks at Aulis in Statius’ Achilleid (1.514–52). It will be argued that Calchas and Ulysses embody two different approaches to the generic tensions of the new epic which Statius’ poem represents. Calchas, the old uates of the Homeric tradition, seems unable to fully understand the ‘poetics of illusion’ enacted by Thetis and Achilles in disguise, as is clear from his vision. His point of view is skilfully complemented by Ulysses, who turns out to be the true uates, as well as the perfect leader for Achilles’ rescue. As the only figure who can face the fluid and ambiguous reality of the poem and its literary dynamics as well, Ulysses also stands as a poetic voice himself; through his speech, Statius reflects upon the tensions of his epic and the poetic effort needed to channel the narrative from the peaceful setting of Scyros to the martial horizon of Troy.
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Spólna, Anna. "Women and the Kingdom of Ambiguity: Black Comedy in "Solistki" ("Female Soloists")." Tekstualia 4, no. 39 (September 1, 2014): 55–66. http://dx.doi.org/10.5604/01.3001.0013.4490.
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The paper discusses the uses of black humour in women’s poetry after 1989, collected in the anthology Solistki (2009). The humour underlying these poems is subversive. A cruel joke may serve the purpose of individuation, provocation, or protection from suffering. Poetic narratives highlight the grotesque aspects of the world in order to uncover the stigmatising stereotypes of gender or the pressure of social norms grounded in lies. They become axiological gestures, stressing the independence of heroines. Tragicomic laughter is occasionally a form of casting a spell on reality, playing with the macabre – a protest against illness and death. A clownish mix of humour and terror consciously disrupts the logic of communication, showing the blurred limits of frank confession in postmodern poetry. Poetic works by the ‘female soloists’ are intertextual, autotelic, polystyle. They are characterised by an exaggerated creativity of imagery that refl ects a paradoxical, fl uid reality. Poetry by women moves from a poetic joke to a serious existential and philosophical statement.
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Yakovleva, Elena L. "Intuitive Ontology of Poetic Word." Observatory of Culture 16, no. 6 (December 30, 2019): 606–17. http://dx.doi.org/10.25281/2072-3156-2019-16-6-606-617.
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The object of the study is the creative intuition, which belongs to the mystical and secret phenomena of personality existence. The acting mechanism of intuition in the creative process is not fully clarified, which makes it an actual scientific problem. Thanks to intuition, a poetic work displays the reality of possibilities, which might eventually become the actual reality in the form of personal being-in-the-world not only of the creator, but also of the reader. For the first time ever, the article analyzes, from the position of intuitive ontology of poetic word, a small lyrical poem by Marina Tsvetaeva “Mother in the Garden”, which she presented to Lena/Galya Diakonova/Gala. This poem contains the life story of Gala, who became the wife and the muse for the great people — poet Paul Éluard and artist Salvador Dali. Gala, having intuitively chosen her favorite Tsvetaeva’s poem, did not leave any records about its text. It remains a mystery whether she had interpreted it or, having left Russia, tried to forget about it forever. A performed interpretation of the poetic text led to the conclusion: the lyrical poem by Marina Tsvetaeva demonstrates, in a rolled-up form, the fate of Gala and her difficult relationship with her husbands — P. Éluard and S. Dali. The article explains many of the woman’s oddities in her communication with men by the specifics of her being-in-the-world. Gala’s existence was based on multiple fears. Their dominance in her life caused her hysteria, which turned her into a femme fatale. In her youth, Gala had been coping with the pressure of her fears, reducing their active force; while in her old age, the woman fell in their grip, which played a destructive role for her. Despite her intuitiveness of thinking, Gala was broken by her fears, which had been prophetically foretold, long before the real events, by the poetic lines of M. Tsvetaeva.
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Stusek, Marta. "Kadrowanie egzystencji: Klara Nowakowska." Poznańskie Studia Polonistyczne. Seria Literacka, no. 33 (October 26, 2018): 139–51. http://dx.doi.org/10.14746/pspsl.2018.33.8.
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The article discusses the works of Klara Nowakowska, including all published volumes of the poet. Interpretations of specific works, as well as overall analyses present poems of Nowakowska as cropped images which in the imperfect way are reflecting reality. The article’s author stress the meaning of the specific variety of the short poetic form used by poet. Parallel, analysis includes the poetic record of experiencing the place.
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Koschmal, Walter. "Poetik einer neuen Metamorphose: zu Róža Domašcynas Dichtung." Zeitschrift für Slawistik 66, no. 1 (March 30, 2021): 1–22. http://dx.doi.org/10.1515/slaw-2021-0001.
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Summary The paper characterizes the poetics of the Sorbian poet Róža Domašcyna (*1951). Domašcyna creates diverse methods of metamorphosis in her numerous lyrical works. Different concepts of metamorphosis from Ovid to Goethe as well as concepts of Chinese philosophy are discussed. The novelty of Domašcyna’s concept lies in her language, particularly in the mutation of sound and transformation of all reality. The paper uses “parkfiguren,” a speech composition created together with the composer Harald Muenz, as an example to analyze Domašcyna’s new metamorphosis. It is precisely her extremely uncertain take on metamorphosis that makes this poetic language the language of our present.
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Arzamazov, Aleksey A. "The Reality of Erzya-Russian Poetic Bilingualism: the Artistic Phenomenon of Alexander Arapov." Polylinguality and Transcultural Practices 19, no. 4 (December 9, 2022): 622–36. http://dx.doi.org/10.22363/2618-897x-2022-19-4-622-636.
Повний текст джерелаАнотація:
The article deals with the problematic and thematic projections of the work of Alexander Arapov (1959-2011), one of the most prominent representatives of modern Mordovian literature. The author focuses on the complex reality of Erzya-Russian poetic bilingualism, the study of which allows us to conclude that each of the languages has certain motive-figurative complexes, aesthetic ideas, ethno-psychological attitudes, linguo-poetic features, “voices” of traditions. So, the central place in the Russian-language poems of A.V. Arapova is occupied by existential-psychological motives, the “I”-subject analyzes the events of his life, gives them an assessment, while a negative emotional background prevails, a discrepancy between the desired and the actual is indicated. It is indicative that the theme of ethnic identity, almost obligatory for the national literature, is practically not revealed in the poems created in Russian, there are no examples of “connection” of the ethno-cultural component. One of the identified linguistic and poetic details is the representativeness of the infinitive writing. The Erzya texts analyzed by the author are far from social contexts, urban life, they have little reflection on the acutely experienced modernity. In the Erzya texts, landscape lyrics are dominant, the figurative and symbolic elements of the Mordovian ethnoculture are updated, the influence of national folklore is felt. The author’s desire for linguistic purism is noticeable in the poems in the Erzya language. Thus, it has been established that the reality of the Erzya-Russian poetic bilingualism of Alexander Arapov is not just two genetically different languages, but also two different artistic worldviews, the intersections between which are not so many.
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Coetzee, A. "Die spieël as blinde mond: die poësie van Breyten Breytenbach." Literator 24, no. 2 (August 1, 2003): 19–38. http://dx.doi.org/10.4102/lit.v24i2.289.
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The mirror as blind mouth: The poetry of Breyten Breytenbach The representation of reality, the word and the relationship between signifier and signified is the main theme of this article. In the poetry of the Afrikaans poet, Breyten Breytenbach, representation and “reality” are concerns constantly reflected on. The poem “drome is ook wonde” (“dreams are wounds as well”) can be read as a central “ars poetica” of Breytenbach’s work. Although it is a love poem it can also be read as literary theory, but not the same kind of theory as in, for example, Horace’s or Alexander Pope’s work. The poem discussed in this article does not deal with poetry as such, and what poetry should attempt to do; it is a presentation, the poetics being its representation. Breytenbach theorises an “epistemology of reading” in which the intuitive faculty of the reader – more than the cognitive – will guide the creation of meaning, and where the signifying value of the metaphor is beyond logical meaning. With the awareness of the impossibility of portraying reality by means of the poetic word, the mirror and mirror image acquire a meaningful function. For Leonardo (see Gombrich, 1986:5) the mirror was the painter’s master; the artist is the maker of mirrors, and then also the maker of dreams. The creation of a second reality, however, has boundaries because of the limitation of the poet’s medium. The creation then becomes more meaningful than the imitation, the presentation than the representation. After the analysis of Breytenbach’s poem one may come to the same conclusion as Lyotard (1984:81) concerning postmodern aesthetics which “ … allows the unpresentable to be put forward only as the missing contents; but the form … continues to offer to the reader … matter for solace and pleasure”.
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Koronkiewicz, Marta. "Politics of the Poetic Form: Adam Ważyk and the Americans." Acta Universitatis Lodziensis. Folia Litteraria Polonica 40, no. 2 (August 27, 2018): 77–89. http://dx.doi.org/10.18778/1505-9057.40.03.
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The article discusses Adam Ważyk – one of the foremost representatives of the Polish poetic avant-garde – and his meta-poetic reflection on the form of the poem in comparison with the paralel considerations offered, later in the 20th c., by the American poets of the LANGUAGE movement. Most importantly, I mention Adrienne Rich, Muriel Rukeyser, Ron Silliman, and James Scully. These poets saw the poetic practice as part of the active and reconstructive approach to everyday reality, which is an approach that sets them apart from more theoretically predisposed strands of the Marxist literary theory which saw poetic forms mostly as an epiphenomenon of social forces and processes. The idea that is the strongest link between Ważyk and the American poets mentioned above is treating formal poetic innovation as precisely the element that serves the causes of enhancing the potential of language and communication.
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Kholmakhmatovich Khujaqulov, Sirojiddin. "MUKHAMMAS GENRE IN THE SECOND HALF OF THE XIX CENTURY AND THE BEGINNING OF THE XX CENTURY AND THE PRINCIPLES OF ITS EVOLUTION." Scientific Reports of Bukhara State University 5, no. 3 (June 30, 2021): 41–49. http://dx.doi.org/10.52297/2181-1466/2021/5/3/4.
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Introduction. The article discusses the evolution of the mukhammas genre in the national enlightenment and jadid literature, the principles of evolution of this genre, the place of the general literary process in the system of literary genres, its new principles, theme and ideological content, examples of works of jadid and enlightened poets. Traditional and innovative features in comparative typological monograph, analytical-comparative, descriptive and critical aspects are analyzed. Methods. During this period, it is possible to observe literary processes and trends in the form of paradoxical models of poetic norms of classical literature, based on realistic elements in the expression of reality, critical of reality, descriptive and lyrical literature. Analytical and critical motives ensured the emergence of new style works in prose, as found in poetic genres.
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Vera Reyes, María. "Memory and Utopia." Theory Now. Journal of Literature, Critique, and Thought 4, no. 2 (July 30, 2021): 249–53. http://dx.doi.org/10.30827/tn.v4i2.21075.
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In Memory and Utopia, Manus O’Dwyer offers a new insight into Valente’s poetics. Contrary to the view that Valente detached his verse from any kind of social or political commitment, O’Dwyer claims that the notions of void and self-negation are key to understand his desire to make his lines reach a broad community and recover the memory of the dead. The author delineates Valente’s poetic career on the basis on the identification between desolation and the Francoist dictatorship. Valente’s verse points at a new nothingness, but not with the selfish aim to enjoy an isolation from reality. Quite on the contrary, in his poems and essays, the non-place or desert, together with other poetic motifs that have been previously analysed from an erotic perspective, allows the poet to portray an impossible community that accepts all those who have been denied participation in the discourse of History. It is only by means of a language that has not been corrupted by the institutional discourse that the poet can draw the map of that utopian, literary space.
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Bobukh, Nadiia. "Lexical oppositions in V. Bazilevsky’s poetic idiolect." Linguistics, no. 1 (45) (2022): 54–62. http://dx.doi.org/10.12958/2227-2631-2021-1-45-54-62.
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The article analyzes the lexical oppositions in V. Bazilevsky’s poetic dictionary. The productivity of antonymic pairs, the components of which represent the religious ideas of a person: soul – body, spirit – body, and heaven – hell, is traced. Individual authorial genitive metaphors typical for the artist’s idiostyle, based on semantically opposed lexemes, which testify to the originality of the poetic perception of the world, have been identified. The poetic contexts, in which the direct and figurative meanings of antonymic polysemes are realized, are described. With the help of the parallel use of direct and figurative meanings of contrasting lexemes, the author achieves a specific sensory image. Individually authored antonymic phrases for common sayings (black world – white world, angel of existence – angel of death, room of laughter – room of tears) that enrich the poetic language have been identified. Syntactic and stylistic constructions that enhance the expressiveness of linguistic contrast are characterized: 1) parcellation; 2) identification of depicted contrasting phenomena; 3) denial of depicted contrasting phenomena; 4) chiasm; 5) refrain; 6) anepiphora; 7) constructions based on double opposition. The analysis of the actual material proved that antitheses in the studied texts are a productive means of creating contrasting characteristics of characters, conveying polar emotions, emphasizing the contrast of depicted objects and phenomena of objective reality, etc. Productivity in the poetic idiolect of V. Bazilevsky of oppositions, which ensure the creation of polar images and pictures of the surrounding world, testifies to antithetical thinking, a multifaceted idea of the complexity and contradictions of human life, a sharpened author’s perception of reality, and a tendency to reflection.
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Katz, Sophia. "In the Beginning Was Observing." Asian Studies 10, no. 2 (May 9, 2022): 333–52. http://dx.doi.org/10.4312/as.2022.10.2.333-352.
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The article explores the connection between observing, poetic creation, and sagely perception of reality, as expressed in the writings of the Song dynasty scholar, Shao Yong 邵雍 (1012–1077). Shao, most famous for his fourfold classification of all existing things, claimed that observing things according to structure (li 理) was the most direct path to cultivating the sagely state of mind. In addition to being a thinker, Shao was a prolific poet. His poetry collection, titled Striking the Earth at the Yi River (Yichuan jirangji 伊川擊壤集), contains approximately 1,500 poems written in a distinct poetic style. Basing my inquiry on the Inner Chapters on Observing Things (Guanwu neipian 觀物內篇) and on the Striking the Earth at the Yi River, two authentic works written by Shao, I describe the procedure of the “mirrored observing” (fanguan 反觀) which, as Shao claimed, allows the observer’s mind to comprehend the object of observing in its wholeness. I further concentrate on the connection between observing and poetic writing, and claim that Shao perceived these activities as mutually connected: Writing poetry assists the process of observing, while gradual development of the right perspective in observing results in a more effortless poetic creation. Both observing and poetic writing assist and sustain one’s search for sageliness. For Shao Yong, poetry was not just a medium for expressing one’s ideas, but also a sagely language enabling one to communicate with the ultimate reality, described by the term “Heaven” (tian 天).
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Ulyanova, Olga B., Daria E. Ertner, and Albina A. Mavlyutova. "Polycodal mechanisms in interpreting small poetic forms of the internet literature." Tyumen State University Herald. Humanities Research. Humanitates 5, no. 2 (June 28, 2019): 88–106. http://dx.doi.org/10.21684/2411-197x-2019-5-2-88-106.
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The article addresses the problem of decoding creolized “small” poetic forms with the reference to Russian and English Internet literature. Thus, we focus on the phenomenon of Russian Internet poetic texts poroshki and their authorized English language versions. Comic poetic texts poroshki are popular among Russian Internet users and reflect the reality of modern life. The novelty of the work lies in the new literary paradigm of interpreting poetic texts poroshki, which originally appeared within the Russian Internet.<br> The article aims at finding the mechanisms of decoding creolized “small” poetic forms as they appear in the Russian language and their English variants. Thus, we have implemented the lexical-semantic, stylistic, cognitive-discursive, and comparative analyses as we attempted to create original literary analysis which will allow to find algorithms in interpreting poetic texts poroshki (and any other “small” poetic forms) and to explain using image transformations based on creolization of verbal and non-verbal components of the texts. The suggested strategy takes into account the linguistic and extralinguistic literary codes and their creolization with non-verbal code of poroshki and allows creating semantic unity between verbal and non-verbal components of the poems. The results of the research help to promote poetic texts poroshki in the English language social networks and thus distribute this poetic form within other linguocultures.
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Potashova, K. A. "Poetic Formula “I see” in K. N. Batyushkov’s Work: Creative Assimila-tion of the Derzhavin Tradition." Nauchnyi dialog 1, no. 8 (August 31, 2020): 258–71. http://dx.doi.org/10.24224/2227-1295-2020-8-258-271.
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The author analyses the visual metaphors of K. N. Batyushkov’s poetry, in which he acts as the creative heir to the artistic style of G. R. Derzhavin. The urgency of the problem is connected with the need to clarify the features of the creative method of K. N. Batyushkov in the aspect of his assimilation of the Derzhavin tradition. The novelty of the research is connected with the expansion of ideas about the poetics of the visual in Russian poetry of the early 19th century, in particular, in the work of K. N. Batyushkov. It is proved that K. N. Batyushkov represents vision as a process of cognition of the world. The mechanisms of K. N. Batyushkov’s transformation of visually perceived world in an artistic image are considered, the artistic thinking of the poet is reconstructed. It is revealed that the model of creating a visual verbal image in K. N. Batyushkov’s work is based on the poetic formula “I see.” It is shown that K. N. Batyushkov emphasizes the position of the observer, reflecting at the same time on the diversity and greatness of God’s world, on the cause-and-effect relationship of reality phenomena. It is established that a special place is given to the representation of historical events in the work of the poet: through the poetic formula “I see” K. N. Batyushkov places himself inside the picture, which corresponds to the emerging aesthetics of romanticism with its cult of personal perception of reality.
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Hall, W. David. "The Economy of the Gift: Paul Ricoeur's Poetic Redescription of Reality." Literature and Theology 20, no. 2 (June 1, 2006): 189–204. http://dx.doi.org/10.1093/litthe/frl015.
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Zhu, Yuanyan, Yixuan Zeng, Xiangyu Yan, and Jiayi Wu. "Poetic Dwelling of the Ocean: Appreciating the Man Who Has Never Seen the Sea from Heidegger’s Poetic View." BCP Social Sciences & Humanities 18 (June 30, 2022): 435–40. http://dx.doi.org/10.54691/bcpssh.v18i.1142.
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Heidegger believed that the origin of a nation’s historic existence is art. In the artistic world, we can expose the alienation of reality, uncover the original beauty, and return to poetic human habitation. In Le Clézio’s works The Man Who Has Never Seen the Sea, bystanders, as “intermediaries”, construct virtual dreams to escape from the city’s dreams. In the interaction with the natural ocean field, Daniel, a pure child messenger, is shaped, and his original experience is used to restore the original language, so as to realize the original awakening of human beings and create a poetic dwelling.