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Добірка наукової літератури з теми "Poetic word"

Автор: Grafiati

Опубліковано: 9 березня 2024

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Статті в журналах з теми "Poetic word"

1

Mahdi, Amer Rasool. "“[I]t is a word unsaid”." Al-Adab Journal 1, no. 126 (September 15, 2018): 1–8. http://dx.doi.org/10.31973/aj.v1i126.3.

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Анотація:

This study attempts to trace the aesthetic of the act of naming in Walt Whitman’s poem “Song of Myself”. It tries, furthermore, to approach America as a geo-poetic concept and formation in the earlier American poetics of being. The literary geography of Whitman’s poetry might here be measured against the poeticity of the American con(text) or poetic dwelling, with all the nuances of the question of identity being implicated. The poet as a namer is the one who re-invents his linguistic-poetic gear to re-signify his existence in the act of renaming the second creation. Building on the Emersonian pseudo-philosophical premises, the poet Whitman thus sets himself the task of mapping out his Eden, or this terra incognita, by creating his textual geography and by Whitmanizing the American scene for that matter.

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2

Dongseok Lee. "Youngnang’s Poetic Word ‘jeuda’." Studies in Humanities and Social Sciences 1, no. 22 (February 2009): 343–65. http://dx.doi.org/10.17939/hushss.2009.1.22.011.

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3

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.

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Анотація:

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.

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4

Omar, Nida Salim, Kais Amir Kadhim Al Alwan, and Mahmood Abdul Khaliq Al-Baqoa. "Translating Arabic Poetic Riddles into English: An Approach in Qualitative Studies." Respectus Philologicus, no. 41(46) (April 15, 2022): 180–92. http://dx.doi.org/10.15388/respectus.2022.41.46.118.

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A riddle is a question that usually occurs in prose and poetic form. The composition of poetic riddles is complicated since it encompasses trick structure of English utterances that require more efforts and deep thinking on the part of readers to reach the intention of the riddle maker. The present study investigated the interpretation of utterances in poetic riddles when translated into English. The main objective was to extend the tricky utterances in poetic riddles to obtain the intention of the riddle maker through translation. To achieve this target, a Relevance Theory by Sperber and Wilson (1986; 1995) was adopted to cognitively interpret how the poetic riddles worked through translation. Then, Bach’s (1994) Ambiguity was also used to explain the meaning that fell under a word, phrase or even a statement. Finally, Gutt’s (1991; 1998; 2000) notion on the directness and indirectness of the interpretation was employed. Overall, the results showed that Arabic poetic riddles included ambiguous words as well as implicit meanings that require decoding to gain the intent word made by the riddle maker. Furthermore, Arabic poetic riddles are full of attribute words to help getting the intent word.

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5

Erkinova, N. "PRECEDENCE AND ITS EXPRESSION THROUGH SYNTACTIC UNITS IN THE POETRY OF ESHKABIL SHUKUR." Journal of Social Research in Uzbekistan 03, no. 02 (March 1, 2023): 17–22. http://dx.doi.org/10.37547/supsci-jsru-03-02-03.

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Анотація:

Eshkabil Shukur's poetry is distinguished by special attention to the artistic word. The poet's creativity is based on the skill of using words. Famous phrases, sentences, and texts used in E. Shukur's poems have a poetic value by fulfilling the role of a precedent unit.

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6

Vinokurova, Antonina Afanas'evna, and Anna Igorevna Oshchepkova. "The metaphorical nature of V. Lebedev 's lyrics." Филология: научные исследования, no. 12 (December 2023): 96–105. http://dx.doi.org/10.7256/2454-0749.2023.12.69111.

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The authors examine the poetics of metaphor in the lyrics of V. Lebedev, one of the founders of the Even literary tradition. Vasily Dmitrievich Lebedev is a collector of Even folklore, a linguist who creatively reworked and adapted the spiritual heritage of his people in modern poetic forms, thereby breathing new life into the epic and song oral creativity of the Evens. The peculiarity of the poetic style of V. Lebedev, as a representative of young-written literature, is the orientation to folklore poetics. It is metaphoricity that is a characteristic feature of the poet's individual manner. Metaphors in Lebedev 's poetry have a number of features: the transfer of signs of the external world to the phenomena of mental life; folklore character of the metaphor; metaphors that create its unique poetic style; grammatical construction of the metaphor, poetic syntax of the text. The methodological basis of the study is the individual provisions of the works of A.N. Veselovsky, V.M. Zhirmunsky, V.F. Asmus, used in the work as methodological guidelines and premises for specific textual analysis. The research methods are determined by the nature of the text material. The novelty is due to the understanding of the lyrics of the Even poet V. Lebedev as a representative of young-written literatures. The artistic and visual means used by the poet reveal him as a talented master of words and an expert in his native Even language. On the one hand, the poetics of his works form an idea of the poet's individual style. At the same time, Lebedev is a follower of folklore poetics, focusing on the formulaic language of oral tradition. In this context, the metaphoricity of his poetic texts is of particular importance. Let's consider separately the metaphoricity of Lebedev's lyrics. The poetry of the Even writer is distinguished by the allegorical nature of the word, which is needed for a strong emotional impact, to create a visual image, a vivid artistic impression. In the poetry of Vasily Lebedev, we have identified the most interesting metaphors that create his own special author's style.

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7

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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Анотація:

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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8

Yermolenko, Svitlana. "«How to teach the indifferent to feel? How to awaken the mind that founded?»." Culture of the Word, no. 93 (2020): 7–18. http://dx.doi.org/10.37919/0201-419x-2020.93.1.

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Modern receptive poetics encourages the study of verbalized end-to-end motives of Lesia Ukrainka’s work. Embodied in various linguistic forms – lexical-semantic, phrase-forming, syntactic-rhythmic and intonation, Lesia Ukrainka’s poetic texts testify to the change of the traditional dictionary of Ukrainian poetry, filling it with new associative connections, consistent with the needs of a particular historical era. Emphasis is placed on the connection of the word with music, not only formal, but also concretized in rhythms, syntactic and intonational variation of verse lines. The considered textual variants of the sonnet “Fantasy” convince in dynamism, originality of figurative-associative linguistic thinking of the poetess. The dynamics is traced in the textual representation of concepts фантазія, мрія, сон життя, in the symbolic meaning of the token камінь and вогонь, камінь and байдужість. Emphasis is placed on various forms of contrast expression – from antonyms, oxymorons, to opposing sentences-judgments. They are representatives of the logical and sensual content of Lesya Ukrainka’s poetic texts. On the example of evaluative significant words to the concept-token WORD as an instrument of poetic creativity, a conclusion about the antithetical thinking of the poetess is made. The dynamic perception of semantics is fixed вогонь, жар, пожежа, associated with a negative assessment of the destructive element, but in the poetic contexts of the author, these symbols are positively assessed as the ability to be a stimulus to creative inspiration, inflammatory, caring soul of the creator. Poetic phraseology to denote the concept of “indifference”, which acquires the meaning of linguistic and aesthetic sign in the Ukrainian language culture, is recorded.

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9

Reisner, Marina L. "Visual images of beauty of the word in the Persian poetry of XVI - the beginning of XVIII century: the Indian style and painting by word." RUDN Journal of Philosophy 24, no. 1 (December 15, 2020): 12–22. http://dx.doi.org/10.22363/2313-2302-2020-24-1-12-22.

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Анотація:

The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’ ( rangin ), appears alongside with criteria of previous period, expressed with epithet ‘sweet’ ( shirin ) and step by step gets leadership. Lyric poetry ( qhazal ) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal . These motifs serve one of the regular contexts of author’s name ( takhallus ) and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino (1569-1625).

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10

Raximjonovna, Topildiyeva Feruza, and Xalmuxamedova Umida Rasulovna. "THE ROLE OF WORDS AND LINGUOCULTURAL UNITS IN THE CREATION OF FARYDA AFROZ." International Journal Of Literature And Languages 03, no. 05 (May 1, 2023): 29–34. http://dx.doi.org/10.37547/ijll/volume03issue05-07.

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Анотація:

In this article, the linguopoetics, linguo-folkloristics, linguo-cultural studies, language and culture issues in the work of the poetess Farida Afro'z, the place of linguo-cultural words and units, their scope of use today, etymology, ancient mythology, dialect words, analysis of the level of use of new words in the poet's interpretation, phraseology and methodological functions of lexical units are discussed. The article refers to the work of Farida Afro'z and gives a free observation of her lyrical feelings, that a poetic image is created through the concept and words in her poems, where each word is a tool that invites to feel self-sacrifice that serves the poetic activation of other words. It is noted that the Afroz interpretation of the timeless theme has been given.

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Дисертації з теми "Poetic word"

1

Murray, Dufferin A. "From the word up, the poetic message of rap music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30813.pdf.

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2

Doherty, Justin Francis. "Culture and the word : aspects of Acmeist poetic theory and practice." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305691.

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3

Maloney, Leslie Don Bellinger W. H. "A word fitly spoken poetic artistry in the first four acrostics of the Hebrew psalter /." Waco, Tex. : Baylor University, 2005. http://hdl.handle.net/2104/3002.

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4

Michelson, Helena. "I. Music and poetic word : the romances of Sergei Rachmaninoff ; II. A journey metamorphosed for orchestra /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2003. http://uclibs.org/PID/11984.

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5

Bradburd, Douglas. "Word Blind." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/354.

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6

Liebel, Dorothea. "Tageslichtfreude und Buchstabenangst : Zu Harry Martinsons dichterischen Wortbildungen als Übersetzungsproblematik." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-18459.

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The style of the Swedish writer Harry Martinson is characterised by a large number of conspicuous and creative word-formation units, which have a special function in his writing. One single word might summarise and denominate an experiance or a complex emotion, sometimes using an exact description, sometimes using a metaphor. The content and the novelty of such nonce forms catch the reader´s or listener´s attention, achieving the intended effect: to make the reader understand what Martinson wants to convey. The present study is an analysis of the neologisms used in two of Martinson´s semiautobiographical novels and their German translations. The object of the study is twofold: firstly to show that the great variety of nonce words-formations as well as their semantics provide the special stylistic markers of the texts, and secondly to draw more general conclusions about the effect of target languages regarding the form, content and function of the units in the texts, as well as their effect on the reader, the concept of equivalence is central. Correspondences and deviations are analysed applying a model specifically designed for the purpose and based in relevant theories. The results illustrate both the various problems a translator must seek to solve and the consequences that simplifications, omissions, and paraphrases might have on the meaning and effect of the text.

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7

Gonçalves, Roberta Andressa Villa. "Entre a potência e impossibilidade: um estudo da poética de Orides Fontela." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-14012015-183422/.

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O presente trabalho analisa a obra completa de Orides Fontela, com um total de cinco livros publicados entre 1969 a 1996, observando os processos de continuidade e ruptura ao longo de seu percurso. Buscou-se compreender como se estabelecem os seus mais notórios procedimentos estéticos, a tensão entre a palavra e o silêncio, a fixação pela luz, a constituição de seu sujeito lírico oculto, a densa presença de elementos da natureza e o trabalho conciso a partir de um peculiar repertório simbólico-metafórico. A análise e a interpretação de tais procedimentos permitiram observar como a poética orideana oscila entre a sensação de potência e impossibilidade. Para tanto, investigou-se a organização das inter-relações figurativas entre os poemas e como o emprego de pares antitéticos e ideias paradoxais contribuem para a riqueza de significação alcançada. A contínua transposição poética, entre a água e o sangue, o voo e o pouso, o céu e o abismo, a vida e a morte, tende a produzir uma camada de sentido subterrânea, que para além da aparente transcendência e extemporaneidade da autora, comunica-se com a historicidade de seu tempo
The present work analyzes the collection of Orides Fontela, which result a total of five published books from 1969 to 1996, observing the processes of continuity and rupture all over this route. We were looking for a understandable search for their most important aesthetic procedures, about the tension between word and silence, the fixation by lucidity, the constitution of its occult lyrical subject, the dense presence of nature elements, and the concise employment from a peculiar repertoire symbolic and metaphorical. The analysis and interpretation of such procedures about this poetic allowed to observe the oscillation between the sense of power and impossibility. To this end, we investigated the figurative organization of interrelationships between poems and how they use the antithetical pairs and the ideas paradoxical that contribute to the richness of meanings reached. The continuous poetic transposition between water and blood, flight and landing, the sky and the abyss, life and death, tends to produce a layer of sense subterranean, that beyond the author´s apparent transcendence and extemporaneity, communicates with the historicity of her time

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8

Colvett, Margaret G. "The World by Memory and Conjecture." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/190.

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Анотація:

The World by Memory and Conjecture collects thirty poems written and refined over the course of two and a half years. An analytical essay discussing the reading and writing of poetry as a medium, with reference to ancient and contemporary poets, is included.

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9

Borhani, Maya Tracy Elizabeth. "Brocading the world : a poetic inquiry." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44852.

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An exploration of poetry at play in one woman’s life, this poetic inquiry seeks to highlight existing relationships between language, poetry and poiesis, life long learning, and a pedagogy of lived experience. This thesis inquires a/r/tographically into some of the relationships between inner knowing, self-expression, the poetic arts, and the value of their confluence for pedagogical practice. As witnessed through the roles of artist (poet and writer), researcher (academic and community), and teacher (visiting artist in the classroom and community educator), I explore what it means to live and learn poetically – as writer, poet, performer, social researcher, and educator. The resulting métissage of poems, autobiographical life writing, and analysis documents the pedagogical intermingling of persona and life activities, using poetic inquiry to (re)present the practice and process of learning in and through the arts, art-making, and teaching. This represents a journey through physical places, actual experiences, the author’s heart and mind, and pedagogy as “a poetic, emotional, personal, spiritual commitment and experience” (Leggo, 2005, p. 439), exploring the value of these processes to learning, teaching, and living skills. Also investigating poetry as practice, in place, and through multiple sites of learning, observed within an ongoing aesthetic of poetical engagement in the world, this view of poetry in research and praxis emphasizes "curriculum" not as a pre-defined set of steps to a pre-determined outcome, but as exploration emphasizing process rather than end product. This brocade of words further investigates poetry as an essential pedagogical tool, suggesting that through poetry, language, learning, and teaching become journeys of self-exploration and creativity, no longer separating “arts” from “humanities,” nor learning from imagination and self-expression.

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10

Hsu, Li-Hsin. "Emily Dickinson's poetic mapping of the world." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7573.

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This thesis investigates Emily Dickinson's spatial imagination. It examines how her poetic landscape responds to the conditions of modernity in an age of modernization, expansionism, colonialism and science. In particular, I look at how the social and cultural representations of nature and heaven are revised and appropriated in her poems to challenge the hierarchical structure of visual dominance embedded in the public discourses of her time. Although she seldom travelled, her writing oscillates between experiential empiricism, sensationalistic reportage, and ecological imagination to account for the social and geographical transition of a rapidly industrialized and commercialized society. The notion of transcendence, progress and ascension in Enlightenment and Transcendentalist writings, based upon technological advancement and geographical expansion, characterized the social and cultural imagination of her time. Alternatively, an increasingly cosmopolitan New England registers a poetic contact zones as well as a Bakhtinian carnivalesque space, in which colonial relations can be subverted, western constructions of orientalism challenged, and capitalist modernity inflected. Dickinson voiced in her poems her critical reception of such a phantasmagoric site of a modern world. I explore how her cartographic projection registers the conflicting nature of modernity, while resists the process of empowerment pursued by her contemporary writers, presenting a more dynamic poetic vision of the world. In the first chapter, I explore her use of empirical mapping as a poetic approach to challenge the Enlightenment notion of progress and modernity. I look at her poems of social transitions, especially her poems of the Bible, the train, the pastoral, and the graveyard, to show how she addresses the issue of modernization. Her visit to Mount Auburn and the rural landscape movement are explored to show her complex poetic response toward modernity. In the second chapter, I focus on her poems of emigration and exploration to see how she appropriates frontier metaphors and exploratory narratives that dominated the discourses of national and cultural projects of her time. The colonial expeditions and national expansionism of her time are examined to show her revision and deconstruction of quest narratives. In the third chapter, I examine her commercial metaphors in relation to cosmopolitanism. I discuss her metaphors of tourism to see how her poems are based upon the notion of consumption as a poetic mode that is closely related to the violence of global displacement and imperial contestation. Her tourist experiences and reading of travel writings will be examined to show her critical response towards the dominant visual representations of her time. In the last chapter, I explore her poems of visitation and reception to show her elastic spatial imagination through her notion of neighbouring and compound vision. In particular, I discuss her poetic reception and appropriation of the theories of Edward Hitchcock and Thomas De Quincey. I conclude suggesting that her spatial imagination reveals her poetic attempt to account for the conditions of modernity.

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Книги з теми "Poetic word"

1

Kalluveettil, Paul. Word as metaphor: Towards a poetic hermeneutics. Bangalore: Dharmaram Publications, 2009.

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2

Word as metaphor: Towards a poetic hermeneutics. Bangalore: Dharmaram Publications, 2009.

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3

Poetry, Gramma, ed. Safe word. [Place of publication not identified]: Gramma Poetry, 2017.

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4

One word. Evanston, Ill: TriQuarterly Books, 1994.

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5

Welish, Marjorie. Word group: Poems. Minneapolis: Coffee House Press, 2004.

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6

Word comix: Poems. New York: W.W. Norton, 2009.

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7

Cmeciu, Doina. Virginia Woolf, or, The quest for the poetic word. București: Pro Humanitate, 1999.

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8

Cmeciu, Doina. Virginia Woolf, or, The quest for the poetic word. București: Pro Humanitate, 1999.

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9

Foulds, Adam. The broken word. London: Jonathan Cape, 2008.

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10

Foulds, Adam. The broken word. London: Jonathan Cape, 2008.

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Частини книг з теми "Poetic word"

1

Boase-Beier, Jean. "Word-formation and poetic language." In Functionalism in Linguistics, 409. Amsterdam: John Benjamins Publishing Company, 1987. http://dx.doi.org/10.1075/llsee.20.22boa.

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2

Rasula, Jed. "The Murmur: Modernist Alchemies of the Word." In Modernism and Poetic Inspiration, 13–42. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230622197_2.

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3

Risser, James. "The poetic word, art, and the arts." In The Gadamerian Mind, 49–60. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429202544-6.

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4

Heine, Stefanie. "Syllabic Gasps: M. NourbeSe Philip and Charles Olson’s Poetic Conspiration." In The Life of Breath in Literature, Culture and Medicine, 463–83. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_22.

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AbstractIn her essay ‘The Ga(s)p’, M. NourbeSe Philip sketches a respirational poetics that embeds the precarity of African American breath in a natal scene of conspiration. In a gesture of ‘radical hospitality’, every mother breathes for the unborn baby. Her book Zong!, consisting of words torn from a legal document about a massacre on a slave ship, is described as a ‘series of ga(s)ps for air with syllabic sounds attached or overlaid’. In the moment when Philip’s reflections turn to syllables, a striking resonance with Charles Olson’s poetics of breathing from the 1950s can be observed. Both Olson and Philip develop their thoughts on breath and syllables around the act of taking over word-material from a problematic ‘mother-text’. The essay investigates the tensions between the ethical act of ‘breathing with’ as Philip outlines it and the more common sense of ‘conspiration’ (conspiring, conspiracy).

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Pattison, George. "Poetic Vocation." In A Rhetorics of the Word, 217–58. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813514.003.0008.

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Like ethics, literature too is often envisaged as involving some kind of call or vocation. In lectures on Hölderlin, Heidegger provides a more positive account of calling than in Being and Time. Yet he remains unspecific as to what we are called to, and his account is therefore expanded with regard to its socio-political and theological dimensions, developed in the direct of a certain Messianism (Derrida, Caputo). This is further explored in terms of the relationship between prophecy and empire, focusing on the figure of Virgil, represented by Theodore Haecker as ‘father of the West’. In Hermann Broch’s novel The Death of Virgil, the poet epitomizes the transition from the classical world to Christianity and the relationship between poetry, empire, and messianism. This complex of ideas is seen as operative in the testimony of Ulrich Fentzloff, a parish priest whose blog gained national attention in Germany.

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"Word made flesh made word: on the poetic force of Macbeth MARTA GIBIŃSKA." In Poetic Revelations, 112–20. 1 [edition]. | New York ; London : Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315600932-16.

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Levy, Lital. "“So You Won’t Understand a Word”." In Poetic Trespass. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691162485.003.0007.

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This chapter continues the discussion began in Chapter 5 through readings of poetry and a transgeneric short story/prose poem. Focusing on the idea of the “presence of absence,” it explores the imaginative ways second- and third-generation Mizraḥi authors used language not only to rewrite but to unwrite the idea of Israeli Hebrew, rejecting it altogether. Their ingenious linguistic prestidigitation entails devising “secret” languages as well as writing in archaic forms of Hebrew and in pseudo-languages, while Arabic eventually becomes a metaphor of sorts, a “place holder” for a sense of fragmented identity and the loss of origins. At the same time, the “presence of absence” informs Palestinian writing and art on the erasure of Arabic and of Palestinian memory. The chapter also incorporates visual representations of the Mizraḥi relationship to language. Collectively, these texts and images reimagine Israeli Hebrew as a language intimately intertwined with Arabic and other Middle Eastern languages.

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"‘The Word spoke in our words that we might speak in his’: Augustine, the Psalms and the poetry of the incarnate Word." In Poetic Revelations, 43–56. 1 [edition]. | New York ; London : Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315600932-10.

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Lonsdale, David. "Prophecy and the poetic word." In Prophetic Witness and the Reimagining of the World, 75–89. Routledge, 2020. http://dx.doi.org/10.4324/9780367344092-7.

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"Chapter 6. “So You Won’t Understand a Word”." In Poetic Trespass, 238–84. Princeton University Press, 2014. http://dx.doi.org/10.1515/9781400852574-010.

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Тези доповідей конференцій з теми "Poetic word"

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Тимербаева, Р. "THE STYLE OF THE POETIC WORD OF MARINA TSVETAEVA." In «Русский мир Башкортостана представляет…»: Научные статьи круглых столов, проведенных в рамках Международного литературно-театрального фестиваля. Baskir State University, 2022. http://dx.doi.org/10.33184/rmbp-2022-05-24.6.

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Campana, Silvia. "Enthralled by mystery. Eckhart, Heidegger and the poet Mujica in an interdisciplinary dialogue." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-5.

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Mysticism and poetry make up an inseparable pairing and, in these times of absence, they reveal the deep desire of man to go beyond the immediate, the existential, the superficial. The Argentine poet Hugo Mujica opens, from his poetic saying, a door towards the abyss and the desert, towards the limit of language and silence. We can glimpse in his poetry Heidegger’s legacy and, together with the philosopher, the Master Eckhart is also dragged from his going to God without god. From the interdisciplinary dialogue between philosophy, theology and poetry, we will approach to decipher this influence that transforms the saying of the poet-philosopher and updates his word in the desert and plunges us into the mystery of the unspeakable.

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Kostryba, O. V. "Word-forming units in the modeling of a poetic text." In INNOVATIONS IN PHILOLOGY: WHIMS OR THE NEED OF THE HOUR. Baltija Publishing, 2023. http://dx.doi.org/10.30525/978-9934-26-383-5-3.

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إبراهيم أحمد العزّي, يونس. "Halabja in Poetic Memory: The Crime and the Case." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/55.

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"Abstract The Halabja case, and the genocide to which the people of this city were subjected, represented an international crime with all the dimensions and connotations of the word, and thus left a wound in the memory of the human conscience, the effects of which were reflected in various forms politically, socially, and culturally. The Halabja crime constituted intellectual and literary foundations for many Iraqi and Arab poets and writers, and it became an artistic theme for many poems and literary works in the contemporary creative achievement. Among these writers was the Iraqi poet (Ahmed al-Hamd al-Mandalawi), whose poem (Execution of a City in My Country) is regarded as an artistic painting that recorded the details of this tragedy, and depicted its bloody events, in a high literary style, and a language far from complex, embodied the poetry of sadness and the memory of pain. This is what makes it a rich sample in technical and objective terms, and worthy of research and study. The stylistic approach was adopted as a method of reading and a mechanism for analysis, to reveal the aesthetics of this poem, and the mechanisms of its artistic formation, according to a critical and analytical vision, highlighting the poetics of the text and the poeticity of the creator on the one hand, the depth of tragedy and the connotations of sadness and sorrow On the other hand, the text. The study methodology necessitated dividing the research into an introduction and three sections. The introduction formed a methodological threshold - including (Halabja - the poem - and the poet), which collectively represents the external / theoretical framework of the research. As for the research sections, it was devoted to the study of the three levels of the poem - according to the mechanisms of the stylistic approach - which are respectively: the structural level, the phonemic level, and the semantic level, which the poet was able through his employment of the elements of formation and artistic construction to highlight these stylistic levels and their poetics that tempt the researcher to approach the text and critically debate it what reveals its aesthetic beauty secrets."

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ALIEVA, Dildora. "PHILOSOPHICAL LYRICS AND REFLECTIONS OF THE LYRICAL HERO CHO JI HUN." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-29.

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This article discussed the emergence and further development of the poetic group “Blue Deer”. The creativity of poets in this group received development of tradition in Korean landscape lyrics and its poetics. An apple to the origins and motives of classical poetry became evidence of their reverent attitude to historical and cultural, including the literal memory of the Korean people. Cho Ji Hong is an outstanding representative of this poetic group. Cho Ji Hoon's work bears the stamp of traditions, national customs, traditions, legends

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Xu, Liu. "POETRY BY N.A. KLYUEV AND OLD BELIEVER ICONOGRAPHY." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3694.rus_lit_20-21/59-63.

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Poetry of N.A. Klyuev has a special system of images and a deep religious sense. The origins of Klyuev’s poetic world are closely connected with culture and tradition of Old Believers, and with culture of Ancient Russia in general. Klyuev knew well and highly valued ancient Russian icons, his poems contain a lot of information about the meaning and existence of icons in the life of the people; historical memories and realities are also perceived and consecrated by the poet through the prism of the icons. In this article we will try to give some information about Old Believer icons in the life and work of the poet, compare the figurative world of the poet’s work with the iconographic and theme features of Old Believer icons, analyze the possible connections of the poet’s poetic worldview, his religious and historiosophical ideas with the tradition of Old Believer icons.

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Rufova, Elena. "Language, Structure Of A.E. Kulakovsky Poetic Texts: New Approaches To Studying National Classics." In X International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.08.144.

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Tomberg, Olga. "Characteristic Features Of Artistic Images’ Linguistic Representation In Anglo-Saxon Poetic Linguoculture." In WUT 2018 - IX International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.04.02.84.

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Lingli, Zhang, Wu Yadong, Chu Qikai, Li Pan, Wang Guijuan, Zhang Weihan, Qiu Yu, and Li Yi. "SA-Model: Multi-feature Fusion Poetic Sentiment Analysis Based on a Hybrid Word Vector Model." In 2022 5th International Conference on Pattern Recognition and Artificial Intelligence (PRAI). IEEE, 2022. http://dx.doi.org/10.1109/prai55851.2022.9904158.

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Соколова, Людмила Алексеевна. "SUBJECT MODULE ON PHILOLOGY «INTERPRETATION OF THE TEXT AS A MEANS OF KNOWLEDGE OF REALITY» AND ITS IMPLEMENTATION WITHIN THE FRAMEWORK OF THE EDUCATIONAL NEEDS OF CHILDREN WITH A HUMANITARIAN BIAS." In Внедрение результатов научных разработок: проблемы и перспективы: сборник статей международной научной конференции (Вологда, Май 2023). Crossref, 2023. http://dx.doi.org/10.37539/230505.2023.13.87.002.

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В статье рассматривается реализация авторской разработки по филологии в рамках предпрофильного гуманитарного образования учащихся; предложен предметный модуль по интерпретации поэтического текста с целью формирования у детей умений и навыков индивидуального восприятия поэзии, лингвистического анализа текста, понимания индивидуально-авторской картины мира через работу со словом; доказана значимость и продуктивность модуля в рамках гуманитарного развития учащихся посредством самостоятельной исследовательской проектной деятельности. The framework of pre-profile humanitarian education of students; proposed is a subject module for interpreting a poetic text in order to form in children the skills and skills of individual perception of poetry, linguistic analysis of the text, understanding of the individual author's picture of the world through working with a word; proved the importance and productivity of the module within the framework of the humanitarian development of students through independent research project activities.

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Звіти організацій з теми "Poetic word"

1

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

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

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López López, JS, JG Miranda Corzo, MA García Jurado, and AP Buitrago Rojas. “Esto yo lo dejo ahí, extiéndalo usted más allá”. Poetic work by Wilson Caicedo and the historical memory of Village 8 in Buenaventura. Revista Latina de Comunicación Social, August 2019. http://dx.doi.org/10.4185/rlcs-2019-1389en.

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3

AKHADOVA, R. A., and M. L. SHTUKKERT. ‘THE DREAM OF A RIDICULOUS MAN’ F.M. DOSTOEVSKY AND A. PETROV: POETICS OF THE FEAR. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/978-0-615-67323-3-8-21.

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The purpose of the study is to determine the features of the structure and functioning of the fear motive in F.M. Dostoevsky’s “fantastic story” “The Dream of a Ridiculous Man” and in A. Petrov’s cartoon of the same name. The report first examines the images, details, etc., with which the fear motive is created in the story, and then analyzes the ways of embodying this motive and transmitting a certain frightening atmosphere in the cinema. There is revealed and determined the ontological significance and the main character of fear in the “The Dream of a Ridiculous Man”, which, in our opinion, manifests itself in the fundamental nature and primacy of this feeling in human nature. It can be observed in the transition from the dream world, not defiled by the fall, to the terrible reality of St. Petersburg, described in the story. The scientific novelty lies in the fact that a comprehensive analysis of the fear motive in the story of F. M. Dostoevsky and the peculiarities of the interpretation of this motive in the animated film by A. Petrov has not been carried out before. The study revealed, firstly, a number of repetitive means by which the fear motive is formed in both works (and their functions were determined), and secondly, there was noted the originality of the representation of the analyzed motive in the cinema.

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Lyzanchuk, Vasyl. THE CHARITABLE ENERGY OF THE JOURNALISTIC WORD. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11415.

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The article investigates the immortality of books, collections, including those, translated into foreign languages, composed of the publications of publications of worldview journalism. It deals with top analytics on simulated training of journalists, the study of events and phenomena at the macro level, which enables the qualitative forecast of world development trends in the appropriate contexts for a long time. Key words: top, analytics, book, worldview journalism, culture, arguments, forecast.The article is characterized intellectual-spiritual, moral-aesthetic and information-educational values of of scientific and journalistic works of Professor Mykola Hryhorchuk “Where are you going, Ukraine?” and “Freedom at the Barricades”. Mykola Ivanovych’s creative informational and educational communication are reviews, reviews, reviews and current works of writers, poets, publicists. Such as Maria Matios, Vira Vovk, Roman Ivanychuk, Dmytro Pavlychko, Yuriy Shcherban, Bohdan Korsak, Hryhoriy Huseynov, Vasyl Ruban, Yaroslav Melnyk, Sofia Andrukhovych. His journalistic reflections are about memorable events of the recent past for Ukrainians and historical figures are connected with them. It is emphasized that in his books Mykola Hryhorchuk convincingly illuminates the way to develop a stable Ukrainian immunity, national identity, development and strengthening of the conciliar independent state in the fight against the eternal Moscow enemy. Among the defining ideological and political realization of the National Idea of Ukrainian statehood, which are mentioned in the scientific and journalistic works of M. Hryhorchuk, the fundamental ones – linguistic and religious – are singled out. Israel and Poland are a clear example for Ukrainians. In these states, language and religion were absolutized and it is thanks to this understanding of the essence of state-building and national identity that it is contrary to many difficulties achieve the desired life-affirming goal. The author emphasizes that any information in the broadest and narrow sense can be perceived without testing for compliance with the moral and spiritual mission of man, the fundamental values of the Ukrainian ethnic group, putting moral and spiritual values in the basis of state building. The outstanding Ukrainian philosopher Hryhoriy Skovoroda emphasized: “Faith is the light that sees in the darkness…” Books by physicist Mykola Hryhorchuk “Where are you going, Ukraine?” and “Freedom at the Barricades” are illuminated by faith in the Victory over the bloody centuries-old Moscow darkness.

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Los, Josyp. Панорама сенсів: аргументи авторитетів світоглядної публіцистики. Ivan Franko National University of Lviv, березень 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11731.

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The article deals with the problem of the meaningfulness (essence) of the worldview journalism in the context of the argumentative resources of the work of influentive authors, for which the missionary role of the word is decisive. The search for meaning has been debated for centuries by orators, philosophers, psychologists, writers, sociologists, historians, journalists, and so on. In addition to other factors, a combination of the principles of worldview journalism and conceptual humanitarianism gives effective results. The author explores the acute problem of the effectiveness of a journalistic text through the prism of knowing the truth, meaning, since this is precisely where the source of wisdom is found; we are talking about spirituality, culture, historical memory. As influental authors proved with their arguments, the collection of facts is not enough, it is important to find the meaning of the existence of the individual, communities, and humanity. A number of examples show how the speakers of worldview journalism use all texts, not only from the archives: we are talking about poetry, art, in general, about literature, which revealed the most truth. Figuratively speaking, it is not only about the world of borders, it is important to consider horizons. Turning information into a commodity, focusing on “seasonal” interest based on the materialism of facts, or the inadequacy of many concepts and categories, the faking of media, relativity, obscurity of texts, anti-culture, in other words, the revolution of nihilism inevitably relativizes the very essence of journalism. If creative life is a manifestation of the freedom of the spirit, based on authentic truth, then we should strive to achieve the “extension of vision”, to master combinatorial (combinative) thinking. The ability to think in this way differs from ordinary logic in which the main universal thing remains in the center of attention, and the personality is not lost in individual details. Consequently, we can build a genealogy of ordered things and concepts, feel their inner relationship. Key words: meaning, worldview, journalism, argument, influence, moral principles, creativity.

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