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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.
Повний текст джерелаАнотація:
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.
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.
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.
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.
Повний текст джерелаАнотація:
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.
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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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Cruz, Antonio Donizeti, and Dhandara Capitani. "The Lyrical Art of Ana Cristina Cesar." Journal of Digital Art & Humanities 1, no. 1 (October 2, 2020): 25–32. http://dx.doi.org/10.33847/2712-8148.1.1_3.
Повний текст джерелаАнотація:
Ana Cristina Cesar is one of the great poets of the 1970s and 80s in Brazil. In this paper, some of her poems are analyzed in the perspective of how her lyrical narrative presents an interactive dialogue with the reader and criticizes modernity. Ana Cristina Cesar's poetic work privileges critical-reflexive language, the theme of identity, alterity, lyrical memory, poetic synthesis, and questioning, as marks of modernity. The word-memory is the essential factor that moves the aspirations and feelings of poetic self, because at the moment of reminiscing, the self recollects, in depth, the events and experiences previously experienced. The word is a force that drives the Word Artist to realize dreams, goals, and achievements. Through the poetic word, the poem develops the continuous transmutation of language, generating new possibilities of being and effecting poetic procedures through the lyrical genres, centered in the articulations of the poetic creation. The poetic craft is essentially of creating oneself, thus poetry being also self-creation, knowledge, and transmutation.
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Borkowska, Ewa. "Wielogłosowość i milczenie w poetyce żydowskiej — ,,gdy ciało staje się słowem”: kilka uwag o poezji Zuzanny Ginczanki." Iudaica Russica, no. 1(4) (June 22, 2020): 56–71. http://dx.doi.org/10.31261/ir.2020.04.04.
Повний текст джерелаАнотація:
The article is an attempt at presenting an inspiring writing of Zuzanna Ginczanka (Polina Gincburg) who was a Ukrainian-born Jewish poet writing in Polish. Due to her multifarious identity, it is in her poetry that one finds voices that reverberate from various nations and cultures, which makes an original polyphonic, geographic and mythological texture. Ginczanka’s poetics venerates the body since, in her view, contrary to the dogma of incarnation, it was the ‘flesh that was made word’. In her poems it is the Songs of So gs whose physicality more than metaphoricity inspires the poetic images. It is also nature that becomes an incentive for the poetic creation, which proves that poetry derives from the Greek word poiesis . In the times of the Holocaust atrocities, the language of poetry became for her the ‘house of poetic Being’ and several geographical places served her as security which, however, she had to constantly abandon in fear of Nazi repressors. Her monumental poems, chief among which is ‘The Fire-Bird’, due to its orchestration and almost sonorous imagery can compare with Igor Stravinsky’s ballet of the eponymous title. Her attachment to the earth and the living place, no matter how insecure, brought about that several geo-poetic images can be traced in her poetic works.
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Tate, Daniel L. "The Verge of Silence." Research in Phenomenology 49, no. 2 (June 17, 2019): 163–82. http://dx.doi.org/10.1163/15691640-12341417.
Повний текст джерелаАнотація:
Abstract Gadamer’s question “Are Poets Falling Silent?” is motivated by the “linguistic need” (Sprachnot) of modern lyric indicative of the “forgetfulness of language” (Sprachvergessenheit) that prevails today. In Paul Celan’s late work, Gadamer finds poetry that, bordering on the cryptic, stands on the verge of silence. Nevertheless, he insists that these poems do speak and that the title of Celan’s poem series, Breath-crystal, figures the truth of the poetic word. From this standpoint the paper discusses Gadamer’s hermeneutic understanding of the poetic word treating the constitutive elements of the poetic word as an event of language, the way this conception of the poetic word both embraces and yet departs from the usual understanding of the radical turn to language in modern lyric, and the meaning of Gadamer’s claim regarding the truth of the poetic word that fulfills the original saying power of language.
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Boyko, Nadiya. "Dominants of the scientific and linguistic world of Anatolii Moisiienko." Ukrainian Linguistics, no. 53 (2023): 73–87. http://dx.doi.org/10.17721/um/53(2023).73-87.
Повний текст джерелаАнотація:
The analysis of scientific & linguistics dominants of A. Moisiienko revealed the synthesis of the fundamental knowledge of a linguist and literary critic, the dynamics of emotions, and the expression of the poet’s evaluations aimed at updating the national scientific and artistic paradigms. The linguist managed to combine several hypostases, appearing before the reader as a scrupulous linguist-researcher of the apperceptive system of Shevchenko’s poem, the worlds of symbols and the silent word, the world of poetics and the dynamics of text structures, the world of the intertextuality of the poetic text; and as an obsessed literary critic who, raising several extremely relevant problems of the modern scientific study of poetic idiostyles, specific features of individual authorial verse genres in the system of individual artistic texts, focuses on European intellectualism and modernism; and as an inspired poet, in whose poems the Ukrainian poetic language appears as a world of linguistic and aesthetic signs of national culture. The scientific texts of A. Moisiienko were studied from the standpoint of anthropocentrism and textocentrism, considering the structure of textual categories, means of their objectification, and factors of actualization of the author’s dominant constants. The multi-aspect studies of A. Moisiienko’s poetic linguistics are commented on, which gives an idea of the specificity of the figurative idiopoetic system, and its dominant features, which distinguish the author's language creation against the all-Ukrainian background and among traditional samples of national poetics. It was found that the dominant features of the author’s scientific linguistic world include the linguistic stylistic interpretation of the apperceptive system of Shevchenko’s poem, the artistic understanding of the linguistic worlds of symbol and silent word, the world of poetics and the dynamics of text structures, the world of the intertextuality of a poetic text.
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Menninghaus, Winfried. "„Wo er vorbei dir glänzt“." Poetica 53, no. 3-4 (December 23, 2022): 253–89. http://dx.doi.org/10.30965/25890530-05301011.
Повний текст джерелаАнотація:
Abstract This study focuses – by way of a close reading – on (1) the multiple subtleties in the poetic diction and word morphology of Hölderlin‘s ode „Heidelberg“, (2) its metonymic macro-structure, (3) the oscillations between an aesthetics of the lovely („lieblich“) and the sublime, (4) the instances of blissful self-mirroring that depart from Narcissus‘ unhappy fate, and (5) the explicit poetics of the „image“ („Bild“) in this ode. A special emphasis is placed on Hölderlin’s creation of a series of novel German words that combine two words into new compounds.
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Ohrynchuk, O. P. "THE STYLISTIC FUNCTIONS OF REPEATED VERB UNITS IN A SEPARATE TEXT." Opera in linguistica ukrainiana, no. 28 (September 28, 2021): 207–14. http://dx.doi.org/10.18524/2414-0627.2021.28.235540.
Повний текст джерелаАнотація:
The article is devoted to the complex study of functional features of verbs and verb lexical-semantic repetitionsin poetic texts M. Bazhan and I. Drach. Advantages of linguopoetic approach, which gives possibility to define, how linguistic unit is included by the author in the process of word-artistic creative work, provides creation of aesthetic effect, structural and semantic integrity of the text is substantiated in the thesis. Linguistic and stylistic approach doesn’t give us comprehensive answers to the question about notional, structural and communicative organization of the text, that is why today they become a prerogative of linguo-poetics and linguistics of text. Taking into account new directions, approaches in modern linguistic science in the last decades, such key concepts as “text”, “poetic text” were specified; advantages of communicative functional approach to its study were specified; constant features of text and text categories were specified; style, idiostyle, idiolect concept was defined. At determining the poetic text, we proceed from the fact that this is a special semiotic system, which has its own laws of formation of self-organization. Decoding the poetic text takes into consideration apertception moments of each word in the works of writer, who, staying within the limits of national-language picture of the world, creates a unique linguistic world according to his world view, his own psychology, philosophy. Let us motivate the use of idiostyle concept, closely connected with the author’s image, which we understand as a “word- conversational structure”, which permeates all work and leads to comprehensive study of literary text. Linguostylistic verb potential as lexicogrammatical word class, which has detailed system of personal-methodical and kindtime morphological forms was analyzed in the work; figurative and expressive features of verbal categories of manner, time, kind and person were tracked in the poetic texts of M. Bazhan and I. Drach; certain writers’ priorities in use of one or another verbal form were revealed. An important means of actualization of poetic content, dynamization of descriptive world, which assists the reader to focus attention on one or another reality, actions, feelings, and provides a link between the parts of the text, is repetition. Decoding of the poetic texts of M. Bazhan and I. Drach provided considering different apperception moments of verbal repetition.
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JURAYEVA, Nazokat. "OBSERVATION OF THE POETIC UNITY OF THE VERSE IN THE POETRY OF MUHAMMAD RIZA OGAKHI." Art and Design: Social Science 02, no. 01 (February 1, 2022): 9–12. http://dx.doi.org/10.37547/ssa-v2-i1-4.
Повний текст джерелаАнотація:
This article presents scientific and analytical ideas on the definition of types in Uzbek literature in terms of the structure of the byte and its function in the structure of the poetic work. Also, in our literature on the relationship of bytes and genres, historical sources have been studied and the correct theoretical foundations have been formed. The level of application, types, and functions of genres such as chiston, the problem is analyzed. This article examines in detail the use of the poetic unity of the byte in the poetry of Muhammad Rizo Ogakhi, a unique representative of Uzbek classical poetry, in the genres created by various poets. that the development of meaning and word movement between verses (tadmin) later led to the development of poetic thinking in the byte, meaning that the bytes, although independent in meaning and lexical expression, the fact that they always have a relative logical connection with each other is shown in the example of Ogakhi’s work. It also explores the relationship between bytes and genres, historical sources, and forms the correct theoretical foundations. Such a relative interrelationship between the bytes serves to ensure the development of poetic imagery, the reaction to the existence of artistic determinism between byte verses in Eastern poetry through scientific considerations and proved by examples that it is the leading law of byte creation for all poets. based on a combination of weight, word, and rhyme. The combination of words and weights in each byte is cedar, hash, aruz in the byte; The rhyme serves not only the function of uniting the verses by creating a melody but also serves to form the content of the byte and to express the idea as a whole.
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Sipkina, N. Ya. "WAR BALLADS GENRE IN THE POETRY OF R. ROZHDESTVENSKY AND V. VISOTSKY (comparative poetics of the poets’ styles) IN THE CONTEXT OF THE LITERARY PROCESS OF 1970S: BASIC TRENDS OF DEVELOPMENT." Bulletin of Kemerovo State University, no. 2 (July 8, 2016): 210–15. http://dx.doi.org/10.21603/2078-8975-2016-2-210-215.
Повний текст джерелаАнотація:
The paper considers the poetics of the artistic styles of romantic poets R. Rozhdestvensky and Vladimir Vysotsky in the context of poetic-style trends of the second half of the 20th century, with the example of their ballad works. This aspect of the research is topical in the modern literary criticism. The author concludes that the unity of the poetic trends and feeding their traditions have helped artists to reveal their talents more brightly and make a new word in the evolution of the style of the Russian verse.
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Barney, Kevin L. "Poetic Diction and Parallel Word Pairs in the Book of Mormon." Journal of Book of Mormon Studies (1992-2007) 4, no. 2 (October 1, 1995): 15–81. http://dx.doi.org/10.2307/44758937.
Повний текст джерелаАнотація:
Abstract Hebrew poetry is based on various patterns of parallelism. Parallel lines are in turn created by the use of parallel words, that is, pairs of words bearing generally synonymous or antithetic meanings. Since the 1930s, scholars have come to realize that many of these "word pairs" were used repeatedly in a formulaic fashion as the basic building blocks of different parallel lines. The Book of Mormon reflects numerous parallel structures, including synonymous parallelism, antithetic parallelism, and chiasmus. As word pairs are a function of parallelism, the presence of such parallel structures in the Book of Mormon suggests the possible presence of word pairs within those structures. This article catalogs the use of forty word pairs that occur in parallel collocations both in the Book of Mormon and in Hebrew poetry.
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Toporova, V. M. "СOGNITIVE CONTEXTS OF THE POETIC WORD". Kognitivnye Issledovaniya Yazyka 27 (2016): 608–15. http://dx.doi.org/10.20916/2071-9639-2016-27-608-615.
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Bortignon, Martina. "La presencia de la voz. Percepciones y lenguaje poético en Germán Carrasco y Erri De Luca." Moderna Språk 110, no. 1 (June 22, 2016): 1–22. http://dx.doi.org/10.58221/mosp.v110i1.7888.
Повний текст джерелаАнотація:
This article studies the representation of a multi-sensory voice in some works by two contemporary authors –Germán Carrasco (Chile) and Erri De Luca (Italy)– and the way it questions the relation between the poetic word and its referent. Particularly, the interplay between voice and image is investigated: on one hand, voice and image merge together, generating a synesthetic continuum that emphasizes the materiality of representation; on the other hand, they eclipse each other, so that the frustrated access to the referent through a specific sensory channel make it paradoxically more present. With the support of Maurice Merleau-Ponty’s corporeal phenomenology, it will be possible to show that the signification process in poetry and in poetic prose is deep-rooted in the perceptive dimension of the referent, as well as in the materiality of language. The analysis of the corporeal and multisensory voice in both authors will finally result in a sketch of their poetics: Carrasco creates a spacing or inter-body between words in order to expand the perception to what is invisible, while De Luca tends to endow the word with all the intensity of the material referent.
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Jiong, Liu. "Catholic Predilections in the Poetics of Gerard Manley Hopkins and Seamus Heaney." Religion and the Arts 14, no. 3 (2010): 267–96. http://dx.doi.org/10.1163/156852910x494439.
Повний текст джерелаАнотація:
AbstractSeamus Heaney has reiterated the importance of Gerard Manley Hopkins in shaping his own poetic voice. This essay studies the way Hopkins’s and Heaney’s poetics are related to their Catholic formation. While their sacramental approaches to language and their ideas of grace and self-discipline result in similar linguistic and formal features in their poems, the two poets’ different understandings of the temporality of the world/Word also gives rise to the contrast between Hopkins’s poetic rendering of dynamic, variegated existence and Heaney’s vision of a realm of “verbless” purity. Based on an understanding of the world as everoccurring Incarnation, Hopkins’s poems often foreground a dialogic, transgressive element, trying to capture the vivifying principle of the Word, whereas Heaney’s anxiety to override the contingencies of time gradually lures him to a visionary space where time is momentarily suspended and actions frozen.
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Glushakov, P. S. "‘For lack of a better word…’ M. Isakovsky’s two letters on A. Prasolov’s poetry." Voprosy literatury, no. 5 (October 30, 2022): 125–40. http://dx.doi.org/10.31425/0042-8795-2022-5-125-140.
Повний текст джерелаАнотація:
Letters of the poet Mikhail Isakovsky to the literary historian Anatoly Abramov (1917–2005) published in this article constitute a portion of the poet’s extensive epistolary legacy. The two selected letters dated 1968 are mainly concerned with the poet Aleksey Prasolov (1930–1972), whose literary career Abramov actively supported. Having approached Isakovsky for an opinion about the Voronezh-based poet’s verses, Abramov received very harsh feedback. There can be a number of reasons why the poems, some later recognised as Prasolov’s best, were dismissed by Isakovsky: the fact that the two poets belonged to very different poetic generations and traditions and adhered to disparate aesthetic principles may have played a key role here. A poet of a traditional folk-poetic formation, Isakovsky rejected Prasolov’s verses, whose poetics is directly influenced by Blok’s modernist experimentations. Isakovsky expected Prasolov, an author of challenging complexity, to write about subjects easily recognisable and clear to the reader. Thus, incompatible ideas about a poet’s purpose and dissimilarity of poetic languages precluded the two remarkable poets from ever meeting in person.
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Nikolaeva, Alla A. "The Synthesis of Theater and Poetic Art in the S.A. Yesenin’s Dramatic Poem “Pugachev”." Studia Litterarum 7, no. 1 (2022): 298–315. http://dx.doi.org/10.22455/2500-4247-2022-7-1-298-315.
Повний текст джерелаАнотація:
Yesenin’s innovation as a playwright was clearly manifested in the fact that he combined the features of poetic and theatrical art in a dramatiс poem “Pugachev,” putting forward the idea of the supremacy of the sounding word. The combination of philological and theatrical approaches in the analysis of the work shows that the word in Yesenin’s drama includes all the main means of theatrical expressiveness. The monologues of the heroes of the poem contain decorations, light and sound effects; the words of the participants in the action characterize the peculiarities of the mise-en-scenes. All these theatrical effects are created exclusively by poetic means. This confirms the idea of the synthesis of theatrical and poetic art in the poem, reveals the concept of “theater of the word” and the stage potential of the work in a new way. The article concludes that Yesenin is the playwright, who is well acquainted with the theatrical searches and experiments of his time, when the director’s reading of the play and the expressive possibilities of its stage implementation came to the fore. Yesenin is the “director of the word.”
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Chen, Jue. "The Tang Poet in Song Poetics, Song Poetics in the Tang Poet: The Construction of Du Fu’s Image as Verbal Master." T’oung Pao 104, no. 5-6 (December 10, 2018): 537–71. http://dx.doi.org/10.1163/15685322-10456p04.
Повний текст джерелаАнотація:
AbstractThe image of Du Fu as a poet who excels at using the most appropriate words in his poetry was, to a large extent, constructed by the poets and critics of the Song dynasty. When reading, transcribing, editing, and commenting on Du Fu’s poetic texts, the Song literati prioritized textual variants in Du Fu’s poetry that could in their opinion better demonstrate Du Fu’s poetic craftsmanship; by doing so, they defined Du Fu as a verbal master who was able to use the finest words in poetic composition. The Song literati’s interest in word usage in Du Fu’s poetry was essentially a projection of their own desire to pursue expressional effect in poetic composition, which drove them to learn from Du Fu.
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Padalka, Olha. "FORMING VALUABLE ORIENTATIONS OF FUTURE EDUCATOR BY MEANS OF THE POETIC WORD." Scientific bulletin of KRHPA, no. 10 (2018): 171–77. http://dx.doi.org/10.37835/2410-2075-2018-10-17.
Повний текст джерелаАнотація:
The article deals with the problem of professional training of future specialists of preschool education to professional activity, features of the value aspect in the process of professional training of the future teacher of preschool educational institution are highlighted, peculiarities of using poetic word as a means of formation of value orientations of future educators in the process of their vocational and pedagogical preparation are substantiated. The content of concepts "value orientations", "poetic word" is revealed. It is proved that despite modern advances in the field of science, technology and the realm of culture, along with innovations, in the arsenal of educational means a significant role belongs to the poetic word.
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Jeyam, Leonard. "“[T]he most underrated genreâ€: Malaysian Poetry in English in the 21st Century." Asiatic: IIUM Journal of English Language and Literature 12, no. 2 (December 30, 2018): 125–36. http://dx.doi.org/10.31436/asiatic.v12i2.1334.
Повний текст джерелаАнотація:
The point of this paper is two-fold. Firstly, it will survey all the important volumes of poetry by Malaysian poets writing in English in the new millennium and try to infer the current trends of Malaysian poetic writing in English. Secondly, I will show how the online social media has been wholly responsible in keeping the poetic word alive, especially in terms of the number of young writers who have espoused the form of the Spoken Word sub-genre of poetry. In fact, the spoken word poets seem to have discovered a new poetic “nerve†of the nation that is both exciting and challenging to read.
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Prakharenka, Liudmila. "LINGUISTIC ASPECT OF A. PYSIN’S LYRICS." Philological Review, no. 1 (May 31, 2021): 111–16. http://dx.doi.org/10.31499/2415-8828.1.2021.232708.
Повний текст джерелаАнотація:
The article is devoted to one of the important problems in Philology. Research was carried out to identify linguistic means of creating poetic images in the works of A. Pysin, one of the most famous Belarusian poets of the second half of the twentieth century.
Partial linguistic analysis gave rich material for determining the role of Pysin’s epithets, metaphors, various figurative meanings of the word in poetic context. Also attention is drawn to the apt descriptive expressions, conciseness and richness of content, capacity and soaring poetic expressions of A. Pysin.
The content of the considered poems by A. Pysin and the nature of their linguistic interpretation are extremely important in terms of educating pupils (students) such feelings as citizenship, patriotism and other positive qualities of the individual.
The purpose of this study is to identify the place of a poetic word in the context, its meaning in the content of the expression, the nature of this meaning, semantic compatibility with other words, etc.; trace the author’s search for the right word for the greatest semantic accuracy and imagery of expression.
The following research methods were used: descriptive, contextual analysis. The material of the research was the linguistic means of the poetic image of the lyricist A. Pysin.
A textual analysis of A. Pysin’s lyrics helps to better understand the meaning of individual figurative images of works, reveals the possibilities of the vocabulary of the language to improve the harmony of the ideal and material in the field of poetry.
An analysis of the texts of poems shows the poet’s careful concern for the accuracy of the word in his poetry. Many laconic figurative statements of A. Pysin are easy to remember, emotionally impressive and can be perceived as winged sayings.
The linguistic analysis of only a small part of the poems involves the wide use and variety of linguistic means to create highly poetic images that are impressive and memorable. These are, first of all, epithets, metaphors, paraphrases, phrases and other fixed expressions.
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Henderson, John. "Lucan/The Word at War." Ramus 16, no. 1-2 (1987): 122–64. http://dx.doi.org/10.1017/s0048671x00003283.
Повний текст джерелаАнотація:
there is a word — which bears a sword — can pierce an armed man it hurls its barbed syllables — and is mute again where it fell — the saved will tell — on patriotic day some epauletted brother — gave his breath away Dickinson (c. 1858) your gaze scans the streets as if they were written pages: the city says everything you must think, makes you repeat her discourse, and while you believe you are visiting Tarnara you are only recording the names with which she defines herself and all her parts Calvino (1979) 1.1. Since ‘World War War 2’ the study of Lucan's rhetoric has made successful, if sporadic and contested, advances on many fronts; much remains to be done for his poetic. It is likely that the ‘unassuming’ exegetical form of attention traditionally represented in classical scholarship by the former has favoured its development: you may identify a crazy (ab)use of, say, metalepsis without committing yourself to a particular valuation of a text; whereas the axiomatically enthusiastic valuation embodied in the study of poetics must soon come hard up against the trench-lines of hierarchies of sensibility and taste. Just how good is Lucan — I mean, as ‘a poet’? The often unspoken gloss is nearly always the (sub)agenda (The answer is, still: ‘Quite good: Silver.’). Those who have steadied their sights have made out a poet's design, a fight to achieve a strong identity over against his inheritance, working through and against the traditional battery of schemata.
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Martínez, Roberto Sanchiño. "Libertad Bajo Palabra." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 1 51, no. 1 (2006): 134–52. http://dx.doi.org/10.28937/1000107616.
Повний текст джерелаАнотація:
Subversivität und Inspiration sind in der Poetik von Octavio Paz zentrale Paradigmen. In Anlehnung an die Programmatik des ›creacionismo‹ und des Surrealismus sind sie Bestandteile einer selbstref lexiven und emanzipatorischen poetologischen Positionsbestimmung durch den Autor. Sie dienen ihm dazu, Figuren transpersonaler Rede (wie in seinem Essay El arco y la lira) und die Mehrdeutigkeit des dichterischen Wortes (wie in seinem Gedicht Blanco) zu inszenieren. Subversion and inspiration are fundamental concepts in the poetics of Octavio Paz. Following the programs of creacionismo and surrealism they are part of a self-reflexive and emancipatoric poetological position of the author. They are used by him to produce figures of transpersonal speech (as in his essay ›El arco y la lira‹) and to underline the ambiguity of the poetic word (as in his poem ›Blanco‹).
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Tokarz, Bożena. "Przełożyć czy przetłumaczyć tekst literacki?" Przestrzenie Teorii, no. 38 (July 11, 2023): 325–38. http://dx.doi.org/10.14746/pt.2022.38.19.
Повний текст джерелаАнотація:
Tone Pretnar, in the translation of Jan Nepomucen Kamiński’s sonnets, created the illusion of the original by using his own poetic talent and a foreign word. Just as Kamiński used the word of Mickiewicz, so he used the word of Prešeren. However, he changed the communication purpose of the original text. Apart from the pastiche aspect, he gave the original a high poetic value, while revealing the aporia of the original’s autonomy.
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PARYSHEVA, EKATERINA V. "RYNOK (MARKET) AS A REFLECTION OF VALUE ORIENTATIONS IN THE POETIC DISCOURSE." Cherepovets State University Bulletin 5, no. 104 (2021): 107–18. http://dx.doi.org/10.23859/1994-0637-2021-5-104-9.
Повний текст джерелаАнотація:
The article considers the features of the word “rynok” (market) used in poetic texts. The textual data are taken from the Russian National Corpus. The work particularly focuses on axiological aspect of the word functioning since poetic texts are supposed to represent the key cultural concepts from the viewpoint of the elite language personality who is able to perceive social values exceptionally vividly. Semantics of “rynok” in poetic texts is ambiguous and reflects the features disapproved by the poet (eagerness to get profit) as well as positive sides (colorfulness of life).
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Tucker, W. Dennis. "Hortatory Discourse and Psalm 96." Vetus Testamentum 61, no. 1 (2011): 119–32. http://dx.doi.org/10.1163/156853311x548578.
Повний текст джерелаАнотація:
AbstractDiscourse analysis has been applied to numerous narrative texts in the Hebrew Bible, yet its use with poetic texts remains infrequent. This study tests the thesis that hortatory discourse in poetic texts resembles and reflects the structures of hortatory discourse present within narrative material. Frequently the word order and construction of lines within Hebrew poetry have been attributed to poetic style, free variation, or rhetorical structure, among other suggestions, yet this analysis of Psalm 96 suggests that word order may be explained based on the discourse employed in the psalm.
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Mutiyev, Z., and A. Akbulatov. "ETERNAL HUMAN VALUES IN THE POETRY OF SAGAT ABDUGALIYEV." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 330–35. http://dx.doi.org/10.51889/2020-2.1728-7804.50.
Повний текст джерелаАнотація:
Kazakh fiction is an integral system of spiritual culture of the Kazakh nation, and its basis is the literature of the region. The article deals with the problems of literary local studies, the course of its development. The work of poets-writers in the history of literary local studies is studied, including the eternal human values in the poetry of SagatAbdugaliyev. The stylistic features of the author's poetry, creative research and poetics are widely studied and two stages of poetry are analyzed. In addition, this article reveals the nature of the poet's use of literary-visual devices, his methods of transmitting poetic speech. The article also explores the skill of the word artist in reviving the Treasury of language, in updating the national language and its lexicon.
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Doszhan, R. "SPIRITUAL UNITY OF ABAY KUNANBAYEV AND SHAKARIM KUDAYBERDIEV." ARTS ACADEMY 4, no. 4 (December 2022): 172–83. http://dx.doi.org/10.56032/2523-4684.2022.4.4.172.
Повний текст джерелаАнотація:
The article deals with the features of poetics of Abay and Shakarim, the contribution of poets to development of the Kazakh poetry, poetic features of their verses, poems and prosaic works. The beauty of their words and verses are connected with deep reflections about an essence of god, human and life. Both poets bring a huge contribution in creation of philosophical poetry. Shakarim’s outlook and his views are the logical continuation of Abay’s poetry. At the same time Kazakh poetical art is enriched with new forms, word combinations and song patterns. The versatile beauty of Kazakh poetry is exposed in their creative activity in full.
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Tarlinskaja, Marina. "Robert Frost: Rhythmical Structure of His Iambic Tetrameter." Poetics Today 44, no. 3 (September 1, 2023): 299–323. http://dx.doi.org/10.1215/03335372-10578443.
Повний текст джерелаАнотація:
Abstract This essay researches how Robert Frost's poems “are made.” It offers new methodologies of analyzing stressing, the main constituent of poetic rhythm. Frost's iambic tetrameter is the material of analysis. The formula of entropy is used to measure the rhythmical diversity of texts. The essay also follows the distribution of word boundaries and syntactic breaks in poetic texts. Word boundaries and syntactic breaks are two more constituents of poetic rhythm. The conclusions are: (1) Frost's late poems are rhythmically more diverse than his early poems, and (2) the rhythmical structure of lines also depends on the narrative and thematic features of the poems. Similar features had been discovered in Russian poetry. Further research might show if these are poetic universals.
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Donetskikh, L. I. "THE WORD-IMAGE “TIME” IN POETIC THEME OF S.Ya. MARShAK’s PHILOSOPHICAL POETRY." Bulletin of Udmurt University. Series History and Philology 31, no. 3 (July 13, 2021): 449–55. http://dx.doi.org/10.35634/2412-9534-2021-31-3-449-455.
Повний текст джерелаАнотація:
The article analyzes the word-image “time” in poetic formulae of S.Ya. Marshak’s philosophical poetry. Being artistic and esthetic units poetic formulae are regarded as creative and imaginative statements of the author, the ones that were achieved through suffering of the writer’s 70 year life’s journey. These statements include polished thoughts, conceptual didactic and moral evaluation of the author’s worldview. Having emerged in the earliest days of the Old Russian writing poetic formulae turned into individual background and accomplishments of the author supported by their situation awareness and justified by their frequency in literature and speech. Preserving semantic features of the keyword “time” poetic formulae of S.Ya. Marshak’s philosophical poetry were enriched with new esthetic messages and emotions thus transforming into “word-image poetic theme”. It included both author’s and mental sense bearing system accumulated by national consciousness and cultural traditions of the Russian people.
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De Andrade, Geysiane. "Os deslimites da palavra de Manoel de Barros." Scriptorium 5, no. 1 (June 19, 2019): 32558. http://dx.doi.org/10.15448/2526-8848-2019.1.32558.
Повний текст джерелаАнотація:
Manoel de Barros se traduziu na liberdade e no encantamento dos versos, em um trabalho artesanal com as palavras. Na linguagem, construiu um infinito particular, onde desvela muito mais do que as belezas do Pantanal, mas a grandeza do homem e da vida, uma poesia contemporânea que dialoga com a tradição simbolista e moderna. Exemplo disso é O livro das Ignorãças, no qual o autor apresenta seu percurso criativo e as origens de sua criação poética, transformando o ínfimo, o nada e as miudezas em pura poesia. Assim, este trabalho apresenta um pouco do projeto poético de Barros, especialmente no livro em questão, refletindo sobre seu processo criativo de acordo com algumas das teorias da criação poética. *** The unlimits of the word of Manoel de Barros ***Manoel de Barros translated himself into the freedom and enchantment of the verses, in a handcrafted work with words. In language, he constructed a particular infinite, where he unveils much more than the beauties of Pantanal, but the greatness of man and life, contemporary poetry that dialogues with the symbolism and modern tradition. A great example is O livro das Ignorãças, in which the author presents his creative journey and the origins of his poetic creation, transforming the tiny, the nothingness and the offal into pure poetry. Thus, this paper presents a little of the poetic project of Barros, especially in this book, reflecting on its creative process according to some poetic creation theories.Keywords: Poetry; Manoel de Barros; Modern lyric; Poetic creation.
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Ferrández, Raquel. "Listening to the Breath, Chanting the Word." Poligrafi 28, no. 111/112 (December 20, 2023): 225–42. http://dx.doi.org/10.35469/poligrafi.2023.409.
Повний текст джерелаАнотація:
Clearings of the Forest (Claros del Bosque, 1977), one of the most poetic and challenging works of María Zambrano’s thought, cannot be approached from a breathless paradigm. For the immersion in these clearings take us into the breathing of being that we contemplate alongside the more obvious physiological breathing, the breathing of life. In this work, Zambrano proposes a poetic and mystical phenomenology of the breathing of being through the breathing of its word. Thus, to recover contact with this inner breathing could be to recover the lost chant of the word. This essay does not pretend to be a detailed analysis of Zambrano’s thought as a whole, nor of the vibrant mystery that her clearings reveal. The purpose is to uncover the fundamental role that breathing plays in this poetic-philosophical journey, along with other symbols such as light or love, with the question of what place this type of philosophical exercise occupies today in the classrooms of contemporary universities.
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Dmitrieva, T. V. "Possibilities of regular word-formation in the poetry of Joseph Brodsky (based on the poems of the 1960s–1970s)." Philology and Culture, no. 3 (October 4, 2023): 31–37. http://dx.doi.org/10.26907/2782-4756-2023-73-3-31-37.
Повний текст джерелаАнотація:
The article is devoted to regular word-formation in the fictional practice. The purpose of the work is to reveal the possibilities of the regular word-formation system based on the poetry of Joseph Brodsky. Within the framework of this study, we consider the concept of “productivity” and the approaches to differentiation between word-formation type and word-formation model definitions. We have formulated the meaning of the term “a word-formation category”. The article studies the structural and semantic aspects of regular derivatives: using the method of word-formation analysis, we have identified productive word-formation types for different parts of speech, actual categorical meanings and frequency morphemes. The article identifies stylistic features of specific morphemes and analyses the combination of different-style derivatives when the image and function of lexemes that implement different word-building types are created. In the corpus of regular derivatives, we reveal the productivity of “color” paradigms, which emphasizes their semantic importance for the poetic imagery of Joseph Brodsky. In the course of our study, we noted derivational lexemes of a different order – potential and occasional. Their basis is the usual system of language, which confirms the high potential of regular word formation for a poetic text. The article concludes that regular derivatives play an important role in constructing poetic imagery.
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YERMOLENKO, Svitlana. "Word and memory of Ivan Drobnyi." Culture of the Word, no. 96 (2022): 7–26. http://dx.doi.org/10.37919/0201-419x.2022.96.1.
Повний текст джерелаАнотація:
The author of the article explores the individual linguistic style of Ivan Semenovych Drobnyi, a writer of the Sixties from Cherkasy region, in particular the language of his poetic texts. It is determined that the poet’s style represents the linguistic aesthetics of Ukrainian literature of the second half of the twentieth century, and the stylistic feature of I. Drobnyi’s language thinking reveals the connection of verbal associative images with realities, phenomena of Ukrainian nature, history of the native land, environmental problems and the inner world of a person in love with his land. There is a renewal of traditional poetic metaphors (the book of nature). The poet reads the book of the farmer, and compares the grains of poetry to the golden grains of the field. A conversation with nature always ends with a clear aphoristic thought that reveals broader, sometimes unexpected connections between words and concepts that acquire symbolic meaning. The contexts of aestheticization and symbolization of such individual linguistic images as rainbow, rain, willow, path are highlighted, the associative field of which is expanded by the author with the concepts of modern reality. The author interprets the meaning of the original poeticized image of winter crops as a symbol of the dying and resurrection of nature. The tradition of the Ukrainian poetic word combines the concepts of the rainbow and the Dnipro, but only in the poetry of Ivan Drobnyi the entire rainbow is «according to Vasyl Symonenko». The author emphasizes the simple, uncomplicated rhythmic and intonational structure of the poem, the song folk rhythms in the poetry of I. Drobnyi and at the same time records the transitions in it from the high poetic word to the lyrical confession, from philosophical reflections to evaluative, witty statements filled with colloquial phrases. The article concludes that the poetic language of the Cherkasy region writer Ivan Drobnyi is a grateful source of research on the problem of STYLE AND MEMORY. With his lyrical texts, the poet draws attention to the richness of the Ukrainian literary language, makes us think about the historical variability of the lexicon of human civilization and about eternity, the value of the fundamental connection between man and the «eternal writings» of nature. His philosophical reflections on the agricultural culture of Ukrainians, the history and nature of his native land, often embodied in a perfect aphoristic form, enrich the vocabulary of linguistic and aesthetic signs of Ukrainian culture, and actualize precedent names and precedent lexemes, phrases of the Ukrainian language. Ivan Drobnyi’s individual style preserves the memory of the folk style of Ukrainian poetic language, which organically combines the linguistic aesthetics of folk songs and the philosophy of folk conversation.
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Danich, Oksana V., Natalya L. Druzhina, and Valentina A. Maslova. "Poetic Word in the Light of L.A. Novikov's Teaching on Aesthetic Perception." RUDN Journal of Language Studies, Semiotics and Semantics 14, no. 2 (June 30, 2023): 502–13. http://dx.doi.org/10.22363/2313-2299-2023-14-2-502-513.
Повний текст джерелаАнотація:
The subject of the study is the poetic word as a special kind of aesthetic instrument. The aesthetics is the universal relation of a person to the world, to himself, to art in general, and to the poetic text in particular. The purpose of the research is to establish the relationship between tradition and new ideas in L.A. Novikov's concept of language as art; to identify the specifics of the implementation of the aesthetic function of language in poetic texts. The methodological basis was the works of L.A. Novikov, M. Gasparov, R.O. Yakobson, and M.M. Bakhtin. Poetic texts of classical and modern authors were chosen as the material for the study. The research shows that the aesthetic meanings in the poetic text go beyond the meanings of the words used in the poem. On the examples of the poetry of M. Tsvetaeva and modern poets E.K. Olshanskaya and D.M. Burago we demonstrate a non-linear vision of the world, which provides an aesthetic effect. L.A. Novikov’s theory of the ornamental field and the theory of the aesthetic in language helps to understand the mysterious poetic meanings (connotations, subtexts, with the help of which the reader completes or transforms the author’s poetic image). The conducted research allowed us to draw the following conclusions: language is an object of aesthetics and a means of creating by the author a multidimensional reality, which is cultural; a full-fledged aesthetic perception of poetry is provided by the personality of the author himself, the phenomenon of the text (its motives, the palette of language means and techniques), the personality of the reader, the type of culture, etc.).
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Lukoyanova, Yu K. "The Word Den’ in N.M. Yazykov’s Poetic Worldview." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 4–5 (2021): 154–61. http://dx.doi.org/10.26907/2541-7738.2021.4-5.154-161.
Повний текст джерелаАнотація:
The article analyzes the usage of the temporal lexeme den’ (‘day’) by N.M. Yazykov, a romanticist poet and a contemporary of A.S. Pushkin, with the help of the methods of contextual analysis, component analysis, and literary text interpretation. It was revealed that N.M. Yazykov used this word to name a part of a day (from morning to evening), a time interval (24 hours), and a calendar date. In most contexts under study, the word den’ has the plural form dni (‘days’) and the meaning of “time”. Various tropes (metaphor, personification, and epithet) were identified. The poet used them to describe natural landscapes, as well as the inner world, thoughts, doubts, experiences of his lyric characters. Furthermore, he turned them into a stylistic device (gradation, antithesis) by placing the word den’ with other temporal lexemes. Due to the metaphorical transformations and the author’s individual perception, the stylistically neutral word den’ acquires various connotative shades in N.M. Yazykov’s poems. The analysis of the semantics and valency of this word demonstrates that N.M. Yazykov’s worldview is characterized by a feeling of the transience of time, its swiftness, and the past is considered brighter than the present. The study adds substantially to our understanding of the specifics of the poet’s perception of time and his worldview.
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Dressler, Wolfgang U., Barbara Tumfart, Dietmar Kunisch, and Vanessa Hannesschläger. "Poetic and theatrical occasionalisms: Creation of new morphologically complex words by Joseph von Eichendorff, Johann Nepomuk Nestroy, Peter Handke and Arno Schmidt." Kalbotyra 76 (January 23, 2024): 7–17. http://dx.doi.org/10.15388/kalbotyra.2023.76.1.
Повний текст джерелаАнотація:
This contribution characterises and differentiates the poetic occasionalisms in the form of new morphologically complex words created by the early romantic German lyrical poet Joseph von Eichendorff, by the Austrian Nobel Prize winner for literature Peter Handke and by the extravagant German prosaic author Arno Schmidt and the occasionalisms created by the most famous Austrian comedy writer Johann Nepomuk Nestroy.The concept and term occasionalism has been founded by the Russian pioneer of stylistics Erik J. Chanpira (1996, see § 2) and defined as a newly created morphologically complex poetic word destined to be used with a literary function only once for a single passage and which is not taken over by anybody else. This definition holds for the authors investigated, except Eichendorff who reuses occasionalisms, which may be also reused by other lyrical poets of the same period or even later.The main part (§ 3) consists of the discussion of 17 criteria for characterising and differentiating the occasionalisms studied. These are productivity of word formation, literary functions, main content, single use vs. reuse of them, consequences of the noun bias of German and of the preference for binary relations, size of the word families of compound constituents (especially of the first constituent), the degree of poetic licence, semantically coherent vs. incoherent combination of words within a compound, embedding into the cotext and into the situational context, gapping constructions and their make-up, preference for compounding vs. derivational morphology.The conclusion and outlook (§ 4) present proposals how literary studies may profit from investigations of poetic and theatrical occasionalisms, which represent the highest degree of language creativity of literary authors. We urge that theatre productions should highlight occasionalisms and report that Nestroy’s German occasionalisms are generally better translated into English by programs of machine translation then by human translators.
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Skydan, Ya. "THE CONCEPT WORD IN P. MOVCHAN’S POETIC PICTURE OF THE WORLD." International Humanitarian University Herald. Philology 2, no. 49 (2021): 4–7. http://dx.doi.org/10.32841/2409-1154.2021.49-2.1.
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Baldacci, Alessandro. "Soglie dell'impermanenza." Polisemie 4 (December 1, 2023): 87–100. http://dx.doi.org/10.31273/polisemie.v4.1408.
Повний текст джерелаАнотація:
The article focuses on the relevance of space in Antonella Anedda's work, understood as an experience of openness to reality and history, as well as loss of protection and guarantees. It is then highlighted how the author's poetics of space can be usefully placed in dialogue with Benjamin's reflection in the Passages on "threshold experiences". Subsequently, the article aims to show the peculiarity of the reception by Anedda of the German-speaking poet Paul Celan, in an ethical rather than an aesthetic or merely existential key, starting precisely from a proximity regarding the relationship between the poetic word and "threshold words", between silence and the need to speak (and testify), in both authors.
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Ustinova, Tatiana V. "The Inner Form of the Word and Meaning Construction in the Poetic Speech (Based on the Russian and English Languages)." Linguistics and Intercultural Communication 26, no. 3_2023 (November 29, 2023): 74–86. http://dx.doi.org/10.55959/msu-2074-1588-19-26-3-5.
Повний текст джерелаАнотація:
The article deals with the problem of semantic perception of a poetic text, in which the reader’s attention is de-automized by such foregrounding technique as the defamiliarization of the inner form of the word. Relying on the methodological frameworks of creative linguistics and cognitive linguistics, the author of the article aims at describing the inner-form-defamiliarization technique in terms of its functioning in poetic speech. Particular attention is devoted to identifying the factors of verbal and conceptual creativity, which determine the possibility of speech conventions transformations in poetry. The article provides a terminological clarification of the notions of “the inner form of the language” and “the inner form of the word”; emphasis is placed on the importance of studying these phenomena from the non-conventional meaning construction perspective. It is shown that the technique of the inner form defamiliarization has a complex implementation in poetry and contributes to performing a number of interrelated functions of the poetic language — cognitive, expressive, poetic and metalinguistic. Based on the examples of Arkadii Dragomoshchenko’s essays from the book “Phosphorus” and Charles Bernstein’s essay-poem “Artifice of Absorption”, the linguo-creative intentions of the poets are reconstructed. The techniques of the inner form defamiliarization, typical of these poets, are described, including poetic etymologization of the word through its occasional definition; paronomasia; renomination and attribution of occasional formmeaning motivation to the word. The cognitive universality of linguo-creative techniques of the inner form defamiliarization is described in relation to general functional mechanisms for switching and developing verbal associations, which provide for the non-conventional meaning construction.
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Tello, Ángela. "Nos queda la palabra." La Manzana de la Discordia 6, no. 2 (March 18, 2016): 95. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v6i2.1502.
Повний текст джерелаАнотація:
Resumen: Refl exión sobre la poesía, la creaciónpoética y la importancia de la palabra. Se indagasobre el quehacer poético, sus orígenes psíquicosy espirituales, los instantes de inconsciencia, deirracionalidad, de exaltación de los sentidos delpoeta, y sus consecuencias para las vidas de los ylas poetas y para su producción, la palabra poética,así como la relación entre la vida y la muerte, la luzy la oscuridad.Paslabras clave: Poesía, creación poética,poetas, inconscienteWhat Is Left Is the WordAbstract: A refl ection on poetry, poetic creationand the importance of words. The author looks intothe poetic labor, its psychic and spiritual origins,the moments of unconsciousness, of irrationality,exaltation of the poet’s sense, and their consequencesfor the lives of poets and for their production, thepoetic word, as well as the relation between life anddeath, light and darkness.Key words: Poetry, poetic creation, the poet,unconsciousness.
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Haider, Ali Jal. "DEJECTION : AN ODE--- COLERIDGE’S UNCONVENTIONAL TREATMENT OF THEME." JOURNAL OF ENGLISH LANGUAGE AND LITERATURE 10, no. 04 (2023): 13–16. http://dx.doi.org/10.54513/joell.2023.10403.
Повний текст джерелаАнотація:
Coleridge is influenced by the poetic ideas of Wordsworth. He has a firm faith in Pantheism. He is fascinated by the healing power of nature. He keenly observes nature in his own way. For, his Romanticism is a philosophy, a way of life and garret of optimism. But in Dejection: An Ode, Coleridge’s treatment of theme is unconventional. The poem is personal in tone. Coleridge's internal conflict makes him unaware to feel nature. He argues the he has lost his power, poetic creativity, he has lost his sources of secondary imagination. He wants an escape to abstract world. He wants to observe the harsh reality. Such transition of theme provides this particular poetry an extra poetic charm. The word ‘ dejection’ symbolize here the poet's own psyche. The poetry has its own unique appeal. Coleridge is quite successful in his purpose because he treats this unconventional theme with safe hands.
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Huttunen, Tomi. "От "словообразов" к "главокадрам": имажинистский монтаж Анатолия Мариенгрофа [From "word-images' to "chapter-shots": The imaginist montage of Anatolij Mariengof]". Sign Systems Studies 28 (31 грудня 2000): 181–98. http://dx.doi.org/10.12697/sss.2000.28.10.
Повний текст джерелаАнотація:
From "word-images' to "chapter-shots": The imaginist montage of Anatolij Mariengof. The article discusses the three dominant imaginist principles of Anatolij Mariengofs (1897-1962) poetic technique, as they are translated into prose in his first fictional novel Cynics (1928). These principles include the "catalogue of images", a genre introduced by Vadim Shershenevich, i.e. poetry formed of nouns, which Mariengof makes use of in his longer imaginist poems. Another dominant imaginist principle, to which Mariengof referred in his theoretic articles and poetic texts, is similar to the creating of shocking images typical of Russian futurism. Mariengofs application is the juxtaposition of "pure" (chistyj) and "impure" (nechistyj), either a conflict between the vehicle and the object within a metaphor or a conflict between metaphors. This is an essential poetic feature in both Mariengofs poetry and prose. The third, maybe the most Mariengofian imaginist principle, relevant to the study of Cynics, is the poetics of transition (poetika sdviga), i.e. a certain fragmented structure of the text, which is related to Mariengors use of heteroaccentual rhyme. All these principles can be treated as fundamental elements in Mariengofs use of montage technique in his fictional prose.