Collection Of Lyrics Research Articles

Word Formation of English Slang in Rich Brian's Album 1999

This research aimed to find the form of slang words and the type of word formation process found in Rich Brian's Album 1999. This type of research was descriptive research. The data of this research was words and phrases of song lyrics in album 1999. For the data collection, the researcher found all the lyrics form the largest collection of song lyrics and music on https://www.genius.com. There were three instruments for this research: the researcher itself, laptop, and table indicators. There were five steps for the data analysis: categorizing the form of slang and type of word formation process, analysed the slang word use the theory, tabulated the data on the table, calculated the percentage, and concluding the research finding. The theory used in this research was the theory of Coleman (2012) and Yule (2010). The result showed from 9 forms of slang words, the researcher found 3 forms of slang words. The 3 types of form of slang words are change in meaning (21,05%), change in function (26,31%), and abbreviation (52,64%). The result showed about the type of word formation process, the researcher found 5 types of word formation process, namely blending (14,03%), clipping (70,18%), derivation (5,27%), and acronym (3,50%). The most dominant form of slang words is abbreviation and the most dominant type of word formation process is clipping. Based on the findings, the relationship between slang and song lyrics is to make the song lyrics more interesting and easier to express ideas.Key words: Morphology, Word formation process, Slang word, Form of slang, Rich Brian’s Song

THE MOTIVES OF COSMOPOLITANISM IN THE LYRICAL COLLECTION “POET, OKEAN I RYBA” AND IN THE COLLECTION OF ESSAYS “UZDOVZH OKEANU NA ROVERI” BY VASYL MAKHNO

In the article the attempt of comprehension the motives of cosmopolitanism in Vasyl Makhno`s work based on the material of the lyrical collection "Poet, okean i ryba" and the collection of essays "Uzdovzh okeanu na roveri" is made. On the basis of the texts of the collections the principles of author’s identification in the artistic world of lyrical works and essayistic texts are analyzed, based on the ideas of cosmopolitanism as universal human values that prevail over ethnic problems in the artist`s worldview. Furthermore, the origins of the idea of cosmopolitanism in Vasyl Makhno`s work are also substantiated, representing the formation and transformation of the author`s worldview as the Ukrainian author who lives on the American continent. Due to the categories of "presence" and "belonging" in place, the methods of reconstruction and reproduction of the author`s search for own identity are analyzed. In the article the topoi are examined through the category of “journey”, which are common and different in the artistic worlds of the lyric collection and the collection of essays, representing the author`s reflection through the category of "location". It is concluded that, while acting in various guises, among which the guise of "foreigner" is important, the author appears to the recipient as a cosmopolitan striving for harmony and the search for own "self". In the analyzed collections of lyric poems "Poet, okean i ryba" and the essays "Uzdovzh okeanu na roveri" by V. Makhno common and distinctive features of the reconstruction of space as a place for author`s and reader`s reflection are revealed.

Against the glare. On Yulia Krylova’s Against the White Background [Na fone belogo

A review of the first book by the Moscow-based poet Yulia Krylova, Against the White Background [Na fone belogo] (2022). The critic considers the book’s principal motifs in the context of Biblical metaphors and decodes hidden meanings of Krylova’s ‘messages.’ Along with Brodsky, Mandelstam and other celebrities traditionally referenced by modern poets, they are addressed to Krylova’s contemporary fellow poets. Also discussed is the mixed critical reception of Krylova’s lyrical collection: while some reviewers emphasise its metaphysical quality, others notice Krylova’s extensive use of such hallmarks of modern lifestyle as a 3G network and friends’ and lovers’ online profiles, etc. Batalov argues, however, that Krylova’s unique style results from an unconventional approach to combining modern realia with metaphysical phenomena: not only does it pair the minutiae of quotidian existence with metaphysical and Biblical elements; it shows them to complement each other like two different languages used to describe the same phenomenon.

Unearthing the Figure of Speeches Used in the -R- Album by Rose to Deliver the Messages

This study discussed the use of figure of speech in the song track list of -R- Album that popularized by Rose. The aimed of the study to describe 4 types of figure of speech in the two track lists of the R album; (1) the comparative of figure of speech, (2) the contradiction figure of speech, (3) the affirmation figure of speech, and (4) the satire figure of speech in the collection of both song lyrics. This research was qualitative method with analytical approach. The source of data in this study is the of song lyrics in the -R- album that has two songs entitled “On the Ground and Gone” which contained figure of speech. Reading the lyric was one of the data gathering procedures used in this study; understand the meaning; find the word that contain figure of speech; and describe them. The result of this research was dominated by the contradiction and comparative of figure of speech that found in the both song lyrics if compare to the other figure of speech affirmation and satire. In this study, the researcher studied a song that was dominated by inter minus contradiction and metaphor. The song's writer employed things or objects to convey his or her feelings, which metaphor was given comparative meaning in the song's lyric. Meanwhile, inter minus contradiction prevails in some lyrics, when one sentence contradicts the meaning of the previous statement.

BAŞÇAVUŞ İSMAİL AĞA’NIN BESTELERİ VE MECMUA-I GÜFTE’SİNDEN (BERLIN 3370) TESPİTLER

This lyric book, which is the subject of the article, has been examined with the qualitative research method. The original manuscript of the lyrics book is from the Berlin Staatsbibliothek Ms. or. Fol. It is located at 3370. The manuscript in the library record is 210 pages. The author of the manuscript and the date it was written are uncertain. It has been identified as a work written in the 17th century. A more specific date has not been identified in it. In the first review in this article, it was tried to reveal when the journal was written and by whom it might have been written, using the systematic musicology method. Among the first detected findings, we can count the following: It was seen that two of the 39 makams that make up the index of the manuscript were not recorded in the lyrics. These are sumbule and uzzal chapters. Each page is gold framed. At the beginning of the lyrics, the maqam, the tempo and the composer are often mentioned. Six pages have the new style miniatures of music. Suddenly, when I tried to conclude these and many other determinations as an article, I saw that a research paper by Basher was published in a journal. I removed the general findings from the article I prepared and re-edited my article based on different findings. In this article, the person who wrote the lyrics magazine and the year of its writing were specifically questioned. Among the results found, it was revealed that the author was İsmail Ağa, who died in 1800, and that he might have written his lyric book in the 1780s, for various reasons. The 17th century record in the Berlin library record is not correct, it must be the second half of the 18th century. Among the important findings supporting the determination of the writing date of the journal are the following findings: 1-Majmua was written during the youth of Nasır Dede and the princedom of Sultan Selim III, but none of the makams he invented after 1780. 2- In the journal, there are evicbuse makam compositions from the new makams of the mid-18th century, which Nasır Dede called new that cedid. 3-In comparison with the Hekimbashi journal, which was determined to have been written in 1767, it was seen that some of the same composers were registered as sergeants in the Hekimbashi journal while they were recorded as aghas in the other journal. This finding shows us that the journal no. 3370 was written after 1767. 4-Hizir Agha wrote about his new invention of the musebba usul in his work dated 1777. Hatem of Akovalı stated the name of this new musebba usul in a poem in his Divan. There is a composition in the musebba usul style in this lyric collection. Thus, it is understood that there is a relationship of acquaintance and historical closeness between the writer of the journal and Hızır Agha. Composer and lyric book owner Ebubekir Agha, who died in 1759, and the author of the magazine, Chief Sergeant İsmail Agha, have a familiar relationship, such as being a music student. In conclusion, this article proposes that composer Chief Sergeant İsmail Ağa is the author of Berlin's lyric book in 3370 and that it was compiled in 1780.

Code Mixing In The Ussy Sulistiawaty Songs

There are many kinds of entertainment that are popular among the people, one of which is music. Songs use language as a medium to convey ideas or meanings to people who listen to them. Many singers in Indonesia are born and famous. One of them is Ussy Sulistiawaty. Ussy Sulistiawaty is a singer who often mixes English into the lyrics of some of her songs. A linguistic practice that mixes two or more languages and includes each other's terms of language elements, such as words, in other languages consistently is called code-mixing. Sulistiawaty. The object of this research is the lyrics of the song Ussy Sulistiawaty. Data and data sources in the form of written data are contained in a collection of song lyrics by Ussy Sulistyawaty. The data collection technique is the note-taking method. These results are the most common code mixing found in Ussy Sulistiawaty's song lyrics, namely (1) English clause code mixing and (2) the background of the emergence of English code mixing in Ussy Sulistiawaty's song lyrics because it is to attract attention, entertain listeners, and research on language that is often used by teenagers today.

Rhetorical Swordfighting and Satire in Thomas Watson’s Hekatompathia

Abstract Thomas Watson’s critics have suggested that The Hekatompathia, Or Passionate Centurie of Love ambitiously aspired to be a pedagogical text, but if this work is designed to teach, then this essay suggests Watson’s manipulations of genre, style, and intertexts combine to offer a pedagogy for poets, a compilation of rhetorical postures one may employ to simultaneously deliver and disguise socio-political satire in Elizabethan England. This essay first discusses how Hekatompathia additionally signals its satirical aims by participating in the pasquinade tradition, and positioning a “pasquine piller” at the volta of this sequence of one hundred passions. Next, it shows how Watson’s “passions” intertextually recall Pierre de Ronsard’s Discours des Misères de ce Temps, a collection of lyrics satirizing the French factionalism that has led to civil war, as well as Thomas Jeney’s later English translation that turns a mirror to princes toward Queen Elizabeth. Upon recognizing the Ronsardian subtexts of courtly factionalism and civil unrest associated with Watson’s “passions,” one may see how they are compounded as the poet sets them forth in the “pathetical style” of Seneca and Lucan. The civil wars of ancient Rome and subsequent imperial tyranny are frequently held up as a cautionary tales for early modern English and European rulers, but Watson’s simultaneous translation of the French Wars of Religion relocates these civil broils in England, implicating Elizabethan court dissidence and hypocrisy.

Great River Legs

Great River Legs is a lyric collection of prose poetry, creative nonfiction, and found poetry. This creative response documents my 1,398 mile, 25-day bicycle ride from Muscatine, Iowa, to Baton Rouge, Louisiana, between October 2017–March 2018. The journey took place in legs over breaks during the school year, with two additional back-to-back weekend rides that started the adventure. In her latest book, Great River Legs, Laura Madeline Wiseman takes you on an intimate journey as she weaves in and out of a cross-country, long distance bike ride. In this beautifully curated book that includes prose poetry, creative non-fiction and found poetry, Wiseman embraces the many parts of herself—cyclist, data collector, meditation practitioner, nature lover, quiet observer—and brings them together in a seamless, profound, and captivating way. – Dawn Mauricio, author of Mindfulness Meditation for Beginners In Great River Legs, Laura Madeline Wiseman measures the weeks in papers graded, classes taught, but also in miles ridden alongside rivers, lengths of the journey called “legs.” The book’s great subject is as much the making of narrative as it is an exploration of geography. Are our stories circular, spinning like wheels on a bicycle? Or do our lives move almost linearly like a waterway flowing across the land? Through small bursts of lyric prose, Wiseman explores the ways “we can begin again,” how we test ourselves on paths that are “steep and dangerous” while learning to accept that we can never “control the day’s rotation.” – Jehanne Dubrow, author of throughsmoke: an essay in notes

Remembering Ken Newton

Remembering Ken Newton

Remembering Ken Newton

Remembering Ken Newton

Safety Measures

A solo cross-country bike adventure. Safety Measures is a lyric collection of creative nonfiction and prose poetry. This creative response documents my solo cross-country 4,300-mile, 59-day bicycle ride from Anacortes, Washington, to Bar Harbor, Maine. I planned a route to begin and end in Minnesota because my family’s summer vacation was held at Leach Lake as a kid. Biking, fishing, beachcombing, and other lake events with my dad had instilled an adventurous spirit. I hoped to reconnect with the fierce energy of the young gal I once was. After the first day of support to make sure my bicycle, Lexa, worked, I rode alone for three weeks heading east. As planned, once there, my husband arrived to drive support. At Bar Harbor, we drove west, with a few bonus miles of bicycling along the way. Out west, my bicycle, Lexa, was lost, but someone found her, and she was repaired. Then I got going again towards Minnesota. Ultimately, the 59-day bicycle journey included nine days of bonus miles. For 78% or 39-days, I biked it alone with Lexa. The journey let me reflect on what it means to be a woman, self-supported, and safe. I felt scared, intimidated, and bullied. Harassment, threat, and being followed left me shaken. To be fair, nothing really happened. Sheriffs swept the road everywhere, making everyone behave. Semi-drivers scooted over, good stewards of littler riders like bicycles. Fellow bikers exchanged advice on the road ahead. I thanked, waved, or called, Safe travels, to such companionable travelers, grateful for their presence. I kept a journal during the ride, upon which this book is based. I held to writing assignments, challenges, and intentions. I collected data with a fitness tracker watch and cyclometer. Sports technology malfunction caused some rides to be recreated online. I logged this data, as well as other data points, in a spreadsheet and online. The data in this collection is based upon this record keeping.

Turgenev’s traditions and motifs in the collection “Dragons, Tigers and Dogs” by Ba Jin

The subject of this research is the adoption and development of the motifs of I. S. Turgenev’s “Poems in Prose” in the lyrical collection “Dragons, Tigers and Dogs” by Ba Jin, who was dubbed “China’s Turgenev”. Attention is focused on the analysis of literary techniques adopted by Ba Jin from Turgenev, such as: narrative methods, motifs of the dreams, latent psychologism and profound psychologism of the landscape, symbolism, and fundamental musicality of the text. The research material contains the lyrical cycles of both writers, author's commentaries, journal articles published in Russia and China dedicated to examination of Turgenev's impact upon the Chinese writers. The article employs the historical-functional and comparative methods of analysis. The author is first to explore the influence of Turgenev's “Poems in Prose” on the works of Ba Jin, which defines the scientific novelty of this research. Ba Jin's scrutiny of Turgenev's “Poems in Prose”, during his work on translations, is reflected in his collection on the level of symbolism and the choice of motifs, command of language and literary style overall. The musicality of Turgenev's “Poems in Prose” encouraged Ba Jin to pursue the new artistic expressiveness of the language. The aesthetic peculiarities of Turgenev's “Poems in Prose” are consonant with the traditions and aesthetic requests of the Ancient Chinese literature, which justifies the enduring popularity of Turgenev’s works in China.

Pasternak lyrics: part of speech structure

The article is devoted to the study of the stability and variability of part of speech structures in the collections of lyrical poems by B. Pasternak, the Nobel Prize winner for literature. The analysis is based on the methodology proposed by Gabriel Altmann in his studies. The database includes 7 collections of Pasternak’s lyrics, published by him over the period of more than 40 years. The study was carried out on the material of both individual poems and the framework of entire collections. The results obtained showed that in Pasternak's lyrics, nominality of texts is very high. Within the framework of each separate collection a high stability of the general structure of parts of speech was observed. Dynamic description was found to prevail over static description. It was found that both types of description are guided by the tendency to compensation when the growth of one of them causes a decrease in the other. It was discovered that the distribution of parts of speech within each collection of lyrics is very well fitted by the Zipf-Alekseev function. Using the Euclidean distances between the collections of lyrical poems, published during different periods of the author’s creative work, assumptions were made about possible stages of the author's style evolution.

PECULIARITIES OF THE TRANSLATION INTO GERMAN LINA KOSTENKO’S POETRY

The article is devoted to the classification and analysis of the German-language translations of Lina Kostenko's poems based on the material of the lyrical collection "And again the prologue" translated by Alois Woldan. The article introduces the theoretical foundations of poetry translation as a separate type of literary translation, examines its genre-specific features, and analyses the features of the modern Ukrainian poetry and the author's style of Lina Kostenko, which jointly form the basis for further comparison of the original example and the translation. The paper shows the main difficulties that Alois Voldan faced interpreting the poems, describes the ways of overcoming them and offers a qualitative assessment of the translation. The lexical and stylistic analysis showed the wide usage of the poetic instruments in his works of pictorial and expressive language as well as aphorisms. However, to preserve the idea and reproduce the ideological motives, Alois Voldan avoided literal translation and resorted to the descriptive translation of these linguistic means. When translating lexical tautologies, which are widely inherent in Lina Kostenko's poetics, the translator replaced lexical units, graphic signs, sentence structure and transferred repetitions from one line to another to preserve emotionality and expressiveness in lyric poems. When we look closely at the grammatical level of translation, there are replacements of grammatical constructions and parts of speech. We also recognize the addition of new parts of speech that are missing in the original poem. The reason for such transformations was the differences in the grammatical structures of the German and Ukrainian languages, and the translation strategies used to preserve the rhythmic and melodic pattern of the poems. A special place is given to the characteristics because of the national specificity of poetry and the translation of its semantic equivalent. That is, the reason why the translation is used primarily for intercultural communication, and the translator, in this case, is an intercultural mediator. But Alois Voldan managed to convey the thematic orientation of the poems and the Ukrainian colour.

ANALISIS MAJAS DAN CITRAAN PADA KUMPULAN LIRIK LAGU GRUP BAND MOCCA ALBUM LIMA

When reading a text from any language, including text that contains literary texts, poetry, fiction, drama and even song lyrics that are concretely found are languages. An author or writer always puts forward his beautiful ideas so as to produce certain effects for the reader.This research is intended to analyze the language style and images in terms of stylistic studies in the collection of song lyrics of the band Mocca album Lima. The research methodology used is descriptive qualitative method with comprehensive reading and analyzing lyrics.The results of the study that the authors get in the analysis of the lyrics of the Mocca band grub song are the use of contention, comparison, the repetition of sounds at the beginning, middle or end. In adition there are also visual images, motion images, hearing images and feeling images in the collection of lyrics.eywords: Stylistica, Language, Exposition, Image.ABSTRACTWhen reading a text from any language, including text that contains literary texts, poetry, fiction, drama and even song lyrics that are concretely found are languages. An author or writer always puts forward his beautiful ideas so as to produce certain effects for the reader.This research is intended to analyze the language style and images in terms of stylistic studies in the collection of song lyrics of the band Mocca album Lima. The research methodology used is descriptive qualitative method with comprehensive reading and analyzing lyrics.The results of the study that the authors get in the analysis of the lyrics of the Mocca band grub song are the use of contention, comparison, the repetition of sounds at the beginning, middle or end. In adition there are also visual images, motion images, hearing images and feeling images in the collection of lyrics.

Introduction: Scott Walker’s ‘new songs 2016/17ʹ

ABSTRACT The Introduction to the special issue on Scott Walker briefly highlights the different disciplinary engagements of the essays that follow and offers its own analysis of Walker’s last songs from the perspective of the tradition of lyric poetry. In this essay, Scott Wilson looks specifically at the ‘New Songs’ that were included in Sundog, Walker’s collection of lyrics and assesses them with reference to Jonathan Culler’s recent book Theory of the Lyric. Culler’s book outlines four parameters of the lyric tradition from Sappho and Horace to Williams and Ashbury: enunciative apparatus, hyperbole, ritual and event (rather than mimesis or representation). In this Introduction, Wilson examines the contention that Scott Walker’s lyrics mount a ‘silent defence of this forgotten logic of the lyric’ (Nicola Masciandaro) that has been displaced by the dominant novel-driven aesthetic whose fictional worlds and persona frame or showcase the implied subjectivity of the poet or novelist. In so doing, Wilson suggests that the lyrics of popular song have more in common with the ancient tradition of lyric poetry than modern or contemporary verse.

Pengembangan Media Audio Lirik Lagu Untuk Meningkatkan Motivasi Belajar Sejarah Siswa di Sekolah Menengah Atas

The study aims to develop Audio Media and Song Lyrics Collection Book as a medium of learning history that is feasible and practically used by teachers in history subjects in Senior High Schools. Type of research is research and development using the ADDIE model (Analyze, Design, Development, Implementation and Evaluation). The subjects of this research trial were 34 students of class X MIPA1 and 33 students of class X MIPA2 in SMAN 3 Padang Panjang. Data collection instruments used in this study was a questionnaire consisting of media validation test questionnaire, material validation test questionnaire, practicality test questionnaire by teachers and practicality test questionnaire by students. The research data were analyzed by qualitative and quantitative analysis techniques. The results showed that the validity of audio media and song lyric collection books based on the validation research of the material experts obtained an average of 3.59 and 3.50 media experts with very decent criteria. The practicality results obtained by the teacher averaged 3.36 with very practical criteria, while the practicality results obtained by students averaged 3.39 with very practical criteria. Thuse the audio media and song Lyric collection books developed are very feasible and practical to increase student’s motivation to learn history in high school.

Authenticity as Performance and the Conventions of Companionship in Fanny Kemble's Poems

Authenticity as Performance and the Conventions of Companionship in Fanny Kemble's Poems Martin Brooks (bio) Mrs. Kemble's case would have been an exquisite one for a psychologist interested in studying the constitution of sincerity Henry James, "Frances Anne Kemble" This essay discusses how the actress and poet Frances Anne Kemble (1809–1893), best known as Fanny Kemble, worked to achieve authenticity in her collection of lyrics, Poems (1844). As it shows, Poems draws on Kemble's distinctive ideas about how a person's speech can be authentic, that is, can represent "the great deeps of life" within them.1 In letters and journals dating from her career as a famous Shakespearean actress, Kemble had developed a view that authenticity comes from how rather than why people speak. She disputed the expectation that speech only represents a person's subjectivity, their "self," when it is idiosyncratic or original. Instead, she held that people can use preexisting literary, stage, and social conventions to represent themselves. Kemble generated much of this view from arguing that actors represent themselves by their choice and use of acting techniques for playing their characters. At the same time, though, she had found the same view in poetry, arguing that poets reveal themselves in the ways that they manipulate stock ideas. As this essay establishes, Kemble's view of authenticity runs throughout Poems. Not only does Poems demonstrate how her work as actress and her work as poet were fundamentally linked by her ideas about performance, but it also illustrates how her poetry frames received ideas as able to authenticate speech. Social conventions provide Poems most of its shape. Kemble published Poems during the collapse of her marriage to the American slaveholder Pierce Butler. Its poems draw on the nineteenth-century idea of companionship to depict the poet responding to lost love and rearranging her life.2 As Kemble [End Page 501] had written extolling the relationship to Butler, companionship was a kind of friendship which emphasized closeness, honesty, equality between two friends. Usually they were both women, and their companionship would occur in private or domestic settings. Poems draws on these conventions to establish that the poet's speech represents her core self, and to create a reference point which authenticates that her literary echoes and allusions represent it too. By reading Poems with a focus on companionship, this essay shows how the construction of the poet's voice exemplifies Kemble's theory that she could convey her selfhood by using received ideas. Authenticity in the Nineteenth-Century Theater Authenticity underwent major changes in the nineteenth century. People stopped using it to trace their words back to wider social structures and started to weigh if what they said could be traced back to their individual self. As Kerry Sinanan and Tim Milnes write, "the idea of the authentic harden[ed] around a core, internal self, and the social [was] increasingly experienced as 'other.' "3 Yet, a twentieth-century critical focus on the "core, internal self" has largely displaced critical accounts of the transitional views that people held during that change. In particular, it has minimized the attention paid to nineteenth-century views that popular techniques and tropes in a person's writing or speech can be an authentic representation of that self. This view of authenticity has received little comment. Moreover, several critics have suggested that it is fakery. Lionel Trilling, for instance, rejects as an "impersonation" "the personality whose whole being is attuned to catch the signals sent out by the consensus of his fellows and by the institutional agencies of his culture."4 Geoffrey Hartman, meanwhile, describes "'Hollywood' and its celebrity culture" as an unreal "parallel universe" where "[m]orality, as [Emmanuel] Levinas points out, becomes role playing."5 This critical approach rejects the possibility that a culture might treat people's use of standard ideas as representative of their own selfhood. Certainly, some nineteenth-century writing offered just this type of rejection.6 However, that rejection was not ubiquitous. Kemble, especially, questioned it. Her inquiry led to her bridging between her careers on the stage and in poetry. Nineteenth-century theater critics often focused on how well Kemble used standard acting techniques...

ТИПОЛОГИЯ И СТРАТЕГИИ КРЕАТИВНОЙ РЕЦЕПЦИИ НА ПРИМЕРЕ АНГЛИЙСКОЙ ПОЭЗИИ И ПРОЗЫ ПОСТМОДЕРНА

The paper focuses on complex research and description of creative reception theory and typology. There are provided definitions of such terms as reception, creative reception, creative reception strategies, and others. The author builds the typology of creative reception on the basis of works by E. V. Abramovskikh, S. Ye. Trunin, M. V. Zagidullina, V. I. Tyupa, and M. Naumann. This typology includes two types (or levels) of creative reception, defined as classic and postmodernist. Each of the types is characterized by a number of strategies, i. e. ways of representing an artistically received text in one’s own work. The classic type strategies (formal, authentic, neutral and antithetical) focus primarily on plot transformation. As for the postmodernist level, the author singles out two strategies: congenial and play. The theory and typology of creative reception is substantiated with some examples of reminiscences and allusions to English and world poetry. The examples under analysis are taken from the following prose works by the outstanding English postmodernist writer John Robert Fowles (1926–2005): the novel The French Lieutenant’s Woman (1969), the collection of long short stories The Ebony Tower (1974), the philosophic book The Aristos (1964), and also the lyric collection Selected Poems, published posthumously in 2012. The collection has not been translated into Russian yet. Therefore, the poem under analysis (Islanders) has been translated into Russian by the author of the present paper. The paper also deals with indirect Biblical reception which is found in the allusion to the ivory tower. The allusion gave the title The Ebony Tower both to Fowles’ long short story and collection as a whole. The author of the paper draws a conclusion about the dominant creative reception strategies in the literary works under analysis and also about the possible use of the presented creative reception typology in analyzing works by other writers.

Violín y otras cuestiones: la apuesta por una poética comunicante

Este artículo explora el primer trabajo del poeta argentino Juan Gelman. En este poemario, se evidencia la mediación de un YO poético que analiza la realidad y la lleva al plano del lenguaje, donde sufre una reestructuración estética hasta construir un discurso que exalta la cotidianidad como principal mecanismo de interacción con los otros. Violín y otras cuestiones es un poemario mayormente lírico en el que prevalece la visión permanente de un YO que expresa la visión de un sujeto que habla de sí y desde sí.