Devices In Poetry Research Articles

A Brief Linguistic-stylistic Analysis of MY LIFE and SOMEONE I’M AFRAID OF

Linguistic devices in poetry have always been a research hotspot in the field of literature. Combined with important linguistic devices, the researcher made an attempt to compare and discuss the systematic stylistic functions between the poem MY LIFE and the poem SOMEONE I’M AFRAID OF. More specifically, two research questions are addressed: which linguistic features are used to achieve the foregrounding in the poem to support the theme? And what is the functional significance of these linguistic devices from the stylistic point of view? This paper first identified and classified the linguistic devices employed by these two poems for theme foregrounding. Then this paper analyzed and discussed the functions and the meaning implications produced through those linguistic features. The analysis of these two poems finds that metaphor, repetition, parallelism, simile, and personification are more prominent linguistic devices that are used to allow the poets to create literary plays, reiterate visual images, convey emotional tension, enhance emotive cohesion, stimulate emotional resonance and add literary color. The research finds that these different functional effects can be reflected by the same linguistic devices, also by using different linguistic devices, which mainly depends on the poet’s flexible use of these linguistic techniques.

Onomatopoeic Words in Slovak: Everyday Use and Stylistic Function

Onomatopoeias — words that echo sounds from the extra-linguistic reality — are usually understood as units representing direct relationship between form and meaning. Lexical onomatopoeias are part of a language system and their meaning can be found in dictionaries. It is assumed that onomatopoeias are crucial in communication by and to infants and are also considered important stylistic devices in poetry. However, they seem to be only marginal in adults’ speech. This paper presents the results of an analysis of the understanding of Slovak onomatopoeias in everyday communication as well as of the stylistic dimension of these expressions in poetry. First, attention was paid to the comprehension of sound-imitating words in context by the sample of 30 native Slovak language speakers. Then, a sample of ten Slovak poems, well-known due to their usage of various sound-symbolic elements (onomatopoeias included) as stylistic devices, was examined to verify the supposed stylistic dimension of onomatopoeias in poetry. The results indicate that the understanding of the real meaning of lexical onomatopoeias depends on the specifics of the context and that onomatopoeias play a less important role in poetry than expected.

Line divisions as stylistic devices in poetry: Relevance, procedural encoding and ad hoc concepts

This article adopts a relevance-theoretic approach to the study of line divisions in non-metrical free verse poetry. The article argues that, when positioned at particular points within a poetic text's constituent structure, line divisions can take on procedural-like qualities, in that they perceptually highlight particular elements of the text's linguistically encoded material, thus steering the inferential interpretation process in particular directions. The article also argues that the procedural-like qualities of line divisions can interact with relevance-driven inference, and with the generic convention for interpreting poetic texts in a non-spontaneous fashion, to produce arrays of cognitive effects, which likely would not have been derived had the text been arranged in a less visuospatially segmented manner. Furthermore, the article suggests that the conceptual material relating to these effects may map back onto and adjust the text's lexically encoded content, affecting how particular elements of this content are narrowed and/or broadened, and thus the nature of the resulting ad hoc concepts.

Poemage: Visualizing the Sonic Topology of a Poem.

The digital humanities have experienced tremendous growth within the last decade, mostly in the context of developing computational tools that support what is called distant reading - collecting and analyzing huge amounts of textual data for synoptic evaluation. On the other end of the spectrum is a practice at the heart of the traditional humanities, close reading - the careful, in-depth analysis of a single text in order to extract, engage, and even generate as much productive meaning as possible. The true value of computation to close reading is still very much an open question. During a two-year design study, we explored this question with several poetry scholars, focusing on an investigation of sound and linguistic devices in poetry. The contributions of our design study include a problem characterization and data abstraction of the use of sound in poetry as well as Poemage, a visualization tool for interactively exploring the sonic topology of a poem. The design of Poemage is grounded in the evaluation of a series of technology probes we deployed to our poetry collaborators, and we validate the final design with several case studies that illustrate the disruptive impact technology can have on poetry scholarship. Finally, we also contribute a reflection on the challenges we faced conducting visualization research in literary studies.

Socio-cultural dimensions of Raditladi's poetry: Reflections from images and allusions from selected poems

This article demonstrates the different features of transformation of Batswana and Western cultural norms. LD Raditladi blends themes and forms influenced by indigenous African and Western forms to portray the common and shared ethos, beliefs and practices of the Batswana. He depicts artistic and edifying aspects of his people's culture in a remarkable style. In addition he employs modern devices of poetry to good effect. There is an inter-textual connection between his predecessors and his successors. Influence of precursors and his creative oeuvre are significant to Africans who for so long have negotiated and navigated a world of contrasting social norms and values. Many modern Batswana continue to attempt the harmonisation of their cultural values and norms with what they feel to be useful and relevant from so-called ‘modern’ norms and values. It is a journey beset by fearful odds. This poetry speaks to this everyday struggle we call life in the post-colonial and post-apartheid setting. This work is intended to convey a new paradigm in which Setswana poetry can be analysed and interpreted.

Fractal poetics: adaptation and complexity

In the 1980s, American poets argued over the validity of free verse. One vocal faction claimed that vers libre was formless and lacking in the devices of poetry. In this context I elaborated a poetics I called 'fractal poetry'. Over the last twenty years this poetics has evolved through engagement with complexity studies that provide ways of understanding irregular, chaotic or turbulent systems. The writings of John H. Holland offer examples of open, exploratory and inclusive complex adaptive systems that lack a centre, hierarchy or equilibrium. These dynamic examples may be analogous to a sublime poetry with an ongoing plurality of optimum states located among a multiplicity of textures and gestures. This departure from the traditional 'transcendent lyric ultimate' suggests a maximalist approach giving equal weight to figure and ground, form and content. Physicist Karen Barad's conceptualisation of 'agential realism' provides added dimension to fractal poetics by offering a model for locating meaning in the space between traditional dualisms.

Reading, Hearing, and Seeing Poetry Performed

The study investigated the differences between reading a poem, listening to a poem, and watching a live poetic performance. Stimulus materials included three poems with positive and three with negative themes written by Michelle Hilscher. The 32 participants, including an equal number of males and females in psychology and literature, completed a General Poetry Questionnaire (GPQ) to indicate their experiences and impressions of poetry coming into the study. Following the presentation of each poem, participants answered 14 5-point scale questions in a Poetry Reception Questionnaire (PRQ) which captured cognitive and emotional nuances of poetry reception, and one open-ended question where the participants wrote freely about the poem's meaning. A factor analysis of the GPQ distinguished primarily between participants' responsiveness to the stylistic features and subject matter of poetry. A factor analysis of the PRQ identified global absorption, interpretive engagement, and narrative representation as the primary activities involved in responses to the six poems. A factor analysis of qualitatively derived meaning categories (MC) contrasted an elaboration of style and metaphor as opposed to subject matter and story line. Analyses of variance showed that respondents preferred to read poetry as compared to hearing, or seeing it performed live. By reading poetry themselves, participants were able to explore and interpret the literary devices in poetry in an independent and creative manner, whereas participants who experienced a live performance seemed constrained in their ability to be actively involved in their experience of poetry and therefore found the poetry less engaging.

Imagining Eurasia: The Poetics and Ideology of Olzhas Suleimenov's AZ i IA

The article examines the controversial book AZ i IA (1975) by the Russian-language Kazakh writer Olzhas Suleimenov. Ostensibly a study of the Russian medieval classic The Song of Igor's Campaign, the book was quickly understood to be a pointed commentary on the history of Russo-Turkic relations and a vindication of the Central Asian nomads, who were seen as oppressed by imperial domination in the field of knowledge no less than in politics. While Soviet critics noted the tension between the book's scholarly premises and its ideological claims, they chose to ignore the deeper implications of AZ I IA as a hybrid genre that conflates the devices of poetry with the scholarly methods of historiography and linguistics. While earlier critics chose to hail or dismiss Suleimenov's ideas on the basis of their scientific accuracy, this article interprets his poetics and ideology as characteristic of a “Eurasianist” tradition in Soviet letters, represented in this case by the linguist N. Ia. Marr and the avant-garde poet Velimir Khlebnikov, both of whom can be said to anticipate essential aspects of Suleimenov's linguistic vision and epistemological orientation.

On Poetic Intentions and Linguistic Devices in Poetry: A Discussion with Professors and Students at the University of Cologne

On Poetic Intentions and Linguistic Devices in Poetry: A Discussion with Professors and Students at the University of Cologne

Reading 'riting, 'rithmetic--and rhythms: a new "relevant" "R" in the educative process.

READING, 'RITING, 'RITHMETIC-AND RHYTHMS: A -NEW "RELEVANT" "R"* IN THE EDUCATIVE PROCESS FRANZ HALBERG, JULIA HALBERG, FRANCINE HALBERG, AND ERNA HALBERGI I.Proposition The development of techniques for more effective teaching and learning gains from early interdisciplinary focus on time and rhythms. We document herein the desirability of adding to reading, 'riting, and 'rithmetic a fourth "R"—rhythm—equally relevant to man, his health, and the environment . II.Time and the Humanities A time to be born, a time to die; A time to plant, and a time to pluck up that which is planted. [2] Concepts about the origin and passage of time have preoccupied extraordinary and ordinary men, including, among them, theologians, philosophers , poets, and scientists. One of the most eloquent statements on time is the familiar one from the Old Testament: To everything there is a season, And a time to every purpose under the heaven. Saint Augustine [3, bk. 11, chap. 14] has expressed the concern of those engaged in defining time: What then is time? If no one asks me, I know; if I want to explain it to a questioner , I do not know. But at any rate this much I dare affirm I know: that if nothing passed there would be not past time; if nothing were approaching, there would be no future time; if nothing were, there would be no present time. * From the Macmillan Book of Proverbs, Maxims, and Famous Phrases [1] comes the following reference to the three R's as the cornerstone of instruction well known to many generations: "It was seldom that the examination went beyond the three elementary subjects known as the 3 R's (What philosopher first found out that reading, writing and arithmetic all began with R?)." t Chronobiology Laboratories, Department of Laboratory Medicine and Pathology, University of Minnesota, Minneapolis, Minnesota 55455. Supported by the USPHS (5-K6GM -13, 891), NASA, and NSF. We are indebted to Dr. Andrew Ahlgren, University of Minnesota, Minneapolis, for his advice on education and scientific concepts and for actual validation in Minnesota high schools, and to Professor Henry Nash Smith, University of California, Berkeley, for his constructive suggestions. 128 I Franz Halberg et al. · Rhythms in the Educative Process But the two times, past and future, how can they be, since the past is no more and the future is not yet? On the other hand, if the present were always present and never flowed away into the past, how can we say that it is? For it is, only because it will cease to be. Thus we can affirm that time is only in that it tends toward not-being. Many philosophers and poets accept time in recognizing that "things . . . undergo change" [4, bk. 6, sees. 15, 36]. We may or may not regard time as a "river made up of events which happen, and a violent stream; for as soon as a thing has been seen, it is carried away, and another comes in its place, and this will be carried away too" [4, bk. 6, sees. 15, 36]. In any event, we encounter time in many aspects of music, art, and literature. Here form is involved as directly as content. Many and obvious are the "timing" devices of poetry as well as the "takt" or tempo of music involving a beat or pulse recurring at intervals intended to be identical. Even prose can be written or spoken in a "rhythmic " fashion. For example, Flaubert is said to have generated "rhythms" by paragraph divisions [5]. Existentialists such as Sartre created a "rhythm" within the paragraph with such instruments as the comma, the semicolon, and the period, each marking "a pause longer and more absolute than the others" [5]. III. Relative and Relativistic Time in Physics Time and space are given parallel treatment in Newton's theory [6, definition 8; 7, sec. I]. He writes that "times and spaces are as it were the places as well of themselves as of all other things. All things are placed in time as to order of succession; and in space as to order of situation." Newton [7, sec. 1] and Einstein [8, 9] after him conceive of time and...