Poetic Features Research Articles

Understanding the Old English Poetic Body: An Examination of Corporeal Compounds

Abstract Throughout the Old English poetic corpus, the selection of kennings used to denote the body constitute one of the most complex and nuanced metaphorical networks; a feature which has been largely overlooked in pre-existing scholarship. Therefore, this work undertakes a structured study of kennings, based around a quantitative analysis of identified patterns of base-word and determinant pairings, all with the shared referent of the body. Beyond this, analyses of examples which allow these kennings to be situated within their poetic contexts will demonstrate their function in the creation of wider metaphors. Using Lakoff and Johnson’s definition of a ‘dead metaphor’ to distinguish between the use and integration of metaphor in Modern English, this study strives to demonstrate that Old English poets were engaging with these kennings on an imaginative and purposefully metaphorical level, working with the literal images behind the elements of the kennings and building these into wider, extended metaphors. Through examinations of the range of determinants and base-words, this study identifies three categories through which one may understand the presentation of self-perception and corporeal existence as presented throughout the Old English poetic corpus: the physical vessel or dwelling, the intangible inner-self, and the covering. Overall, this study offers insight on Anglo-Saxon self-perception which demonstrates the timeless resonance of these metaphorical, linguistic, and poetic features.

The Myth of Mosca: Instances of Antirealism in Eugenio Montale’s «Xenia»

The objective of this essay is to demonstrate the fictional nature of the character Mosca in Xenia I and Xenia II, the first two sections of Eugenio Montale’s collection Satura (1971), and to illustrate the strategies through which the author makes this possible. Although Mosca is inspired by the historical figure of Drusilla Tanzi, the poet employs a series of macrotextual, thematic, linguistic, and rhetorical devices to elevate the female figure to that of a poetic character. The study briefly addresses these various devices and seeks to refute the hypothesis of a diary-like memorial structure in Xenia, advocating instead for a “narrative–novelistic” structure, which leverages the typical mechanisms of narrative fiction. The contribution demonstrates how the combination of these strategies significantly influences the character of Mosca, ultimately leading to her absorption within the fictional world of narrative poetry.

Peculiarities of the manifestation of V. Gavrilov's idiosyncrasy in the collection of poems «Times. Coda»

The article provides a comprehensive analysis of Viktor Gavrilov's idiosyncrasy as a modern Ugra writer with a unique, hybrid style close to the Leningrad underground. Special attention is paid to the «language game» technique, as one of the dominant ones in some works from the collection “Times. Coda”. Based on the interpretations of the approaches of several scientific schools, based on the material of the poem “(M)art”, the characteristic features of Gavrilov's poetics, synthesizing elements of playful postmodernism and existential lyrics, are comprehensively investigated. The methodological basis of the research combines elements of structural analysis (identification of lexical and syntactic features) and an intertextual approach (identification of allusions and reminiscences). Special attention is paid to parody strategies (the use of reduced vocabulary, neologisms, allusions to classical texts), existential motives (freedom, time, creative act), a specific synthesis of colloquial intonation and philosophical reflection. The results of the study demonstrate that Gavrilov's idiosyncrasy is characterized by a dialectic of playful and serious principles, intertextual saturation, semantic polyphony, and a special type of lyrical subject. These artistic techniques allow the writer to show his linguistic freedom, to manipulate the norms of language to create an aesthetic and expressive effect. The analysis contributes to the study of the poetics of modern writers, the transformations of postmodern text in Russian literature, and the specifics of modern idiosyncrasy. The scientific novelty of the work consists in introducing the texts of a modern Ugra author into scientific circulation, identifying the features of the regional idiosyncrasy and influences, and determining the place of Viktor Gavrilov's work in the modern literary process. The article reflects a holistic approach to the study of regional text, which corresponds to modern trends in the study of individual works in the general Russian literary process.

EXISTENTIAL PERSPECTIVE OF THE LOST GENERATION IN J. OKADA’S NOVEL NO-NO BOY

John Okada is one of the most famous representatives of Asian American literature, that received a powerful impetus for development after World War II. The writer was one of the first to depict the premis- es and consequences of the complex self-identification that Japanese Americans had to go through during and after World War II. The writer, who saw the horrors of war and the forced policy that broke the fates of people of the country with his own eyes, creates a novel that reflects the confusion of the representatives of the “nisei” generation, who find themselves at a crossroads in their own destinies. Published in 1957 No- No Boy, the only novel by an American writer of Japanese descent, is now attributed to the “jurisdiction” of postcolonial discourse, Asian American studies and ethnic/post-ethnic studies in American literary crit- icism, remain unexplored. Today, this is the writer bearing incontestable status of one of the forebears of Japanese American literature, fathers of the Asian American literary canon. The objective of the study is to refute this established postulate and demonstrate that the novel should be considered not in a narrow connection with the formation and development of American literature written by authors of Asian ori- gin, but in connection with overcoming the tendency to “hypercanonization” of a limited number of works written by WASP Americans. Research methods are historic-literary and comparative. As a result of the re- search, it has been found out that J. Okada’s novel is important not only because it contains an existential- ist projection of the Lost Generation, one of the key images for the European and American literatures of the second third of the 20th century. But it adds completely new features that are not characteristic of this image. Its significance lies in the fact that its poetics reveals a genetic cohesion with the classical Japanese philosophical and aesthetic tradition. Taking this into account, J. Okada’s novel is presented not simply as an Asian American version of the Western literary school, a kind of “carriage return” and the milestone of a certain stage in the development of American literature written by authors of Asian origin. The study of this novel with an emphasis on its aesthetic and poetic features reveals a significant influence of the classi- cal aesthetic principles of Japanese art, which, despite its apparent replication, makes this writing a unique example of the penetration of a new artistic construing of the philosophical framework of existentialism into the American existential literary canon.

Dilemmas and Opportunities for Chinese Broadcasters and Presenters in the Era of Media Convergence

The discourse of the Infallible Imams has acquired aesthetic elements from various aspects, notably from the perspective of modern poetic vision. Possessing a vision that emerges from the features of poetics, the thought has emerged with a vision that radiates beauty in a discourse characterized by the freshness of images and a transcendence of prevailing tradition. Consequently, the discourse has contributed to a new understanding of the congruence between word and meaning, as well as the unveiling of aesthetic and cognitive dimensions that literature rarely addresses; therefore, the discourse represents a continuous process of originality, transcendence, revelation, knowledge, and creativityall of which fall under the categories of aesthetic creativity.

Application of Eco-Translatology in Game Subtitle Localization: A Case Study of "Black Myth: Wukong"

This paper examines the phenomenon-level game "Black Myth: Wukong" using the eco-translatology framework of "three-dimensional transformation" to systematically investigate the cultural communication strategies in the process of game subtitle localization. Through close reading and comparative analysis, the study focuses on how translators balance the preservation of Chinese cultural essence with the acceptability in the target culture. Findings show that in the cultural dimension, imagery reconstruction and semantic compensation strategies allow traditional cultural symbols like Nuo opera and land temples to be cross-culturally reborn; in the communicative dimension, discourse reconstruction and intertextual mapping effectively convey political metaphors and Eastern philosophical wisdom embedded in character relationships; in the linguistic dimension, rhetorical devices such as alliteration and dashes are creatively employed to retain poetic qualities of Chinese while conforming to English expression norms. This research aims to offer an innovative path for cultural export in the digital age and provide useful insights into the globalization of the gaming industry.

Идеи ОПОЯЗа в раннем творчестве В. Каверина (на примере рассказов «Ревизор» и «Хроника города Лейпцига за 18... год»)

The research aims to identify the impact of the ideas of Yu. Tynyanov, V. Shklovsky, and other representatives of the OPOJAZ (Society for the Study of Poetic Language) on the literary work of the young writer V. Kaverin. The article examines how Yu. Tynyanov, V. Shklovsky, and other representatives of the OPOJAZ influenced V. Kaverin in his literary endeavors in the 1920s. In doing so, the author’s prose from this period is used as an example (namely, “The Chronicle of the City of Leipzig for the Year 18…” and “The Inspector”, as well as other stories). It is evident that the young writer developed his work from imitation of the classics to skillful use of parody. In “The Inspector”, parody is used to distort the plot, which leads to a sense of the openness of the world of the story and the creation of intertextuality between this story and N. Gogol’s eponymous story. In “The Chronicle of the City of Leipzig for the Year 18…”, the technique of defamiliarization is traced in relation to the plot and temporal narration. The research is novel in that it is the first one to discuss the influence of the OPOJAZ on the creative development of the writer V. Kaverin, who follows in the footsteps of his predecessors in the OPOJAZ in the study of new methods of narration. The results showed that the artistic values and poetic features of V. Kaverin’s early works largely inherit the theory of the OPOJAZ.

Translation Ideology of the Crescent Moon School: A Case Study of Lin Huiyin’s Chinese Version of The Nightingale and the Rose

This study analyzes Lin Huiyin’s translation of The Nightingale and the Rose to explore the translation ideology of the Crescent Moon School from three aspects: translation selection, translation strategy, and translation language, addressing two key questions: First, the school’s translation selection criteria, which favored classic works, especially poetry, reflecting high literary standards; and second, its translation strategies, combining domestication and foreignization, resulting in a balance between preserving literary integrity and enhancing readability. Influenced by the New Culture Movement, these practices also exhibited unique poetic qualities.

Reception Theory and its Persuasive Mechanisms (Badr Shakir al-Sayyab as a Model)

The aesthetics of reception have revealed to us the position occupied by the reader, represented by their interpretation of the literary text by filling in the gaps it contains. The identity of the text is linked to the term "horizon of expectation," coined by Jauss, which aligns with what readers expect or are disappointed by. This concept may be connected to Abu Deeb's concept of "breaking the structure of expectations." The creator of the text disrupts the mind of the recipient through the shifts present within the text. The literary text contains symbols and codes, and the recipient's poetic quality is achieved by deconstructing them, creating a state of harmony and interaction. The recipient's interpretation of the literary text does not occur arbitrarily, but is subject to the recipient's culture and training. The reader's role is not passive; he holds the power and authority, and he is not subject to the text. Deconstruction is his authority, and he exercises his role through his interpretation of the text and filling in the gaps it contains. The poetics of the recipient excludes the idea of obtaining meaning from the literary text. The relationship between the text and the reader is represented by the formation of the absent elements, and a dialectical relationship arises between them. The first reading is exploratory and the second is retrospective. The literary text is not open to itself, but rather the responsibility for its interpretation falls on the reader, since what is conceived and its meaning imagined is what makes the role of the recipient positive.

Persian Court Poetry (10th — 12th Centuries) and Troubadour Lyrics (12th — 13th Centuries): a Comparative Analysis of Poetics

The article is devoted to the identification of common poetic characteristics of the Persian court poets (10th — 12th centuries) and the Provencal troubadours (12th — 13th centuries). The concepts of ‘poet’ and ‘poetry’, which helped the representatives of two poetic traditions to formulate their views on the essence of literary work and to assert the novelty and originality of their writings were selected for comparison purposes. The article presents the examples of arguments about a poet’s skill as a professional craft, contained in medieval Arabic treatises on poetics, on which the Persian court poets of the 10th — 12th centuries relied in their literary practice. Quotations from the works of Persian panegyrists testify to their high level of creative awareness and to the emergence of a professional environment where the ideas of the poet’s skill as a craft requiring mastery of certain techniques were cultivated. In parallel to the above quotes, similar statements by troubadours about the essence of professional skill are presented. Numerous examples attest to the competitive nature of the entire literary practice during the period of the predominantly traditionalist type of artistic consciousness. Normative poetics created specific conditions for the perception of the concepts of novelty and tradition. The common features of the poetics of the Persian court poets and troubadours are determined by the typological generality of the literary canon laws, on which their work is based.

Poetic works by Lyubov’ Garelina: features of lyrical statements

The article is devoted to the introduction of poetry collections by Lyubov’ Garelina, a non-professional writer, wife of Ivanovo-Voznesensk industrialist, philanthropist, and mayor Yakov Garelin, into literary circulation. Until now, Lyubov’ Garelina’s poetry and literary work as a whole have not been subjected to scientific comprehension, while it represents a unique phenomenon of provincial female middle-class literature. The article examines the specifics of two poetry collections by the poetess – 1867 and 1870. The author’s creative attitudes, leading lyric motifs, genre originality, and distinctive features of poetics and style are analysed. In comparison with the first poetry collection, the second one differs significantly: it looks more holistic, professional, with a clearly expressed author’s position. Several poems from the 1867 collection were included in the second one, but were rewritten – in this case, one can speak of the improvement of poetic skill. In general, Lyubov’ Garelina’s lyrics are characterised by the focus on depicting the “female soulˮ and female perception of the world. A feature of her poetic manner is confessionalism and diary-like nature, which developed in women’s literature only in the early 20th century. In general, in her creative attitudes, Lyubov’ Garelina finds herself in line with contemporary public sentiments and the emerging movement for women’s emancipation, although she is not interested in the social issue: she defends a woman’s right to freedom of feeling and life choice, including self-expression in creative work.

Wildwood Plaza

Wildwood Plaza (Robin Winogrond, 2013) reclaims a tiny, residual forest fragment on the city’s edge, transforming it into a recreational space with the power to act as catalyst of the forest imagination. Due to the unique characteristics of forests our imagination has the ability to transform even the most mundane woods into a moving experience. Wildwood Plaza searches to reinterpret these characteristics to become not only rational recreational spaces, but ones in which the immersive, poetic character dominates the experience. The innovation of the project lies in the new interpretation of functional woodland clearings. The design language is one of reduction and simplicity. Not the forest has been designed but its void, the silence of the space has been given character, thus opening up the landscape qualities of the seemingly valueless forest fragment to the urban perception.

Rhetoricising and poeticising gender performativity in English translations of Cantonese opera

Cantonese opera, as an item on the Intangible Cultural Heritage list, gained widespread popularity in Hong Kong from the 1930s to the 1980s. However, the limited translation of Cantonese opera into English from this period onwards has been rather fragmented. The small number of translators working in this area encounter challenges in managing huge differences in language, rhetoric, and culture. Literary and performance rhetoric should be examined in a gendered context while considering the intimate relationship between on-stage translation (i.e., surtitles) and the translation of printed opera libretti. Gender also plays an important role in translation strategies aimed at capturing various gendered rhetorical elements that convey vivid operatic effects. Following this principle, the renowned ‘gender performativity’ theory should be applied to any analysis of the rhetorical grids of the scripts. Translators of Cantonese opera into English should be particularly attentive to literary formats that resemble classical Chinese poetry, gender metaphors and performativity in the theatrical context, and the cultural elements that subtly penetrate the lines. The rhetoric in a libretto can be categorised into ‘literary’ and ‘performance’ concepts, and thus insights can be drawn from an analysis of how such gendered features should be rhetoricised and poeticised in translation, especially in terms of the classical Chinese poetic features and cultural elements within the text. Appropriate translation strategies must also be selected to accurately represent cultural nuances and capture the subtle differences in gendered representations.

От мунаджата – к колыбельной: жанровая трансфункция в музыкальном фольклоре татар

The purpose of this study is to identify the phenomenon of borrowing the lullaby function inherent in a lullaby by samples of other genres. This little-studied issue in Russian ethnomusicology is considered using the example of one of the genres of the lyric-epic group of Tatar folklore – munajat. Attention is drawn and the reasons for using artifacts of this particular area of folk art as a lullaby are indicated. In this regard, some other samples of this group of Tatar folklore genres are characterized. Among them: bait, dastan and fairy tale. The scientific novelty of the work lies in the fact that for the first time (studied) (analyzed) were investigated typological features of the genre transfunction in Tatar musical folklore. The study was conducted on the material of the records of the author of the article, as well as other collectors. As a result of the analysis of the musical and poetic qualities of munajat, it was found that it exists in two forms as a substitute for a lullaby. In the first of them it is presented in its original form, in the second – in a hybrid form. This combined type is called munajat-dua. The research conducted in this article showed that Tatar musical folklore is a dynamic system in which traditional genres interact and transform. Hybrid forms that combine elements of different genres require new approaches to research. The study of such folklore samples contributes to the rethinking of genre boundaries in folk art, identifying patterns of development and the influence of modern cultural processes in this area.

POETIC FEATURES OF PARCELLATIVE SENTENCES

Abstract. Parcellative sentences are an important component of the syntactic system of a language. Parcellative sentences are used at the level of a stylistic figure as one of the syntactic tools that serve to create an expressive-emotional shade of meaning in the language. The information intensity that occurs in such sentences is of particular importance from the point of view of creating poeticism. Therefore, parcellative sentences can also be considered as a product of artistic information due to their nature. The emotionality, expressiveness, and artistic depiction conveyed in parcellative sentences are embodied through unique ethnocultural sources in each nation. In this sense, parcellative sentences possess mental characteristics. Parcellative sentences, formed on an ethnocultural foundation, create similar semantics in different languages from the perspective of thought typology. Therefore, parcellative sentences form a paradigm with an interlingual universal character. However, since each language has its own unique qualities, parcellatives have developed distinct means of expression in different languages.

The Poetics of Literary Genres in Uzbek And Korean Classical Literature During the Xvii-Xix Centuries: Scientific Significance

This article examines the similarities and differences in the lyrical genres found within Uzbek and Korean classical literature, drawing on an analysis of the lyrical works of poets from both nations. The study explores the poetic features and stylistic characteristics that reflect the socio-political and cultural contexts of these literary traditions.

THE ARTISTIC ACTIVITY OF THE SIMULACRUM IN MODERN KAZAKH SHORT STORIES (BASED ON THE STORIES OF D. ZHYLKYBAI)

In the era of modern globalization, the incessant flow of information, the rapid development of scientific and technological progress, and socio-cultural changes have a direct impact on the life of society. And fiction reflects the way of life of society. Today, the concepts of intertextuality, allusion, metatext, hypertext, deconstruction, pastiche, simulacrum, characteristic of postmodern literature, are not alien to modern Kazakh literature. This is evidenced by the desire of young writers in literature, especially in the genre of prose, for new topics and new approaches, formal ideas. Thus, new characteristic techniques in world literature are being mastered, the field of national literature is expanding through artistic techniques and directions. The theory of J. is of great importance. Baudrillard's "Simulacra and Simulations", which in recent years has attracted the attention of many literary critics. This article examines the poetic features and artistic activity of the simulacrum in modern Kazakh prose based on the stories "Quantum" and "Matrix" by the young writer Doskhan Zhylkybai. The purpose of the scientific research is to analyze the features of the simulacrum, on the one hand, as a special means of artistic reflection of reality in life; as a new artistic method in revealing the image of heroes; and a way of playing with the reader's consciousness. The research was guided by the methods of intertextual, structural, semiotic, and hermeneutic analysis. The main area of scientific research is modern postmodern prose, a category of simulacra in literature. A common artistic reality is born through a deep awareness of reality in life, the writer's worldview, the expression of his general attitude. D. Zhylkybai skillfully combined the reality of life and artistic reality through a simulacrum in his works. As a scientific significance of the study, an unprecedented comparison of simulacra of a new sample in the author's works and a description of the social and economic problems of modern society in a New Light can be highlighted. The research results presented in the article can be used as additional material in the study of the disciplines "Modern Kazakh literature", "Research methods in literary studies" in higher educational institutions.

The role of the fairy tale book "The Gift of the Fantasy Fairy " by Yakut writer Ariadna Borisova in Russian children's literature: features of poetics

The relevance of the article is related to the definition of the role of the fairy tale book by Ariadna Borisova in modern children's literature, which continues to remain little studied. The genre of literary fairy tale in Yakut prose is considered by critics within the framework of the traditional literary analysis. The novelty of the article's problems is substantiated by the study of fairy-tale content based on a comparative analysis of “The Gift of the Fantasy Fairy” with selected works of Western European short stories, the author’s transformation of the intertext and reinterpretation of the spiritual values of the Sakha people. The work uses a comparativehistorical method, expanding the research boundaries of the article, the methodical technique of "slow reading". The analysis of multi-temporal and multi-style material allows us to draw a conclusion about the originality of the poetics of the book of fairy tales "The Gift of the Fantasy Fairy ", its stylistic atmosphere in the context of the creative individuality of the author. The observations and conclusions of the article can be functional for expanding the problems of new literary criticism and spiritual education of the young reader.

Мотив поиска счастья в романе Х. Хоссейни «Тысяча сияющих солнц»

The aim of this research is to reconstruct the narrative integrity of the artistic world of Khaled Hosseini’s novel “A Thousand Splendid Suns” through a functional-semantic analysis of the motif of the search for happiness. The article analyzes the poetics of Hosseini’s novel “A Thousand Splendid Suns” in the context of the ideological and plot-image representation of the motif of the search for happiness. Also included in the focus of attention are such features of poetics as the spatio-temporal paradigm, the features of the plot-compositional structure, and the system of characters. The semantic center of the work under consideration is the history of Afghanistan through the narrative of women’s destinies. Consequently, the interrelationship of the particular and the general, the personal and the historical, is explicated. The present study contributes to the scholarship of the contemporary literary process, since the poetics of the work chosen for analysis are investigated both from the point of view of content (poetics of the motif, female images, thematic and figurative layers) and ethno-cultural axiology. This determines the scientific originality of the research. Afghanistan appears as a marked space. As a result, it is proven that the motif of the search for happiness in the novel “A Thousand Splendid Suns” forms a semantic field, in the space of which the author’s worldview manifests itself as a subjective image of reality, determined by the specificity of artistic thinking and the creator’s individual-personal experience.

LATER EZRA POUND: ÉMIGRÉ WRITER AND PARRĒSIAST

The reflections on the later Pound’s life and work as an émigré par excellence seem to reify the properties of the ancient parrhēsiast who daringly speaks truth to authorities. Such an approach can serve as a constructive key to describing Pound’s collaboration with and advocacy of the Italian fascism. Pound’s radio speeches and poetry of that period testify to the organic structure of his work, conditioned by an artistic embodiment of a specific form of cultural memory as an aesthetic European-American continuum. The creation of the author’s multicultural, heteroglossic “masks” dating back to antiquity in his early lyrics in the 1909 Personae culminates in the later Pound as a persona of a classical parressiast. Parrhēsia, defined by Michel Foucault as verbal manifestation of frankness, truth, danger, criticism, and duty, is embodied in the political and artistic representations of artist’s American identity. The argument of the article is that the perspective of the émigré writer as parrhēsiast that combines the historical specificity of the era, the national identity of the writer, and his biographical individuality, provides the meaningful critical optics to comprehensively apprehend the ideological position of Pound in his autobiographies, the broadcasts over the Rome radio, and the poetic features of his 1948 Pisan Cantos. In his 1949 “Autobiography”, Pound rationalizes his speaking on the fascist radio as a duty of the American citizen. Such a claim echoes Foucauldian political and ethical dimensions of parrhēsia. The former implies citizenship as a prerequisite in the institutionalized relations between democracy and truth, and the latter analyzes the relationship of an individual who publicly criticizes the mainstream. As a radio anchor, Pound takes on the image of the parrhēsiast and this persona acquires new overtones and meanings in the context of the Foucauldian “game of life or death”, leading to em-bodiment of logos. The airwaves serve as a vehicle for exercising speaker’s freedom of speech. The emphatic “Dr. Pound,” an academic title officially granted by an American university, underscores his sanction of truth-telling as the representative of a privileged elite, which resonates with the symbiosis of intellectual authority and personal moral credibility in verbal parrhēsiastic actsin Foucault’s texts. In the Pisan Cantos, the thesaurus of artistic and poetic personae of the epic is appended with an intertextual portrait of Villon whose “The Great Testament” functions as a counterpoint. The allusion to the burden of “The Epitaph in Form of a Ballad” in the original language and the reference to New Testament’s Barabbas point to an unapologetic confidence in poet’s case and rectitude, leaving no room for a feeling of deep remorse or hope for empathy. The textual excision of the supplication to God for mercy, which structures the ballad genre of the original text by Villon, articulates the denunciation of the genre of palinode. Such poetic gestures intensely and stoically mark the act of parrhēsia as a free and dutiful choice of a way of life that affirms Pound’s self and American identity as parrhēsiast through the combination of unconditional expression of views and discursive aestheticization of the autobiographic and epic genres.