Poetic Images Research Articles

Поэма Абу Бакра Каландара Руми «Каландар-наме» как источник сведений по суфийской ритуальной музыке

This paper is devoted to analyze the text of Abu Bakr Qalandar Rumi’s poem “Qalandar-name” from the point of view of describing the Sufi ritual of listening to sama`. As it is known, Sufi zikr can be two types – “loud”, with singing, dancing movements and playing musical instruments, and “quiet” without any musical part. Research materials: The statement of the author of the poem is of scholarly interest because the author welcomes both two types of zikr, as his Ushshaki group used singing, dancing and musical instruments. All these activities were used for the sole purpose of unity with the divine. The text of the poem is a source on Sufi rituals and their musical peculiarities in different tariqats. The poet also provides theoretical justifications for the permissibility of music in Sufi rituals, based on famous Sufi sheikhs of the earlier centuries. Also the author of the poem displays a deep knowledge of the general Sufi Islamic culture of his time, often referring to poetic images of famous Sufi poets of different countries. The musical instruments presented in the poem give a deep insight into the fact that each group of dervishes may have had their own set of instruments and their own dances. A common genre for all Sufi groups in the world is the genre of munajat, which appears four times in the poem as a separate prayer chapter. Results and novelty of the study: In this paper much attention is paid to the analysis of Sufi musical genres and instruments which were typical of that era. Also a number of the most favorite musical instruments are identified, which were widely used during the Sufi ritual of listening to sama`. The differences between the terms sama` (Sufi listening ritual) and the dance genre of Crimean Tatars “sema” and Tajik “samo” are explained separately. The musical instruments, such as arganun and organ, as well as musikar / musigar, which have different descriptions in historical and modern scientific literature, are also studied separately. The description of the organ in the context of the poem together with the image of the immortal bird Kuknus / Phoenix gives the readers the poem the image about two variants of the wind instrument – the Pan flute type and the keyboard type with mechas. Since we have not found a precise description of the organ and the arganun / musikar in the poem itself, this question remains open for future research. The poem “Kalandar-nameh” will no doubt be useful as a source on Sufi culture of different tariqats of the Middle Ages.

The Figurative Style in Contemporary Arabic Poetry (Henda Muhammad as a Model)

This study aims to highlight the figurative style in contemporary Arabic poetry by selecting the poetry of Henda Muhammad as a model. The significance of the study lies in analyzing how the poet employs figurative techniques such as simile, metaphor, and synecdoche to create expressive and rich poetic imagery. The study seeks to uncover Henda Muhammad's innovations in using these rhetorical tools to link the texts to the themes addressed in the poems, with the goal of answering the research question: What are the prominent poetic images at the figurative level and their manifestations of similarity, Metaphor, and synecdoche in Henda Muhammad's poems? The study utilized a descriptive methodology that focuses on describing the phenomenon by highlighting rhetorical purposes and examples and analyzing literary texts from a figurative stylistic perspective to determine their meanings. The study yielded several results, most notably that the poet succeeded in adding depth and aesthetics to her poems through her rhetorical strength, which contributed to enriching the poetic texts both linguistically and aesthetically, with manifestations of emotional impact and deep human experience reflecting a range of Emotions including sorrow, hope, longing, alienation, and patriotism.

The Poetic Image and its Role in the Visitor/Poet Shawqī’s Interaction with the Historical Monuments: An Analysis Study

The relationship between archaeology and language is one of the main subjects of both fields since most remains are related to humans and society. Linguists examine aspects and types of human language, such as the poetic language used in the context of recovering the past, its memories, and the referential meaning of its places. Based on the interrelation between Archaeological anthropology, language, and poetry, this study analyzes the neo-classical poet Aḥmad Shawqī's (1932) Sīnīya "Journey to Andalusia" in the light of the works of the linguist and anthropologist Arnold Van Gennep's (1957) "rites of passage" and the religious language scholar Theodore Gaster's (1992) "seasonal pattern," as employed by the critic Suzanne Stetkevych in reading the rituals of the journey in classic poetry. The study uses the descriptive method to uncover the poet's interactions with Islamic antiquities during his travels to Spain. It also shows the poet's movement, through his poetic language and images, from nostalgia to evocating the lost past Islamic remains, ending with blame to strengthening his Egyptian community's present and enlightening their future.

Сонет «Дар поэмы» С. Малларме в русских переводах

The article is devoted to the analysis of two translations of S. Mallarmé's sonnet «Gift of the Poem», made by Russian poets. The article is the first to examine the translation perception and creative reinterpretation of S. Mallarmé's metaphors of the creative process and the poetic work by I.F. Annenskii and M.V. Talov, and to perform a comparative analysis of translations. The revealed peculiarity of the perception of S. Mallarmé's poetic images by Russian poets demonstrates a variety of approaches reflecting the individual characteristics of the poetic philosophy and the creative method of translators, which leads to the transformation of not only the form, but also the intonation, meaning and expressive features of the original.

The Poetic Image in the Poets of the Diwan School

This article entitled "Poetic Imagery Among Poets of the Diwan School" is a study of poetic imagery which means synonyms of forms of statement such as simile, metaphor, metonymy, and symbol, and is closely related to the sensory aspect. However, Colerogge combines the concept of image and says: It may be a scene or a copy of the sensible. The purpose of this article is to reveal the idea of ​​poetic imagery is based on the embodiment of psychological and emotional dimensions and other things that the poet wants to express with the meanings conveyed by the element of vitality. This article uses a qualitative approach with a library method. The results show that the idea of ​​poetic imagery is based on the embodiment of psychological and emotional dimensions and other things that the poet wants to express with the meanings conveyed by the element of vitality. For this reason, it is necessary to know the life of the poet in relation to the relationship from part to whole, so the researcher studies poetic imagery among several poets of the Diwan School, in the lines that are revealed. They are among the most prominent writers in the school. In creating their images, poets use inanimate and moving nature to form amazing interactions that predict movement, like living things. They also underestimated the importance of speech to the social environment and only mentioned a few

Moon in the Poetry of Misak Metsarents and it’s Lingual-stylistic Features

Celestial bodies, luminaries and phenomena have accompanied mankind since time immemorial. Heavenly luminaries have been an inexhaustible source of inspiration for poets. Creators praised creation, marveled at the beauty of luminaries, perceived man as a part of nature and in inseparable connection with all other elements. Heavenly bodies and phenomena have often served as a way to reveal the inner world of a person, his past path, hopes and expectations for the future. In this sense, Western Armenian lyric poetry of the beginning of XX century is not an exception. The mentioned topic received remarkable comments in the work of Siamanto, Daniel Varoozhan, Ruben Sevak, especially Misak Metsarents. Celestial bodies, luminaries and phenomena are a significant number in Metsarents’ poetry have a great stylistic role. One of these the noun moon and its various synonyms, which very often become the core and body of the poetic image, endow the speech with incomparable nuances, beauty and originality, causing the reader the greatest aesthetic pleasure, transporting him to an extraterrestrial light sphere 1 .

Automatic Generation and Evaluation of French-Style Chinese Modern Poetry

Literature has a strong cultural imprint and regional color, including poetry. Natural language itself is part of the poetry style. It is interesting to attempt to use one language to present poetry in another language style. Therefore, in this study, we propose a method to fine-tune a pre-trained model in a targeted manner to automatically generate French-style modern Chinese poetry and conduct a multi-faceted evaluation of the generated results. In a five-point scale based on human evaluation, judges assigned scores between 3.29 and 3.93 in seven dimensions, which reached 80.8–93.6% of the scores of the Chinese versions of real French poetry in these dimensions. In terms of the high-frequency poetic imagery, the consistency of the top 30–50 high-frequency poetic images between the poetry generated by the fine-tuned model and the French poetry reached 50–60%. In terms of the syntactic features, compared with the poems generated by the baseline model, the distribution frequencies of three special types of words that appear relatively frequently in French poetry increased by 12.95%, 15.81%, and 284.44% per 1000 Chinese characters in the poetry generated by the fine-tuned model. The human evaluation, poetic image distribution, and syntactic feature statistics show that the targeted fine-tuned model is helpful for the spread of language style. This fine-tuned model can successfully generate modern Chinese poetry in a French style.

Representations of mental presence in three mental powers, a vision in Hazem Al-Qartajani’s view

The research aims at revealing the representations of the poet’s mental presence, through three mental powers, which represent the poet’s ability to manage them. These mental powers are: retentive power, discriminating power, and innovative power, as presented by Al-Qartajani. By means of these powers the poetry is produced and the the poetic image is formed. The methodology of the research is intended to probe the philosophical roots of the three powers in Al-Qartajani’s book (The Platform Of The Rhetoricians And The Lamp Of The Writers), then it relies on the descriptive and analytical approaches, attempting to reveal the representations of mental presence in the realm of poetic creativity. Regarding the problem, two aspects of the problem are represented, the first is the difficulty of finding applicable models that are highly aligned with the concept of each of the three powers, the second is the attempt to re-read the heritage through Al-Qartajani’s philosophical view, and revealing the representations of the poet’s presence of mind. As for the results, they lie in shedding light on the effectiveness of the three powers, and the possibility of exploiting their effects in honing Poets’ talents and evoking their poetic spirit. The results also illustrated the effectiveness of imagination and its role in constructing meanings that captivate the listeners. Additionally, the study clearly reveals the effectiveness of mental presence in sharpening the energies of poetry and constructing new vocabularies, with precise description and expression that deviate from the confines of declarative and vulgar meanings.

تحليل أسلوبي تقابلي للثقافات في النشيدين الوطنيين البريطاني والمصري

The study explores cross culturally the aesthetic stylistic features and values in two famous English and Arabic national anthems, namely the British and the Egyptian national anthems which represent two distinct ruling systems i.e. royal and republican ruling systems. The quali-quanti analytical framework involves (Verdonk, 2002), as a tool for stylistic analysis, as well as (Risager, 2005) conception of languaculture. The former provides tools such as the lexico-grammatical and intertextual sources central to stylistic analysis while the latter relates to how language is a socio-culturally bound concept. Assuming that the two anthems exhibit various interesting features, the study found that there are interesting differences and similarities between the two anthems especially with respect to the cultural resonance and poetic images, the issue which projects how to famous nations reflect their pride i.e. in the British national anthem, the concepts of monarchy, social structure and reverence for the monarchy is emphasized, whereas in the Egyptian national anthem, Egypt's, glory, resilience, cultural heritage as well as aspirations for a better future are strongly highlighted.

«Мысль», «ум», «мышление» в стихотворениях Пушкина, Лермонтова, Соловьева, Лосева

The article identifies and analyzes, for the first time, one of the permanent motives of Russian lyrics – the motive of thinking. The thematic lines of the classical period (God, world, man, poet's path) are rooted in the religious tradition; the poets' reflections on thought are stimulated by the demand for attention to inner life and to the mind in the practice of Christian life. The process of thinking becomes the object of intellectual reflection of poets under the influence of German philosophy. Thought, as one of the phenomena of the world, enters into a wide sphere of poetic perceptions, becomes an object of contemplation primarily in the works of Pushkin and Lermontov. Numerous lexemes “to think” in the XVIII century were used outside the philosophical context; the analyzed reflections of the poets of the XIX century form a kind of poetic epistemology – the knowledge of thought. The motive of thinking that runs through all Russian lyrics is presented in the article as a separate aspect of philosophical poetry as a whole, it forms the metatext that is significant for describing the poet's worldview. Solovyov and Losev gained the experience of both contemplative and mental comprehension of the truth. In Solovyov's poems, thinking is the basis and generating condition for visions. In Losev's poetic treatise “Justification”, the mind is affirmed as the mental basis of the heart's life, and love in its elevation to meaning – as the mind. Thus, the philosophical poets expressed in poetry the fruitful unity of two paths that are significant for Russian culture as a whole – mind and heart, intellectual reflection and contemplation, philosophical thought and poetic image.

Literary Aesthetics in Nabil Yassin’s Poetry

The research revolves around the subject of literary aesthetics in the poetry of the Iraqi poet, journalist, writer and political activist Nabil Yassin, born on March 18, 1950 in Baghdad. He graduated from the Faculty of Arts from the University of Baghdad. He left Iraq in 1980 and settled in Britain. He obtained his doctorate in 1986. The research included three topics: the first: the concept of poetic aesthetics in literature. The second research: formations of the aesthetic image. The third: The aesthetics of the poetic image according to the poet Nabil Yassin. The researcher also used the descriptive analytical method.

Poetic Images in (The House of Female Reciters) By the Poet Sadiq Al-Tarihi

It has become clear to us that the simile image is the dominant image in the poet’s collection of poetry (The House of Female Reciters) and that the metonymic image is ranked second in terms of the intensity of its presence after the simile image. The Qur’anic textual reference represents the main tributary to the formation of the image in the House of Female Reciters, while the literary textual image comes in first place. Second after the Qur’an in terms of its presence. Traditional and contemporary poetic attempts represented a clear presence in (The House of Female Reciters), as the textual reference enriched its texts.

Seasons in the lyrics by Alina Podgornova

Seasonal imagery allows not only to reveal the chronotope of the lyrical text, the psychological state, and intentions of the lyrical subject, but also to reflect the specifics of the author’s reflection of the surrounding world, the peculiarities of his worldview. A dynamic and transforming motif-shaped cluster, the seasons are endowed with a symbolic load, semantic diversity, consonant with the historical and cultural era, and moral and ethical preferences of society. In this regard, the study of Mordovian women's poetry in the aspect of seasonal imagery is recognized as a productive research direction, since it allows us to present an objective picture of the level of aesthetic development of the national artistic discourse. Turning to the classical imagery (winter, spring, summer, autumn), female authors endow it with a wide range of different meanings. The seasons acquire original semantic content in the lyrics of the Erzya poet Alina Podgornova. The subject of research in the article is the functional-semantic features of seasonal imagery in the author’s poems. The purpose of the work is to analyze a number of the poet’s works, identify the most frequent seasonal images and motifs, reveal their semantic shades, meaningful connotations of images of winter, spring, summer, autumn. The methodological basis of the work is determined by the method of holistic analysis of a literary text, through which the structural and content components of a lyrical work are described and the semantic and symbolic organization of the poetic image is revealed. The scientific novelty of the study is determined by the fact that the aspect of seasonal imagery in A. Podgornova’s poems is analyzed for the first time. The article argues that the author's lyrics present an original interpretation of seasonal images, endowed with a variety of semantic shades and connotations.

LITERATURA DE CORDEL E ENSINO: PROPOSTAS DE LEITURA

Cordel literature brings together cultural heritage knowledge and experiences around its poetics through a language that expresses seeing and hearing, as important elements of the poetics of the voice. Cordel has a vast epistemological and interdisciplinary field, that opens up space for different dialogues on varied themes such as nature, culture, human values, love, death, religiosity, historical and social facts, promoting new perspectives and discoveries in the critical and literary formation of a reader. Because of that, the objective is to propose reading cordels in the classroom, observing the constituent elements of this genre, the thematic diversity, the language with its metaphors, comparisons and poetic images. The methodology is propositional. It consists of presenting proposals for reading cordels by three poets from Ceará: Dalinha Catunda, Patativa do Assaré and Moreira de Acopiara for analysis and discussion in the classroom, in order to take into account the contribution of this genre to the cultural formation of a reader. As a theoretical reference, we use the studies of Candido (2000), Bachelard (1988, 2001), Pinheiro (2012). Zumthor (1997). It is expected that reading cordels in the school environment waken the reader's interest for popular culture, orality, memory, besides that, there should be respect and appreciation for our traditions (cultural heritage knowledge).

The Linguistic Worldview of Joy in the "Canticle of the Sun" of St. Francis of Assisi

In this paper, the author seeks to reconstruct the linguistic worldview of ‘joy’ appearing in the Canticle of the Sun written by St. Francis of Assisi. During the reconstruction, it caused a special difficulty that the word ‘joy’ did not occur explicitly in the work under investigation, so the contents referring and related to it could only be examined indirectly. The need to place the Canticle in a broader context made it inevitable to outline the era and include certain biographical elements, and the complexity of the analysis required the application of linguistic-historical, textological, translational and theological aspects in addition to the literary ones during the investigation. The analysis of the work was carried out by including the original Italian version of the text and its English translation together, by exploring the psychological and theological deep layers of the poetic images used by St. Francis and by presenting the mythological content associated with them. During the investigation, the author of this paper came to the conclusion that the primary source of joy that fills St. Francis as he sings about creatures in his Canticle is actually not of this world, but transcendent.

Культуротворческий потенциал искусства (по материалам русской и северокавказской поэзии первой половины XIX века)

The article is devoted to the study of art as a cultural phenomenon and, in particular, its cultural creative potential. This methodology of cognition of art implies its consideration as conditioned by the general cultural context. At the same time, the artistic image created by art absorbs not only the external, but also the internal, dictated always by the individual and subjective understanding of the author. The image created by the Artist’s creative consciousness is able to not coincide with the actual reality that gave rise to it. An artistic image can contain ideas and values that are ahead of reality and anticipate its future. The author has attempted to prove this position using the material of poetic images created by Russian and North Caucasian poetry of the first half of the XIX century. These images, created in the totally monologous conditions of the long Caucasian war, internally already contained the idea of humanism, which was so necessary at that dramatic time.

Pages of Eugenie de Guerin’s “Diary” in the musical embodiment by Darius Milhaud

Statement of the problem. The vocal-instrumental cycle «D’un cahier inédit du journal d’Eugénie de Guérin» (“From the Unpublished Diary by Eugénie de Guérin”) op. 27 (1915) is a work by D. Milhaud that was composed when the composer was twenty-four years old. The literary source attracts attention for the fact that it was written not to demonstrate the literary talent of the poetess, but as a confession of the human soul. Currently, domestic musicology does not have significant experience in researching musical interpretations of works of this type, and the “Diary by Eugénie de Guérin” has never been translated into Ukrainian. The vocal-instrumental cycle of D. Milhaud, created on this poetic basis, has not been systematically analyzed. Therefore, the study of this little-known in Ukraine opus of one of the brightest composers of the “Group of Six” appears as an urgent research task. In addition, a detailed analysis of vocal and instrumental works of the era of modernism will contribute to a deeper immersion in the spiritual world of representatives of this artistic direction, as well as to the expansion of the modern performing repertoire. Objectives, methods, and novelty of the research. The purpose of the study is to systematically analyze the composer’s interpretation of the “poems with music” included in the vocal-instrumental cycle by D. Milhaud. The scientific novelty of it is due to the fact that D. Milhaud’s vocalinstrumental cycle «D’un cahier inédit du journal d’Eugénie de Guérin» op. 27 has not been studied in detail in the national musicology. For the first time it was considered to find out what musical means of expression the composer used to convey the idea declared by the author’s remark «douloureusement» («painful»), which accompanies all the numbers of the work. The work set the task of revealing the specifics of the means of musical expressiveness used by the composer to embody the semantics of poetic images related to the feelings of physical and mental pain that D. Milhaud found in the poetic original source. In the study, for the first time, a linear Ukrainian translation of the verbal text of D. Milhaud’s cycle is provided. Historical and contextual, comparative, systematic and analytical research methods were used. Research results and conclusion. «D’un cahier inédit du journal d’Eugénie de Guérin» is associated with the feeling of pain and sadness, which accompanies all three numbers. Each poem with music gravitates toward a certain tonal sphere. The composer refers to an extended tonality. This principle emphasizes the coloristic function of the musical palette of the work. The cycle reveals a montage type of drama and laconicism of expression. The texture of the vocal-instrumental cycle is polyphonized, especially in the third number, which has fugato features. The harmony is saturated with such intervals as fourth, fifth and tritone. This is associated with images of devastation, pain, mental and physical suffering. The use of fifth that dominates in the musical texture of the work and it is the semantic grain, the key of the intonational dramaturgy, is also served this goal. The vocal part is declamatory and recitative, close to the type of psalmody, the rhythm is complex, directly oriented to poetic versification. D. Milhaud tends to use variable sizes, which is connected with the specific of Eugène de Guérin’s verse technique, The analysis of the musical drama revealed leitintonemes and symbols: the intonemas of the bell sounds, lullaby, destiny, sigh, wheel. The prospects for further research related to the study of D. Milhaud’s vocal and instrumental works of the mature period, comparative analysis with early examples of his work and identification of the peculiarities of the formation of an individual style by the composer.

“Chanson triste” by Henri Duparc – Jean Lahor: in search of artistic perfection

Statement of the problem. The specifics of Henri Duparc’s ideal of artistic perfection conditioned by the uniqueness of his personality, have so far remained outside the scope of scientific interests of researchers. However, the perfectionist beliefs of the French composer, on the one hand, led to his stellar achievements, and on the other, caused the tragedy of his life and artistic heritage. Therefore, the study of the details of Duparc’s creative life and his aesthetic beliefs is of significant research interest, which is enhanced by the connection of his views with the general context of the artistic life of France at the end of the 19th century, with its attraction to refined aestheticism, when perfectionism acquires the importance of a creative method in advanced literary and artistic circles. Evidently, the mélodie genre in principle corresponded to Duparc’s ideas about perfection in musical and poetic art, because it was with him that he connected his creative inspiration for many years. Objectives, methods, and novelty of the research. The scientific novelty of this study is determined by its purpose: based on the analysis of the first Duparc’s mélodie “Chanson triste” (“Sad song”) on Jean Lahore’s verses and the historical context of its creation, to reveal the essence of perfectionism as a creative method of musical and poetical arts of the fin de siècle era, as well as the specifics of individual manifestation perfectionism in both artists, and also to reveal the features of the French composer’s artistic ideal. The realisation of the research purpose required the introduction of such methods as historical and contextual, biographical, axiological, genre and style. The biographical method as a leading used to identify the features that led the authors of the “Chanson triste” to perfectionism. It involves the generalisation of knowledge about the life and creative circumstances that accompanied the forming the “biographical scenario” (Savytska, 2009). The latter was carried out according to the laws of a drama, the three acts of which are correlated as prologue – culmination – epilogue (Roshchenko, 2019). As for the creative path of H. Duparc, the function of the prologue was played by studying with S. Frank, the culmination – the creation of masterpieces, and the epilogue – the author’s revising of already written works. The study of Duparc’s personality and vocal heritage from this standpoint involves not only the analysis of artistic texts, but also biographical data. Research results and conclusion. The example of “Chanson triste” by Henri Duparc on Jean Lahore’s poem demonstrates the specificity of perfectionism as a means of achieving faultlessness, in the sense that was characteristic of the French musical and poetic art of the second half of the 19th century. This is, first of all, the ideal of a harmonious synthesis of words and music, which manifests itself in poetry as the “musicalization” of the verbal text, while in music – in flexible intonation expressiveness, which emphasizes the beauty and meaning of a poetical word. According to the convictions of outstanding artists of the word of this era, in particular the poets of the symbolist circle (“Parnassian school”), the rationalization of the creative process that manifests itself in special attention to all the details of the poetic form for conveying the subtlety and ambiguity of poetic images, allows to achieve this ideal. In Duparc’s “Chanson triste”, the effectiveness of this method is clearly demonstrated: the artistic perfection of the work is achieved thanks to the organic combination of words and music, manifested in the peculiarities of prosody; in filling the poetic text with greater sensuality and new meanings thanks to music; the latter is facilitated by the method of generalization through a genre (for example, the musical semantics of nocturne enhances the “night” flavor of Lahore’s poem); in the principle of economy of artistic text (“through” intonations, rhythmic unification of accompaniment); in overcoming the strophic nature of the poem due to the absence of literal repetitions of the musical material of couplets-quatrains and “through” musical and dramaturgical development. If for Lahore, the perfectionism did not have harmful consequences, then for Duparc, who created outstanding examples of French mélodie, the thirst for perfection, having acquired painful forms (endless self-censorship), turned into a kind of self-ruining. This led to the destruction of a number of finished talented works as not corresponding to the perfectionist views of the composer. If the desire for perfectionism is usually only a certain period in the life and work of most composers, for Duparc the creation of masterpieces became an unchanging desire. This internal need and increased demands for one’s own music led to the greatness and tragedy of both, Henri Duparc himself and the works written by him.

The combination of Navoi’s image and poetic image

O'zbekiston mustaqillikka erishgach o'zbek adabiyotida buyuk mutafakkir Alisher Navoiy siymosini badiiy talqin etish yangi bosqichga ko'tarildi. Chunki bu davrda milliy o'zlikni anglash, milliy qadriyatlarni tikiash bosh masalaga aylandi. Alisher Navoiy adabiyotda ma'naviy-axloqiy kamolotning timsoli sifatida haqli e’tirof etildi. lining ibratli hayoti, shaxsiyati namuna o'laroq tasvirlandi. Mustaqillik davri o'zbek adabiyotida buyuk mutafakkirga bag'ishlab yaratilgan asarlar ayol shoiralar ijodida o'ziga xos, alohida sahifalarni tashkil etadi. Ushbu maqolada Alisher Navoiy obrazining Halima Xudoyberdiyeva, Oydin Hojiyeva va Farida Afro'z she'rlarida badiiy talqini masalasi yoritildi.

METAPHORIC FORMATION IN THE COLLECTIONS OF AHMED JARALLAH YASSIN

This study, entitled (Metaphorical Formation in the Collections of Ahmed Jarallah Yassin), dealt with a recent topic in modern Arabic studies, and sought to shed light onThe aesthetic level of the art of metaphor, which is considered one of the most important arts of Arabic rhetoric, through the extrapolation of some selected models. This art constitutes a distinctive rhetorical phenomenon in the poet’s collections. Its two types are verbal and declarative metaphor, as it represents a highly rhetorical literary image in expressing the poet’s intent and desire, in order to reach the most beautiful image. Poetics draws words and meanings to express the purpose that is in it This art played an effective role in conveying the idea, with its woven poetic images and elaborate visual formation, in addition to the punctuation marks, including the bulleted breaks between. Words and the formation of blackness and whiteness, to finally arrive at the dismantling of the title system in contemporary poetry. The study came as a prelude to the concept of metaphor and its importance, then illumination of the life and achievements of . The poet Ahmed Jar Allah Yassin, and finally an analysis of selections of his poems that includes reference to the aesthetics of the art of metaphor and its visual formation