Image In Poetry Research Articles

The Aesthetic of Artistic image in the poetries of Faqe Qadri Hamawandi

ur paper entitled (The aesthetic of Artistic image in the poetries of Faqe Qadri Hamawandi), it analyses and explain the poet’s poetries in term of aesthetic the artistic images. So, it illustrates the genius of artistic images that the poet had focused on it and the poet thought that image of poetry is way of expressing the his interior, so his poetries have a good level of aesthetic, in this aspect he got benefit from rhetorical arts especially featuring and metaphor. . Our paper consists of two chapters: first chapter ( the concepts of the paper theoretically demonstrated ) which are three points, the first point is about the concept of artistic images, second point is artistic images and rhetoric and third point is aesthetic of artistic images. Second chapter ( the aesthetic of artistic images of the poet) which are three points, the first point is artistic images of pessimistic, second point is artistic images of love, third point artistic images of nature. The consequence has been illustrated in some points

Cognitive Analysis of “Fog” Metaphor in Poetry of the Tang Dynasty

In the cognitive linguistic view, metaphor is not only a linguistic device but also a mode of thinking that people use to conceptualize and comprehend the world. Cconceptual metaphors are a set of mappings from a concrete source domain from an abstract target domain. The cognitive foundation of conceptual metaphor is a variety of human experience. Poetry of the Tang Dynasty abounds with metaphorical images. Fog is a regularly used image in poetry of the Tang Dynasty. Yet the research on fog from the perspective of conceptual metaphor remains as an under-explored area. Based on conceptual metaphor theory, the current research aims to sort out the classification of fog metaphors and the cognitive foundation as well as cultural motivation behind those fog metaphors in poetry of the Tang Dynasty. The cognitive analysis of fog can offer a new dimension to the exploration of both the image of fog and metaphor in poetry of the Tang Dynasty. In addition, the cognitive approach to fog metaphor in poetry of the Tang Dynasty can better reflect the unique cultural cognition of ancient China, and extend the research on classical Chinese poetry, which is a step forward in cognitive poetics, and offer implications for the appreciation, translation and teaching of poetry of the Tang Dynasty.

The Images of Rain and Spring in Ibn-Zaydoon’s and Wordsworth’s Poetry: A Comparative Stylistic Study of Selected Poems

This study examines the representation of rain and spring images in poetry, basically in Ibn-Zaydoon's and Wordsworth’s selected poems. This study relies on the analytical and theoretical aspects of Parallelism theory of the American School of Comparative Literature. It focuses on studying “the idea of similarities in humanity’s social and historical evolution, which means harmony in the process of literary development” (Enani, 2005, p. 42). The study is also based on the analytical approaches of Russian Formalism that focuses on studying “Similes, metaphors, structures, ironies, rhymes, and symbols” (Bressler, 2011, p. 49). The significance of the study is to introduce a comparative study between two poets whose languages, religions, and traditions are different. Ibn-Zaydoon and Wordsworth represent nature as the perfect place for pleasure, peace, and tranquility. These two poets glorify spring and rain specifically and their psychological influences on humankind.

현대시 교육에서 감각적 체험의 활성화 전략 연구

This article was written to provide an opportunity to renew the meaning of images in literary education. To this end first, we developed the contents of appreciation activities in which learners learn the principles of sensory experience by using conversation. Second, I created an appreciation activity to learn how to deal with images in poetry. Modern poetry appreciation education as an activity dealing with images means the principle of independent appreciation of works. This study examined the relationship between the senses and the image and designated the image as a place where the sensory experience of modern poetry takes place. By learning the conditions under which images are created and how they are handled, learners can more actively immerse themselves in the special sensory experiences that the poem embodies. It will also be meaningful as a study to develop an interdisciplinary convergence program and examine its effectiveness.

The Narrative Character of the Image of Makhambet in Kazakh Poetry (Based on the Poetry of Olzhas Suleimenov)

The last zhyrau (poetic singer) of the Kazakh Khanate, Makhambet Utemisuly, was a prominent figure in the nation's history and literature. He held various roles as a poet, batyr (warrior), and esteemed commander, and his influence resonates strongly within the Kazakh literary tradition. Makhambet's persona served as a significant source of inspiration for numerous poets and writers in Kazakh literature. Notably, his portrayal holds a special significance within the poetry of Olzhas Suleimenov, a versatile poet, public figure, and turkologist. This assertion is substantiated by Suleimenov's poetic works dedicated to Makhambet batyr, covering a range of themes. This research work contributes to a profound understanding of the concept of «image» in Kazakh literary science, specifically through its expression in poetry. The primary objective of this scientific inquiry is to unravel the narrative essence of Makhambet's image as depicted in Olzhas Suleimenov's poetry. The author examines several literary works concerning Makhambet in the Kazakh canon. Through an exploration of the various dimensions in which Makhambet's image is portrayed in Suleimenov's poems and Russian translations, the author provides evidence to support the narrative nature of this image, substantiating their claims with relevant examples. Given that Suleimenov predominantly writes in Russian, the study places particular emphasis on the fidelity of the image's conveyance in both the original and translated versions. While the concept of «image» in the works of Kazakh poets has been the subject of multiple studies, with its significance duly acknowledged, the notion of narrative in poetry remains a pertinent subject within contemporary literary scholarship. This article underscores the paramount importance of investigating the concepts of «image» and «narrative» within the context of poetry, thereby emphasizing the core value of this research. In this research, the author substantiates the hypothesis that a profound and comprehensive exploration of the image in poetry necessitates the discovery of a narrative coherence that unifies the poem's internal structure, the author's intent, and the nuances of word usage.

Features of the Interpretaition of Light and Color in the Philosophy and Literature of Symbolism

This article is devoted to the discoveries of poets, writers and symbolist philosophers in the field of color symbolism and its new content. Saturation with a new meaning of human existence, the search for spiritual support, reflections on the human soul and the fate of Russia — these are the main topics with which the understanding of color turned out to be interconnected. On the example of the analysis of the philosophical and literary activities of outstanding thinkers of the late XIX — early XX century, the main ideas of a difficult time for Russia are considered. The analysis of color symbolism in the work of Vl. Solovyov, A. Bely, D. Merezhkovsky and F. Sologub made it possible to give a comparative description of the images-symbols presented in the works of prominent thinkers. The range of topics in the philosophy and literature of the Silver Age is unusually wide. Significant was the interest of the authors in mythology and religion (the spiritual life of a person), in social life, in the creative activity and personality of a person: in his inner life, thoughts and experiences. The world of the soul and the world of thought were colored by philosophers and poets of the Silver Age in different colors. A fine line of interaction between the soul and the human mind has been discovered. An intuitive approach helped thinkers to understand and decipher the most complex phenomena of the surrounding world and the inner life of a person. That is why the images of poetry and prose were not always distinct and clear. They acquired a multi-level nature and developed into signs, symbols of the era. The processes of change in the perception of the world, which characterize the Silver Age, almost simultaneously occurred not only in literature and philosophy, but also in the visual arts, architecture and musical art.

Discruption of poetic clichés in Imagist poetry

The purpose of the present paper is to demonstrate the ways in which Imagist poetry deconstructs traditional aesthetic clichés and poetic sentiments. Imagism is a leading movement of Anglo-American modernist poetry. The paper focuses on the radical deconstruction of Victorian era aesthetics standards in the Imagist poetry. During the time of Victorian era, traditional poetic forms such as sonnets and iambic pentameter were extremely popular. Nevertheless, central figures of imagist movement, especially, Ezra Pound, established absolutely new forms and traditions such as blank verse and free verse, as classical poetic meter forms were considered meaningless and unexpressive. Furthermore, the article touches upon the most famous poets of imagist movement and their works to show the aesthetic creed of modern Anglo-American poetry. The vital symbol of imagist poetry was ‘’image” which is defined as an intellectual complex in an instant of time. Finally the article points out that unlike the traditional romantic poetry, the creed of imagist poetry lies to the directness of presentation, economy of language, a willingness to experiment with non-traditional verse forms and free them from abstraction.

A RELATIVE POET AMONG THE "PRAZANS": THE EXTRAORDINARY CREATIVE PERSONALITY OF O. STEFANOVYCH

The purpose of the article is to characterize the specifics of O. Stefanovych's work in the context of the work of "Prague" poets, to reveal its artistic uniqueness, dominant moral and ethical existentials, and philosophical content. The main attention in the article is focused on the overview of the main stages of the writer's creative growth, taking into account the lack of research into his figure by modern literary science. The inner hermeticism of the poet among the "people of Prague" is outlined. The specifics of philosophical motives and images are defined, the characteristic features of figurative symbolism are revealed. Dominants of artistic historiosophy in poetic texts are clarified.The object of research was the poetic works of O. Stefanovych. The subject is diverse motifs and images of poetry, their philosophical, existential, religious content. The source base of the research is the collections "Poetry" (1927), "Stephanos I" (1939), "Collected Works" (1975, posthumously) by O. Stefanovych.In the article, from the standpoint of modern literary science, the specifics of O. Stefanovych's poetic work are clarified, the deep philosophical nature of his texts is characterized, and his role in the complex emigration literary process is highlighted.

Repositioning the Representation of Femininity in H.D.'s "Garden"

Hilda Doolittle, an American poet, playwright, and novelist known by the initials H.D., was one of the few female figures of the male-dominated early modernist era. Her early works are of crucial importance as they are associated with Imagism, the literary movement shaped by Ezra Pound as a reaction to the wordiness, indirectness, and sentimentality of Victorian and Romantic poetry. H.D. played an important role in Imagism. Ezra Pound, who suggested that Hilda Doolittle append the signature “H.D., Imagiste” to her works, introduced her as the leader of Imagism. Her first poetry collection, Sea Garden (1916), which includes twenty-seven poems, is a paragon of Imagist poetry. The poems were composed in free verse without thematic boundaries and with the use of harsh and impersonal style and diction, natural imagery, a melodious rhythm, and economical word choice. However, H.D.’s “The Garden,” an image-focused poem from this collection, goes far beyond Imagism. It is not simply a nature poem; the narrator glorifies fierce natural objects such as hard roses, rigorous winds, and thick air to represent women’s potential strength, resilience, and productivity. It also subverts the stereotypical representation of femininity and female vulnerability by displacing dominant patriarchal myths. The poem is brimming with encoded images that metaphorically reconstruct female imagery and representation. This paper investigates how “The Garden” unfolds hidden and disregarded concepts of femininity to reposition the female figure in the ideal imaginary “Garden” by saving her from the confinement of the man-made “Garden” in order to suggest a new representation of femininity, mirroring Pound’s call to “Make It New!”

The structure of meaning of the poetic image among the arts of rhetoric Poem (A tour in Hawraman) as a model

This study tries to show the role of the Rhetorical arts of Eloquence (Similes, Metaphor and Metonymy) in the meaning of poetic images in new Kurdish poetry. For this purpose, the poet Goran's poem "A tour in Hawraman" has been chosen for the practice of the arts, because this poem has many lines (verses) and most of the verses are composed of poetic images, And Goran is one of the first poets who started writing modern poetry in Kurdish language. That's why poetry (A tour in Hawraman) as a practical example, gives accurate results. In the study: each of the art of Eloquence and poetry images is defined, then the types of Eloquence arts and their branches are described. After that, this information was practically selected in the text of the poem and a detailed statistic with required analyses of the statistics was presented, and finally the results of the study were presented.

Interpretation of Image in Poetry from a Perspective of Figure-ground Theory

Interpretation of Image in Poetry from a Perspective of Figure-ground Theory

A Study of Jiang Feng’s Representation of Rhythm in the Translation of Stopping by Woods on a Snowy Evening

The translation of Stopping by Woods on a Snowy Evening, by Jiang Feng, has set a good example of rhythm representation, however, researches have always been emphasized on the translation of images in poetry or translation principles that have been applied with comparatively few studies and analysis to rhythm representation. This paper focuses on rhythm representation of Jiang Feng’s translation of Stopping by Woods on a Snowy Evening and by researching the rhythm in the original, studying the representation methods Jiang Feng has used, and comparing the rhythm in the target text, translators can endeavor to represent the beauty in rhythm of western poems.

Kad vecenīte ar meitiņu sarunājas: Ainas Pāvulītes un Lauras Andersones dzeja

The article focuses on regional research, assessing the current cultural and literary process in Southern Kurzeme and Liepāja during the last three years and highlighting the perspective of the poetry process. In addition to the aspect of regional research, the theoretical and methodological basis of the article is the theories on the range of manifestations of feminine subjectivity and topics related to gender studies by feminist theorists and gender researchers. The article deals with the creative work of two Kurzeme poets, Aina Pāvulīte and Laura Andersone, who belong to different generations. The focus is on Pāvulīte’s (1942) newest poetry collection “Granny” (Vecenīte, 2018) and Andersone’s debut collection “A Girl Looks Up” (Meitiņa skatās augšup, 2020). At the level of both collections’ titles, the embedded momentum of female identity signals an encouraging conversation between two talented women, revealing the possible encounter of their inner women with another woman, making the boundaries of their identity transparent for flowing interaction in their writing. Poetry by both authors has been analysed comparatively, highlighting the characteristic manifestations of feminine subjectivity. The main research focus is on assessing the poetry themes, the characteristic motifs, and the specifics of the poetics of the two authors. The distinctive poetry images creating the conception of the lyrical subject and common and differing elements in lyrical subjects’ value system in both poets’ works are emphasised. The article analyses the formative elements of the poetic chronotope and the path of female identity formation and consciousness, based on the conceptually different experiences surrounding the identity of “granny” and “girl”, highlighting the existential dialectic intersections of the indirect feminine dialogue.

Deafening Modernism: Embodied Language and Visual Poetics in American Literature

Deafening Modernism: Embodied Language and Visual Poetics in American Literature

Translator, Traitor: In Search of Pound's Poetics in Turkish Translations of 'Canto I'

Translating the Imagist poetry of Ezra Pound has always been a challenge and a blessing for literary translators as Pound's poetics is tangled with his approach to verse translation. This paper argues that two Turkish translations of Ezra Pound's 'Canto I' fail to implement his approach to translation although both metapoems acknowledge the Imagist principles. The first part describes Pound's poetics and the central position translation holds within his understanding of poetry, and the second part provides an analysis of İlhan Berk's and Efe Murad's Turkish translations of 'Canto I' through Pound's poetics and J.S. Holmes's forms of verse translation.

ПУШКИНСКОЕ ПРИСУТСТВИЕ В ТВОРЧЕСТВЕ С.А. ЕСЕНИНА: КУЛЬТУРОЛОГИЧЕСКИЙ КОММЕНТАРИЙ

The object of the article is the archetype of the Moon in the Russian culture. The subject of the article is the variable images of the crescent and full Moon in the Russian poetry. The material of the article is represented by two poems – “The Demons” by A.S. Pushkin and “Through fields of virgin snow I roam” by S.A. Yesenin. The cultural and philosophical analysis focuses on the interrelation of two types of reality, the phenomenal and the noumenal, the rational and the spontaneous in art. Much attention is paid to the problem of transformation of the Moon image in poetry; the Moon’s hypostatic nature is analysed. The author traces the change in depiction of the Moon’s image within a single literary text. The author examines the text describing the blizzard and the demonic myth associated with the Moon’s archetype in the Russian literature. The research methodology represents a holistic ontological hermeneutic analysis of poetic texts by Pushkin and Yesenin aimed at highlighting the cultural potential of the problem of dualism in the Russian national world image, which makes it possible to describe the material from ontological positions and gain an insight into the poetic word. The work results can be of interest to philologists who include literature in the space of the great dialogue of cultures. The findings can also be used in teaching cultural studies and Russian philosophy courses.

Commentary on "Imagist Poetry and Clinical Medicine: Arts of Observation, Precision, and Expression".

Commentary on "Imagist Poetry and Clinical Medicine: Arts of Observation, Precision, and Expression".

Imagist Poetry and Clinical Medicine: Arts of Observation, Precision, and Expression.

Microcosm Ajay Soni, MD A sympathetic drop in the tiny deep dark pool: the passage widens . . . A soft incandescent glow illuminates the bowl. The calculated curve of a smooth glass lens condenses reflected rays. A floating real image in glistening clarity: the web of blood and neurons onto which all the world projects. Vision Gurwant Kaur, MD Amber urine spin, don’t splash drop on glass. Focus. Here it comes: crystals and casts. Screening Sanam Razeghi, MD It comes into view the monster within this tunnel. Ominous tentacles of tissue climbing these walls while she sleeps. Time stutters. The clock spins faster. Life sputters on. Epinephrine Ann Ouyang, MD Pulsing plume on a gelatinous lake washed with cool water repools, flooding the plain carrying life away. The needle plunges a frost blanches the surface: crimson column wavering, collapsing. Water clears the murky lake restores the landscape. Heart Failure José Stoute, MD A horse gallops water settles and bubbles; the ground swells. Wisdom of Fingers George Simms, MD, PhD Light touch, soft belly; warm sun on the skin. Deep touch, firm mass; clouds move across a darkening sky. Progress Karuna Spiegelman, MD Bloody beefy breasts dripping crimson red, stench of rotting flesh as the tumor spreads. Tactile Navigation Shane Kinard, MD Glacially gliding, sinews submitting, a pop? Crystal elixir! Solitary Kathleen Julian, MD A dark building, lone doctor’s office light still on. Beacon bright. Burning…

Phytonymic comparison as a means to create image in poetry

Phytonymic comparison as a means to create image in poetry

Poetic Bodies: Weavings of Bodies, Languages and Environments in War Poetry by S.E.K. Mqhayi

The creation of “poetic bodies” refers to the embodiment of poetic experience through an eclectic theoretical and methodological conceptualisation. This poetic embodiment allows for the re-membering and experiencing of poetic texts in general, and specifically, indigenous South African poetry in the classroom. At its core is the haunting of memory in poetic texts: the inter-generational experiencing of poetry is embodied in the students’ responses to literature. Conjuring these poetic bodies comprises three acts of meaning-making that are woven together to create a unique experience and understanding of poetry: the Bodily, which refers to the figurative devices and images in poetry; the Inner Bodily, which relates to intergenerational memory construction; and the Outer Bodily, which encompasses social, cultural and historical contexts. In South Africa, the process of poetic embodiment is characterised by a strong sense of loss due to the country’s colonial and apartheid past. The weaving of the different levels of re-membering and experiencing in indigenous South African poetry is illustrated in the war poetry of S.E.K. Mqhayi (1875–1945). His poems are used as a case study to illustrate how poetic bodies may be re-membered or reconstructed as a literary-theoretical approach to facilitate understanding and experiencing poetry with marked traces of loss.