Poetic Language Research Articles

Hafeth’s Poetic Language between Simplicity and Magnificence

يهدف هذا البحث إلى الكشف عن الخصائص الفنية في أشعار حافظ إبراهيم؛ بغية الوصول إلى المرامي والمقاصد الكاشفة عن إشكالية تقاطع الرأي ما بين البساطة والجزالة لأسلوبه الشعري، وقد جاء البحث في بنائه الهيكلي مقسما إلى مقدمة ومبحثين، جاء المبحث الأول بعنوان: البساطة اللفظية في أشعار حافظ إبراهيم، أما المبحث الثاني فجاء بعنوان: الجزالة الأسلوبية في أشعار حافظ إبراهيم، ثم انتهى البحث بخاتمة تضمنت عددًا من النتائج منها: أن الملابسات الظرفية المعاشة هي المحرك الرئيس لتوجهات حافظ إبراهيم وكان لها عظيم الأثر في تنازع الرأي بين جزالة أسلوبه وبساطته، كما أن حافظ إبراهيم قد عُني بأن تكون أشعاره أكثر اتصالا بالجمهور بل والعوام من الشعب المصري؛ وكانت محاولاته دؤوبة لأن تكون أشعاره خير ترجمان لحال العصر المعيش، وأداة للتعبير عن قضايا وطنه؛ الأمر الذي يخاله الباحث علة رئيسة لاتخاذه اللغة الشعرية البسيطة منهاجا للتواصل مع جمهور العوام من بني وطنه، بل سببا رئيسا في إشكالية التقاطع بين البساطة والجزالة الأسلوبية في أشعاره.

The Politics of Wedding Poetry under the Cromwellian Protectorate: Sir William Davenant and “Hymen’s Policy”

Abstract: This essay presents a reading of Sir William Davenant’s previously unstudied poem “Epithalamium. The Morning after the Marriage of the Earl of Barymore with Mrs. Martha Laurence,” written in October 1656. The poem offers a significant comparison to Andrew Marvell’s near-contemporary wedding song for the marriage of Oliver Cromwell’s daughter Mary. It thereby sheds light on Cromwellian poets’ efforts to formulate a poetic language in which to address the Protectoral court. The essay contextualizes the poem in the political realignment of the Cromwellian regime in 1656–1657. It suggests that Davenant’s paradoxical style attempts to adapt the courtly epithalamium to the minimalistic religious settlement and the principle of toleration for Protestants that underpinned the Cromwellian coalition. In this way, the poem illustrates how the 1650s Davenant can be read as a Cromwellian poet, alongside Marvell, Edmund Waller, and even John Milton, developing his ambitious and idiosyncratic ideas about public festivity and civil religion.

কাব্যভাষায় সর্বনাম ব্যবহারে স্বাতন্ত্র্য: প্রসঙ্গ রবীন্দ্রনাথ ঠাকুরের কবিতা

The language of poetry is distinctly marked by its choice of words that are usually not used in cases of prose or spoken form. The words or diction used in this genre are poetic words. In Bengali, it is also applied in pronouns within the class of words. The article delineates the usage of poetic pronouns in Rabindranath Tagore’s poetry. This article, written in accordance with the text analysis method, provides an idea about the diversity and distinctiveness of the special forms of pronouns in poetic language.

동계(東谿) 조귀명(趙龜命)의 자전적(自傳的) 운문 연구

This paper analyzes the autobiographical aspects revealed in the poetry of Dong-seok Jo Yeong-myeong(1692-1737). Although Jo Gwi- myeong focused on prose, the 27 poems and 6 chapters he left behind contain indispensable thoughts. Jo Gwi-myeong’s thoughts revealed in verse are more internal and implicit in that they are expressed in the language of poetry rather than the language of prose.
 Among his works, his most important works can be said to be 〈次際卿述懷韻〉 and 〈幽懷賦〉, which are based on the theme of his own life and thoughts. 〈次際卿述懷韻〉 presented five themes and recited his life and thoughts. 〈Yuhoebu〉 is a work that describes the process of internally resolving the conflict caused by the pain of illness. The prose writer Jo Gwi-myeong is familiar, but the poetic language written by Jo Gwi-myeong is also unfamiliar to Jo Gwi-myeong researchers. Although these two works are very important materials for understanding Jo Gwi-myeong, they have not been covered so far. This paper first examines the formal characteristics of Jo Gwi-myeong’s verse, and then analyzes 〈次際卿述懷韻〉 and 〈幽懷賦〉 to examine how Jo Gwi-myeong’s life and thoughts were expressed in his verse. The analysis of Jo Gwi-myeong’s verse seeks to provide clues to a coherent understanding of Jo Gwi-myeong’s inner conflicts and contradictions.

Study of the poetic language in the poetry of Ibn Hammad Al-Adawi according to Todorov’s poetic theory - Ashura poems as an example

Study of the poetic language in the poetry of Ibn Hammad Al-Adawi according to Todorov’s poetic theory - Ashura poems as an example

Ethnocultural Description of the Persians (Socio-historical analysis)

Concepts such as the Persian nation, the Persian regime and the Persian ethnic group in the Islamic Republic of Iran appear in scientific and public literature. In the historical process, it is impossible to obtain reliable information that the Persians were the dominant people in Iranian geography. Research conducted in this direction shows that it is impossible to get an idea of the great unity of the Persian-speaking peoples, a single ethnic group and a single system of cultural values. At the same time, it is known that the Persian language is widely promoted, taught and celebrated as a poetic language in a wide area, especially in the Islamic cultural sphere. From this point of view, the role of the Persian language in this area, the process of formation of the Persian ethnic group and the study of aspects that hinder this process are topics that attract attention. The reasons for the absence or failure to form a major union of Persian-speaking peoples, as well as its failure to become the dominant nation in Iranian geography, express the picture that emerged from the study. Considering this issue in historical dynamics, one can identify an interesting ethnocultural picture. The concept of "Iranian", emerging as a result of the synthesis of language, religion and ethnicity, is presented as a modern Persian national identity. The article proposes an approach to the problem using the historical-comparative method.

Intimations of a Lyricism sans Subject

The lyric is a form or genre of poetry often intimately related to subjectivity. But is a lyricism divested of the subject possible? By examining the philosophical refl ections of Philippe Lacoue-Labarthe upon lyricism, poetry, and their relation to subjectivity, this article explicates how an impersonal lyricism is not only possible, but perhaps necessary. If we wish to do justice to the phrasing or saying of poetic language, then we must endeavour to think the displacement of the subject in and by the very language that the poem expresses. Following Lacoue-Labarthe, this article explores the paradoxical turn of lyricism—that it is bound to the subject, but not to its personal expression; rather, to its disappearance, its displacement, in the expression of language itself. By tracing a sketch of Lacoue-Labarthe’s poetics, relating this thought to the lyrical theories of Hamburger and Culler, and providing a brief explication of one of Lacoue-Labarthe’s “poetic” writings, lyricism is shown to be the testament to the disappearance of the subject, the remainder of a disappearance already passed insofar as the poem remains. What remains is that the lyrical subject would be no “subject” at all—only language itself, intimating its own diction.

THE LETTER, THE ARTICLE, THE SUBJECT: METAHISTORY OF CONTEMPORARY POETRY IN THE TEXTS OF NIKITA SUNGATOV

Nikita Sungatov’s poetry is often categorized as postconceptualism-2 or the engaged-conceptualist pole of the [Translit] magazine community. However, it is worth considering that his poetic language is formed at the intersection of various influences, including the analytical poetics of Arkady Dragomoshchenko, the Prize named after whom Sungatov curated and before that was shortlisted for in 2015. Sungatov can consistently reproduce any style of contemporary poetry in his texts, coupled with their problematic analysis thanks to the intertwining of conceptualist metaposition and Dragomoshchenko’s linguistic analysis. We can see this in the most famous texts of The Young Poet’s Debut Book as well as in the current texts, Imitation of Vl. Khodasevich and [a modern poem]. The author of this article focuses on this latter poem. The role of the letter and its transformation can already be seen in the first part, which is stylized as zaum and alienated language. Here the intertwining of letters, phonetic signs, and pseudo-grammatical categories appeals to the historical avantgarde and its sound poetry. Another role for the letter in the poem is the indefinite article ‘a’, whose semantics make Sungatov’s poem a statement about ‘contemporary poetry in general’, which, together with the stylization of various poetic languages from the historical avantgarde above to contemporary techniques of direct, neoclassical and opaque statement, turns the poem into a metahistory of contemporary poetry. And if Hayden White’s Metahistory was a discursive analysis of historical narratives, then [a modern poem] becomes a discursive analysis of both recent poetry and its languages, and its collision with discourses of violence and big history. To all this corresponds an indeterminate subject, following the letter and the article, ‘it’, which nomadizes between languages, narratives, and the elusive modernity.

A Linguistic-stylistic Analysis of Lewis Carroll’s Jabberwocky

This article attempts at conducting a stylistic analytical study of a renowned poem by Lewis Carroll, Jabberwocky. It tries to unveil the variations and schemes of linguistic stylistics that can be found in the poem. Carroll’s famed poem captivates with its linguistic deviations and imaginative storytelling. This scholarly investigation embarks on a comprehensive stylistic analysis of the iconic poem, delving into its distinctive linguistic features. By exploring Carroll’s masterful manipulation of language, especially in the realm of linguistics and stylistics, this research aims at unraveling the poetic brilliance and esthetic allure of Jabberwocky. The inquiry commences with a meticulous examination of Carroll’s artful utilization of linguistic play, boldly challenging conventional language norms and stretching the reader’s comprehension. The poem’s unique blend of real and invented words creates boundless creativity. His language exhibits distinctiveness and versatility, employing a diverse array of grammatical and poetic devices to manifest his unique style, thereby adding depth and intrigue to the poem. The methodology entails a comprehensive stylistic analysis based on Geoffrey Leech’s eight models of deviations and schemes. Overall, this article will show how linguistic-stylistic bridges the gap between language and literature studies, enriching researchers’ understanding of poetry within applied linguistics by scrutinizing the poet’s linguistic devices, structures, and effects. The article will encompass a theoretical explanation within the domains of literary analysis, poetic language analysis, and cognitive poetry in the realm of linguistic analysis.

Climatic Changes and Its Role in the Formation of Literary Styles of Dari Language and Literature

In this article, reliable explanations have been given about the concept of climate according to the definitions of this term in old and new dictionaries of the Dari language. Also, the extensive verbal and semantic use of this term in the poetry of poets of different styles of Dari Persian has been argued by giving examples of the poems of famous Dari language poets. In the same way, the literary developments of the Dari language that took place in the poetry and prose of this language and its characteristics in terms of form and meaning due to climatic changes were discussed. The formation of literary styles in the Dari language and its nature as a result of accepting more features that have been the result of the impact and necessity of the climate and environment have been reflected according to the views and opinions of researchers and experts.

Language as social action: Gertrude Buck, the "Michigan School" of rhetoric, and pragmatist philosophy.

In the late 19th and early 20th centuries, Gertrude Buck and collaborators developed a sociologicallyand pragmatist-informed approach to language that has been neglected in later scholarship. Buck approached the study of language from the standpoint of pragmatist functional psychology, which is indebted to John Dewey's pragmatism at the University of Michigan, and which views language as a normal, dynamic action of human organisms engaged in necessary cooperative relations with one another. Her approach overcomes the small-minded pragmatism that would criticize figurative or poetic language as impractical, and instead shows how figuration is essential to the particular ways in which language is action that conveys meaning to others and serves broader social functions. Buck's forgotten work helps overcome criticisms of the application of pragmatic action theory to language and literature, sketching how language structure may be explained on the basis of language as a natural social-communicative act, how figurative language is inherent in the normal act of communicating situated bodily experiences to others, and how rhetorical speech and writing contributes to participation in democratic social processes. This paper also indicates how Buck's work has been partially rediscovered in Composition Studies, as well as prefigures later reader-response esthetics and feminist analyses of language.

Towards the Poetics of the Early Mandelštam. Ja v chorovod tenej: an Analysis

Mandelstam’s poem is divided into two opposing parts, in terms of content and style; they are united by the same lyrical subject. These two parts correspond to two parallel narrative plans. In the beginning, the unreal, afterlife world (the world of shadows) is presented, and then the earthly, real world. The first part describes the lyrical subject’s transition from being to non-being; the second part speaks of the life he has left behind which at the same time continues for him. The analysis of the poem leads to the conclusion that the world of shadows is treated by the poet as an Elysium of names, i.e. poetic words. It is a special reality created by poetic language. This poem appears as an illustration of Mandelstam’s early theoretical work on poetic language.

Poetic and theatrical occasionalisms: Creation of new morphologically complex words by Joseph von Eichendorff, Johann Nepomuk Nestroy, Peter Handke and Arno Schmidt

This contribution characterises and differentiates the poetic occasionalisms in the form of new morphologically complex words created by the early romantic German lyrical poet Joseph von Eichendorff, by the Austrian Nobel Prize winner for literature Peter Handke and by the extravagant German prosaic author Arno Schmidt and the occasionalisms created by the most famous Austrian comedy writer Johann Nepomuk Nestroy.The concept and term occasionalism has been founded by the Russian pioneer of stylistics Erik J. Chanpira (1996, see § 2) and defined as a newly created morphologically complex poetic word destined to be used with a literary function only once for a single passage and which is not taken over by anybody else. This definition holds for the authors investigated, except Eichendorff who reuses occasionalisms, which may be also reused by other lyrical poets of the same period or even later.The main part (§ 3) consists of the discussion of 17 criteria for characterising and differentiating the occasionalisms studied. These are productivity of word formation, literary functions, main content, single use vs. reuse of them, consequences of the noun bias of German and of the preference for binary relations, size of the word families of compound constituents (especially of the first constituent), the degree of poetic licence, semantically coherent vs. incoherent combination of words within a compound, embedding into the cotext and into the situational context, gapping constructions and their make-up, preference for compounding vs. derivational morphology.The conclusion and outlook (§ 4) present proposals how literary studies may profit from investigations of poetic and theatrical occasionalisms, which represent the highest degree of language creativity of literary authors. We urge that theatre productions should highlight occasionalisms and report that Nestroy’s German occasionalisms are generally better translated into English by programs of machine translation then by human translators.

Bina'u al-Nash al-Syi'rii fi Diwan Ibni al-Arandas al-Hilli

The study “Structure of the poetic text in the collection of Ibn al-Arandas: an objective and artistic study” aims to understand and analyze the poetic structure in the collection of the poet Ibn al-Arandas in an objective and artistic way. The study focuses on analyzing the literary methods and techniques that the poet used in constructing his poems, including rhyme, meter, sentence structures, and use of poetic language. The topic aims to shed light on the artistic aspects that distinguish Ibn al-Arandas’ poetry and how they affect the quality and creativity of poetry.Method: To achieve its objectives, the study relies on an analytical approach that includes a comprehensive review of Ibn al-Arandas’s poetry collection and a deep analysis of a number of his poems. The approach consists of analyzing Ibn al-Arandas's poetic texts in terms of their structure, artistic methods, and their impact on the poetic content.Result: Through this study, it is expected that the results will yield a deeper understanding of the structure of traditional Arabic poetry and how to use poetic techniques to achieve artistic and expressive goals. The results will contribute to enriching the discussion about Arabic poetry and Arabic literature.

The present situation, issues and improved schemes of localizing poetry therapy in China

Poetry therapy is a psychological intervention that uses poetic language as the core of treatment and has developed into a more mature psychotherapeutic system in Western countries. With a wave of research, the localization of poetry therapy in China has achieved some success in terms of macro-theory, meso-practice and micro-empirical evidence. However, the existing researches still exhibit following issues which mainly refer to the inadequate deep integration and comparison researches. These two issues are respectively caused by the incomplete mechanism of Western poetry therapy and researchers’ insufficient attention on the adaptation of therapeutic content in the process of localization. Consequently, a double-loop model of the mechanism of poetry therapy based on the transformation of metaphorical meaning could help to alleviate the issue of inadequate integrated research. Meanwhile, a followed therapeutic content adjustment which based on treatment culture comparison could benefit to alleviate the issue of inadequate comparative research. These improved schemes could contribute to advancing the localization of poetry therapy in China and provide a reference for how contemporary psychotherapy research can utilize the traditional culture.

Youth Programming through Language

This research is a critical and practical study. In this context, we try to discuss some of Dldar’s poems, which can be read within the framework of the neurolinguistics program to influence Kurdish youth. The research material consists of some of the poetic texts by Dldar that we consider to be appropriate examples for the subject that we want to discuss, and this is the reason that led us to have this title for the research. In this research, we endeavor to find the relationship between language and mind in the poems. The poems appear as a kind of advice in which the poet wants to have influence on Kurdish youth during the time they were written and even later, and this is a kind of programing which is considered as the main task of neurolinguistics program. From now on, this subject will be further clarified through the introduction of the concepts and the terms. This research consists of two sections; the first section is about (neurolinguistics in terms of concepts and terms). This section clarifies language, poetic language, concepts and the term of neurolinguistics as a new science in the field of linguistics. The second section entitled (Youth Programing Through Neurolinguistics-Dldar Poems as Examples) analyses all the poetic samples by the great Kurdish poet that we consider to have a kind of programing Kurdish youth through using a special poetic language, this comprises the core of our research. The research concludes with the results and the list of references, the abstract of the research is written in English and Arabic as well.

Forms of unsiting in factory compositions by Leslie Kaplan and Joseph Ponthus

ABSTRACT Leslie Kaplan’s Excess – The Factory (1982, translated in 2018 by Julie Carr and Jennifer Pap) and Joseph Ponthus’s On the Line: Notes from a Factory (2019, translated in 2021 by Stephanie Smee) are rare poetic depictions of industrial environments. Kaplan dwells on the manufacturing setting as exemplifying overproduction, whereas Ponthus attends to how precarious work in globalized supply chains gives rise to localized pressures. The two from-within stagings of labor offer testimony of dehumanizing infrastructure by pointing up intensities and ruptures in the margins of everyday capitalist cycles. They thereby demonstrate how poetry can perform a “critical unsiting” of the factory-site. In the light of this out-of-the-ordinary concept, our article identifies key aspects of (a) absence, (b) dispersal, and (c) density so as to show how poetic language can spark collective awakening and resistance to dehumanizing conditions.

Slovenska baročna pridiga

The article discusses the Baroque sermon as a special literary genre that belongs to so-called nonfiction literature. It is limited to the three main authors who managed to publish their texts in printed form at the end of the seventeenth and the beginning of the eighteenth century. These are the Capuchin preachers Janez Svetokriški and Rogerij Ljubljanski, and the Jesuit Jernej Basar. Of these, the most important is certainly Svetokriški. Slovenian literary history has recognised the literary qualities in his Sveti priročnik, especially where it uses distinctly narrative elements (exempla, fables, short humorous texts). In content and style, the sermons of Roger of Ljubljana (Palmarium Empyreum) are similar, except that they contain less humour and fewer references to the contemporary social context. Among Roger’s literary virtues is a sense of poetic language, as evidenced by his translations of Latin poems embedded in his sermons. The work of Jernej Basar (Conciones) represents a new type of ascetic-meditative sermon in the Slovenian language. This work, too, contains some typically Baroque elements, such as the theme of vanitas mundi, although in part it already approaches the classicist type of sermon, perhaps influenced by Paolo Segneri.

Unlyric: The Lute-Object in Early Modern English Poetry

ABSTRACT Considering that early modern poetic theory retains the classical genealogies and iconographies of lyric poetry as song to the accompaniment of a lyre, how can one account for lyrics which portray the poet’s stringed instrument, frequently the lute, as antithetical to his or her poetic aspirations, as a recalcitrant tool that resists the poet’s desires and thus engenders a lyric crisis? This article uses object-oriented ontology (OOO) to think through the lyric poet’s relationship with the lute which, fractured between real object and its sensual qualities, withdraws its essential being from access yet involves the poet in a network of sensual and essentially aesthetic bonds with the instrument. By reading several early modern riddles, sonnets, and other lyrics about deviant lutes as encounters between human and nonhuman objects, the article traces the poetics of unlyric — a form of poetry that disentangles poiesis from musical subjectivity and harmony, articulating instead a vision of lyric as fraught negotiations between entities whose forces lie beyond the powers of human art.

The Relevance of Poetic Language for the Revitalization of Psychotherapy

This article addresses the problems associated with language in the therapeutic setting that is stale, overly rigid, or too reliant on jargon, and therefore inhibits the full and open exploration of clients. Instead, the author suggests that psychotherapy learn from and borrow from the field of poetry. Specifically, the use of poetic language—defined as language that is rooted in images, pictures, and metaphors and that is spontaneous, associative, and informal—can improve therapists’ tracking of the somatic-emotional-mental experiences of clients and create a rich and textured holding environment that is better fit for the transformational process. The article explores observations and statements by both poets and psychotherapists, examines the overlap and parallels between them, and describes a means for using poetic language to revitalize therapeutic language and the process of therapy.