Lyric Poetry Research Articles

بنیاتی زمان لە شیعریی «سەباح ڕە نجدەر»دا

The language of poetry is one of the main and fundamental races of poetry. The poet is dealing with him in aspecial way. By using a special way, he creates a special language in it. He shows his experience, talent, and skillby playing with language materials. That is why the language in the field of poetry is by the aesthetic of poetrywith the representation of words. Language building in Sabah Ranjdar’s poems. It is an attempt to highlight thespecial side of the poet’s language by the poet.The research has been made in two ways. The first part in a general way talked about language. The poeticlanguage and the special ties have been opened. The second part has been made in showing the specialties of thepoetic language by Sabah Ranjdar. In the end, some points showed the results we got.Key words:(Language building, poetry, experience, Sabah Ranjdar, special)

“AMONGST A SINGLE POINT” Thoughts on the medial attachments of Dezső Tandori

Dezső Tandori’s lyric poetry includes quite distinct voices ranging from modernity to neo-avantgarde, his poetry spanning philosophical poems, minimal art, concept poetry, as well as pieces of experimental word poetry (and even more). Examples of the medial ties between visuality and verbality are his ideograms, drawings-prose, drawings-aphorisms, and his meta-mathematical commentaries accompanied by figures. The visualization of mental space and the continuous reflection on it always connects with the deliberation of subjectivity, communicability, and the coherency of the world. Thus, Tandori’s intermedial works are not only border-crossings or configurations between art forms, but at the same time, they are works that emphasize the media nature of the subject. This is articulated by Tandori’s terms: intermediális- átélt [intermedial lived-through], and médium-art-élt [media-art-life/lived]. This study aims to show what special existential and ontological meaning can be associated with the “Tandori-like intermedial”; how the subject becomes a depot: the bearer and mediator of the meglét [being/existence] and the tűnt volt [seemed was].

ARTISTIC REPRESENTATION OF THE PEOPLE AND LOVE AS A REFLECTION OF PARADISE IN THE GHAZALS OF HAFIZ SHIRAZI

This article is dedicated to the analysis of the image of the people through the depiction of paradise in Eastern lyric poetry. Special attention is given to the moral aspect, the theme of inner beauty, love, and talent as reflections of aesthetic values and their interconnection with the concept of paradise.

Conveying the ‘Kick’ of the Original: W. B. Yeats's Late-career Engagement with Frank O’Connor's Translations of Irish Language Poetry

This essay explores the collaboration between W. B. Yeats and Frank O’Connor in the translation of Irish language poetry in the 1930s, examining the nature and extent of their partnership and its impact on Yeats’s work in that decade. The focus is on three Irish poems, two of which were composed by Aogán Ó Rathaille (c.1670–1726) – comparative analyses make it clear that O’Connor and Yeats shaped generally transparent translations and that their new poems mediated the ‘kick’ and ‘excitement’ of the original verse across the gulfs of time and language. Preoccupied by the loss of poetic audiences, Yeats was especially attracted to the relationship which he imagined to have existed between the Irish bards and their aristocratic patrons, and he took advantage of his editorship of The Oxford Book of Modern Verse to introduce the translated poems of this humiliated and suppressed tradition to a new and wider audience. His accomplished literary ballad ‘The Curse of Cromwell’ provides compelling evidence that Yeats’s encounter with these eloquent invocations of despair and loss creatively inspired him, not only stylistically but also thematically.

L’exemple dels sonets de Dante traduïts per Josep Carner en la representació de l’experiència amorosa a La paraula en el vent

Josep Carner translated Dante’s sonnets for an anthology of poems from Vita Nuova translated into Spanish and Catalan that Lluís Carles Viada i Lluch published together with his own complete translation, La Vida Nueva (1912); and also for ‘Rims de l’hora’, a literary column of the newspaper La Veu de Catalunya (1913–1914). Considering the pieces Carner chose to translate, this article reflects on his interest in Dante’s objective representation of passions and thoughts, and looks for similar uses in one of the modalities of lyrical poetry he put into practice in his book La paraula en el vent (1914).

Aesthetics and Creativity: A Preliminary Exploration of Modern Poetry Teaching in Primary School Chinese——Taking Ai Qing’s Teaching of “Green” as an Example

Among all literary works, the language of poetry is the most concise, unique, and timeless, and its expression of emotions is particularly rich. Learning poetry can enhance one’s ability to appreciate various literary works. The way to enhance the aesthetic understanding of poetry itself is closely related to quality education in Chinese language teaching. Undoubtedly, it is particularly important for classroom teaching to guide students in creating poetic scenarios, inspiring them to explore the artistic conception of poetry, and guiding them to appreciate the unique expression of poetry. Teaching students the general method of self-reading and self-understanding modern poetry can be seen as a way to make poetry teaching twice the result with half the effort. Based on this, this article takes Ai Qing’s “Green” as an example to explore the teaching path of modern poetry in primary school Chinese for reference.

Poetic Expression of Gay Lexicon Conveyed through Imagery in Lines of Poems

The focus of this study revolves around gay literature, specifically the poetics related to homosexuality. Gay literature includes literary works authored by individuals who identify as gay, as well as literary works by heterosexual writers that explore or discuss homosexual themes, and literary works that incorporate gay terminology. While there have been recent studies on gay literature and works, there has been a lack of attention given to gayspeak, which can be referred to more formally as a lavender lexicon, being incorporated into texts or selections that are thought to have literary significance. The study seeks to address how gayspeak is depicted in literature. Are there poetic elements present in texts that use gayspeak? The study seeks to determine the potential impact of homosexual poetics or gay speak on the advancement of literature and the teaching of literature, particularly about its literary qualities. The study utilized a limited selection of only two poems due to the scarcity of available poetry incorporating gay language. Every poetry in the collection is accompanied by translations in Filipino and English, which accurately convey the original phrases written in gayspeak. The poems were assessed based on their poetic substance and the extent to which the language used in the poem's lines demonstrates literary qualities, which is the study's primary objective. The analysis of these poems involved the application of established theories and research, such as Shklovsky’s concept of Defamiliarization (2004) and the Imagery and Symbolism concept by Dimalanta and Abad (2003). Gay language in poetry has literary qualities, conveying meaning through imagery. It enhances comprehension of a poet's work and creative process. Studying imagery provides insight into the poet's production and interpretation of the text, whether written in standard or specialized language.

“Tremble Secure on the Hazardous Line”: A Ghostly Materialism of Prosody in the Graveyard Century

This essay argues that the spirit of Charlotte Dacre’s Romantic lyric might be seen as in flight from the rigid early eighteenth-century technical prosodies that seek to embody it. Prosody’s own flight from petrifaction at the hands of the early eighteenth century’s dominant model, Edward Bysshe’s Art of English Poetry (1702), toward the formal liberty endorsed by late-century prosodists underwrites transformations in lyric poetry’s self-image as a spirit or specter. The gap between the eighteenth century’s pious Graveyard School ghosts and the darker spectrality of Romantics like Charlotte Dacre marks a movement away from material order toward late-century prosody’s ghostly materiality. The ghost that is merely a petrified “grizly spectre” in Robert Blair’s The Grave (1743) becomes, in Dacre’s understudied poetry of the spectral lover, a liminal presence trembling on the poem’s “hazardous line” between both poetry and prosody and life and death.

On the Possibilities of Poetry Turned into music. Experiences with Authors, Part of the Required and Elective Training Program

The proposed article examines the relationship between verse and music in the context of the popular Bulgarian song and the lyric poetry itself. Its aim is to offer a way of incorporating poetry in the classroom using one of the media for realisation of the language. The object of the analysis are poetic texts written by authors who are part of the required and elective school program. Thus, the proposed way of learning literature expands not only the spectrum of dimensions of seeing the arts but also the knowledge about the poets themselves.

Scaling Imagination: The Language Machine and Poetry

The article focuses on the specificity and functions of metaphors in the poetry of Radosław Jurczak, and more broadly in the work of the youngest poets, for whom life in the world of digital media and the prospect of the development of artificial intelligence is an important part of their formative experience. The paper uses the terms introduced by Mark Fisher for this purpose: the weird and the eerie. The analysis compares poetic devices in Jurczak’s poems with the concept of poetic language of the first avant-garde, pointing out the changes occurring in the poetics and aesthetics of the works, also focusing on figures relating to the technological sphere of modernity. The paper polemizes with the view expressed by Jerzy Jarzębski, who considers the phrase “artificial intelligence” to be a fashionable and harmful oxymoron that defines the pragmatic, reductionist worldview of its users. The article argues that the incorporation of terms that have the status of catachreses and over-lexicalized metaphors in everyday language into the language of poetry allows their creative potential and ambiguity to be recovered. Finally, the paper considers scaling as a characteristic feature of the new poetic imagination, which also requires readers to take a new approach to the language of the new poetry.

Fostering language skills through verse

The use of authentic literary texts, including poetry, in teaching English as a foreign language is becoming increasingly widespread. This can be attributed to the growing popularity of communicative teaching methods and the gradual shift away from teacher-centered approaches to language instruction. When teachers decide to incorporate authentic texts into their English lessons, they face the challenge of selecting appropriate texts and determining the most effective methods for working with them in the classroom. At the same time, they strive to consider their students' interests and preferences, as well as curriculum requirements, while focusing on teaching English. In the process of teaching a foreign language, educators always aim to choose the best teaching methodology to enhance students' communicative skills. One such method is familiarizing students with literature, especially poetry in the foreign language being studied. The ability to read foreign literature is one of the key skills acquired in the process of learning a foreign language. Today, the selection of teaching materials available to foreign language teachers is quite extensive, ranging from ready-made methodological brochures and teaching guides to accessible authentic journalistic materials and literary works. However, when choosing a teaching strategy for specific students, the question arises about the appropriateness of using poetry in the curriculum, as well as the degree of their authenticity or adaptation. In most foreign language teaching methodologies, literature is introduced after a substantial and solid study of the language. Thus, in textbooks, methodological tools, and teaching aids for teachers, poetic works receive little attention. This work is an attempt to analyze the importance and effectiveness of using poetic works in foreign language lessons, it explores the integration of poetry in the teaching process and investigates its impact on language acquisition, cultural appreciation, and overall language learning experience. It is an attempt to learn contemporary language teaching methods with an emphasis on literature at the university level and analyze their effectiveness in this specific context.

Traditional and innovative in the poetics of I. S. Nikitin (to the 200th anniversary of the birth)

The article examines I. S. Nikitin’s poetics from the point of view of its continuity in relation to the achievements of his predecessors, lyric poets, and those original features the poet himself developed. The main method is an end-to-end textual analysis of I. S. Nikitin’s poetry collection in the unity of content and form. Additionally, the study used the research methods of linguistic stylistics, linguistic poetics, semasiology, and structural-semantic syntax. The metrical features of poetic texts are given in the interpretations of M. L. Gasparov’s school. Though I. S. Nikitin considered A. V. Koltsov his immediate teacher, his poems contain noticeable images, motifs, and linguistic reminiscences referring to other poets’ creative work, especially A. S. Pushkin’s. I. S. Nikitin creatively interpreted certain Pushkinian linguo-poetic techniques (the antithesis of vice–virtue in the reflection on the role of the poet and poetry, the illustrative comprehension of canonical Christian texts, the realistic use of the ballad and idyll genres, the patriotic pathos of civic poems, the use of classical metrical schemes, and others). I. S. Nikitin made a significant contribution to improving the artistic language of Russian realist poetry. He developed the song genre in literature, introduced a variety of dramaturgical principles into lyric poetry, and proposed original compositional schemes for philosophical, social, and landscape poems. In his writings, I. S. Nikitin refined the poetic syntax of homogeneous constructions. Moreover, he extended the motivic boundaries of Russian lyric poetry through elaboration and precise observations, as well as enriched the linguo-stylistic repertoire of its vocabulary. I. S. Nikitin’s work is organically, closely, and versatilely connected with the content and language development of Russian poetry in the second half of the 19th century.

Reverse the Curse: Genesis, Defamiliarization, and the Song of Songs

This paper assesses the relationship between the so-called “curses” on the Woman in Gen 3:16 in terms of themes (garden, tree, creation, marriage, procreation, and so on) and concludes that the late poetic text of the Song aims at a deliberate corrective to the negative view of gender relations in Genesis. The use of mashal, “to rule over” in Gen 3 is reassessed from the perspective of its use of the native genre designation of mashal in Wisdom Literature. There, it refers to similarities between two compared items. The direct reversal of God’s speech to the humans in Gen 3, where the woman will be ruled over by her man but still desire him, appears in the Song in the speeches of the Beloved: there she states categorically that the man is her beloved and belongs to her, while she belongs to him. The tactic of defamiliarization (a Russian literary concept) is used to juxtapose radically different views and destabilizes the notion of only one meaning for the words under consideration. In effect, reading two opposing themes together forges a new, more inclusive understanding of both. This paper concludes with a dramatic new rendering of the Song, “The Song I Sing Complete” with speech and motifs reassigned to the woman’s voice, foregrounding her remarks within the genre of love poetry, drawing on tropes found in lyrical poetry and the myth of Israel’s neighbors in Mesopotamia and Egypt.

ARTISTIC IMAGES OF THE “EPOCH, SOCIETY, TIME” IN THE POETRY OF MAKSUT NETALIEV

The article analyzes the characteristics of the concept of land of ancestors and native land, the peculiarities of nature picturesin the poetry of the poet Maksut Netaliyev. A review of literary critical materials and theoretical works related to the theoretical problems of poetry written about the place of the poet in Kazakh poetry is made, and the unique stylistic features of the poet's poetry are considered. Attention is paid to the poet's ability to describe natural phenomena and harmony of rhythm and melody. Philosophical thoughts of the poet in the description of nature and man, the unity of the concepts of longing, sadness and joy, hope related to the concepts of land of ancestors and native land with the world of poetryare analyzed. In the poet's poetry, the concepts of time, people, homeland are sung in close unity. Soviet censorship, the impact of ideology on the poet's poetry and the occurrence of images of independence, market relations in the poet's poetry, and the expression of the image of sovereignty in the language of poetry are discussed. ​The task of the article is to review the poetic heritage of M. Netaliev within the framework of the project of literary regional studies, to reveal the nature of the artistic-aesthetic worldview in the description of the poet's homeland, native land concepts and natural phenomena, to evaluate it from the point of view of modern literary studies. ​The scientific-practical meaning and value of the article can be said to be the analysis of M. Netialiev's poetry from the perspective of the past and present of Kazakh poetry within the framework of the literary regional studies project, and the conducting of new researches related to the issues of literary regional studies.

Semantic analysis of figurative language used in DH Lawrence’s ‘Snake’

The present research delves into the nuanced world of figurative language within DH Lawrence's poem, 'Snake,' investigating its role in conveying emotional depth and symbolic resonance. The study is inspired by the intersection of figurative language in both poetry and, Lawrence's poetic craftsmanship giving a captivating subject. Through meticulous analysis, the researcher aims to elucidate the influence of figurative elements on the poem's emotional and symbolic dimensions, unraveling insights into the speaker's psychological aspects and the broader human experience. The research contributes to English language teaching by investigating the prospective of incorporating the poem, 'Snake' into pedagogy. By fostering an accolade for the pleasant features of studying literature beyond monotonous analysis, this study deals with a fresh perspective on the multifaceted layers of figurative language in poetry.

Martin Johnston, the Problem of Elegy, and Social Poetics in Late Modernist Lyric

ABSTRACT Elegiac poems by Australian late modernist poet Martin Johnston (1947–90) expose key anxieties about lyric poetry after American mid-century late modernism. Johnston, like other of his contemporaries, experimented with elegy in order to rethink the lyric in ways conscious of innovative mid-century and post-1960s developments from American poetry. Johnston’s discomfort with elegy and the elegiac tradition, and his subsequent effort to expand upon the concept of the dead poet since romanticism using social poetics, illuminate wider tendencies in late modernist poetics shared with other Australian peers. This essay insists that the late modernist question of social poetics can be studied via the tentative process the antipodean poet Johnston adopts in his complex relationship to elegiac lyric.

Виклики перекладу: адекватність чи інтерпретація (на матеріалі українських перекладів поетичних творів Адама Міцкевича)

The article highlights special features in Ukrainian translations of the poetic legacy of the outstanding Polish poet Adam Mitskevich using as examples some of his odes, poems, and lyric verses in aspects of their sense, expressive, lexical and stylistic interpretation, as the role of translations in the process of safekeeping and multiplying the world cultural legacy is especially important. While adhering to national traditions, Ukrainian translators enrich the treasury of Ukrainian literature, enabling the exchange of cultural values between countries and nations. Ukrainian translations of Adam Mitskevich's poetry are researched by multiple linguists and literary experts, in particular, by I. Franko, M. Vaskiv, V. Gumenuk, L. Markuliak, L. Pshcholovska, M. Strikha, and so on. This research is focused on the review of challenges appearing in the process of Adam Mitskevich's poetry translation, both typical and specific, intrinsic solely to the poems of this famous Polish poet. The paper contains an analysis of pieces of Adam Mickiewicz's works translated by Oleksandr Navrotsky, Myhailo Starytsky, and Mykola Lukash. It also defines the effect of Adam Adam Mickiewicz's poetry on different generations of Ukrainian readers. The article also reviews some of the translational methods and peculiarities of their usage by different translators, in particular of author’s style reproduction, symbols usage, outdated words usage and also appropriate usage of dialectal, and special vocabulary in Polish and Ukrainian, etc. The article defines features, ignoring which results in distortion of senses, and measures the level of translator’s creativity, allowed while working with poetical texts. The author concludes that the Ukrainian treasury of the translated poetic legacy of Adam Mitskevich is rich, but would benefit from new translations of poems both already translated and well-known to readers and new ones that have not found their Ukrainian bards yet.

Философия поэзии: проблемы изучения (обзор материалов «круглого стола»)

On October 24, 2023, as part of the scientific project of the A.M. Gorky Institute of World Literature of the Russian Academy of Sciences “Literature through Philosophical Prism: the History of Russian Lyrics in V. Solovyov’s Aesthetics”, supported by the Russian Science Foundation (RSF, project No. 23-28-00800), with the participation of the Moscow State Budgetary Institution of Culture “‘A.F. Losev House’ – Research Library and Memorial Museum” and with informational support from the journal “Voprosy Filosofii”, an International Round Table “Philosophy of Poetry: Problems of Study” was held. During the round table, the following groups of questions were discussed: 1) How do literature and philosophy interact in Russian lyric poetry from the late 18th to the early 20th century, and what are the connections between philosophical ideas reflected in contemporary philosophical concepts prevalent in the intellectual environment? How was poetry perceived and interpreted by Russian philosophers (Vl. Solovyov, N.A. Berdyaev, S.N. Bulgakov, A.F. Losev, S.L. Frank, and others), and what are the forms of influence of their philosophical-aesthetic systems on poetic creativity, including through literary criticism? 2) What are the theore­tical foundations and chronological boundaries of the existence of “philosophical poetry”? What are the similarities and differences between “philosophical poetry” and “poetry of thought”? What is the relevance and what are the epistemological possibilities of poetic anthropology, ontology, and gnoseology? 3) What are the mechanisms for generating philosophically rich symbols and mythologems in poetry? What are the teleological foundations of artistic rhythm? What function do the spatial-temporal coordinates that form the artistic world of lyric poetry serve?

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 .

Metaphors and Telescopes: The Reception of Emanuele Tesauro’s Il Cannocchiale Aristotelico in Marvell’s Poetry

Abstract This article argues that Emanuele Tesauro’s treatise on wit, Il Cannocchiale Aristotelico (1654) influenced Andrew Marvell’s Restoration satire ‘The Last Instructions to a Painter’. It highlights a number of close correspondences between the engraved allegorical frontispiece of Tesauro’s treatise and Marvell’s final envoi ‘To the King’, which ironize the poem’s claim that it only satirizes the king’s courtiers. There are also affinities between Tesauro’s and Marvell’s development of imagery drawn from a Martial epigram at another pivotal moment in the ‘The Last Instructions to a Painter’, which reveal Marvell’s keen sense of the shifting associations between poetic style, religion and Restoration politics. Marvell found in Il Cannocchiale Aristotelico, the essay argues, a discussion of the acuity of metaphor which meshed excitingly with his own previously developed practice, especially his interest in reflexive and optical imagery. The article canvasses some of the ways in which Il Cannocchiale Aristotelico may have influenced Marvell’s later poetry, particularly in the use of ‘laconic’ wit, as he adapted to the poetic and political coteries of the Restoration. But it argues that ‘The Last Instructions to a Painter’’s notoriously baroque tribute to the Scottish Catholic soldier Archibald Douglas identifies Tesauro’s theory of wit with counter-reformation aesthetics, and uses parody to negotiate an uncomfortable recognition of how Marvell’s lyric poetry might be interpreted by Restoration readers.