Poetic Language Research Articles

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.

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.

Bioautonomia a zawieszenie (między)gatunkowej wspólnotowości. "Pokarm suweren" Kacpra Bartczaka wobec filozofii suwerenności

The article, which is an analysis of Kacper Bartczak’s poetry collection "Pokarm suweren" ["Food Sovereign"], presents the characteristics of the title figures (food and sovereignty), their interdependence and their significance for the issues addressed by the poet. The interpretation is built against the background of the concept of sovereignty as understood by Carl Schmitt, Giorgio Agamben and Roberto Esposito. Readings of individual poems aim to demonstrate that Bartczak’s lyrical subjects, in the course of experience, attempt to approach a (neo)vitalism tailored to their world-feeling, and thus initiate the objective imperative of the power of biology, deriving this necessity from the idiomatically seen poetic language – a source of order located outside the system of technopolitics and arbitrary law, but deeply connected to life.

Kisses of a Chameleon: A Collection of Poems

The events of life unfold. Many of the life’s issues are outside the scope of man’s ability to control while others are controllable. In all situations, one thing remains common- how the stories are told. Storytelling, songs, drama are but a few ways to carry the issues of a generation to the other. Kisses of a chameleon: a collection of poems is a rich outpour of original poems written to portray general life issues. These poems are a reflection of the writer’s environment and seeks to carry the reader on a journey across the ‘oceans of life’.Though a marketing professional, the writer is blessed with a natural talent of writing poems, oratory, Kente weaving, among others. Reading through these poems will take your mind to the writer’s African setting while speaking to some issues on the global seen in poetic language.

Language in displacement: The word-image in the poetry of Marília Garcia

This article studies the interactions between poetic language and cinematographic language in the poetry of Marília Garcia. Taking into account the research of Rosa Maria Martelo (2007, 2012), this work explores dialogs between poetry and cinema to analyze the poem “estereofonia” (stereophonia) in the book Camera Lenta (Slow Motion). In addition, the article positions the poem closer to the cinema of poetry, a cinematographic genre described by Pier Paolo Pasolini (1982). Ultimatley, it concludes that cinematographic syntax organizes the word-images of Marília Garcia’s poetics.

Субъектная структура поэзии молодых южноуральских авторов

This article examines the features of subject organization in the poetry of young South Ural authors (R. Agliullina, E. Kolyachenko, A. Manichenko, R. Yapishina). This generation of poets entered literature during a period of active development of new information and communication technologies. The digital turn has led to a rapid increase in texts published on the Internet, as well as to the ability of young authors to rely on a wider range of literary texts than previous generations, which manifested itself in the polystylistic and polyparadigmatic nature of poetic language. The category of subjectivity in the poetry of young authors manifests itself variably. This can be desubjectivization, that is, various forms of indirect utterance, masking and polyphony of the lyrical “I”. Often the subject in the poetry of young authors is transgressive, a translator of the painful experience of interacting with the world, the experience of overcoming trauma. Important for understanding the subjective structure of the work of young poets is the term “transsubjectivity”, associated with the phenomenon of the “new epic” in modern Russian literature. For young South Ural authors, it becomes important to broadcast stories of “other” voices, stories not about themselves, but about other people, reflection of other people’s feelings, other people’s experience. Transsubjectivity is often a way of self-identification in modern poetry, an attempt to consider individual experience through the prism of someone else, a look at oneself from the outside.

О НЕКОТОРЫХ ОСОБЕННОСТЯХ ПОЭТИЧЕСКОГО ЯЗЫКА ЕЛЕНЫ ШВАРЦ

The article analyses some features of the way Elena Sсhwarz, a representative of Leningrad uncensored poetry, used the means of poetic language. In her texts, most often written in compliance with all the norms of traditional syllabic tonics, she actively practiced form and word – creation, invented new words and sentences without a semantic layer, introduced foreign borrowings, ready-made quotes from other literary works and abusive language. In some cases, she could also conduct experiments with non-standard graphic presentation of text, trying to achieve ideal symmetry. Studying the uniqueness of the poetic idiolect (language means regularly repeated in texts, new verbal constructions, whole words or forms of words, syntactic constructions) of one of the “uncensored” Leningrad authors helps the reader to better understand how her artistic world was created.

Stylo-linguistic analysis of structure in Niyi Osundare's poem “The Rainsong”

This study conducts a stylo-linguistic analysis of Niyi Osundare's poem "The Rainsong," examining the language, form, and structure used to convey meaning and impact. Through a detailed analysis of graphological, phonological, syntactic, and lexico-semantic features, the study reveals the poet's deliberate choices in crafting a powerful and impactful work of poetry. It highlights the use of repetition, personification, imagery, and defamiliarization to create a sense of urgency, hope, and optimism, demonstrating how the poet's use of language and form shapes our understanding of the world. Employing Halliday's Systemic Functional Language as its theoretical underpinning and adopting the methodology of close reading and text analysis, this study contributes to the field of literary analysis. It demonstrates the value of stylo- linguistic analysis in uncovering the intricacies of poetic language and informing teaching and learning practices to better appreciate the complexities of poetry.

Новые технологии и прагматические техники в современной поэзии

The paper examines the linguistic and communication changes taking place in poetic dis­course under the influence of new media. The digital interface (blogs, social networks, applica­tions) affects the transformation of all the parameters of communication, due to the dominance of information channels and codes. The interaction of poetic language with colloquial speech and the influence of digital technologies lead to the creation of new strategies of subjectivation and addressing in contemporary poetry, as well as to an increase in the role of poetic pragmat­ics. In addition, the process of meaning formation in contemporary poetry involves the mech­anism of transcoding, i. e. the transfer of a message from one format to another, which can take place during the conversion from a paper (or analogue) format to a digital one. Transcoding involves a change in the form and content of the message, as well as other communication parameters. The paper classifies and explores in detail the pragmatic parameters that undergo transcoding under the influence of digital technologies, acting as new pragmatic techniques of poetic utterance.

ТРАДИЦИЯ «ВИЗУАЛИЗАЦИИ» СТИХА ГЕНРИХА САПГИРА В СОВРЕМЕННОМ ЛИТЕРАТУРНОМ ПРОЦЕССЕ

The article is devoted to the examination of Sapgir’s work in the context of the modern poetic process. It deals with the issue of the influence of Sapgir’s poetic quest in the field of graphics and stanza (form) on the creativity of modern authors. During the consideration of the work of D. Vodennikov, N. Iskrenko, D. Sukhovay, A. Alchuk, N. Azarova and M. Stepanova we found various connections of poetic language of the authors such as external similarities, deep bonds and inheritance of traditions.

Письмо Лин Хеджинян. Поэтический язык как язык исследования

The article is devoted to the poetics of contemporary American writer Lyn Hejinian (1941–2024), considered one of the most consistent successors of Gertrude Stein's experimentalism in Anglophone literary writing. The study encompasses all stages of Hejinian’s poetic creativity: from early experiences of “language writing” in the 1960–70s, autobiographical texts and collective works of the 1980–90s, to theoretical and poetic quests in the first decades of the 21st century. The writer's main interest is the persistence and impermanence of memory and the subject, as well as the role of writing in their preservation and transformation. Descriptions of the writing process as a driving force of memory and experience come to the fore here. Syntax acts as the materialization of temporality in writing. Texts in a variety of formats explore natural and cultural worlds brought to life by language. Many of Hejinian's texts, both theoretical and artistic, explore the problem of language as a social space, as a philosophical search and as political pragmatics, as well as the problem of the relationship of time to language and language to time. The book The Language of Inquiry has become a kind of manifesto for poetic language, which is the “language of inquiry.” A special place in the book is occupied by essays about Gertrude Stein, which actualize the writing practices of the great American modernist in the contemporary context of language-oriented poetics. In her work of the recent years, Hejinian increasingly turns to social themes, never ceasing to experiment with the boundaries of the poetic. She puts forward a theory of so-called “allegorical activism,” which is understood as “artistic and political practice in the service of activating creative potential in everyday life.”