Metaphor In Poetry Research Articles

Al Tahlîl at Taqābuli fi Al Tasybîh Bayna Lughat Al 'Arabiyah Wa Lughoti Al Indûnisiyah wa Al Istifādah Minhu Ta’lîmiyan

<table style="width: 697px;" border="0" cellspacing="0" cellpadding="0"><tbody><tr><td valign="top" width="510"><p>This research aims to determine the similarities and differences between similes in Arabic and Indonesian languages, as well as the lessons learned from this analysis. The research employs a comparative analysis, which involves comparing Arabic similes with Indonesian similes to identify the differences between the two within the science of balaghah. A descriptive approach is adopted for this research. Data collection utilizes documentation and observation instruments, specifically through reviewing journals and books related to tasybih. The study's findings reveal that similes are widely used in both Arabic and Indonesian. However, there are some key similarities and differences between the two languages. Similarities lie in the meaning and function of similes, as they are used as metaphors in poetry and literature. The primary difference lies in the lack of subcategories for similes in Indonesian compared to Arabic. Additionally, the tools used for constructing similes are more extensive in Arabic. Furthermore, similes offer educational benefits in language learning by aiding learners in understanding and memorizing new vocabulary and grammatical structures. This study demonstrates the potential of similes as a tool for teaching both Arabic and Indonesian languages, particularly in enhancing language skills and cultural understanding.</p></td></tr><tr><td valign="top" width="510"><p> </p></td></tr></tbody></table>

Poetry as a means of social criticism and medium for learning literature in high school

The message of criticism can be conveyed in various ways, one of which is through the medium of poetry. As a literary work, poetry conveys a message in a series of beautiful languages, short but full of meaning, and able to touch the feelings of its readers. This research examines a poem entitled Selfish by Misnawati. In this poem, there is a social critique of the phenomenon of selfishness that occurs in modern society without leaving aesthetic value with the use of metaphors that can touch the reader's feelings. This study aims to explore the use of metaphors in poetry that convey social criticism and its implications for learning literary works. The method used in this study is a literature study with a semiotic design to identify the metaphorical meaning contained in the poem. Analysis data is in the form of words, phrases, or expressions that contain metaphors. The results of this study show that the use of metaphors in this poem was created to strengthen the message or meaning of social criticism so that it can foster social awareness, feelings of empathy, critical thinking, develop creativity, and foster the reader's sense of aesthetics. The implications of these findings can be used in literary learning in the framework of (1) fostering students' social awareness, (2) improving students' literary ability, (3) arousing student empathy, (4) developing student creativity, and (5) fostering students' critical awareness.

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.

Метафора в поэзии: анализ влияния перевода на читателя

Метафора в поэзии: анализ влияния перевода на читателя

The Conventionality and Novelty of Metaphorical Expressions in British and American Love Poetry: A Cognitive Approach

According to the Conceptual Metaphor Theory (CMT), metaphors are pervasive in everyday life, and most novel poetic metaphors are developed from conventional metaphors. Several examples and explanations have been provided to support these assertions; however, there has yet to be a systematic investigation into the conventionality and novelty of metaphors in literature. To partly fill in these gaps, the present study aims to explore which conceptual metaphors of love are frequently employed in British and American love poems and how the poets adapt them to bring novelty to their works. Love, one of the most highly metaphorised concepts, was chosen as the topic of the metaphors in this study, for there is a considerable resource of love poems available to be explored. The findings of the study reveal that there are nine conventional conceptual metaphors of love employed in British and American love poems. The conventionality and novelty of metaphors in poetry were then analysed in their respective poetic contexts, focusing on how the poets have adopted four techniques (extending, elaboration, questioning, and combining) to create novel expressions from conventional language. This study indicates that the knowledge of conceptual metaphors can help a person, especially a learner of a foreign language, to interpret poetic metaphors in literary contexts.

ВТОРИЧНАЯ ИНТЕРПРЕТАЦИЯ ЯЗЫКОВЫХ СТРУКТУР В ПОЭЗИИ И ПРОЗЕ МИГРАНТОВ

The article deals with issues related to metaphors in poetry and prose of migrants through the prism of multiculturalism. The authors argue that in cognitive perspective metaphors emerge within the framework of secondary linguistic interpretation and conceptual derivation as its underlying process. Taking into account memory peculiarities and working space of a poet or writer, possible procedural variants of metaphor production are proposed. It is stated that metaphors in poetry and prose of migrants are created being based on national / conventional and unique / individual patterns of their formation with reference to certain contextual factors that correlate with dominant constructs of poets and writers’ linguistic consciousness. Significant is the idea of integrating the accumulated contextual knowledge in the aspect of cognitive matrix, as well as possible variation in the content of the matrix model from the mundane to the expert representation of knowledge in the process of metaphorical interpretation of the world migrant poets and writers live or lived in.

ФИЗИОЛОГИЯ В ЭСТЕТИКЕ И ПОЭТИКЕ: ТЕЛО VS ДИСКУРС

Physiology in the article is understood in the anthropocentric sense of the concept. The article is based on the material of different stages of the evolution of Russian and foreign literature. Several types of interaction between the discourse of physiology and artistic discourse are considered: humoral, sensory-affective, metonymic, naturalistic, post-symbolist. The subjects of analysis include various receptive and creative aspects of “physiological aesthetics” and the role of physiological motives and metaphors in poetry and in the typology of characters. Deviation from the physiological norm has been the most important element of depiction of physiology since antiquity and it is especially important in naturalism and the avant-garde.

METAPHORICAL EXPRESSION USED IN POETRY IN ENGLISH TEXTBOOK ENTITLED "PATHWAY TO ENGLISH"

The aims of this research are to find out the types and meaning of metaphor in poetry in English textbook entitled “Pathway to English”. The main data of this research are 9 poetry in the English textbook entitled “The Seasons”, “The Little Rose Tree”, “Alpine Glow”, “From Alcuin”, “A Man Young and Old: Human Dignity”, “Love and Friendship”, “Mountain”, “My Star”, and “I Wandered Lonely as a Cloud”. In this research the researcher applied descriptive qualitative method to analyze the data. The researcher used theory of Parera to classify the types of metaphor and also used the metaphor identification procedure proposed by Pragglejaz to identify the metaphors contained in the poetry. The result showed that there are 22 lines that used metaphor, which 16 lines are anthropomorphic metaphor, 3 lines are synesthetic metaphor, 2 lines are metaphor abstract to concrete and 1 line is animal metaphor. The meaning of all these poetry is about life. By using metaphor the poet can also express their feelings to the reader to understand the implicit message contained in the poetry through the depiction or comparison made by the poet.

‘[T]his world is now thy pilgrimage’: William Michael Rossetti's Cognitive Maps of France and Italy

This paper takes as its starting point the conceptual metaphor ‘life is a journey’ as defined by Lakoff and Johnson (1980) in order to advance a new reading of William Michael Rossetti's Democratic Sonnets (1907). These political verses may be defined as cognitive-semantic poems, which attest to the centrality of travel in the creation of literary and artistic meaning. Rossetti's Democratic Sonnets is not only a political manifesto against tyranny and oppression, promoting the struggle for liberalism and democracy as embodied by historical figures such as Napoleon, Mazzini, Cavour, and Garibaldi; but it also reproduces Rossetti's real and imagined journeys throughout Europe in the late nineteenth century. This essay examines these references in light of the issues they raise, especially the poet as a traveller and the journey metaphor in poetry. But its central purpose is to re-read Democratic Sonnets as a cognitive map of Rossetti's mental picture of France and Italy. A cognitive map, first theorised by Edward Tolman in the 1940s, is a very personal representation of the environment that we all experience, serving to navigate unfamiliar territory, give direction, and recall information. In terms of cognitive linguistics, Rossetti is a figure whose path is determined by French and Italian landmarks (Paris, the island of St. Helena, the Alps, the Venice Lagoon, Mount Vesuvius, and so forth), which function as reference points for orientation and are tied to the historical events of the Italian Risorgimento. Through his sonnets, Rossetti attempts to build into his work the kind of poetic revolution and sense of history which may only be achieved through encounters with other cultures.

POETIC METAPHORS OF LOVE IN ENGLISH AND VIETNAMESE

The conceptual metaphor theory states that poetic metaphors are in fact conventional metaphors but they are made novel via four techniques - elaboration, extending, questioning, and combination. Based on this sense, our paper focuses on examining and comparing poetic metaphors of romantic love in English to those in Vietnamese. Contrastive analysis is the main method applied in the study with the data for investigation coming from English and Vietnamese love poems. Also, the metaphor identifcation procedures by Pragglejaz Group and its extension are employed to minimize the risk of impulsiveness in metaphor collection process. Our fndings reveal that the novelty of love metaphors in poetry does not lie in concepts but in linguistic expressions thanks to the four above techniques, among which combination is employed much more than the others in both languages. Furthermore, both conceptual and linguistic metaphors of love are found to be similar between English and Vietnamese poetry, which is supposed to result from the universality of metaphor. However, variations of cultures, lifestyles, and thought bring about some differences of love metaphors between these two languages.

시에서 은유의 규정성, 강요, 계몽의 성격

시에서 은유의 규정성, 강요, 계몽의 성격

Synaesthesia

In the existing literature on synaesthetic metaphors in poetry it is proposed that transfers tend to go from the ‘lower’ (touch, smell, taste) to the ‘higher’ (sight, hearing) sensory modalities. The purpose of this article is to establish if the same directionality also holds for synaesthetic associations found in other text types. To this end, a method for the semi-automatic extraction of synaesthesia is introduced and applied to general-purpose corpora of English (ukWaC) and Italian (itWaC). In the data collected for these languages, most transfers proceed in the expected direction, e.g.sweet voice, but instances of ‘backward’ transfers are also found, e.g.bitter cold. Based on these results, it is claimed that the ‘directionality principle’ reflects thefrequencyof association types, rather than representing universal constraints on synaesthetic transfers, as has often been more or less explicitly assumed. It is here argued that both properties of human perception and more strictly linguistic factors can account for the frequency tendencies observed in synaesthesia. The proposed interpretation is also shown to account for apparently contradictory evidence coming from typological studies on verbs of perception.

XIAOFEI TIAN. Visionary Journeys: Travel Writings from Early Medieval and Nineteenth-Century China.

This book proceeds on a premise that might seem odd to historians: that the early medieval period (fourth–early fifth centuries) can be usefully compared with the nineteenth. If you work on the assumption that nothing has really changed in China before the twentieth century, then such a premise is plausible, but Xiaofei Tian does not. She clearly states that at neither time would static be an appropriate adjective for China. So, what is she talking about? This is a book—and a wonderful book it is—about travel and poetry, form and content. Although it concentrates on the fourth and nineteenth centuries, it cherry-picks magisterially throughout earlier and intervening centuries as well. Tian translates numerous poems, and I mean numerous. This book could easily be used as a text on how (beautifully) to translate Chinese poetry. Tian concentrates on poetic travelogues, real and imaginary, and on the use of various travel metaphors in poetry. It must be mentioned that early medieval Chinese poetry is notoriously difficult to understand, let alone translate, although Tian does both with great fluency. At times, in the first section on the earlier period, one might wonder what the text has to do with travel at all, but Tian returns us to earth with analyses of travel to imaginary places, imagined places (real places never actually seen), and occasionally real places. Much more attention is focused here on poetic genre and trope than on the historical timeline.

***The Use of Metaphors in Poetry and Organization Theory: Toward De-Compartmentalization of Organizational Knowledge

Since the time of Western modernity, knowledge is compartmentalized into differentiated fields. This has however not mitigated the influence of natural science model of theorizing on social sciences. As a result, the discipline of organization theory has grown without the influence of abstract, ephemeral and metaphysical fields such as religion, history, mystic philosophy, arts and literature. With the rise of organizational cultural studies and the emergence of symbolic-interpretive view of organizing during the last three or four decades, the trend is however gradually shifting. Corporate aesthetics is a field within organization theory which places value on the aesthetical aspects of managing and organizing. Taking the lead from corporate aesthetics, this paper highlights the link between Organization theory and literature (poetry, both English and Urdu). The linguistic and conceptual instrument of metaphors is isolated as the underpinning tool of this link. ...

The Use of Metaphors in Poetry and Organization Theory: Toward De-compartmentalization of Organizational Knowledge

The Use of Metaphors in Poetry and Organization Theory: Toward De-compartmentalization of Organizational Knowledge

Rethinking Organic Metaphors in Poetry and Ecology: Rhizomes and Detritus Words in Oni Buchanan's ““Mandrake Vehicles””

This essay analyzes the relationship between organic form in poetry and organicism in ecology through a reading of Oni Buchanan’s “The Mandrake Vehicles” (2008). Buchanan revises organic form by replacing Romanticism’s single plant with rhizomatic root structures, with implications for the metaphors that drive much ecocritical thought. While traditional nature poetry’s “closed-circle” organicism sees both literature and ecology as ways of recuperating waste, Buchanan’s poems insist that organic growth and poetic composition both thrive through bursts of superfluous energy. Buchanan’s poems suggest that network metaphors and a poetics of excess might redirect the persistent drive toward organicist holism in ecocritical discourse.

On poetry – entering heaven through the ear of a raindrop: An <i>ars poetical</i> reading

This article investigates the uniqueness of poetry. Special attention is given to the ars poetica of the poetry of Cas Vos. Other poems are also discussed. The binding force of metaphors in poetry is considered. The essence and expressiveness of poetry are explained through several different poems. The end of the journey of poetry is concluded with a sonnet by Robert Pinsky.

Mentalisation and metaphor in poetry and psychotherapy

People turn to poetry and to psychotherapy when in states of heightened emotion – love, elation, despair, death and loss. Through the analysis of a particular poem this article suggests that there are formal similarities between poetry and psychotherapy that can illuminate the workings of the latter. Perhaps the most overarching of these is mentalisation: the capacity to ‘think about feelings’ or to be ‘mind-minded’. Finding the ‘right words in the right order’ is a task for therapists and their patients as well as for poets, since the appropriate image or metaphor can mirror or evoke feelings in the listener in a way that facilitates empathic attunement. If feelings can be objectified, their power to distress or overwhelm is mitigated. Thus, poetry and psychotherapy are similarly concerned with processes of repair of the human experiential and communicative fabric.

On the "Music of Thought": The Use of Metaphor in Poetry and in Psychoanalysis.

On the "Music of Thought": The Use of Metaphor in Poetry and in Psychoanalysis.

Pilgrim Clouds: The Polymorphous Sacred in Indo-Muslim Imagination

This article explores one Urdu poem of the early twentieth century, by the Indian poet Sayyid Muhammad Kakorvi. Praise of the Best of Messengers includes imagery of shape-shifting clouds that the poet skillfully uses to evoke the sacred and to describe his own relationship to the Prophet Muhammad from his locale as a Muslim in colonial India. He does this by invoking multiple geographic, cultural, and religious references in juxtaposition, as he moves from Qur'anic to Indic religious motifs through cloud images. His sense of the sacred is rooted in Indian imagery even as it embraces a wider Islamic identity that is also Persianate and Arabian. Muhsin's poetry seeks to reassert a multi-dimensional Islamic identity in India, anchored in Sufi theo-erotic mysticism and oneness of being philosophy. This is in stark contrast to other colonial Urdu poets, like Hali and Iqbal, whose use of religious imagery is more ideological and who saw poetry as a vehicle for nascent nationalism and communal separatism in a self-consciously modernist movement. ********** Ritual gives the force of the sacred a fixed form and knowable boundaries. Temples, mosques, and pilgrimage destinations root the sacred in specific places and known precincts. Prayers, sacrifices, and pilgrimage journeys fix the sacred a specific time and known duration. These sacred times and places give the chaos and uncertainty of profane life a certain sureness and foundation in a time beyond time and a place beyond place. (1) In contrast, in the field of poetry, the sacred can manifest in a persistently polymorphous way. In the free play of words, the sacred can infuse any metaphor or image, even those that seemingly belong to more profane spheres of life. In poetry, a single metaphor can suggest both sacredness and profane life at the same time in ways that are provocative and arresting, or even transgressive. Like clouds, metaphors in poetry are free to shift spaces and forms, suggesting a sense of space and time which is beyond the structure of routine life on the ground. The clouds are natural symbols of liminality, that quality of the sacred which anthropologist Victor Turner captures as betwixt and the structures of social life on the one hand and ritual life on the other. The shape-shifting dynamism of clouds inspired one of modern Urdu literature's most intriguing poems in praise of the Prophet Muhammad. Written by Sayyid Muhammad (who died in 1905 CE), this poem is in the genre of na't. Na't literally means but in Urdu poetry always means the poetic description of the virtuous qualities of the Prophet Muhammad. This na't is unusual, however, in that it describes the movement of clouds. Beneath the shifting surface of cloud images, their power of movement and ability to change shape allow Muhsin to use clouds as an intermediary between heaven and earth. The image of clouds helps Muhsin to overcome the geo-cultural distance between himself, as a Muslim subject of British India, and Muhammad the Arabian Prophet, the founder of his religion and his own ancestor. This praise poem and its images of clouds give us contemporary readers a way to assess the complex ways in which Islamic imagination apprehended the sacred (through images drawn from history, literature, mysticism and scripture) in South Asia in a period of modern tensions. Although ostensibly in praise of Muhammad, Muhsin's epic poem is more than direct praise of its heroic subject. The poem takes its reader on a pilgrimage to Mecca. But how to go on the pilgrimage when the poet is rooted firmly in Northern India? His love and longing for the Prophet take his vision to the clouds, which are not trapped by time and space. In the movement of the clouds, the poet can travel in his imagination through geographical space and historical time that separate him from the Prophet of Arabia. He does not address history and geography directly, however (in contrast to other modern Urdu poets like Altaf Hussayn Hali and Muhammad Iqbal); rather the clouds allow him to travel through literary tropes that span the distance linking his Urdu India to Arabian Mecca. …