Features Of Poem Research Articles

Metaphern der Liebe in den Gedichten ‚Erklär mir, Liebe‘ von Ingeborg Bachmann und ‚Worte‘ von Nizar Qabbani

This study explores the conceptualization of love metaphors and linguistic images in German-speaking and Arabic cultures. Using George Lakoff and Mark Johnson’s metaphor theory, the analysis focuses on two poems: Nizar Qabbani’s ‘Worte’ and Ingeborg Bachmann’s ‘Erklär mir, Liebe.’ Both cultures perceive love between man and woman as challenging. Qabbani’s poem portrays it as an illusion, while Bachmann’s poem presents it as inexplicable. Interestingly, the metaphors used in the poems are universally understandable, transcending cultural boundaries. Both poems depict love through its absence, revealing a shared desire for romantic love. Bachmann’s poem features yearning for an erotic dream, while the Arabic poem lacks a sense of future prospects. These observations suggest culture-independent basic concepts within love metaphors.

Stylistic Analysis of Instagram Poem by Rupi Kaur

This research focuses on analyzing the graphological, phonological, morphological, and semantic features of English poems from Kaur's books "Home Body" and "The Sun and Her Flowers," which were posted on Instagram between May and July 2023. Using Simpson’s stylistic theories (2014), the analysis selected three poems from each of Kaur's books. The findings indicate that the poet employs stylistic elements as follows: graphologically, the use of all lowercase letters throughout her poems reflects intimacy and vulnerability, with minimal punctuation, only using a period at the end of each stanza. Phonologically, the poems lack a consistent rhyme scheme, relying instead on the natural flow of language and the emotions conveyed through words. Morphologically, the poet uses simple and concise grammatical structures to effectively communicate emotions and thoughts through straightforward sentences, drawing readers into her perspective and experiences. Semantically, the poet employs various figurative language elements, including metaphors, imagery, personification, symbolism, rhetorical questions, and repetition. The implication of this research is that Kaur's stylistic choices, such as lowercase letters, minimal punctuation, natural language flow, simple grammar, and diverse figurative language, enhance the intimacy, emotional impact, and accessibility of her poetry.

Discussing ymddiddan : The dialogue poems of the Black Book of Carmarthen

abstract: The term ymddiddan has been used by editors and scholars to refer to a body of medieval Welsh poetry usually containing or composed of dialogue. This paper begins by addressing the use and misuse of the term, assessing the meaning of ymddiddan and demonstrating how editors' application of the term to titles of poems that are frequently untitled in their manuscript context has shaped perceptions of a genre of medieval Welsh dialogue poetry. Arguments about the performance of ymddiddanau made in connection with evidence from prose tales such as Owein are also considered. The rest of the paper seeks to reach an understanding of the nature of medieval Welsh dialogue poetry by analyzing the poems themselves. For this, the Black Book of Carmarthen (NLW Peniarth MS 1) is used to provide parameters for investigation. Not only do the poems in this manuscript have a concrete historical connection, but the high proportion of them that have been designated as ymddiddan means that the Black Book scribe's idiosyncrasies and editorial decisions may have impacted our understanding of the corpus. With the form and features of dialogue poems clarified, the issue of a genre is re-evaluated. The results of this study form the basis of a sister article, in which the most famous Welsh dialogue poem, Ymddiddan Myrddin a Thaliesin , is tested against the definition of dialogue poetry established here.

Concert ouverture “In the South (Alassio)” by Edward Elgar: summation of own experience and foreshadowing of upcoming innovations

Statement of the problem. Creativity of many composers includes the works proving crucial for understanding evolution of the artist’s individual style. Usually, the scholars’ attention is drawn to the works that become a result of stylistic evolution and that become popularity amongst the audience and the performers. At the same time, it is of no less importance to study the works that became milestones on a path to upcoming achievements, especially if there are heritage lines leading to them from the previous works. This is a situation with E. Elgar’s concert ouverture “In the South (Alassio)”: on the one hand, it summarizes composer’s achievements in this genre, on the other, it is the last composer’s step before creating his First Symphony. Apart from this ambivalence of the status, the work demonstrates the process of mediation of extremities, that can be traced on the levels of genre, structure, harmonic means and approach to extramusical. Objectives, methods, and novelty of the research. In the studies devoted to E. Elgar’s creativity as a whole or his symphonic compositions, the role of the Ouverture in the indicated evolutionary aspect is not considered, which determines the scientific novelty and relevance of the presented research. The purpose of the study is to reveal intersection points between concert ouverture “In the South (Alassio)” with the composer’s past and future creative achievements. Based on a historical-biographical approach, the history of the Ouverture’s origin is highlighted in view of its place in the artist’s creative evolution; a comparative method was used to juxtapose “Alassio” with other works of the composer; structural-compositional, genre and stylistic, intonation types of analysis were applied to examine the sheet music text of E. Elgar’s composition in detail. Results and conclusion. The study concludes that this concert ouverture is tightly integrated both in the context of development of E. Elgar’s symphonic style and into late-Romantic symphonysm as such. This work becomes the last composer’s preparatory step prior to his First Symphony as it contains germs of its multiple innovations: in harmony, structure and orchestration. Connection between “In the South” and general symphonic context is seen at multiple levels: genre attribution (the work defined by the author as “concert ouverture” has the features of symphonic poem, genre much more relevant for that time); harmonic language (freedom of tonal structure and modulations, juxtaposition of far chords; passages whose key cannot be defined etc.); specifics of themes and thematic development (multi-thematicism, inclusion of “picturesque” episode, intonation links between the themes). But originality of “Alassio” does not allow to regard is as an epigone imitation of late-Romantic symphonic style, but makes us understand it as a new step of this instrumental tradition. At the same time, it is possible to define more traditional traits at each of these levels: despite all the diversions from the sonata-form it is not fair to conclude that it is changed by another structure or is combined with it; three out of four themes of principal part, except for “Nobilmente”, are purely diatonic both in melody and harmony; programmatic approach does not lead to a large number of illustrative episodes, as it was done later by R. Strauss in “Till Eulenspiegel’s Merry Pranks” or “Don Quixote”, or later by E. Elgar himself in “Falstaff”.

Reimagining the Myth of Ahalya: A Feminist Reading of Nandini Sahu’s Poem Ahalya’s Waiting

In the last two decades of the new millennium, as far as Indian Writing in English is concerned, the focus has shifted from the mainstream characters to the marginal figures of the Indian epics which is evinced by a renewed interest in Indian mythology through numerous retellings in the recent past. These retellings are unique in the sense that the focus is mainly on women and marginalized characters thereby offering fresh perspectives of interrogation and interpretation and also foregrounding new sensibilities in the process. Hence, in the recent times, more specifically from a women-centric perspective, appropriations and reworkings of the central women characters from two prominent Indian epics, that is, the Ramayana and the Mahabharata, can be observed in the form of folk songs by rural women as well as by women writers attempting to dissect the traditional narratives from a feminist perspective.
 In the quest of understanding the experiences and values that shape the collective consciousness of a given society, epics serve as an important tool of exploration as they continue to hold influence over the masses even today. Additionally, epics continue to form an important part of the cultural domain, and hence, all such appropriations serve a very specific purpose among many vis-à-vis tapping into the potential of traditional narratives to act as a resource in so far as understanding and interrogating gender politics and dominant ideologies and at the same time offering subsequent corrective measures is concerned.
 ‘Ahalya’s Waiting’, a poem by Professor Nandini Sahu, then, seeks to embark upon two important projects, that is to unravel and interrogate the gender politics and offer alternative sites of resistance against the dominant ideologies that continue to impinge upon the aspirations of women even today. The poem features in her anthology of poems titled A Song, Half and Half (2022). Moreover, the poem portrays not only the unjust treatment Ahalya is subjected to after she has been deceitfully seduced and raped by Indra and her subsequent metamorphosis into a stone owing to the curse by her husband sage Gautama but also concerns itself with her assertion of self and claiming subjectivity as its central theme.

The role of Bekmurat Uakhatov in revealing the artistic nature of folk songs

This article analyzes Kazakh folk poems (folk songs) and their artistic specifics. In the collection and systematization of folk poems, huge work, original searches, scientific conditions and views of the folklorist scientist Bekmurat Uakhatov are analyzed. In addition, the opinions of a number of scientists regarding folk poems are given. In the course of the study, the compositional structure and the artistic features of folk poems are considered on the basis of methods of historical-genetic, structural-typological expertise and the analysis of folklore text. The article will focus on the methods of systematization and practice of publishing folk poemsby the folklorist Bekmurat Uakhatov. The analysis of positions in folk poems will be carried out, demonstrating the artistry of the existence of the sung events. In addition, the types of folk poems on each topic are proved by the examples, scientific novelty is justified. As a result, B. Uakhatov's scientific judgments on folk poems that had not previously been included in the research cycle were analyzed from a new methodological point of view, general patterns and features characteristic of the genre of the poem were highlighted.

Memory of the Holocaust in Henryk Grynberg’s volume of poetry "Dowód osobisty" [Personal ID

Virtually all of Henryk Grynberg’s work is devoted to the subject of the Holocaust. In the 2006 volume entitled Dowód osobisty, individual poems require not only knowledge of the Shoah but also of the author’s biography and other work. In many, the lyrical subject is endowed withthe poet’s own characteristics. Another modality of presenting the world - one seldom employedin poetry - is through the utterance of a collective subject (the lyrical “us”, which may be identified with the Jewish nation), in which the focus shift from the personal, individual experience to a more general and objective scope. Also, numerous poems feature indirect allusions to Grynberg’s earlier work. Hence, their interpretation is contingent on the reader’s literary experience.

Mehmet Akif Ersoy’un Orta Asya Türk Dünyası İle İlgili Müşahedeleri

In his poems, Mehmet Akif Ersoy expresses the troubles and sufferings of the Central Asian, Caucasian and Balkan nations that were left unclaimed during the collapse of the Ottoman Empire. In this study, the issue of Central Asia and its problems in Ersoy's works will be discussed. The research draws attention to the backwardness, poverty and suffering of the local people of the Turkish world. Akif takes his place among the most important poets of Turkish Literature with his originality of the world of thought and his strong style in the language of poetry. The unique features of the poet's poems played an important role in Akif's special place among many poets of his time. The world view shaped around these values in Akif's works of understanding of Turkishness and Islam attracted attention not only in Anatolia but also in other places. Akif clearly describes some of the negative situations experienced by the geography of the Turkish World in his works. By drawing attention to the problems of the society in which he lives, he investigates how the problems arise and looks for ways to solve them. Akif also attaches special importance to the Turkish world living in the geography of the Islamic world. The poet, who describes the difficulties and poverty in the Turkish world in his works, tells the general situation in the Turkish world. In his work, Süleymaniye Chair, Abdürreşid İbrahim sheds light on the important issues of the region with his own words. The information about Central Asia in the poet's works reflects the understanding of national unity and integrity. Akif's influences in the Turkish World increased with Sırat-ı Müstakim, and it was effective in his transformation into a man of action. In this article, the characteristics of Akif, which are considered remarkable by the poets of the Turkish World, are discussed. In the examination, in which the interest shown by some Turkish World Poets to Akif's poems and personality is reflected in comparative texts, the identification of poets who had direct contact with Akif or who carried his influence into their poems, and the context in which they were affected, were evaluated considering the social and political conditions of the period. This study was carried out in order to determine the themes such as the problems of the Central Asian Turkish World, independence, awakening, underdevelopment and poverty in the works of Mehmet Akif Ersoy. In order to achieve this aim, qualitative research and comparison method was used in this study. In order to collect data in the research, the document analysis method from the qualitative research motifs was used. The data obtained are also given within the framework of the work “Safahat”. Key Words: Mehmet Akif Ersoy, Türk World, Safahat, Suleymaniye Kursusunde, Sırat-ı Müstakim.

The poet of the piano in poetry: Chopin and Russian writers Miatlev, Fet, Severianin, Pasternak and Akhmatova

The popular designation ‘poet of the piano’ becomes more meaningful when we understand that poets consistently turn to Chopin’s life and music for literary inspiration. Chopin’s short life – filled with nostalgia, melancholy and pain – exemplifies the Romantic notion of the suffering artist and provides fertile ground for poetry. The power of Chopin’s music – and especially the emotion it evokes – is a constant theme in the large, cross-cultural literary output on Chopin. This article samples several poetic texts by both famous and lesser-known Russian writers: Ivan Miatlev (1796–1844), Afanasii Fet (1820–92), Igor’ Severianin (1887–1941), Boris Pasternak (1890–1960) and Anna Akhmatova (1889–1966). In the poems by Miatlev, Fet and Severianin, Chopin’s music becomes emblematic of passionate love, the most frequently encountered trope. In the poems by Pasternak and Akhmatova, that music takes on a tragic dimension. Pasternak’s poem features a musical genre that Chopin pioneered, and the allusions in the poem reflect the fate of the Polish nation in the nineteenth century. The epigraph and diction in Akhmatova’s poem convey trauma and personal suffering – with which Chopin was only too familiar. Although Russia imposed oppressive policies, it was also an admirer of Polish culture, with Russians publishing complete Chopin editions and producing paintings and poems featuring Chopin and his music. When analysing these poems, it becomes clear that the tendency to characterise the relationship between Poland and Russia as one of animosity does not explain the whole picture.

Poetic Features of the Works of Mukagali Makatayev for Children

In the article, the authors analyzed a new aspect of Mukagali Makatayev creativity, which had not previously been encountered in any scientific research, not written in dissertation, monographic works. That is, the authors analyzed the poetic features of the poet Mukagali's poems, which were not studied as a separate scientific work for children. To prove the existence of nursery rhymes in the poet's work, the authors analyzed the poems based on eight different requirements for children's poetry. The authors carried out the analysis based on the works of such scientists as K. Chukovsky, Sh. Akhmetov, A. Altai is about children's poetry. In addition, the method of reviewing the works of scientists who previously studied Mukagali Makatayev's work in the dissertation volume, step-by-step method, comprehensive analysis of the poetry poetics, the method of examination ofcurricula and methods of comparison in literature are used in the article. As a result, it was proved thatthe works of M.Makatayev for children are a relevant topic that requires a separate and complex study. In the article, the authors carry out a poetic analysis of several poems by Mukagali Makataev and give examples proving that these works are intended for children. Although the opinion of the authors contradicts some principles in the decisions of previous studies, the specific analyzes presented in the research work fully reveal the novelty of the article through the conclusions.

RENDERING MEANS OF EXPRESSING POLITENESS IN THE TRANSLATION OF N. V. GOGOL’S POEM DEAD SOULS INTO GERMAN

The article discusses the linguistic means of expressing politeness N. V. Gogol’s poem Dead Souls and the possibilities of their rendering in German translation suggested by F. Löbenstein in 1846. The poem features numerous communicative situations in which speakers strive to achieve their goals using various speech strategies determined by the social status and interpersonal relationships of the interlocutors. The novelty of the research lies in the consideration of the poem’s text of the translation precisely in regard to conveying various shades of polite treatment by Gogol’s contemporary. The introduction provides a brief overview of the scientific works that served as the theoretical basis for this article. They are devoted to politeness in Russian and German linguocultures, fiction and translation. Special attention is paid to addressing the interlocutor, speech etiquette formulas, the request and the apology. Discrepancies between the Russian and German versions resulting from the lack of equivalents in German are revealed. For example, the address barin ʻmasterʼ is translated as gnӓdiger Herr — milostivyy gosudar’ ʻdear sirʼ. In some cases differences in the German text can be considered a translator’s decision influenced by his perception of the plot and a nature of characters, which manifests in, for instance, using a different mood in translation or other means of expressing modality. The article describes some features of etiquette formulas inherent to the Russian-speaking culture of the 19th century and analyzes ways in which the means of expressing politeness are rendered in German translation as well as their appropriateness.

Victorian Poetry and the Poetics of the Literary Periodical, by Caley Ehnes

Reviewed by: Victorian Poetry and the Poetics of the Literary Periodical by Caley Ehnes April Patrick (bio) Victorian Poetry and the Poetics of the Literary Periodical, by Caley Ehnes; pp. vi + 238. Edinburgh: Edinburgh University Press, 2018, $105.00, $24.95 paper, $27.95 ebook. In Victorian Poetry and the Poetics of the Literary Periodical, Caley Ehnes focuses on the intersection of two areas of study: Victorian periodicals and Victorian poetry. The monograph responds to calls from scholars in both fields to consider the importance of the poems published in the pages of Victorian periodicals. The most direct of these calls comes from Linda K. Hughes's seminal essay "What the Wellesley Index Left Out: Why Poetry Matters to Periodical Studies" (2007), which disputes the dismissal of poetry in periodicals as filler between pieces of prose. Where Hughes primarily addresses scholars working on Victorian periodicals, Ehnes speaks to poetry specialists, claiming: "the poetry of the periodical press is the poetry of the Victorian period" and thus "periodical poems should matter to all those interested in Victorian poetry whether they care for periodicals or not" (191). The book divides the four chapters by periodical title, grouping three weeklies related to Charles Dickens into the first chapter, pairing two of the most influential shilling monthly magazines into the second, and then separating two important but less-studied magazines into the third and fourth chapters. This structure creates consistency in the periodical contexts within each chapter, allowing Ehnes to present history and scholarship on each periodical and focus analysis on the features of the poetry and trends observed. Chapter 1 defines the inaugural poem as one that appears in the first issue—though not necessarily as the first item—and works to set the tone for a new periodical. In comparing inaugural poems in Household Words (1850–9) and All the Year Round (1859–95), Ehnes finds similarities in the poems' positions within each title's opening issue and theme of "advocat[ing] for greater sympathy between the classes," a mission suggested by Dickens in his own "Preliminary Word" at the outset of Household Words (26). The chapter also demonstrates how Once a Week (1859–80) used its inaugural poem to establish the periodical's treatment of poetry, use of illustration, and "construction of a middle-class identity defined by domesticity" (53). Throughout the chapter, Ehnes balances the introduction of larger claims that set the foundation for the remaining case studies, comparing features of the periodical context and themes of the poems, and performing adept close analyses of the individual poems. In chapter 2, Ehnes considers the first five years of Macmillan's Magazine (1859–1907) and The Cornhill Magazine (1860–1975), shilling monthlies that defined the style of such periodicals in the lives of middle-class families and the literary world. The chapter contrasts the emphasis on poetry in Macmillan's against The Cornhill's focus on literary labor and the role of the professional author. The section on Macmillan's discusses the ways periodical poetry fit into the careers of Alfred Tennyson, Christina Rossetti, and Dinah Mulock Craik, distinguishing between the style of poets who wrote primarily for the periodical press and those for whom such poems were more economically driven. From The Cornhill, Ehnes analyzes poems by Matthew Arnold, Adelaide Anne Proctor, Elizabeth Barrett Browning, Owen Meredith, and W. M. W. Call that grapple with "the cost, legacy and responsibility of literary labor" (93). The chapter includes detailed analyses of the formal features of specific poems by each of these contributors along with valuable insights about the larger periodical press, the role of shilling monthlies in establishing middle-class literary tastes, and the poetics of the mid-nineteenth century. [End Page 489] Chapter 3 explores the role of poetry in religious literary periodicals through Good Words (1860–1910)—described as "a conventional literary periodical with a devotional twist"—which follows models established in previous discussions of Once a Week and The Cornhill (112). Here, the inaugural poem builds upon the suggestion in Once a Week that the periodical is central to bringing the family together for communal reading on Sundays. Ehnes argues that periodical poetry in Good Words brings readers...

The Adaptation Features and Text Reconstruction in Translating Grand Canal Poems into English

The English and Chinese versions of the Grand Canal poems have different adaptation features, which have an influence on the text reconstruction of the English versions of the Grand Canal poems. This study analyzes the pragmatic adaptation features of the English versions of the Grand Canal poems in terms linguistic choices and non-linguistic choices with the representative works of the English and Chinese versions of the Grand Canal poems as the corpus. The study finds that at the level of linguistic choices, the English versions of the Grand Canal poems is, to a large extent, adaptive to the current communicative purpose of the Grand Canal culture expressed in the original Chinese versions, but at the level of non-linguistic choices, it is, to a little extent, adaptive to the above communicative purpose. Therefore, the practice of translating Grand Canal poems into English needs to be improved in terms of linguistic choices at the level of vocabulary, syntax and rhetoric, as well as non-linguistic choices at the level of state of mind, moods and cultural image, so as to reconstruct English versions of Grand Canal poems that are adaptive adequately and fully to the pragmatic features of poems expressed in the Chinese versions and the needs of target readers of English versions.

Лирическая поэма в творчестве татарского поэта Харраса Аюпова

The purpose of the research is to identify the genre and conceptual-topical features of lyrical poems by the Tatar poet Kharras Ayupov (1946-2008). The paper is novel in that it is the first in Tatar literary studies to analyse Kharras Ayupov’s poems from the viewpoint of genre specificity; in addition, the poet’s works are considered in the literary context of the 1960s-1980s, which made it possible to identify certain trends in the development of Tatar poetry as a whole. As a result, it has been proved that in the process of active exposure of Tatar literature to national traditions, the key codes of ethnic consciousness, such as home, homeland, Motherland, are actualised in poetry. Kharras Ayupov’s poems «Авыл җаны» (“The Soul of the Village”, 1988) and «Көй эзләү» (“The Search for Melody”, 1988), structured around the specified concepts, are notable for their elegiac tone, existential flavor. The works, read as parts of a whole, are based on a subjective artistic reality and structured as a confessional monologue of a persona, who is worried about the fate of his nation.

Semantics of European poetry is shaped by conservative forces: The relationship between poetic meter and meaning in accentual-syllabic verse.

Recent advances in cultural analytics and large-scale computational studies of art, literature and film often show that long-term change in the features of artistic works happens gradually. These findings suggest that conservative forces that shape creative domains might be underestimated. To this end, we provide the first large-scale formal evidence of the association between poetic meter and semantics in 18-19th century European literatures, using Czech, German and Russian collections with additional data from English poetry and early modern Dutch songs. Our study traces this association through a series of unsupervised classifications using the abstracted semantic features of poems that are inferred for individual texts with the aid of topic modeling. Topics alone enable recognition of the meters in each observed language, as may be seen from the same-meter samples clustering together (median Adjusted Rand Index between 0.48 and 1 across traditions). In addition, this study shows that the strength of the association between form and meaning tends to decrease over time. This may reflect a shift in aesthetic conventions between the 18th and 19th centuries as individual innovation was increasingly favored in literature. Despite this decline, it remains possible to recognize semantics of the meters from past or future, which suggests the continuity in meter-meaning relationships while also revealing the historical variability of conditions across languages. This paper argues that distinct metrical forms, which are often copied in a language over centuries, also maintain long-term semantic inertia in poetry. Our findings highlight the role of the formal features of cultural items in influencing the pace and shape of cultural evolution.

Comparison of the theme of national romanticism in the poems of Magzhan Zhumabayev with the works of Turkish poets

Studies of M.Zhumabayev’s creativity are carried out in various fields of science. It is known that in recent years “Magzhan tanu” as a separate branch of science has achieved a lot and began to take shape. The complexity of M.Zhumabayev’s life and the versatility of his heritage attracted the attention of foreign scientists. That is, the work of the poet is not limited to poetry. The need for a systematic and comprehensive study of philosophical and historical sources and pedagogical views in his works can be considered the imperative of the times. M.Zhumabayev, one of the prominent representatives of Kazakh literature, is one of the poets who sang the theme of Turkism in his poetry at the beginning of the 20th century, and is a unique figure for the Turkic peoples. In his poems, expressing his views and attitude towards society, it is stated that “the name of the nation is Turkic, the name of the homeland is Turan.” Obviously, the word “Türik” does not refer to one people in the works of this poet. He called the entire Turkic world to unity and solidarity, and for the rest of his life longed for the independence of the Kazakh people. In addition to depicting inner experiences, his poems widely discuss social issues written in the spirit of critical realism. It is known that the struggle for national liberation and ideological unity of the Turkic peoples of the early twentieth century was reflected in the poetry of M.Zhumabayev. Thanks to this feature, the name of M.Zhumabayev is one of the first to be mentioned when talking about Kazakh literature in Turkey, which is the leading country of the Turkic world. Although M.Zhumabayev did not travel to Turkey, his literary personality and views are widely known in Anatolia. In this context, the analysis of his poetic works by the method of analyzing the texts of Turkish literary critics and comparing the Turkic ideology of the poet with the works of poets who support the Turkic movement in Turkey shows the relevance of our topic. If we look at the principles of M.Zhumabayev and the poets of the national period of Anatolian literature, we will see that their subject matter is close, and their goals are the same. In this regard, the purpose of our study is to compare the poems of M.Zhumabayev with the works of poets who sang the Turkish direction in terms of national romanticism. In addition, the results of the study were differentiated on the basis of the methods of complex, systematic, comparative, objective-analytical, historical-systematic analysis, generalization, and generalization inherent in the science of literary criticism. The collected data were compared by topic. The main methodological and theoretical basis of our research is the enrichment of the conclusions of domestic and Turkish literary criticism, the nature of poetry, epic genres, epics, genre-stylistic, artistic and aesthetic features of poems.

Aesthetic of Video Poetry in Chuma Nwokolo’s “Sudan Sudan” by Al-amin El-nasir

Video poetry is an embodiment of literature called 'mediature'. This paper focuses on the new forms of poetry based on virtual reality. This is located in the fields of critical hypothesis, hermeneutics, semiotics, semantics of the text and digital culture. These new forms emerging from the expedition of literature (poetry) and new media are collectively called Digital Poetry. Digital poetry is referred to as E-poetry, short for electronic poetry, meaning a wide range of approaches to poetry that have in common the prominent and crucial use of computers or digital technologies and other devices. This work studies only video poems created to be read on the media accessible online or any video player such as electronic gadget. The paper offers the close-readings of Nwokolo’s “Sudan Sudan”one of numerous video poems available on the internet. This paper has been organized around two deeply interconnected approaches: aesthetic and analytic. The first approach judges the “novelty” of the phenomenon within a historical context. The aesthetic approach that is examined on the corpus is fundamental in order to establish a sort of typology of e-poetry and, consequently, to be able to start the analytic work. The aim of the study is on the one hand to highlight the basic features of video poems in order to make them more approachable and understandable as objects of study; and on the other it is to provide those who are interested in this new area of study with a sort of critical analysis of video poetry.

Giving Voice to Pain: New Testament Narratives of Healing in the Poetry of Jacob of Serugh

The late antique Syriac poet, Jacob of Serugh (451–521CE), composed narrative poems or mēmrē on a variety of biblical stories featuring miraculous healings. This essay approaches the subject of pain through examining two of these works: Homily 169 about the woman with a bent spine from the Gospel of Luke (13:10–17) and Homily 170 about the woman with an uncontrolled flow of blood found in the Gospel of Mark (5:25–34) and recounted in Matthew 9:20– 22 and Luke 8:43–48. Composed for liturgical performance, Jacob's poems feature expanded descriptions of the women's bodies and imagined speeches. Through his crafted persona as poetic narrator, Jacob rendered the anomalous female body as a symbol for the sinful human condition, reflecting larger interpretative traditions surrounding these biblical stories. In addition to this exegetical approach, Jacob's poetic form allowed him to dramatise these encounters with Jesus through embellished, first-person speeches. Jacob centres the listener's attention on the physical pain, emotional distress, and the social implications of the bodily conditions of the biblical characters. As a result, his poetry resists the erasure of the female body through the closure of symbolic readings. He embedded his meditations on pain and the social consequences of physical impairment within an overarching anti-Jewish polemic. These complex literary representations project ideals of faithful suffering and Christian identity that were formative for the Syriac Christian communities who heard and preserved Jacob's writings.

«Трепещущая вечность» Зинаиды Гиппиус: к истории рецепции Анри Бергсона в русском модернизме

The article deals with the history of the reception of henri Bergson in the works by Gippius, from the references in the epistolary and diaries of 1907 to the poem Éternité Frémissante written in 1934. Special attention is paid to the function of the poem’s subtitle in the frst edition. Besides, an attempt is made to explain why the second edition of the poem features a dedication «V. S. Varshavs-ky» instead of the subtitle «Plotin-Bergson».

Stylistics Analysis of The Poem “An Old Man’s Winter Night” by Robert Frost

Stylistics analysis gives an impartial and scientific opinion based on solid quantifiable data and methodical application. It makes use of specific technical vocabulary and notions derived from linguistics. The four layers of language aspects that can be studied stylistically are phonology, graphology, grammar, and semantics. The purpose of this research is to examine the stylistic features of Robert Frost's poem "An Old Man’s Winter Night" through the lens of stylistic analysis. The structure and style of Robert Frost's writing, as well as his subjects, viewpoints, and themes are all examined in this study. Each level has been thoroughly investigated, with attention paid to the phonetic, phonological, graphitic, semantic, and grammatical aspects of language choice. This research is descriptive qualitative with content analysis approach. To attain the purpose, the data is analysed through stylistics devices. Frost employed a variety of stylistic elements to emphasize his point, including alliteration, assonance, tone modulation, denotation, connotation, metaphor, personification, symbolism, and imagery.