Poetic Content Research Articles

WOMEN WITH INNER AND OUTER BEAUTY

This article is devoted to the analysis of Mehinbanu and Shirin in the epic "Farhad and Shirin" by Alisher Navoi. The article talks about the historical roots of the characters of Mehinbanu and Shirin, the processes of their transfer from folk art to written literature, and artistic tasks in revealing the epic's poetic content.

Romances by Alexei Stârcea on the lyrics of Anatol Gujel: imaginary structure, musical language, interpretative tasks

Romances of Alexei Stârcea written on the lyrics of Anatol Gujel, are analyzed from the point of view of poetic content, the interaction of the music with the literary text, musical language, and vocal performance. The theme of the romances Noaptea pe lac, Iluzii and Te aștept is associated with love lyrics, which in the poetry of A. Gujel is closely related to images of nature. The romance Struguri de Moldova glorifies the beauty of the native land. All the four romances were written by A. Stârcea in the second period of his activity (1957–1968) and reflect some features specific to this decade, such as the interest in the work of Moldovan poets, the in-depth development of national themes, the reflection of folklore elements in the musical language, the emergence of a genre symbiosis of romances and songs, the further researches in the field of vocal expressiveness, the dialogic interaction between the vocal and piano parts.

Learned words: how poetry can be used to reflect on staff belonging in higher education

ABSTRACT This research uses poetry as a form of data to explore a sense of ‘belonging’ for staff working in higher education. Poetic content analysis was explored as a research method and using poetry in this way has allowed for a nuanced exploration of questions of belonging in the context of individual intersectional identities. Following an analysis of eighteen poems submitted by staff working in higher education four major categories emerged: ‘Community’, ‘Exclusion’, ‘Transformation’, and ‘Self’. These emergent narratives led to several recommendations that institutions and individuals might consider implementing to create a more positive sense of belonging for all staff working in higher education. These recommendations and emergent narratives are centred around a willingness for higher education as a sector to better recognise and nurture the deep-rooted commitment that is shared by many staff to the potential of higher education both now and in the future.

THE ANTI-IMPERIAL GENRE PARADIGM OF THE CANADIAN POST-VICTORIAN NOVEL

The paper offers a comprehensive analysis of discursive anti-imperial models in Canadian post-Victorian novels. The set tasks relate to detailing the features of this genre paradigm. In particular, attention is focused on the study of its historical, literary, and cultural context. The explanation of the socio-historical background typical of classical English Victorianism, provided in the paper, helps to trace the evolution of the related genre on Canadian soil. Its reinterpretation was prompted by the polyethnic and cultural ‘mosaic’ of the country, which became a prerequisite for the emergence of original models in modern sociology, cultural studies, and fiction.
 The study postulates the idea of an anti-imperial paradigm of the genre within the Dominion of Canada. Hence, the process of transforming the discourse of the Victorian novel into the post-Victorian one is demonstrated to be determined by the peculiarities of the post-colonial multicultural structure of the country, which manifests itself at the thematic, cognitive, psychological, and poetic levels. For the purpose of comprehensive analysis, the research is based on the plurality of historical and philosophical foundations within the field of ethics. The range of methods encompasses syncretic, cultural-historical, psychoanalytic, ‘close reading’, genetic, and gynocriticism.
 The study led to the observation that the social pattern of the Victorian era (a strict religious and moral code, the pretext of which was Protestantism, mysticism, etc.) permeated Canadian prose as an echo of English Victorianism. There was an ontological dialogue between the Victorian era and post-Victorianism, between individuals and the times in which they lived. The relationship between literature and individuals of different cultural and historical periods had an evolutionary character. The evolution of the genre of the Canadian post-Victorian novel, particularly in the works by L. M. Montgomery, B. Moore, and M. Atwood, is related to the multifaceted style, which involves the use of diverse elements from various aesthetic forms. This synthesis is the result of an experiment with both new and traditional literary models in Canadian literature. The correlation between the classical and post-Victorian genres shows the functionality of such means as satire, pastiche, and simulacrum in the latter. These tools transform the Victorian novel into an ‘anti-Victorian’ one. The examination of the modern version of the classical genre demonstrates the heterogeneity of meanings, their layering and transmission, a new role and conceptual load, motivated by purely national means of explanation.
 Over the course of an extended journey through time, the traditional Victorian models, adopted in the literature of the metropolis, had been transformed on Canadian soil. They acquired unique qualities, expanding the field of event and poetic content of the works by Canadian authors and demonstrating their solid post-Victorian anti-imperial discourse.

엘리엇의 객관성 시학과 감정의 자리

My paper aims to find the locus of emotion in T. S. Eliot’s objective poetics. Eliot is best known as the promulgator of modern poetics of objectivity in contrast to the Romantic conception of poetry emphasizing subjective feelings. Specifically, along with “an objective correlative,” “impersonality,” defined as “escape from emotion” or “escape from personality,” becomes the watchword identifying the objectivity of his poetic theory. The problem is that the subsequent Modernist reception of Eliot’s poetics contains misunderstanding it as if it disregarded the emotional aspect of poetry. But, actually, Eliot affirms emotion and personality as the essential poetic experiences over and over again throughout his essays on poetry. And even in those scholars who have recognized that affirmation, the problem lies, too: they are at a loss, looking on Eliot’s acknowledgment of both personality and impersonality as a contradiction. In an attempt to solve these problems, my thesis has raised and justified the argument that Eliot, in his basic premise, allocates “impersonality” in the sphere of the poetic technique of creation and “personality” or “emotion” in the locus of the poetic content. By finding the locus of emotion in another poetic sphere than the objective technique, my argument has concomitantly clarified that Eliot’s conceptions of personality and impersonality are not contradictory at all but consistent over the critical writings published throughout his career.

Phonemic parallelism in diwan min 'ard bilqis

The research aims to study the phenomenon of phonetic parallelism in the poetry of Abdullah Al-Bardouni, who is one of the contemporary Yemeni poets who influenced the poetic and literary movement in the Yemeni cultural scene. The various capabilities of the language, and he employed them to serve the poetic content, and there is no doubt that the phonetic units have the deepest impact in the formation of the poetic language, and a diwan was chosen from the land of Bilqis, as one of his first poetic works in terms of arranging, As for the research method, it is the descriptive analytical method, which is based on tracking poetic texts, observing the phenomenon of phonemic parallelism, its formations in the text, and its impact on the semantic and aesthetic level. And finally, the poet employs rhythmic phenomena at the level of the sentence, and it appears at these levels the poet’s desire to create a musical effect parallel to the external music represented in meter and rhyme. The research assumes a set of results, perhaps the most important of which is that the poet Abdullah Al-Bardouni employed phonetic parallelism in this text in an appropriate poetic manner, using the rhythmic and aesthetic aspect, and this extended to the moral aspect bearing the poetic content, and the literary message through the poetic journey through which he proclaimed. Keywords: parallelism - sounds - poetry - al-Baradouni - Yemen.

“Lo vamos a conseguir”: Instapoetry as a vehicle for feminist movements in the contemporary Spanish context

ABSTRACT In this addition to the European Journal of English Studies special issue, the author reflects on the employment of social media application Instagram by contemporary poets in peninsular Spain as a tool for projecting societal concerns specifically related to feminism and social equality movements, proliferated by technological affordances such as the graphological hashtag (#). By analysing the connections between poetry, digital culture and feminist activism, this article examines the poetry of popular Instapoetas Elvira Sastre and Leticia Sala and its underlying feminist message, as well as the implications of writing in and of the so-called “fourth wave of feminism.” Where the poetic content, visual imagery and captioned employment of hashtags are seen to perpetuate the work of offline, feminist activism, Instapoetry can be seen as an assistant or a “valid contribution” to collective action.

Poetry Beyond Philosophy? Ibn Tufayl’s Alternative Schema

ABSTRACT James articulates and defends a Spinozist view of the interplay between poetry and philosophy: philosophy has an ineliminably poetic content, and poetry is an aid and support to philosophy. In this piece, I juxtapose James’s Spinozist schema with another schema available within Spinoza’s historical milieu. In Ibn Tufayl’s view, rather than poetry being an aid to philosophy, poetry opens to a world of experience that even the best philosophy cannot grasp. For flat-footed philosophers who think that philosophy can in principle have the last word on everything, poetics might give an approximate indication of a kind of experience that lies beyond it.

“I am here because I wanted to shine”: how poetry can be used to better understand undergraduate students’ first-year chemistry or related course experiences

In this study we investigate how first-year chemistry/biology undergraduate students’ original poetry can be used as a reflective tool for others to understand their course experiences. By inviting students from an integrated first-year chemistry/biology course to write poetry about their experiences, we use poetic content analysis as a qualitative research method to analyze the students’ responses to an open-ended prompt. In analyzing the poetry, four major categories emerged: knowledge, community, emotions, and identity, each of which includes examples that reflect and enhance our understanding of well-documented milestones and ideas in the literature regarding first-year student academic experiences, therefore highlighting the extent to which poetry can be useful in this regard. In presenting these findings we also demonstrate how such an approach might be used by others to better understand student experiences, including those related to learning, belonging, and/or identity in their introductory chemistry or related courses.

A,p Principles and manifestations of love in Zabihi poetry

Passion is one of the most influential factors in the formation of human history and evolution, which has manifested itself differently between communities and generations, and throughout the literary history has influenced the process of literary thought creation. Attar is one of the poets in Persian literature who has put passion as the main theme in his poems, and in many of his poems he has tried in various perspectives on love and has left behind himself a valuable product in relation to this concept. Which in some of the poems was full of the meaning of love to the extent that passion has become the main pillar of some of his ghazals. In this study, which based on the reading of the library and the analytical method, we can understand how the poet used a certain level of adoring’s meaning in his poems, and what role he played in bringing this poetic content. The results which have been obtained from this study show that focusing on passion content was one of the most prominent features of Attar's poetic style, and the poet, in terms of his own attitude and spirit, got benefit in using passion as a pretext to express his inner feelings and he could have a speech in most of his poems in various ways on the content of passion also all his ghazal’s structure system was organized as one group, and the poet's simple and eloquent language made his poems the focus of mystical poetry.

Harmony of poetic form and content in the poetry of abdulla aripov

Harmony of poetic form and content in the poetry of abdulla aripov

„W półsłowa” i „w półdźwięku”… O relacji Zygmunta Krasińskiego i Fryderyka Chopina

The article presents the relationship between Frédéric Chopin and Zygmunt Krasiński both on the biographical level and in the relationship between the word and the sound that Krasiński often wrote about in his letters. A special expression of the dialogue between poetry and music described by the poet are Chopin’s compositions to the words of poets contemporary to him, which is especially true about the words of the motto from Krasiński’s poem Ostatni (The last poem). It is extraordinary in the context of Chopin’s songs as it is not only a musical illustration, but also a sophisticated interpretation of the text through music. The attempts to present poetic content through musical notation presented in the article lead to the conclusion about Chopin as a conscious recipient of a literary work who, like Krasiński, saw in the symbiosis of word and sound the possibility for expressing internal experience.

ASCETICISM POETRY BETWEEN IMAM SHAFI'I AND ABU AL-ATAHEYA A COMPARATIVE STUDY

The research aims to compare the two poets in terms of social, religious, cultural, economic, and psychological factors and then talk about the similar poetic contents of both poets within the framework of ascetic poetry. The researcher used the French school curriculum, in which the comparison is made between literature that is related to each other based on impact and influence. The most prominent result of the study was that Abu Al-Atheya was influenced by imam shafi'i in some aspects of his poem, but he invented and mastered it perfectly.

“Вірш має полонити”: про суворі сонети неокласиків у контексті тоталітарного режиму

Abstract. The works of Ukrainian neoclassicists as the representatives of the era of «Executed Renaissance», who left an invaluable heritage and made a tremendous contribution to the enrichment of not only Ukrainian but also world literature, have repeatedly become the subject of scholars’ research. The purpose of the study is to analyze the sonnet as a phenomenon that appeared in the first third of the last century: what caused its «rigidity» and «severity», as well as what is its poetic beauty. Materials and methods of research. This article is based on the analysis of archival materials, letters, memoirs, the press of the twenties («Chervonyi Shliakh», «Nova Hromada», etc.), published and unpublished editions of works by Ukrainian neoclassicists. The severity of life dictated its own rules, its own style and its own norms. Sonnets of Ukrainian neoclassicists were also rigit or «strict». Comparative-historical and descriptive methods are used in the work. Discussion. The representatives of the informal society «neoclassicism», which was formed in Ukraine in the 20s of the 20th century, professed an aesthetic concept of spiritual renewal of the writer’s consciousness and the nation in general, disciplined the cardiocentric element of the «executed Renaissance» generation of artists, combining the Dionysian tradition with the Apollonian culture. The aesthetic platform that united the neoclassicists was the love to the word, to the strict form, to the great heritage of the world literature. They realized the sonnet as a «strict style», as a «severe» form. Ukrainian neoclassicists set the task of creating a «great style of Ukrainian literature» based on Greco-Roman antiquity and European Parnassians; hence there is a cult of strict classical forms (sonnet, octave, Alexandrine verse, elegiac distich). When Ukrainian neoclassicists spoke, they did not declaim ideological and aesthetic manifestos. Ukrainian neoclassicists, in contrast to the Russian ones, were distinguished by greater creative conservatism: if the latter put Pushkin as a role model, the first were oriented towards Greco-Roman antiquity and French Parnassians (the first edition of Ukrainian neoclassicism was «The Anthology of Roman Poetry» by M. Zerov, 1920), strictly adhered to canonical classical forms. Conclusions. The genre canon of the sonnet implies conceptuality that must be realized through a certain compositional rhythm according to the universal scheme: thesis – antithesis – synthesis. Such scheme of the sonnet dramatic line development «tells» the poet the most general direction in the development of thought, mood, and contemplation. The sonnet allows to resolve contradictions. Consequently, it is a balance between the stable and the variable, a dialogue with yourself, with the world; this is the beauty of dramatic trembles of poetic content. Finally, this is a distinctive stylistic thinking which attracts primarily the poets of the rationalist mindset.

THE STYLISTIC FUNCTIONS OF REPEATED VERB UNITS IN A SEPARATE TEXT

The article is devoted to the complex study of functional features of verbs and verb lexical-semantic repetitionsin poetic texts M. Bazhan and I. Drach. Advantages of linguopoetic approach, which gives possibility to define, how linguistic unit is included by the author in the process of word-artistic creative work, provides creation of aesthetic effect, structural and semantic integrity of the text is substantiated in the thesis. Linguistic and stylistic approach doesn’t give us comprehensive answers to the question about notional, structural and communicative organization of the text, that is why today they become a prerogative of linguo-poetics and linguistics of text. Taking into account new directions, approaches in modern linguistic science in the last decades, such key concepts as “text”, “poetic text” were specified; advantages of communicative functional approach to its study were specified; constant features of text and text categories were specified; style, idiostyle, idiolect concept was defined. At determining the poetic text, we proceed from the fact that this is a special semiotic system, which has its own laws of formation of self-organization. Decoding the poetic text takes into consideration apertception moments of each word in the works of writer, who, staying within the limits of national-language picture of the world, creates a unique linguistic world according to his world view, his own psychology, philosophy. Let us motivate the use of idiostyle concept, closely connected with the author’s image, which we understand as a “word- conversational structure”, which permeates all work and leads to comprehensive study of literary text. Linguostylistic verb potential as lexicogrammatical word class, which has detailed system of personal-methodical and kindtime morphological forms was analyzed in the work; figurative and expressive features of verbal categories of manner, time, kind and person were tracked in the poetic texts of M. Bazhan and I. Drach; certain writers’ priorities in use of one or another verbal form were revealed. An important means of actualization of poetic content, dynamization of descriptive world, which assists the reader to focus attention on one or another reality, actions, feelings, and provides a link between the parts of the text, is repetition. Decoding of the poetic texts of M. Bazhan and I. Drach provided considering different apperception moments of verbal repetition.

Rhyme as resonance in poetry comprehension: An expert-novice study.

Previous research has identified alliteration as a powerful device for investigating implicit memory effects. For example, alliterative phrases can provide retrieval cues that extend to a sublexical level and reactivate previous information that shares alliterative content (Lea et al., Psychological Science, 19[7], 709-716, 2008). But it is an open question if other surface forms might provide similar effects in line with these empirical findings, and in accord with writer intuitions. The present study examined whether rhyme produces analogous memory-reactivation effects, given the ubiquity of its use and endorsement of its power in a range of materials and experiences. We also examined whether the surface benefits attributed to rhyme might support anticipatory processes such as those traditionally examined with semantic content. In Experiment 1, participants exhibited faster recognition responses to previous poetic content as a function of rhyming cues. In Experiment 2, we recruited participants identified as experts on the study and use of rhyme, replicating the probe facilitations obtained in Experiment 1, but also revealing anticipations of imminent rhymes. The results are discussed in terms of implications for theories of memory-based text processing and of nonsemantic anticipatory processes during the reading of poetry, and perhaps for discourse experiences more generally.

Сонет як вишуканий стиль творів неокласиків

. The study is based on the analysis of the genre canon of the sonnet through the prism of reading the events of the 20-33s of the twentieth century, which demonstrates the scale and unusual perception of ancient heritage in the works of M. Rylsky and M. Zerov. The aim of the research is to present a new reading of refined and strict style in Ukrainian literature through the prism of the creative genius of Ukrainian neoclassicists of the first third of the last century. Materials and methods of research. Historical and culturological approaches are used in the work to understand the depth of artistic thinking and literary heritage of the Ukrainian neoclassical school. The sonnets by M. Rylsky and M. Zerov differ. Rylsky allowed deviations from the metric tone, rhyming is not always canonical. The works of M. Zerov mostly need at least a brief explanation of historical and cultural realities, names, because they are less related to modernity than Rylsky’s sonnets. They echo more with antiquity. M. Rylsky, dedicating a poem to M. Zerov, did not follow his translational style; he was not a strict copyist of ancient standards, but became a real innovator, who created unique and yet very simple, natural, transparent forms based on ancient, Ukrainian and Russian classical themes. The genre canon of the sonnet implies conceptuality. Іt is a balance between the stable and the variable, a dialogue with yourself, with the world; this is the beauty of dramatic trembles of poetic content. Finally, this is a distinctive stylistic thinking which attracts primarily the poets of the rationalist mindset.

On the revival of the unfinished opera by M. Leontovich "Water Nymph's Easter"

The purpose of the article is to determine the peculiarities of the revival of the unfinished N. Leontovich's opera “Water Nymph's Easter.” The methodology consists of the application of methods of historiographic analysis and synthesis, comparison and generalization, personology, personality theory, cultural studies, and hermeneutic approaches. This made it possible to collect and investigate unknown and little-known facts about the writing of N. Leontovich's opera “Water Nymph's Easter,” to reveal and characterize the stages of its revival. The scientific novelty of the work consists in identifying the innovative style of the musical language of the opera N. Leontovich “Water Nymph's Easter,” its place and role not only in the musical work of the composer but also in the entire operatic art of Ukraine. Conclusions. The activities of the prominent Ukrainian composer N. Leontovich, despite the persecution, state, and censorship oppression, made a significant contribution to the development of national musical art, promoted the folklore foundations and traditions of the Ukrainian people. His opera “On the Mermaid Easter” became a natural continuation of choral art, which is considered to be a composer’s laboratory, where the skills of a polyphonist, an interpreter of poetic content were perfected, and an innovative search for a combination of national and universal human values ​​took place.

Poetry and its Audience in the Digital Age

The study assesses the influence that new technologies, relative to the poetic content and poetry as art, have on the field of public relations. The main trends in the development of modern poetry as an object of online promotion, the ties connecting the digital format as such to this specific genre and the methods of modern media promotion are concerned as the key research areas. Digital technologies have produced profound changes in society and in the sphere of media. The impact of online tools and infrastructure both on poetry itself and for the methods on its promotion is also relevant. One should note, the digital reality does not necessarily require the flattening of style, the dominance of prose — poetry remains viable. Moreover, in the era of digital devices and the growing dominance of web technologies, poetry acquires new meaning and significance both as an art form and as a traditional need, which can be attributed to the domain of the spiritual. The adaptation to the digital reality shapes poetry in several aspects. This trend is reinforced by the development of traditional poetry as a type of multimedia content and the proliferation of poetry in social networks. The promotion of poetry has received little attention in both Russian and international academic contexts. PR in poetry is usually examined in broader or related frameworks, such as art marketing or publishing. This approach disregards the specificity of poetry as an art form. The available data lacks consistency, and the overwhelming majority of the relevant articles relate to popular science and journalism, not scientific literature. The analysis shows that in the modern age, poetry is pivoting on new platforms, online, while poetic content is actively integrating with the multimedia format. Poetry is able to address themes and ideas that resonate within new generations, thus remaining alive and proliferating. This finds proof in the context of online texts: they acquire the status of media which integrate traditional art patterns with the commercialized and blog-oriented digital art forms and industries (visual arts, music, etc.). This process manifests itself in the growing popularity of poetry among the youth, digitally. New methods of monetizing poetry are emerging, thus increasing the attractiveness of a poetic career.

تجليات الغربة والحنين فى شعر الصِّمَّة بن عبد الله القُشَيْريِّ ( دراسة تحليلية نقدية)

تجليات الغربة والحنين فى شعر الصمة بن عبد الله القشيري ( دراسة تحليلية نقدية) رزق المتولي رزق أحمد . البريد الإلکتروني: rizkelmetwally@mans.edu.eg. الملخص : يهدف هذا البحث إلى استجلاء الجانب الإنساني لظاهرة الغربة والحنين فى شعر الصمة القشيري، حيث تلمس المعاني النفسية والمشاعر الإنسانية التى حملها هذا النوع من الشعر، ودراسة مضامينه الشعرية وکشف أسرار جمالياته الفنية. ولتحقيق هذه الغاية، فقد حاولت الدراسة استقراء النماذج واستکناه مضامين شعر الغربة والحنين عند الصمة القشيري، بتحديد التعريفات العلمية لهذه الظاهرة، وبيان دوافعها ومثيراتها، اتجاهاتها، ورؤية الذات الشاعرة للمکان والزمان، وبيان التقنيات الفنية التى اتکأ عليها الصمة القشيري فى تصوير تجربة الغربة والحنين فى شعره. أما المنهج الذى اتبعه الباحث، فهو المنهج الوصفي التحليلي، الذى يقف على ظاهرة الغربة والحنين في شعره؛ لاستکشاف بواعثها، واستجلاء مثيراتها، ومن ثم بيان اتجاهاتها، ورؤية ذات الشاعر للمکان والزمان، ورصد أهم التقنيات الفنية التى اعتمد عليها الشاعر في تجربته. وقد توصل البحث إلى النتائج الآتية: کشف البحث عن أبرز الدوافع التى أدت إلى غربة الصمة القشيري، ومن أهمها إخفاقه في الحب. کما تجلى موقف الصمة القشيري من تجربة الغربة عنده في بعدين، أولا: البعد الانهزامي. ثانيا: البعد الفاعل. وقد تعددت محاور الحنين إلى المکان عند شاعرنا، مثل: ذکر الأطلال والآثار والدمن، ذکر الوطن والحنين إليه، الحنين إلى نجد. کما تعددت محاور رؤية الشاعر للمکان في تجربته إلى محاور ثلاثة، أولا: مکان الألفة الذى کان مبعثا للذة عنده. ثانيا: مکان الغربة الذى کان مبعثا للألم. ثالثا: تقاطب المکانين معا. الکلمات المفتاحية : الغربة- الحنين- الصمة القشيري- الدوافع- المثيرات- الوطن- المکان . The manifestations of Estrangement and Nostalgia in The Poetry of Al-Sammah bin Abdullah Al-Qushayri.(Critical analysis study). Rizk El-Metwally Rizk Ahmed. Department of Arabic Language and Islamic Studies - College of Education - Mansoura University. Email: rizkelmetwally@mans.edu.eg. Abstract : This research aims to elucidate the human side of the phenomenon of alienation and nostalgia in the poetry of al-Samma al-Qushayri, where it touches the psychological meanings and human feelings that this type of poetry carried, studying its poetic contents and revealing the secrets of its artistic aesthetics. To achieve this goal, the study attempted to extrapolate the models and encompassed the contents of the poetry of alienation and nostalgia at al-Samma al-Qushayri, by defining the scientific definitions of this phenomenon, stating its motives and motives, its trends, the vision of the poetical subject of space and time, and the technical techniques on which the Qusharian imprint relied in depicting the experience of alienation and nostalgia in hair. As for the method that the researcher followed, it is the descriptive and analytical method, which deals with the phenomenon of alienation and nostalgia in his poetry. To explore its motives, to clarify its triggers, and then to clarify its trends, to see the poet's view of the place and time, and to monitor the most important technical techniques that the poet relied on in his experience. The research reached the following results: The research revealed the most prominent motives that led to the alienation of Samma al-Qushayri, the most important of which is his failure to love. The stance of al-Samma al-Qushayri was also evident from his alienation experience in two dimensions, first: the defeatist dimension. Second: the actor dimension. Our poet has many axes of nostalgia for the place, such as: mentioning ruins, antiquities and damn, mentioning the homeland and longing for it, and nostalgia for Najd. The poet’s vision of the place varied in his experience into three axes, first: the place of intimacy, which was a source of pleasure for him. Second: The place of estrangement that was a source of pain. Third: the two places polarized together. Keywords: alienation, nostalgia, al-Samma al-Qashiri, motives, stimuli, home, place.