Poetic Context Research Articles

Nel verso impenetravi la | tua notte.

“Nel verso impenetravi la | tua notte” Notes for a Pasolinian heritage in Amelia Rosselli’s verses Amelia Rosselli and Pier Paolo Pasolini represent two of the most relevant characters of the second half of the Italian twentieth century. Their diversity and independence, as opposed to other cultural and literary perspectives of that time, are significant and allow for an interesting comparison, particularly with regard to their poetic contexts. Pasolini is always studied as a “complete” intellectual, while Rosselli is recognised as the poet of lapsus and trilingualism. The essay intends to analyse some noteworthy aspects of the relationship between them, starting from Pasolini’s role in introducing Rosselli to the public and proceeding to interpret Pasolini’s presence in several key passages of Amelia Rosselli’s work, from Variazioni belliche to Impromptu. The alleged dependence of Amelia Rosselli regarding the Pasolinian lexicon will be discussed. Pasolini couldn’t help but be astonished by her ability and diversity, even if he himself commits some mistakes of simplification, maybe caused by the excessive rush to be considered as the discoverer of an exceptional poet.

Armenian Cochineal and the Red Color of Armenia in Russian Literature

The article examines the genesis of the red color, which acts as a pattern of the «Armenian text of Russian literature» on the basis of Russian poetic texts (B. Pasternak, F. Sologub, O. Mandelstam, N. Konchalovskaya, P. Antokolsky, I. Snegova, P. Pyanykh, L. Shahverdyan) and prose (B. Kuzin, O. Mandelstam,
 Yu. Karabchievsky, M. Saryan, V. Grossman). The subject of the article is the connection of the insect code presented in the discourse with the color red. Analytics is based on biographical, quantitative methods, linguistic analysis of the text and is carried out on the basis of a historical and cultural approach. The
 recent works that reveal the patterns of the «Armenian text» do not mention the connection between cochineal and red color metaphors found in this article. The conclusions obtained enrich the cultural and philological concept contained in the framework of the «Armenian text» and expand the poetic context of the biological organism mentioned in the poems of Russian poets. The article presents an additional (to the already existing) perspective in the analysis of O. Mandelstam's poem «Inside the mountain, an idol is inactive...»: the image of the idol is
 embedded in an ekphrastic sculptural row with the mythological Golem.

The Great War in the Middle East from a Poetic Bedouin Perspective: A Close Reading of Two Poems about the Sinai Campaign and the Battles in the Negev During World War I

ABSTRACT Through a close reading of two Bedouin poems about the World War I era, this article examines how Bedouin in northern Sinai and Palestine’s southern coastal plain perceived the moment at which the Ottomans lost their hold over this region. By anchoring symbolic expressions from each poem in their historical, cultural, and poetic contexts, this inquiry sheds some light on the feelings and outlooks of ordinary people in response to the war’s massive transformation of the area in which they lived.

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.”

Образ власти в трагедии на сюжет славянской истории «Венцеслав» (1647) Ж. де Ротру

The example of the tragedy “Venceslas” is instrumental in defining the nature of the late work of J. Rotrou. The paper analyzes he play the context of classicist poetics, taking into account the evolution of Rotrou’s dramatic writing and ideological polemics with the Corneille theater of the 40s, whose influence largely initiated the overcoming of Rotrou’s dependence on mythological models, conditioned by the connection with ancient and humanistic drama especially noticeable in early tragedies, and bringing political issues to the fore. It is the specifics of revealing the image of power that most clearly shows the originality of Rotrou’s thinking. In discussing the power’s image, the author proceeds from the peculiarity of unfolding of the discursive-rhetorical structure of the play and semantic mobility of signs and images associated with the manifestation of power. The multiplicity and active interaction of meanings that organize the statements of the main actors and define them in a political, role-playing and at the same time personal, relative, sets the contradiction, mobility, uncertainty of their characters and relationships. The need for official implementation together with the right to personal, the significance of the state interest along with the actualization of the individual — such value-semantic ambiguity is observed throughout the dramatic action, not excluding the finale. Rotrou managed to deeply connect the authority of impersonal power and vulnerability, the “imperfection” of the private, to show the inevitable presence of the human, giving dubious relativity to any absolute meaning.

Using Poetry as a Context: On the Imaging of Poetic Context in Wang Changling’s Poetry

Using Poetry as a Context: On the Imaging of Poetic Context in Wang Changling’s Poetry

STRUCTURAL ANALYSIS OF UNPUBLISHED CHAGATAI-PERSIAN DICTIONARIES OF THE 16th–18th CENTURIES: LEXICOGRAPHIC AND SOCIOCULTURAL ASPECTS

The investigation delves into Chagatai-Persian dictionaries from the 16th to the 18th centuries, preserved in the Central Library of Punjab University. The article aims to study the structural features of these dictionaries in the context of their sociocultural significance and influence on the further development of Turkic languages. These invaluable medieval artifacts underwent detailed scrutiny using multiple methods, encompassing structural, lexical, codicological, lexicographic and sociocultural analyses. Within a single manuscript cover, there exist six treatises on the Turkic-Persian lexicon alongside a textbook elucidating Turkic language grammar. These are inscribed in the Perso-Arabic script, a writing system employed for the Chagatai language. The chief lexicographic design integrates headwords and their explanations in couplets, avoiding any typographic or grammatical demarcation. The artful use of rhyme schemes is evident in the systematic arrangement of headwords. A thorough scrutiny of these medieval Chagatai-Persian dictionaries brings to light their distinct lexicographical framework, crafted meticulously to support linguistic conservation. These works capture a wide spectrum of vocabulary from different Turkic territories, underlining the endeavor to encapsulate a broad cultural legacy. Elements such as rhyming masnavi-inspired explanatory sentences, thematic clusters, and dedicated segments on commands and equine terminology are observed. Notably, the integration of Persian elements, especially in the form of auxiliary verbs, symbolizes a fusion of languages. The dictionaries showcase an emphasis on practical vocabulary acquisition through the harmonious pairing of headwords with poetic contexts, devoid of typographic or grammatical deviations. Despite the headword’s seamless integration, there is meticulous attention to maintaining rhyming continuity. The rarity of prefaces is counterbalanced by the richness of colophons, which offer vital details about the manuscript. Though the Chagatai language receded over time, the indelible mark left by these dictionaries endures, with remnants identifiable in modern Turkic vocabularies. A more exhaustive comparative exploration of these works could further deepen insights into Chagatai linguistics and lexicographic practices during the medieval period. This study also triggers broader reflections on the pivotal role of bilingual lexicons in safeguarding vulnerable linguistic treasures. By methodically presenting and analyzing these linguistic gems, the investigation facilitates their appreciation within scholarly circles, underscoring the Turkic cultural legacy. This also solidifies their recognition as prime examples of the mutual literary interplay between Turkic and Persian traditions, a relationship rooted in the medieval timeframe.

Using Numbers in the poetry of Al-Mutanabbi and Al-Maarri

The poetic Signals to the figures are of an important issue , the poetic use of the figure is intentional ,the poet occasionally resort to insert hyperbole and complexity according to events in his life which Sometimes go in this direction , or there are motives behind them, may be intentional or not intentional, these made the poets to make figures as a complement to the poem elements and as the figure adds a grace fullness and influence to the poem ( AL _ Mutanabbi and AL_ Muaary )are two poets used figures conssiously to indicate to a poetic ability and creative movement, because it came as a deliberate move and awareness, but not as an improvisation or a coincidence according to this, the research tries to unveil the figure motivation and discover the poetical equations and their roles in motivating the poetical meaning . The method that the researcher depends on is build on gathering the poetic verses that indicate to the figure which linked to its poetic context this needs to look at the figure and questioning it, this means that I moved from the figure to the Poem and then to the Poet , all of that is to know the progress of the figure .

White as a Symbol of Death and Eternity in Darwish’s and Lorca’s Poetry: A Comparative Study

This article investigates the symbolism of white color in the works of the Palestinian poet Mahmoud Darwish and the Spanish Federico Garcia Lorca. The white color is exceptionally employed in their poetry, which is different from its normal symbolism in Arabic and Spanish cultures. In their poetry, the white color is used to symbolize a duality of opposites, death as an end to mortal life and eternity as an infinity phase of afterlife. This paradoxical use of the white color cannot be grasped by readers without considering the poetic context. This color is employed by the two poets to reflect their psychology, feelings, and emotions toward death and eternity. The color white symbolizes death in all forms; the self-death as shown in Darwish’s poem Mural, the death of the other as illustrated in Lament for the Death of a Bullfighter of Lorca, the divine death as in Lorca’s The Martyrdom of Saint Eulalia and the instant death of humans as in Remainder of a Life of Darwish. In addition, the white color is used to symbolize eternity as an afterlife phase. The two poets have exploited the white color to express their interrogation about man’s destiny after death being eternal or not.

Реализация традиционных образов сравнения компаративных тропов с диминутивными дендронимами в русской поэзии XIX–XXI веков

The article examines the traditional images of comparison, characterizing diminutive dendronyms in the language of the Russian poetry of the 19–21st centuries, from the perspective of the relationship of ‘cultural-stereotypical (traditional) – author’s individual’. The analysis of 725 fragments from the Russian poetic works of the 19–21st centuries reveals the ways of word formation and the composition of diminutive dendronyms, as well as the composition of folk poetic, general poetic and individual author’s images of comparative tropes representing these diminutives as subjects of comparison: girl; love attraction, longing; to cry (tears), to grieve, to yearn; fertility; separation; bitter, unhappy fate, orphanhood; gold, silver; emerald; smoke; clothing; fire; pattern, mesh product; infantas by Velasquez, ermine coat; calico; fidelity. The referencedenotative features of the corresponding realia, motivating the choice of figurative associations are determined: a thin trunk, flexible branches, serrated, heart-shaped leaves, flowering trees, fruit trees. The techniques that help make stereotypical images of comparison in the Russian poetic language individualized are established: the inclusion in the composition of an extended anthropomorphic metaphor; updating by means of occasional epithets, lexical variation of the components of the trope. The stable semantic connotations of diminutive dendronyms are singled out: ‘shy’, ‘timid’, ‘meek’, ‘slender’, ‘tall’, ‘gentle’, ‘curls’, ‘braids’, ‘thin figure’, ‘beauty’, ‘breasts’, ‘captivate’, ‘innocence’, as well as the ways of their representation in poetic contexts: extended metaphors ‘autumnal withering of a tree – withering of female beauty’; memories of the lyrical hero about close people; parallelism of the images of a tree and a human condition; conventional epithets (weeping, bitter); features of the situation of a literary text. The results of the study allow us to improve the understanding of how comparative tropes with diminutive dendronyms develop dynamically in the Russian poetic language.

« Aujourd’hui, la cloche doit naître. Compagnons, vite au travail ! »

Abstract In this article, the French translation of Schiller’s Lied von der Glocke (EN: The Song of the Bell) is analysed. The analysis focuses on the question of how translators convey to the target language readers the specialised language of the technology of bell-founding (campanology), which is embedded in the poem. To answer this question, first the specialised vocabulary in the poem will be identified, after which the translators’ paratextual comments on the technical complexity and the specialised language will be examined. Taking the German term “Schwalch” as an example, the difficulty of conveying specialised language within a poetic context will then be discussed.

The InVersiya Poetry Festival: The Creativity of Communication and Collective Authorship

This article analyses three projects created within the framework of the Chelyabinsk poetic laboratory festival InVersiya (photograph album Developer, calendar Dogs and Baobabs, and the film Walking Man) in the aspect of the features of modern media poetry in its regional refraction. Poetry festivals are characterised by a combination of experimentation and accessibility to the public, the subordination of individual poetic ideas to the general conceptual framework of the project, and quite often the dominance of creativity over artistry, performativity, and procedurality. The InVersiya festival is a part of the Ural poetic movement, which is quite developed today. The author concludes that the Ural authors are open to interaction with poets and artists from other cities and countries, overcoming the complex of “provinciality”, fitting into the all-Russian poetic context. The analysis of the projects the author refers to demonstrates the dominance of the communicative function of poetry and the importance of the pragmatics of the poetic text. The article examines specific methods of interaction between verbal and visual components, revealing strategies of collective authorship. According to the author, among the “Ural” poetic traditions proper, one can name the preservation of the dual addressing of works (elitist and mass), the implicit presence of the gender and environmental components of the figurative range, and a drive towards experiment.

“Insistent as anesthetic”: difficult similes subserving the poetic context

Abstract Previous research has identified a type of nonstandard simile in which the ground is a non-salient feature of the source term (for example, the nonstandard hard as a lamp as opposed to the standard hard as a rock), and found this type to be common in poetry and much rarer in non-poetic discourse. Since these nonstandard similes entail a fundamental semantic breach and violation of a basic convention of the simile, how can their existence be explained? Here we claim that it is the poetic context itself, the poem within which these similes appear, which is the key to explaining their existence and their unique advantage. Through a series of poetic examples, including poems by Plath, Lee, and Rukeyser, we show how the semantic difficulty of the nonstandard simile serves the poem and fulfils various functions within it.

СПЕЦИФІКА ПЕРЕКЛАДУ БЕЗЕКВІВАЛЕНТНИХ ЛЕКСИЧНИХ ОДИНИЦЬ ПОЕТИЧНОГО ТЕКСТУ

У статті з’ясовано й доповнено визначення явища безеквівалентності в лексичній системі мови. На основі аналізу поетичних контекстів та іншомовних текстів-перекладів визначено безеквівалентну лексику як один із видів сильних позицій. Зіставлення іншомовних контекстів дало змогу з’ясувати композиційну роль безеквівалентної лексики в поетичному тексті як сильної позиції, що створює етнокультурну картину світу в межах поетичної моделі. Виявлена специфіка безеквівалентних лексичних одиниць визначає особливості їх перекладу.

A twice-born God. Reimagining the myth in Euripides’ Bacchae

The paper examines the myth of Dionysus's double birth as a hidden semantic axis of the Bacchae, starting from the hypothesis that the importance of this narrative goes beyond the poetic context in which it is found and that it represents an important step in the reimagining of the concept of myth, which occurs at the height of the polis culture. Having come to Thebes to prove his divine nature and Zeus? paternity, Dionysus, in the incipit, before saying his name, defines himself as ?the child of Zeus?, while in the final epiphany he defines himself as ?divine offspring?. Neither the divine nature of Dionysus, nor the fatherhood of Zeus in the tragedy are proven explicitly, but only implicitly - through the ability of the young god to dissect the human mind, reason, rational will, thus confirming and strengthening the sphere of the irrational, to which the myth remains firmly attached. The paper aims at proving the hypothesis that this attachment of the myth to the sphere of the non-rational is the Euripides? decisive contribution to the transformation of the concept of myth.

V Nikuda (“To Nоwhere”): From Poeticism to the Element of Everyday Language

The article deals with the results of a study of the history of the emergence and functioning of the Russian idiom в никуда “to nowhere”, which is a substantiated pronominal adverb of place никуда (“nowhere” or “anywhere” in different contexts) with the preposition of direction в (“to”). The idiom в никуда “to nowhere” is part of the expressive means of various styles of the modern Russian language, including colloquial speech and journalism, and the expressiveness of this idiom is due to the unusual, “irregularity” of its construction, which, in principle, is not typical for Russian speech. The analysis of the National Corpus of the Russian Language (NRC) showed that the idiom в никуда “to nowhere” is as stable as poeticism. In modern Russian, it is much more frequent in the poetic subcorpus of the NRC than in other subcorpora. The unit under study can be found in the works of poets of all directions, including such well-known ones as Brodskiy, Akhmatova, Tsvetaeva, Slutskiy, Heinrich Sapgir, Boris Ryzhiy, etc. Further, for the first time among the texts of the corpus, the described unit is found in the work of the symbolist poet Ivan Rukavishnikov, written no later than 1910. At the same time, in the first decades of its existence, unlike today, the unit в никуда “to nowhere” is found exclusively in poetic contexts and only from the late 1930s penetrates into everyday and journalistic discourses. The study was carried out using such methods as corpus analysis, the method of calculating the overall frequency of a lexeme, which in this case was applied to an idiom, and the source study method. The material was NRC data and Google.books collections. The history of the idiom в никуда “to nowhere” demonstrates the mechanism of the penetration of poeticisms into the national language.

Discrepancies in poetic discourse: A translation process from a relevance-theoretic perspective

This article intends to demonstrate a process that assigns a poem translation practice to relevance theory (RT). As a theoretical account and approach to human communication, it has enjoyed increasing popularity in translation studies around the world. After this article describes Ernst-August Gutt's account built on RT, it elaborates on a translator's inferential processes on a chosen concrete poem entitled ⟪走不出逝去的心境⟫ from Chinese-to-English and tests a hypothesis that Gutt's statements could guide a translator for the practice of this language pair. The discussion unveils the translator's relevant workings in the poetic context and serves its purpose in two folds. One is to validate the hypothesis, and the other is a call for more empirical demonstrations to circumvent limitations imposed by the account on reflecting affective states. This article elucidates an underexplored area of translation studies with the processing from a translator's point of view of a realistic working situation, accesses the interface between the translation process and product, and points out potential inquiries to be explored.

Portraits of a Lady: The Self-Presentation of Esther Inglis, Protestant Limner

Esther Inglis (ca. 1570–1624), a Franco-Scottish writer, is known for her manuscript books, written in many handwriting styles and decorated with pen or brushwork in black-and-white or color. About twenty-five of her sixty or so surviving manuscripts contain self-portraits, which until now have not been examined in detail. This essay surveys the developing author portrait in manuscript and print for French women writers, along with portrait engravings and miniatures, considering their influence on Inglis. It shows further how she created a self within the broader context of transnational Protestant humanism and poetics, crossing boundaries of gender, language, and nationality.

“HATE AND LOVE ARE LIKE WINGS...” (OPPOSITIONS IN POETIC VOCABULARY OF DMYTRO PAVLYCHKO)

The article considers semantically opposed lexemes recorded in poetic vocabulary of Dmytro Pavlychko. The antonymic-synonymous paradigms of axiologically marked nouns of human feelings, as well as oxymoronic syntagms based on the use of emotive and evaluative lexemes, which are productive in the poet’s language are analysed. The frequency of individual author’s metaphors formed on the basis of antonymic lexemes in the poet’s linguistic and artistic picture of the world is traced, which testify to the originality of the creative worldview. The oppositions representing religious ideas of man (soul – body, spirit – body) are considered. It is noted that D. Pavlychko’s poetic idiom is characterised by the use of oxymorons, which have the form of a conjunctive phrase. Constructions in which semantically opposed lexemes are combined into one semantic and structural whole are used to create original contradictory images. It has been found that the expressiveness of linguistic contrast in D. Pavlychko’s poetic vocabulary is enhanced by the following syntactic and stylistic constructions: parcellation; opposition of opposites; transformation of opposites; constructions based on multi-stage oppositions; refrain. It is traced that antitheses in the studied texts are used mainly to create contrasting characteristics; to convey polar emotions; to emphasise the contrast between the depicted objects and phenomena of objective reality; to represent contrasting temporal and locative relations; to nominate opposed actions, etc. The author also notes poetic contexts in which semantically opposed lexemes express an ironic, sarcastic attitude to the facts and characters depicted. The antonymic pairs that form the basis of the titles or first lines of poetic works and perform an architectonic function, i.e. serve as an expression of the author’s thought in the whole poetic work, are recorded. It is found that the productivity of oppositions in Dmytro Pavlychko’s poetic vocabulary, which ensure the creation of polar images and pictures of the world around us, testifies to a multifaceted understanding of the complexity and contradictions of human life, an attempt to characterise the subject from polar sides, to convey the contrasting state of mind of the lyrical hero, to reflect his inner world i.e. the world of polar feelings and experiences.

Gottfried Benn’s Poetry and Unbracketing the Expressionist Image

After studying the prevailing expressionistic attitude in Benn’s early poems such as “Nachtcafé,” the paper traces the loosening of imagery in Benn’s more psychoanalytic and mythological poems. The paper then offers a close reading of “Das sind doch Menschen,” a poem from Benn’s latest period, which exemplifies a distinct break in his poetics and the emergence of a markedly performative and personal voice. The backdrop of expressionism, his early fascination with mythology and mid-career attempts to achieve a perfect lyric structure continued to have obvious influences on Benn’s later writing but this personal and anecdotal period occasions a new balance between poetic image, lyric self, and abstract statement. In addition, the paper also traces Benn’s attempts to recover a more agentic lyric self within the larger poetic context of the post-war era, turning to poetic theories advanced by contemporaneous poets such as Ingeborg Bachmann and in Benn’s own momentous lecture on poetics, Probleme der Lyrik.