Poetic Creation Research Articles

POETRY, PHILOSOPHY, TECHNOLOGY IN THE LIGHT OF CULTUROLOGY: DIALOGUE STRATEGY

In the article, on the interdisciplinary methodological basis of the classical semiotics of culture and cultural comparative studies, supplemented by the developments of Lacanism and post-Lacanian psychoanalysis of the Ljubljana school, information aesthetics and tranzaesthetics, critical theory, French structuralism and poststructuralism, a strategy of dialogue between poetry and philosophy as the phenomena of traditional Logos in postmoderism is developed. ... The main problem of the modern poetic word is the loss of ontological adequations and spiritual implications by the text as a result of the inclusion of artistic creativity in the cyberspace of global digital multicultural capitalism. A comparative analysis of the projects of globalism and anti-globalism has demonstrated the priority of commercial culture as a prestigious social model for the formation of the poet's symbolic capital and network promotion. The orientation of the free market towards the sponsor's occupation of poetic creativity increasingly deprives poetry of the semantic invariants of authentic civilizational memory, which is eroded by trends in branding, advertising, and image, and is transformed into a souvenir, simulacrum, ersatz, and trademark. The only guarantor of the actualization of the basic cultural meanings of poetry is traditionalism, but its often grotesque, ultra-conservative and nostalgic character is not able to maintain the competitiveness of the tradition, its attractiveness for the younger generation and vivid personal subjectivity. A harmonious balance between traditionalism and postmodernism in poetry is possible if new technologies are used as forms of presentation and means of promoting the classical poetic tradition in the modern world, while maintaining the primacy of the goal for poetry, in relation to which the “creativity” of managerial entrepreneurship is a secondary means. We regard poetry as a point of semiotic intersection of a static sign in space (syntagma) and dynamic meaning in time (paradigm). Inside this point, in the zero phoneme, the author resides, regaining integrity, continuity, essence and selfhood instead of gaping, alienation and lack due to the correct correlation of the ontological goals of poetry and its ontic cases. Poetry in this context is a kind of a formula for the harmony of the metonymy of the real-symbolic language of culture and the metaphor of its ideal imaginary meanings. To find harmony between tradition and innovation, metaphysics and dialectics, synchronicity and diachrony, the gene code of culture and a historically labile cultural image is capable of culturology as a science based on philosophy (ontology and axiology), philology (hermeneutics and journalism), social sciences.

From Transformative Travels to Translingual Poetics: the "Ultime voyage" of Victor Segalen and François Cheng

François Cheng and Victor Segalen are widely acknowledged for their common role of “cultural ambassador” between China and France. However, according to Jean Mouttapa who wrote the preface for Cheng’s book L’Un vers l’autre. En voyage avec Victor Segalen (2008), there exists a “spiritual affinity” between the two authors that connects them in a fundamental way. Focusing on this unusual bond, this article examines how the dual destinations of travel – lieu (Other/Elsewhere) and milieu (Self/Home) – are represented in two poetic creations, namely “Perdre le Midi Quotidien” by Segalen and “Ultime voyage” by Cheng. At the intersection of French and Chinese, the travelers-poets trace and translate the courses of their internal progress through their physical displacements. Drawing on essential concepts from Segalen’s theory such as the Divers and the Exote, my analysis reveals the extent to which Segalen and Cheng’s translingual poetics serve as a powerful vehicle to display and disseminate their positive view of the Self-Other bond.

Archetypes and Creative Imagination in ‘Ode to Psyche’: A Jungian Analysis

John Keats’ ‘Ode to Psyche’ is steeped in mythology and dream symbolism, which encourages us to understand it from the perspective of depth psychology/archetypal criticism. The odes of John Keats have been studied from historicist, feminist, and biographical perspectives. This paper aims to complement these perspectives by elaborating the mythical dream imagery of the poem as referring symbolically to the process of psychic integration and poetic creativity. The paper also views the poem as exemplifying the need for a complementary ongoing communication between the conscious and the unconscious aspects of the mind to maintain a holistic psyche. Archetypal theory is used to frame the figurative structure of the poem as a symbolic mythical variant of the process of poetic creativity. The paper employs three theoretical constructs, namely syzygy or complementation of opposites; active imagination; and individuation, as a framework to analyze the poem from an archetypal perspective. Employing a depth psychological perspective to understand poetry enhances the aesthetic pleasure derived from reading poetry and enhances the 'healing effect' of poetry by illuminating the psychological connotations of the poem. The paper concludes by attempting to answer two research questions explored in the analysis. First, does archetypal perspective contribute to enhancing readers' aesthetic pleasure derived from reading poetry? Second, what are the theoretical contributions of the current analysis towards contemporary Jungian literary theory?

The poetry of science and the science of poetry (about the scientific and poetic heritage of M. V. Panov)

The article examines the scientific and poetic creativity of the outstanding Russian philologist Mikhail Viktorovich Panov. The author analyses Panov’s ideas formulated in the course of lectures on the language of Russian poetry, emphasizing that, for Panov, the development of the Russian poetic language relies on the movement of poetic forms embodied at the level of phonetics, verbal and figurative series of literary works. The dynamics of poetic form is determined by poets’ desire to search for new and unexpected forms of poetic language; however, this search frequently follows the path of repeating familiar poetic formulas or their conscious displacement (shift). Panov-the researcher finds a scheme or matrix for describing a wide variety of poetic trends and styles, offering a scientific classification of poetic techniques. However, having a poetic talent, Panov was able to discover poetry in science, which he adored. The author of the article analyses several of Panov’s poems about life and war (of which he was a participant), about science and scientists. Linguistics and scientific ideas formulated by linguists became heroes of Panov’s poetry. Therefore, Panov’s work intertwined the approach of both a scientist and a poet: he finds science in poetry and poetry in science.

Mikis Theodorakis : la rencontre éternelle de la Poésie et de la Musique

Poetry and Music. Music and Poetry. Two expressions of one unique sensitivity, that of the great contemporary Greek composer, politician and philosopher, Mikis Theodorakis (born 1925). The union of Poetry and Music came about when Mikis Theodorakis put to music the poem of an unknown poet, “The little boat” (To καραβάκι), in 1937. Throughout his life, Theodorakis has constantly set to music the works of the greatest Greek and foreign poets, such as Odysseus Elytis, Yannis Ritsos and Pablo Neruda. Through their poetry, Theodorakis has been able to sing a mother’s tender love as well as the sadness of a solitary man, the darkness of a concentration camp or the serenity of a Cycladic landscape. Yet, there are times when the poetic words of other poets do not suffice and so he, himself becomes the poet. When? Why? What are his motifs and his intentions? The aim of this article is on the one hand to highlight the poetic creation of Mikis Theodorakis – an expression of eternal humanism – through an anthology of poems written in Greek during periods of extreme violence. On the other hand, to reveal the new musical forms which were born of the union of Poetry and Music and to stress the role of the performers-interpreters in the transmission of theodorakian music throughout the world.

Reflection of the Turkestan earthquake of 1911 year in turkish literature

The article is devoted to the historical events that took place in the Turkic world. The interest in this region is primarily due to the uniqueness of its geographical and geopolitical position. In this vast region, the Turkic tribes have disintegrated due to historical, political and geographical conditions, however, close relationships remain between them due to their kinship and cultural partnership. One of the proofs of this is poems about Turkestan, written in Turkey, many of which are unknown in Turkestan. The purpose of the study of this article is to inform scientists that the history, literature, culture, ethnography of the Kazakh people are the subject of reseach of the humanities of Turkey, due to which the works of Kazakh writers are presented to the entire Turkish world. The relevance of the research is determined by the fact that for the first time the object of analysis is poems dedicated to the Turkestan catastrophe, which are not known in Kazakhstan. In the article, on the basis of a deep and detailed study of the content of poetic creations, the events associated with the Turkestan earthquake are interpreted. The author reveals the experiences of people, their suffering. Much attention is paid to the problem of brotherhood and assistance. The article also provides a brief commentary on the work of Turkish writers who wrote about the Turkestan catastrophe. The features of the ideological and thematic content of poems are revealed. In the article, the author cites a version of poetry dedicated to the Turkestan catastrophe, literally translated into Kazakh.

Impersonating Devotion

What can biblical psalms teach us about literary devotion? An unexpected answer to that question is provided by Philip Sidney’s The Defence of Poesy (1595), a touchstone of literary criticism in its time and in ours. The argument in this essay unfolds from analysis of a single paragraph, which reveals how Sidney’s description of King David’s Psalms challenges our regnant categories in the following way: If today religion connotes fidelity or devotion to an external authority, as for many it does, and if literature entails authorial sovereignty and independent creativity (also a widespread assumption), then Sidney’s approach deviates by equating divine inspiration with poetic creativity. His celebration of variable voices and personae, in particular, undermines the distinction between fidelity and autonomy by offering the psalmist’s voice as a model of transformative self-expression.

ملامح التفکیر النحوی عند جلال الدین البُلْقینی ( ت 824ه‍)

الملخص يهدف البحث إلى إبراز ملامح التفکير النحوي عند جلال الدين البلقيني، وهو أحد علماء مصر في القرن التاسع الهجري، کان عالما موسوعيا، درس العلوم المختلفة في مساجد مصر ودمشق، وعمل قاضيا ومفتيا، وکانت توجه الأسئلة في فروع العلم المختلفة ويجيب عنها بإيضاح تام، ولم يترک مؤلفا في النحو أو إعراب القرآن ، وقد اعتمدت على ما سجله السيوطي في الأشباه والنظائر من أسئلة نحوية وجهت لجلال الدين وأجاب عنها. أو ما سجله أخوه علم الدين صالح بن عمر البلقيني في ترجمته له من مسائل أخرى. والبحث يقوم على المنهج الإحصائي والتحليلي للمسائل النحوية ومناقشته لها، وقد توصل البحث إلى نتائج عدة ومنها: حرص جلال الدين على الاستشهاد بالروايات الصحيحة في الأحاديث النبوية، واستبعاد ما عداها. کان يذکر الأوجه الإعرابية المتعددة في المسائل التي تعرض لها، ثم يعقب عليها بالراجح منها بعد ذکر الأدلة على ذلک. تمتع بثقافة واسعة في العلوم اللغوية والتفسير والحديث والأدب والفقه وأصوله والشريعة وأحکامها، ويتضح ذلک من خلال مناقشته آراء العلماء في تفاسيرهم للقرآن کالعکبري والزمخشري وأبي حيان وابن هشام وغيرهم. حرص على مراعاة القاعدة النحوية، والمعنى الأدبي والحس النقدي في الحکم على صحة الإبداع الشعري عند أبي تمام، والمتنبي. اتصف جلال الدين بالمرونة، وعدم التشبث بالرأي والرغبة في المعرفة، وقد اتضح ذلک من خلال رجوعه في عدد من المسائل لوالده لأخذ رأيه فيما ذهب إليه، وکذلک في رجوعه لبدر الکلستاني في توجيه بيت أبي تمام. اعتد جلال الدين بالسماع کثيرا، وقد أخذ الشاهد القرآني عنده حظا وفيرا تلاه الشاهد الشعري ثم الحديثي. کان يرکز في اختياره النحوي على المعنى، وما يقتضيه ظاهر الکلام، مع الاعتداد بالسياق. کان يتمتع بحس أدبي مرهف، وتذوق للشعر. Abstract The study aims to shed light on Galal Aldin Al-Balqini ’s aspects of the syntactic thinking. Al-Balqini is one of the Egyptian scholars in the nineteenth century(Hijri). He was a polymath who studied various branches of sciences in the mosques of Egypt and Damascus, and worked as a judge and mufti. He was asked questions in the various branches of science and he answered them with complete clarity. Al-Suyuti recorded in the al-Shabas and al-Naza'ir a party of the grammatical questions addressed to him and his answers to them. His brother, Alam al-Din Salih bin Omar al-Balqini, also recorded other issues in his translation. The research is based on the statistical and analytical approach to grammatical issues. The research has reached several results, as follows: Jalal al-Din was keen to cite the correct narratives in the hadith of the Prophet, excluding all others. He used to mention the multiple syntactic aspects of the issues to which he was exposed, then he commented on them with the preponderance of them after mentioning the evidence for that. He enjoyed a wide culture in linguistic sciences, exegesis, hadith, literature, jurisprudence, its principles, Sharia and its provisions, and this is evident through his discussion of the views of scholars on their interpretations of the Qur’an such as al-Akbari, al-Zamakhshari, Abu Hayyan, Ibn Hisham and others. He was keen to take into account the grammatical rule, the literary meaning and the critical sense in judging the validity of poetic creativity according to Abu Tamam and Al-Mutanabi. Jalaluddin was characterized by flexibility, lack of clinging to opinion and desire for knowledge, and this was evident through his return to his father on a number of issues to take his opinion of what he went to, as well as in his return to Badr al-Kulistani in directing the house of Abu Tammam. Jalaluddin used to listen a lot, and the Qur’anic witness took abundant luck, followed by the poetic witness and then the hadith. He focused in his grammatical selection on the meaning, taking into account the grammatical rule, and what was required by the appearance of speech, with regard to the context. He had a fine literary sense, and a taste for poetry

Ensoñación y realidad en la Epístola V, al excelentísimo Señor Conde de Lemos, Presidente de Indias

RESUMEN: En la Epístola V dedicada al Conde de Lemos, Lope propone un juego de máscaras y de personas, de sujetos reales y de configuraciones ficcionales a efectos de recuperar el favor de su antiguo mecenas. La intencionalidad del mensaje se manifiesta a través de una fantasía alegórica concretizada en el plano onírico. En la dialéctica realidad/ensoñación, Lope aborda las tensiones entre el prestigio literario y la pobreza apremiante, entre la autoexaltación y el descrédito público, entre la experiencia vivencial y la creación poética. Autobiografía y proyecto literario se fusionan, una vez más, para enaltecer a un Lope que, a pesar de todo y contra todos, se ufana de ser poeta. ABSTRACT: In Epistle V dedicated to the count of Lemos, Lope proposes a game of masks and people, real subjects and fictional configurations in order to regain the favor of his former patron. The intentionality of the message is manifested through an allegorical fantasy concretized in the dream plane. In the dialectic reality / reverie, Lope addresses the tensions between literary prestige and pressing poverty, between self-exaltation and public discredit, between experiential experience and poetic creation. Autobiography and literary project merge, once again, to praise a Lope who, despite everything and against everyone, prides himself on being a poet

ОРГАНІЧНІСТЬ ФУНКЦІОНУВАННЯ МУЗИЧНОГО АСПЕКТУ В ПОЕТИЧНІЙ ТВОРЧОСТІ ПАВЛА ТИЧИНИ

Music and poetry have a lot in common in their nature, because in poetry there are patterns of musical art. It is a state of mind, a key to understanding the surrounding space, the perfection of works of art, the history of its people – all this we can see in the work of Pavlo Tychyna, especially in his early works.Examining the life of the famous poet, publicist, literary critic, translator Pavlo Tychyna, we found the little-known facts about the poet’s creative path. The versatility of his poetic genius is deeply intertwined with musical creativity. Based on the analysis of the creative path, it was found that the figure of Pavlo Tychyna, in the context of musical activity, is insufficiently studied, and requires a detailed analysis, which led to the concept of this research. That is why the aim of the article was to analyze the organic functioning of P. Tychyna’s musical origins in poetic creativity. It was discovered that he by nature had an absolute ear, played many musical instruments, sang in the bishop’s choir. It should be noted his talent as a musicologist. He wrote his reviews of musicians and composers, edited a multi-volume collection of works by Ukrainian composer K. Stetsenko, translated librettos of operas. Pavlo Tychyna promoted works by Ukrainian composers M. Lysenko, M. Leontovych, as well as world music classics. His professional activity had high reviews among musicians and musicologists.So, we can see several diverse talents of Pavlo Tychyna’s personality: he was a musician, a conductor, a musicologist, and even Tychyna-composer. In order to feel how free the poet felt in this area, it is worth turning the pages of his diary, which are filled with musical analogies and parallels that reveal the artist’s musical worldview, and critical notes and assessments that indicate a high professional level of the author.

El postmodernismo peruano: vida y obra de Abraham Valdelomar

Durante el modernismo y el postmodernismo peruano surgieron grandes poetas que dibujaron un panorama artístico muy significativo en este país. Todos ellos, aunque influenciados por la Europa (sobre todo la Francia) decadentista de fin de siglo XIX, supieron imprimir también una nota muy personal a sus creaciones literarias. Tal fue el caso de Abraham Valdelomar. Este artículo quiere rendir homenaje a este gran escritor, articulista y poeta peruano. De ahí que se realice un recorrido de su vida, y de sus obras literarias y periodísticas más relevantes. During peruvian modernism and postmodernism great poests emerged who Drew a very significant artistic scenery in this country. Al lof them, although influenced by the decadentist Europe (especially France) of the late 19th century, also knew how to give a personal note to their poetic creations. Such was the case with Abraham Valdelomar. This article wants to pay tribute to this great Peruvian writer, journalist an poet, through showing his life and Works.

Amor y la inspiración poética

Love’s personification has modeled the conception of love poetry since Antiquity. This article focuses on a little-known aspect of this personified figure. It will show that the process of poetic creation focused on the lyrical self is based on a profound relationship of the self with Love in its role as the inspiration of passion and writing. It will be observed how this idea begins with Greek poetics and how it was developed in three literary moments: the Latin elegy, Medieval lyric and Petrarchan poetry.

Amor y la inspiración poética

Es sabido que la personificación de Amor ha modelado la concepción de la poesía amorosa desde la Antigüedad. La presente propuesta se enfoca en un aspecto de esta figura poco discutido por la crítica: la inspiración poética. Se mostrará que la conformación de la creación poética fundamentada en el yo lírico se basa en una profunda relación de éste con el personaje Amor, en tanto que inspirador de la pasión y de la escritura. Se observará cómo esta idea surgió en la poética griega y cómo se desarrolló en tres momentos literarios: la elegía latina, la lírica medieval y la poesía petrarquista.

Michael Field: Decadent Moderns. Edited by Sarah Parker and Ana Parejo Vadillo. Athens: Ohio University Press, 2019. Pp. v+289.

<i>Michael Field: Decadent Moderns</i>. Edited by Sarah Parker and Ana Parejo Vadillo. Athens: Ohio University Press, 2019. Pp. v+289.

The scientific and poetic creativity: knowledge in the culture

This article describes the role of apperception and imagination (scientific and poetic) in scientific and poetic creativity in order to compare with each other. It demonstrates the importance of imagination for scientific creativity and highlights typological features of ideal objects (according to V.S. Stepin) that are common to scientific ideal objects and poetic images. The article discusses the concept of scientific and poetic meaningfulness and scientific and poetic meanings. According to the definition of N.M. Smirnova creativity is understood as the process of creation of new cultural meanings. The scientific imagination is analyzed as a necessary factor of scientific activity. The role of imagination in the apperception of the results of scientific and poetic creativity is demonstrated. It’s shown that in term of phenomenology, human culture appears as the horizon where the meanings circulate as ideal objects of culture. Special attention is paid to the concepts of intersubjectivity of scientific and poetic contents. The reasons and the sources of special reliability of scientific and poetic knowledge are presented. Poetic creativity is considered as a kind of spiritual activity that has cognitive meaning. It’s demonstrated that poetic creativity as well as scientific one has its own object and subject. From this perspective the analysis of poetic seems heuristic for theory of knowledge.

Emergent Poetry of Northern Nigeria within Digital Space

The author of this article presents an analytical study of a poetry forum at kanoonline.com, which targets Northern Nigerian readership. The forum reflects emerging literature as it sets out to shape its own standards of literary creativity, transmission, circulation, as well as communication reality and perception in cyberspace. Poetic texts are created in a digital medium, a means that presents itself as an inexhaustible source for the rapid circulation and unlimited distribution of texts. The emergence of a text as a digital unit ensures the immediacy of its communication to an audience, which simultaneously generates intensive reader feedback. Based on an analysis of selected topics, the author discusses metatextuality as being the essential nature of a digital text. The posting of a text, which is obviously a completed product of individual creation, serves as a starting point for a further creative process. The agent of this textual reworking is the audience which generates different interpretations of a given literary piece. What we witness is a switch from an individual creative process to an impersonal collective deconstruction, a process engendering metatexts. Most of the abovementioned forum’s experimental poetic formations can hardly be captured, identified, comprehended or interpreted well in terms of both content and form for several reasons. The shape of virtual texts may be viewed as awkward, chaotic, and confusing. And the contents of the texts, while definitely reflecting African modernity, on the other hand, is determined by subjectively portrayed day-to-dayness, freely displaying open mundane experiences in a fragmentary and momentary way. Forum poetry — poetic creation, performance, publication, reading, and perception altogether — within the virtual space has an explosive effect, which is unpredictable, uncontrolled, chaotic and momentary. Moreover, poetic content often makes a strong reference to certain immediate and fragmentary environments of African everyday life which are most urgent and alive at the very time of creation, performance and perception. Thus, capturing virtual texts within this broad context — the context of author/reader interaction, communication and creation — enables one to read both the content and formal properties inherent in the genre of web-forum poetry.

Depiction of Hazrat Adam (A.S) in the Poetry of Rehman Baba

Abstract&#x0D; Rehman Baba is considered a famous folk poet of Pashto. His poetry is mystic rather universal. The messages his poetic verses convey are universal as well as local. The locals and the foreigners, having comprehension of his poetic creations, entertain humanistic love and attachment with him. He is loved particularly amongst Pashtuns because his poetry is written in Pashto language. The Pashtuns without the any bias of age and gender entertain love and devotion to his poetry. His poetry has depicted the soul and body of the Pashtun’s culture. That’s why, most of his poetry has taken the shape of proverbs amongst Pashtun. Talmeeh refers to the historical, political, ethical and religious events or the Quranic injunctions and prophetic sayings. Poetry of Rehmana Baba is abundant in religious Talmeehat. He has depicted Hazrat Adam (A.S) in his poetic creation on various places. There is a strong need to analyze it. This paper examines and analyzes the religious Talmeehat focusing particulary related to Hazrat Adam (A.S).

En otro reino extraño: Un proyecto pionero desde la escena clásica. Entrevista a David Boceta, director del montaje

An interview with David Boceta, director of En otro reino extraño (2020) for Spain's Joven Compañía Nacional de Teatro Clásico, details the innovative collaboration in digital theater that took shape in the spring of 2020 in response to a seeming calamity for theater professionals—the sudden shutdown of theaters precipitated by the COVID-19 pandemic. The director explains how the team of collaborators recontextualized a selection of comedias, prose drama, and lyric poetry in which Lope de Vega pondered exile, love, and poetic creation at the end of the sixteenth century. A writer's dislocation became a powerful metaphor for a theater company exploring a new realm for theater performance using a videoconferencing platform.

The Studying Author’s “I” in Lyrics: the Methodology of Integrative Analysis (Material of I.M. Gogolev's Poetic Creativity)

The Studying Author’s “I” in Lyrics: the Methodology of Integrative Analysis (Material of I.M. Gogolev's Poetic Creativity)

Bohdan Kravtsiv as a translator of Rainer Maria Rilke's poetry

The paper presents a modified three-level model of possible relations between different cultures proposed by W. Welsh. There have been outlined multicultural, intercultural and transcultural aspects of such relations. The model is exemplified by the translations of Bohdan Kravtsiv. Life circumstances forced Kravtsiv to leave Ukraine and spend his life abroad. He had to work on his translations in different countries and cultures. Just like other cultures influenced his way of thinking, life experience and poetic creativity, due to his political, social, poetic, and translation activities, he himself influenced the cultures he was immersed in and where he was involved in the creative activity. Remoteness from Ukraine did not make the poet and translator break off his relations with his home country. In the Diaspora he did his best to help Ukrainians, replenish the poetic translations of the Ukrainian literature, retain memories of the repressed poets, enrich Ukrainian cultural heritage (transcultural aspect). The language personality of Bohdan Kravtsiv as a translator is considered in terms of his translations of Rainer Maria Rilke's poetry. The structure of the language personality of the translator encompasses verbal, cognitive and pragmatic-motivational levels. The paper focuses on the analysis of Kravtsiv’s translations of Rilke's poems into Ukrainian. It has revealed Kravtsiv’s brilliant mastery of the poetic word. The translations of Rilke's poems performed by Kravtsiv testify to the translator's efforts to remain faithful to the form and content of the original. In spite of the different morphological and phonetic structures of German and Ukrainian, he succeeded in most cases. The translator’s individual style is marked by concise and euphonious translations, multiple new coinages and in-depth knowledge of the original works.