Poetic Devices Research Articles

ON DECODING THE TRAJECTORY OF CONSCIOUSNESS IN BLAKE’S POETRY

Poetry is defined as spontaneous overflow of feelings recollected in tranquility by one of the remarkable poets of the romantic age William Wordsworth. Human beings are conditioned by emotions and feelings that come out in varied forms like paintings, sculptures, poetries etc. An artist absorbs elements that prevail around him and effuses in art forms. An artist is adept at reading the nuances of socio economic and political impact of the society and shares his/her thoughts through their artistic products. Unless there is a balance maintained between the emotional and intellectual quotient, an art cannot reach the audience. Critics speculate the language and the content of poetry. Language is a channel of expression where the poets try to exploit to reach the audience effectively. William Blake is one of the remarkable poets of the Romantic age and the paper attempts to unveil the submerged consciousness of the poet reflected through his poems. Short poems are pecked for the study to illumine the impact of the contemporary society on the psyche of the poet. Literature mirrors a society and aspiring scholars can certainly accrue knowledge by perusing the literature of the past. The elements of romanticism in Blake’s poems are elicited and the poetic devices reflect in his poems are explored. Blake’s poems reflect multi layered emotions firmly anchored in ethos and pathos that permeate in the social lives of the people. The elements of romanticism in his poems are discussed.

SEMANTIC AND ANTITHETIC PARALLELISM AS POETIC DEVICES FOUND IN HYMNS OF THE METHODIST CHURCH OF SOUTHERN AFRICA AND SEVENTH-DAY ADVENTIST CHURCH

Ponte Academic JournalNov 2022, Volume 78, Issue 11 SEMANTIC AND ANTITHETIC PARALLELISM AS POETIC DEVICES FOUND IN HYMNS OF THE METHODIST CHURCH OF SOUTHERN AFRICA AND SEVENTH-DAY ADVENTIST CHURCHAuthor(s): Miss Gcinile Beuty ThwalaJ. Ponte - Nov 2022 - Volume 78 - Issue 11 doi: 10.21506/j.ponte.2022.11.2 Abstract:Stylistics is significant in literary works because each artist has a unique style of writing and it is concerned with the use of linguistic methods to study the concepts of style in a language. This study aimed at examining the use of semantics parallelism and antithetic parallelism in the Methodist Church of Southern Africa’s hymn book titled Incwadi Yenkonzo Nezingoma and the Seventh-day Adventist Church hymn book titled UKrestu EsiHlabelelweni. Aspects of poetry such as semantic parallelism and antithetic parallelism have been discussed by many in different poems, while they seem to be not recognised, particularly, in the isiZulu hymns of the two churches. The key poetic aspect that is examined is parallelism. Findings reveal that poetry and music are more related than one thinks, as much as poetry is about rhythm, flow, deeper emotions and meanings, and expressions, as is music. Attesting to this is Crosson (2008: 17) who suggests that “music and poetry have often been viewed together as both are considered “auditory, temporal and dynamic art forms”. It has also been discovered that the composers of the hymns of the above two churches mostly used parallelism in their hymns as their style to convey the message to the people of God. This paper hopes to contribute to the knowledge of how music and poetry are related and serves as a point of reference to scholars who intend to research more about hymns and poetry. Download full text:Check if you have access through your login credentials or your institution Username Password

Universality in Emily Brontë’s “Remembrance”

Universality in literature means that a piece of literary work is able to reflect universal emotions and evoke responses from men of every face. The essay believes that Emily Brontë’s “Remembrance” is such a poem that achieves universality. It attempts to summarize three universal elements contained in the poem: the universal experience of grief at the death of the beloved, the universal question of “still remember or have forgotten” and the universal truth of living in struggles. These three aspects together reflect the universal emotional progress of a person in the face of long-term deep loss—grief, doubt, fears, guilt, and struggle between the restraint of sadness and indulgence in the wish of death. All these emotions can be seen as universal ways of how one remembers the dead. Besides, with Brontë’s skillful application of poetic devices, it is not difficult for us to sympathize with the emotions expressed in the poem. In a word, Brontë is believed to have made “Remembrance” a poem of universality.

The Poetics and Politics of Custom: Law, Literature, and Time

The Poetics and Politics of Custom: Law, Literature, and Time

Poetic Devices and Rubrics on Luisa Gluck “An Adventure”

Poetry has a mystery contained in the choice of words a magical touch that can make the reader lulled. Through structures, certain issues can be addressed in a deeper analysis. The researcher focuses on the poetic device of Luisa Gluck's poetry An Adventure. Poetic approach is used to find out the characteristics of poetry and to find out the values. There are two research problems in this study: what are the poetic tools used in the poetry and how are the results of using rubric. The first is answered by using a poetic device approach. Poetry is analysed based on the type of poetic devices: allegory, alliteration, figure of speech, imagery, assonance etc. The second is answered by calculating scores using rubric. A good poem can be judged by considering several important points to get a rating of whether a poem is bad, fair, good or very good

The bahuvrīhi Compound Between Zeroing and Contrastive Accentuation: Vedic Sanskrit Model and Pāṇini’s Model

This article aims to explore how Pāṇini’s model of the bahuvrīhi compound may be diachronically correlated to the bahuvrīhi compound as attested in the Vedic Sanskrit language, thus accounting for the two Pāṇinian requisites: zero-ending for all the constituents and accentuation on the first constituent, contrastively employed in relation to the determinative compounds. Since Pāṇini’s work is based on the Brahmanical scholarly tradition, the sources of his bahuvrīhi model are also to be found in the Brahmanical scholarly milieux. The locus classicus is the case of índraśatru, which starts off the process of uniformation and regulation of bahuvrīhi compound stressed on the first constituent. The same scholarly-discussed índraśatru compound is mentioned in the late Rigvedic textual layer (R̥V 1.32.6; 1.32.10), as an expressive poetic device. Therefore, the two Pāṇinian characteristic traits of the bahuvrīhi compound are inherited from a peculiar blend of poetic language and linguistic exegesis.

Agents of Chaos: The Monstrous Feminine in Killing Eve

ABSTRACT This paper explores how the central female characters of the television series Killing Eve gain power by accessing and enacting forms of violent “otherness”. By rejecting traditional conceptions of femininity, including passivity, maternal nurturing or caregiving, and empathy, Villanelle, Eve, and Carolyn weaponise the cultural narratives used to relegate women to the margins. Their subversions are frequently located in bodily terms, relating to appetite, fashion, sex, and behavioural quirks, but are also intellectual and metaphorical, explicitly addressing gendered anxieties about women, authority, and performance. Indeed, the series turns on the possibilities of transformation, realised via the physical styling of self, for example, as well as the play upon literary and poetic devices such as adaptation and the villanelle. In focussing on various notions of metamorphosis, we contend that Killing Eve offers an ambiguous vision of empowerment, arguing that while it resists the reduction of women to docile bodies forced into compliance, it also equates female power with abnormality, disorder, and abjection. In its mobilisation, subversion and parody of elements of the monstrous feminine, Killing Eve is only partly successful in empowering its female characters but, nonetheless, makes a significant contribution to a culture in which sophisticated feminist tropes are increasingly prevalent.

Humor i to nyere norske diktbildebøker

Humour in Two Contemporary Norwegian Poetry Picturebooks: Pling i bollen and 123 for barske barn
 Abstract: This article examines visual and verbal humour in two contemporary Norwegian poetry picturebooks for children. The main aim is to study how different types of humour and various poetic devices are expressed through the interplay of words and images. Moreover, the article discusses in which ways the two books represent a continuation and a renewal of classic humour traditions. The theoretical framework mainly consists of intermedial theory, picturebook theory, children’s poetry studies, and studies on literary humour traditions such as nonsense, parody, and the Bakhtinian carnivalesque. The selected books are Pling i bollen: Fine og ufine barnerim (Off One’s Chump: Delicate and Indelicate Children’s Verses) from 2011 by Ingvild Rishøi and Bendik Kaltenborn and 123 for barske barn: Tull med tall (123 for Rough Children: Nonsense with Numbers) from 2020 by Anne Østgaard and Egil Nyhus. The analyses point to examples of both playful and sophisticated interactions between poems and illustrations, suggesting that the picturebook medium includes more diverse combinations of visual and verbal humour compared to traditional illustrated poetry books. In addition, the various types of humour appear to be wilder and coarser than in classic children’s poetry. 123 for barske barn combines pedagogical and aesthetic qualities by featuring nonsense and carnivalesque humour with numbers, while Pling i bollen offers an even wider range of humour by combining satire, parody, and sophisticated nonsense with more playful and carnivalesque qualities. These compounds of humour tend to transgress the classic genre of children’s verse and to include a cross-generational audience.

La ‘traduction supposée’ ou: de la place des pseudotraductions poétiques en France

A pseudo-translation is a fiction, an original text that the author chose to present as a genuine translation for either psychological (e.g. to be acknow-ledged as a writer), ideological (to convey potentially polemic contents with-out being directly involved oneself) or literary reasons (to import new literary patterns supposedly belonging to another tradition). Romantic French poets such as Mérimée, Nodier , Rabbe, and Nerval saw fictitious translations as a way of experimenting with new poetic devices and of freeing themselves from what they regarded as the narrow conventions inherited from French Classicism. My intention in this paper is to contextualize the practice of pseudo-translations in France and in Europe, and to analyze to which extent pseudo-translations of poetical texts contributed to major changes in 19th-century French poetics, be it through the promotion of a new conception of poetry, the introduction of so-called ‘free verse’, or the creation of a new genre: the prose poem.

Contemporary Judeo–Spanish Poetry for Young Readers

This article presents contemporary Judeo-Spanish poetry for children in the context of the postvernacular mode (when the language is not used any more in everyday communication) of the language. It discusses the poetry collections of three authors who have published Judeo-Spanish poems in the twenty-first century: Ada Gattegno-Saltiel, Avner Perez, and Sarah Aroeste, as well as the project Yeladino, which is an anthology of Judeo-Spanish translations of Hebrew poems. It analyses the books and projects in terms of their subject matter, language, and poetic devices, as well as the relation of some of them with music, theatre-music performance, and educational activities. The paper raises the question of audience of this poetry, allowing for the fact that nowadays there are no children learning Judeo-Spanish as their first language, and that the language itself is considered severely endangered. The paper states the presence of the dual address in these books, i.e. to children and adults, both on the level of implied and real audience.

Register as a Language Variation: A Linguistics Study of Advertising, Scientific and Official Writing

This paper considered register as a language variation in English Language. The register of civil service also known as official writing, advertisement and scientific writing are discussed in great details. The study was based on the premise that language is used in different ways to achieve set goals. The achievement of this set goal of a society results to growth and development of that given society. The paper considered language register as an important element of linguistic style used by different writers in different fields to effectively pass their message across to their readers. This paper equally discusses the scientific writing and advertisement register as the different registers used while elaborately paying attention to their differences in diction, sentence variety, clarity and conciseness. The style of writing in the civil service register is seen as being peculiar to the officialese and therefore is restricted to the officialdom. Poetic devices as a linguistic style were also identified as language register of advertisement. A good understanding of the Standard English will enhance a better appropriation of register in different fields of learning. The researcher used a descriptive research approach to collect data. Data collected were interpreted based on the context of the different sentences. The researcher recommends amongst other things that the officialese, scientific and advertisement writers go through proper training and retraining on the use of English language at its standard status.

There’s Something about Murray: Victorian Literary Societies and Alfred Forman’s Translation of Richard Wagner’sDer Ring des Nibelungen

AbstractAlfred Forman’s translations of Richard Wagner’s operas are often derided for their weird diction and minute imitation of German poetic devices. Forman has seemed to represent a zealous and uncritical approach to Wagner that was typical of the early London Wagner Society. But London’s literary societies were important preprofessional gatherings for the appreciation and research of vernacular literature at a time when universities restricted who could study and what could be studied. Forman contributed to other London societies and organized for them dramatic readings of Wagner’s poetry featuring Forman’s wife, Alma Murray. In making Wagner legible and audible for these societies, Forman aligned Wagner with contemporary radical poets and promoted the Ring as a political allegory. Forman’s translations, far from cranky or cultish, show how Victorian society culture affected translation practices, renewed study of poetic alliteration, and inaugurated the political interpretation of Wagner’s works.

Epiphanies and Dreams in Greek Polytheism: Textual Genres and "Reality" from Homer to Heliodorus by Michael Lipka

Reviewed by: Epiphanies and Dreams in Greek Polytheism: Textual Genres and "Reality" from Homer to Heliodorus by Michael Lipka Mirjam E. Kotwick Epiphanies and Dreams in Greek Polytheism: Textual Genres and "Reality" from Homer to Heliodorus. By Michael Lipka. Berlin and Boston: De Gruyter (MythosEikonPoiesis Band 13). 2022. Pp. 319. Michael Lipka's book is clear about the thesis it defends. It wants to debunk the scholarly assumption that the ancient Greeks regarded epiphanies as real.1 Lipka denies that "epiphany-mindedness" (1 and passim) was ever widespread in ancient Greek culture; however, there was "dream-mindedness" (4 and passim). He argues that if Greeks generally believed epiphanies to be real phenomena, we would find epiphanic experiences represented across all genres (2). But since they appear only in specific genres and with specific narrative or dramatic functions, Lipka concludes, there was no widespread belief in the reality of epiphanic encounters with the divine. Lipka moves cursorily through an impressive range of Greek literature from Homer to Neoplatonic treatises to show that apart from epos and drama, actual reports of gods appearing to humans are few and far between. Since the book's goal is a negative one—to show that there was no Greek "epiphany-mindedness"—it covers a lot of ground without being engaged in detailed analysis of how (and why) ancient authors appropriated the concept of epiphany for their own purposes. Lipka works with a narrower definition of epiphany than most of the scholars he argues against. For him epiphanies are "visible apparitions of temporary, metaphysical manifestations of human-like entities to human individuals in a waking state" (4; Lipka's italics). In his emphasis on "visual contact" (4), Lipka constricts the wider understanding of epiphany as "various forms of divine presence"' (5) but grants that the ancient [End Page 373] term epiphaneia was wider in meaning. An epiphany dream is given when an epiphany occurs in a dream (6). Yet, it seems that Lipka is not interested in such dreams for their own sake but as a foil through which epiphany comes into sharper relief. Lipka operates with complex concepts such as reality and fiction which he leaves underexplored. While he addresses reality in the introduction, distinguishing three "modes of reality" ("lifeworld reality," "intentional reality," and "invented reality = fiction," 18–19), Lipka neither problematizes the application of the term "fiction" to a great variety of ancient texts nor discusses the crucial question of precisely how fiction sheds light on what he calls the "mindedness" of an audience or authors. Additionally, given that the notion of "belief" has received considerable interest in the study of ancient religion for some time, a theoretically informed reflection on what is implied in the question of an ancient belief in epiphany would have been helpful to the project. Lipka's focus lies elsewhere. Most important is genre, which plays a two-fold role. First, genre guides his approach to epiphany. (He writes: "genres offer numerous patterns for the representation of epiphanies . . . . [I]t is a primary goal of this book to identify these genre-bound patterns," 13). More generally, Lipka calls on religious studies to pay more attention to the generic parameters of their sources (1, 3, 12). Second, genre structures the book, with each chapter looking at a different one (e.g., Epic, Narrative Hymns, Didactic Poetry, Sappho's Lyric, etc.). The first chapter, "Epic" (25–50), looks at epiphany in Iliad and Odyssey, Apollonius of Rhodes' Argonautica, and Quintus Smyrnaeus' Posthomerica. In Homer, epiphanies are mostly part of type scenes and their "stereotypy suggests representational . . . conventions" (26). Lipka concludes: "unless proven otherwise, they are artificial poetic devices without any claim to relevance to—or veracity in—the lifeworld of the poet" (26). Whereas Quintus Smyrnaeus' Posthomerica imitates Homer closely, the Argonautica moves consciously beyond "Homeric conventions" (35). Homer is the starting point for the concept of Greek epiphany. From Plato to modern scholars, epic epiphanies are considered as expression of "polytheistic 'lifeworld' reality" (46). Against this assumption Lipka holds that they are fiction and were perceived as such by Homer's audience (49–50). The chapter "Narrative...

Derridean Hauntology in Selected Poetry of Maya Angelou and Lucille Clifton

This paper deals with aspects of Derridean hauntology in the poetry of May Angelou and Lucille Clifton , two prominent , albeit understudied, African American women poets. Starting with an overview of Jacque Derrida’s postulations disclosed in his book Specters of Marx, the study is then to situate his theory in selected poetry by the two poets afore-mentioned with the attempt of showing how it helps delve deeper into the nuances of African American consciousness. The paper argues that given the intensive studies on specters, legacies and memories, what distinguishes Derrida’s theory is its tripartite link to temporality, existentialist being and hegemony. With Derrida asserting that specters control the present and the future and determine being and becoming besides governing the quest for hegemony, Derridean hauntology not only unsettles the taken-for-granted notions of temporality but also disrupts the conventional concepts of existentialist being and power. Bringing the three-aspected hauntology to Angelou and Clifton’s poetry helps shed light on the role of textuality and the author in the struggle over hegemony and in the attempt to reconcile the conflicting poles of being in the case of black American subjects. To achieve its objectives, the study is to follow an expository analytic approach wedding theory to practice and foregrounding the poetic devices that help hammer forth the Derridean perspective.

Translating psalms for Africa today: Involving the community and transmitting through performance

Psalms, being poems, need to be translated as poems using the poetic features of the receptor language. Official translators are not always poetically sensitive, but many community members are highly skilled word-artists, keen to participate in the translation process. Further, poems are always performed before an audience, and thus translated psalms need to include performance features as part of the translation. These two aspects of translating psalms offer advantageous possibilities for those translating biblical poetry. The notion of community involvement challenges the idea of ‘authority resting with the trained translators or consultant’, but the Skopos Theory reminds us that there can be many translations of a psalm, serving different purposes. This article describes the results of an empirical study including Zulu youth (interested in poetry and music) in the translation of some praise psalms. The idea of interpreting and communicating psalms as oral performances was also tested by presenting the translations as performances before an audience. Four Zulu youth groups participated in the study, each spending five days learning the principles of translation, poetic devices (in Hebrew and isiZulu), features of local music and oral communication style. They studied, translated and presented through oral performance three praise psalms before an audience of adults and peers. The isiZulu translations were evaluated primarily using Wendland’s criteria for a literary-rhetorical translation (viz. artistry, aurality and acceptability), but attention was also given to the traditional criteria of faithfulness to the Hebrew, naturalness and clarity. Many of the translations showed creativity balanced with accuracy and gave insights into the exegesis of the psalms. They also used traditional rhythm and features of local poetry and music, and engaged the audience using aspects of performance art. The study highlighted the opportunity available to a translator of psalms to engage local oral artists to participate in the process, either in a parallel project which can feed into the official project, or as a valuable means of Scripture Engagement. Being able to experience the translation process and present psalms in a way meaningful to the local culture has many advantages which need to be explored.Contribution: Engaging the local community in a significant way is key to the success of a translation project. Beyond simply being ‘reviewers’, this methodology offers opportunity for greater involvement in the translation of poetry. Further, using oral performance to present psalms actively, engages the community, resulting in far higher acceptability, memorability and perceived relevance.

Genre Experiments: Thylias Moss’sSlave Mothand the Poetic Neo-Slave Narrative

AbstractAs histories of experimentation on the enslaved receive scholarly attention, so too are neo-slave narratives representing and commenting on this aspect of enslavement, in both their content and their form. This article examines Thylias Moss’s genre-troubling Slave Moth: A Narrative in Verse (2004), a neo-slave text that depicts an enslaved woman named Varl treated as an object of psychological experimentation. Varl develops a strong subjectivity through becoming a subject performing experiments: aesthetic experiments in how she chooses to represent her narrative in stitched cloths. The subtly experimental poetic devices through which Moss crafts this representation highlight that this protagonist possesses an alternate, generative epistemology that differs meaningfully from her master’s scientific worldview and thereby enables fugitive, temporary agency and freedom. By analyzing Slave Moth, I argue that the ethically problematic epistemology that generated experiments on the enslaved has certainly not dissipated and that it indirectly undergirds lyric theory’s failure to engage form in texts by nonwhite poets. Through contrasting close attention to formal devices by which Moss undermines teleological narrative, this essay postulates that “lyric time” enables fleeting, yet nevertheless generative, subversions of the formal expectations readers impose on texts representing enslavement. Reading Slave Moth through such a lens suggests potential middle-ground formal alternatives to wholly rejecting either narrative or lyric as genres and to thereby asymptotically approaching adequate representation of enslavement.

Kenningar in den metrischen Runeninschriften der Wikingerzeit und des Mittelalters

Abstract There are several reasons why it is of great importance to include the kennings of the metrical runic inscriptions in thorough investigations of kennings, albeit their number is not particularly high. One reason for this is that there are Viking-Age metrical inscriptions with kennings attested from Eastern Scandinavia, and mostly in eddic metres. Further, some of these kennings belong to the oldest kennings we know at all from Scandinavia, e. g. the kennings of the Theoderic-stanza on the Swedish Rök stone are older than the work of Bragi Boddason. To make it easier for further research to include these kennings, this article gives a short overview of this material. It is worth considering the kennings of the metrical runic inscriptions, for they show a great variety and they are highly developed. Beside the use of tvíkennt and rekit kennings, they testify the knowledge of half-kennings and the poetic device of ofljóst in medieval Norway.

The Dichotomy of Specialization: Is a Literature Teacher Necessarily a Language Teacher?

This study investigates the dichotomy of specialization in Literature and English language. In many primary and secondary schools in Nigeria, many teachers who teach Literature are the same teachers who teach English Language. This is responsible for lack of ultimate successes in academic performance, foundational establishment and progressive developments in Literature and English language. Set against the backdrop of the inseparability and non-specialization in individual subjects in question, the study examines the need for a dichotomy of specialization in English Language and Literature with a view to reducing the rate of errors and students’ failures in both subjects. Adopting the simple randomisation, the researcher uses selected primary and secondary schools in Lagos State as the case study; the paper raises four questions and these are: Can English Language teachers effectively teach poetic devices? Are segmental phonemes easily taught by Literature teachers? Can English Language teachers proficiently teach oral literature, literary criticism and non-African literature? Can Literature teachers competently teach stress and intonation? This research uses a qualitative approach and adopts The Speech Act Theory as its theoretical framework. Questionnaire of fifteen (15) items was used for data collection and the simple percentage was applied for data analysis. The researcher discovered that: It is not possible for English Languageteachers to effectively teach poetic devices. Segmental phonemes cannot be easily taught by Literature teachers. Students would lag behind in areas where teachers are not proficient in the subjects they teach. Also, it is not possible for a teacher to place equal emphasis on both English Language and Literature in classrooms. The study therefore recommends the need for a dichotomy of specialization in the two subjects so as to ensure effective teaching and learning of these subjects.

An alliterative-typographical device inPsalm37: Divine destruction of the wicked, enacted in real time

Addressing the problem of the prospering of the wicked, Psalm 37 uses a poetic device to enact their destruction symbolically and concretely for the reader/listener in visible and audible correspondence and semantic affinity. A pivotal alliterative word series, chiastic in sound and sense, serves as an organizing pattern to subsume a system of literary devices and imagery.

How to do things with signs. The formulation of directives on signs in public spaces

This paper analyzes signs and written messages aimed at regulating people's behavior in public spaces. Based on a collection of more than 700 verbal and pictographic signs, the paper focuses on how the formulation of the directives reflect and construct the authors' deontic authority, how they account for the social legitimacy of the directive and how they seek to evoke the addressee's goodwill and cooperativeness. The analysis shows that the author's entitlement to perform the directive may be grounded in references to institutional authority, or that it may be manifested in the linguistic or pictographic expression itself, such as use of imperative mode, exclamation marks, or threats of sanctions. Entitlement may also be established by providing accounts for the legitimacy of the directive. These take the form of reference to rules and norms or information about benefits of the requested action to the recipients or third parties. Finally, the analysis shows how signs may seek to evoke positive attitudes in the addressee by creating affiliation or by using humor and poetic devices. By comparing with previous research on directives in conversation, the paper identifies request practices that are specific to this form of written communication.