Poetic Elements Research Articles

العناصر الشعرية في کتاب (قواعد الشعر) لثعلب

يتناول هذا البحث بالدرس، والمعالجة العناصر الشعرية في کتاب قواعد الشعر لأبي العباس ثعلب، وقد توزعت دراسة هذه العناصر، والمکونات المؤدية لشعرية القصيدة في مبحثين رئيسين وهما: بنية الکتاب، والعناصر الشعرية، وفي هذا تطرقنا لمعالجة القضايا البلاغية، والنقدية الموجودة في داخل الکتاب، والتي تشتمل على بعض التداخل في التقسيم، ولکن درست موضوعات هذا الکتاب بشکل موسع، وذلک يأتي في سياق البحث عن جمالية الشعر عند جيل اللغويين في القرن الثالث، ومنهم ثعلب. بدأ المبحث الأول بدراسة نسبة الکتاب لثعلب، ومدى تأثير ثقافته، وتفکيره على معالجته النقدية، وهذا قد تبين في رغبة أبي العباس في الاختصار أثناء معالجته لبعض القضايا النقدية، والألوان البلاغية، والتي تمثل عنده العناصر الشعرية. وأما المبحث الثاني فقد عني بالعناصر الشعرية الموجودة في البيت الشعري، وتوجد هذه العناصر في نظرية ثعلب المتصلة بالبيت الشعري، وتجلت هذه النظرية في تقسيماته للبيت المأخوذة من صورة الفرس، وبعد هذين المبحثين يختتم البحث بخاتمة نقدم فيها أهم النتائج التي توصلنا إليها من خلال دراستنا لعناصر الشعرية في هذا الکتاب. The Poetic Elements in Thala'b's Book Rules of Poetry By: Rashid Bin Fahd Bin Ayed Al Qathami Majored in Literature Department of Arabic Language University College of Taraba Taif University Saudi Arabia Abstract This research studies the poetic elements in Abi Al-Abbas Thala’b's book Rules of Poetry. Studying those elements and the components leading to the the poem as a creation، the research is divided into two main topics: the structure of the book and the poetic elements. Accordingly، the research tackles the rhetorical and critical issues introduced in the book. Those issues have slight interference regarding their classification but this research studies them on a larger scale in accordance with its main objective which traces the poetic aspects of poetry in the output of the linguists in the third century A.H. and Thala'b belonged to those linguists. The first topic began by studying the attribution of the book to Thala'b and the impact of his culture and thought on his critical treatment of the issues. Such impact was tacitly present in Abu al-Abbas's intention to be short while dealing with the critical issues and rhetorical attitudes representing the poetic elements for him. As for the second topic، it is concerned with the poetic elements found in a line of verse and these elements are found in Thala'b's theory of verse and this theory was manifested in his divisions of verse inspired by the image of the horse. Finally، the research concludes with a conclusion which sums up the findings reached through studying the elements of poetry in this book. Keywords: poetics، aesthetics of the poem، explanation of poetry، ideals، lines.

Abusing Supremacy in Five Poems by Czeslaw Milosz

This study is aimed to expose the issue about abusing supremacy which is done by the communist government toward the citizens and to know the contribution of poetic elements; irony,imagery,and symbol in revealing the issue of abusing supremacy. This analysis is related to the concept of power by Michel Foucault. The result of this analysis shows that abusing supremacy is done in two strategies; enforcing laws and using state’s apparatus

Poetic Interpretation of the Genealogy of Kurgan School of Friendship

The article discusses the role of the Kurgan School of Epic, its famous representatives, the traditions and poetic style of the Barkarals, which played an important role in Uzbek folk epics. Based on the autobiographical epic of Ergash Jumanbulbul ogli Biography, interesting scientific views on the poetic elements of the epic, the teacher-student relationship is put forward

The cognitive poetics of English-Chinese advertisement translation

AbstractAdvertisements often use poetic methods to increase aesthetic value, evoke emotion, and strengthen recipients’ impression. This study explores the cognitive poetics of English-Chinese advertisement translation and investigates how poetic methods are treated in translation. It draws upon poetics, psychology, and translation to study a corpus of 198 English-Chinese poetic advertisements. Two major poetic methods in the advertising discourse – repetition and image establishment – will be outlined, as well as their functions in invoking an emotional response and lasting impression. Then, analysis of a representative example will demonstrate how the poetic elements are transferred across languages, and the results of two surveys confirm their effects. The discussion is intended to shed light on the audience’s reception and perception of advertisements and provide translators with practical reference regarding poetic methods and the importance of the audience’s emotion and impression.

Sydir Vorobkevych on poetics: theme, idea

The purpose of the article. To analyze the scientific literature related to the study of the elements of poetics of poetic works of S. Vorobkevych. To study the author's views on the form of a poetic text. Research methods are predetermined by the purpose and tasks of the work, the object of research and are complex. The hermeneutic method and comparative and comparative historical, biographical method makes it possible to find out the dependence of S. Vorobkevych’s views on poetics on the life basis. Scientific novelty. The realization of this task is also connected with the study of the writer's views on poetics. They may not always be correct, some judgments have undergone some changes chronologically, but their value in understanding the poetics of works is unquestionable. The writer mostly used the term "style", interpreting this category as a set of artistic means that distinguish the work of one author from another. S. Vorobkevych divided literature into poetry, prose and drama. He differentiated poetry into folk (folklore) and literary. He defined a literary work as a structure consisting of content and form. In the content segment, S. Vorobkevych defined a theme and an idea. In his own work, the writer described two themes: the theme of Bukovyna in various versions and the theme of the historical past of Ukraine. The poet defined the idea of a literary work as "pearl", "grain", "fruit". Conclusions. S. Vorobkevych’s arguments about the form of the literary work were important. The results obtained are an important material for expressing our knowledge of the poetics of S. Vorobkevych's poetic works; they are the material for comparison with the similar material on the artistic nature of Y. Fedkovych’s poetic works. Researcher might receive a general picture of the poetics of national poetry works in Bukovynain the second half of the nineteenth century on the basis of revealing common features, taking into account the data of other Ukrainian poets of the region of this period.

LITERACY AND ORALITY: BETWEEN ABROGATION AND APPROPRIATION IN NGUGI WA THIONG’O’S THE RIVER BETWEEN

Colonizers have used language as an instrument of socio-political and economic control during colonisation. This has enabled them in the process to establish power hierarchy based mostly on linguistic superiority by undermining native tongues. In recent years, theories of postcolonial discourses hold the view that colonialism has fundamentally affected modes of representation of colonised spaces. Through questioning and travestying western hegemonic discourses, writers from once colonised spaces have challenged and subverted the hegemonic power of the colonial language by inserting different strategies into their own language to suit socio-cultural contexts. For postcolonial literary artists, this consists in taking the language of the former imperial power, to unlearn its worldview and re-place it in a discourse fully adapted to ones’ own space and subsequently, produce new modes of representation in countering colonial canonical texts. In this sense, postcolonial discourse is crystallised by and replete with ‘abrogation’ and ‘appropriation’ in the canon of postcolonial studies. This suggests the writer’s use of linguistic structure of the borrowed language, the manipulation of its syntactical structure as well as its semantics, to convey stance against the colonizer. In its pronouncement, an effort is made to advocate for a critical rethinking of the legacies of colonial domination as well as its accompanying epistemologies. Kenyan novelist Ngugi wa Thiong’o uses elements of oral tradition (orality) or better indigenous poetics in his fictional works, mostly The River Between, to express the meanings, feelings and experiences of his Gikuyu people. Thus, orality as a means of communication and carrier of the culture of those people to whom it is a mother tongue, has social, cultural, and political aesthetic roles to play in the African worldview. To achieve this, Ngugi employs historically significant events, moments and stylistic features which are characteristics of oral tradition to emphasise important key concepts that help to reconstruct positive moral values in conflict with foreign ones in a fragmented Kenyan society. Though many controversies surround Ngugi’s writing and its medium of reception, this paper contends that his fictions written in his mother tongue or in English and/or translated into English, are part and parcel of his endeavour to appropriate the literary enterprise not only as a weapon of active physical revolt and textual indignation but also as against (post)colonial pathologies. Ngugi refashions the colonial English language to show that his country, Kenya, is not a mere passive entity in tolerating colonial legacies; but challenges western hegemonic power dimensions, dismantles them to the point of bringing them under its own terms and conditions. The conceptual frameworks that underpin the study are New historicism (New Culturalism) and postcolonial theory. 
 
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Poetic objectification of a shattered subject: the alchemical poetry of Josep Palau i Fabre

ABSTRACT A number of modern poets have presented their works as an alchemical endeavor. Their verses display the hermeneutical clues of an analogy that elaborates on a heterodox ancestral practice and that simultaneously assumes poetry’s experimental nature. Alchemical poetology constitutes thus a specific alternative of contemporary poetic expression, and it stands out for its elements’ material treatment. The article describes and exemplifies various procedures of poetic objectification through which Josep Palau i Fabre’s works between 1937 and 1952 dissolve the traditional distance between object and subject and compose a world of objects where words, sounds and meanings arbitrarily collide beyond any subjective assessment. The material and practical aspects of an alchemical poetology lead thus to a reassessment of the objective shift of Aesthetics derived from the philosophical shattering of the subject, since the poetic elements and the poems themselves manifest the inaccessibility of any complete subjective experience of the objects, independently of their form and condition. The main goal of the article is to contribute on providing a clearer description of the nuanced belief that brings together an alchemical poetology and experimental poetics. The intuition of the world’s horizontal and arbitrary order manifests in the accumulative and apparently unsuccessful poetic attempts of attaining the actual, most authentic self. The alchemical condition of poetry consists in the succession and collision of images that are not bound to conceptual representation, but that rather reflect their status as essays, as fragments of an ongoing experiment that would be inert should its material condition and its inexpressible core not always be considered. Only in the succession and accumulation of such images finds Palau i Fabre’s alchemical poetry its consummation, faithful to the plurality and inconformity of all metaphors, and always pushed to further approaches, to endless experimentation.

Elements of cinema poetics in the novel “Mesopotamia” by S. Zhadan

Elements of cinema poetics in the novel “Mesopotamia” by S. Zhadan

Стиховое начало в русской прозе рубежа XIX-XX веков

The paper describes the process of expansion of the poetic beginning to the prose of writers whose works represent the key trends of the epoch of the end of the 19th - beginning of the 20th centuries, showing the interest in syncretic phenomena, expressed particularly in the verse and prose interaction. The analysis of the creative work of V. Korolenko, A. Bely, M. Tsvetaeva made it possible to present the peculiarities of Russian prose of the 19th - 20th centuries manifested in the combination of poetic and prose elements within the boundaries of one text. A consistent consideration is given to the phenomena arising from the active interaction of prose and verse, such as metered prose, verse, the non-classical visual appearance of prose, the rhythm of prose, and the prosimetry. The analysis of the works of writers with different aesthetic attitudes and key positions revealed a common vector of artistic search associated with the interaction of verse and prose. Vladimir Korolenko’s prose featured elements of verse as an ornamental beginning, emphasizing the melodiousness, musicality of the writer’s prose, folklore basis of his subjects, proximity to the romantic settings. Andrei Bely’s work proved to be a breakthrough, a bright literary experiment, in which the fusion of poetic and prose narrative reached its absoluteness. Marina Tsvetaeva’s prose combined essay and lyrical elements, creating new genre samples.

РОМАН Г. ФЛОБЕРА "ГОСПОЖА БОВАРИ": ГОРИЗОНТЫ ЭСТЕТИЧЕСКИХ ТРАНСФОРМАЦИЙ

The article examines the peculiarities of the poetics of Flaubert’s novel Madame Bovary which occupies a central place in French novelism of the 1850s and is associated with the literary trends of the time in many ways. The article discusses the transformation of Balzac’s canon of realism, the differences in the artistic principles of depicting contemporary reality between Flaubert and such representatives of the school of realism as Chanfleury and Duranty; the proximity of certain elements of poetics of the novel and the portrayal of heroes to naturalism (the role of social motives, temperament and environment); the typological similarity of Flaubert with the principles of aestheticism of the Parnassian school. The main attention is paid to the peculiarities of Flaubert’s realism, to the role of romantic motives and allusions, their ironic interpretation in the novel. Romantic traditions, even in their mass psychological refraction, retain their value semantics, contribute to the formation of a halo around Emma, typical to the eternal images of world literature. The semantics of Bovarism is opposed to the vulgarity of the commonness, at the same time almost coinciding with it. As a result, bovarism appears as a sociocultural analogue of such significant and large-scale phenomena of the 19th century culture as Byronism and Georgesandism. Transforming, rethinking the existing and emerging strategies of artistic writing, Flaubert in his novel creates an innovative, unique aesthetic synthesis, including the interaction of various literary trends, aesthetic impulses and ideas. The new non-romantic dual world arises on the basis of the contrast between the vulgarity of life and the artistic perfection of its embodiment, in that approaching the antitheses and antinomies of Baudelaire’s Flowers of Evil .

On the Translated Version of Stray Birds by Feng Tang from the Perspective of Translation Aesthetics

After the publication the translated version of Stray Birds by FENG Tang, the public opinion was in an uproar and the academic community was divided in its evaluation. Feng Tang's version of Stray Birds integrates his own understanding and remodeling, which is unique in style. It is necessary to reinterpret the translation from the perspective of reception aesthetics, not only to make people realize that the translator plays a key role in the dissemination of foreign literary works, but also to enrich the connotation of translation research and translation practice. The poetic elements of Stray Birds are analyzed from the perspective of translation aesthetics. It is timely and necessary to analyze Feng's translation strategies from three aspects of style, diction and culture and to make an aesthetic examination of Feng's translation.

Ideology Enforcement in Three Poems Chadur and Char-Diwari (2012) by Fahmida Riaz, Gracefully She Approached (2003) by Simin Behbahani, and Daughter of Afghanistan (2005) by Nadia Anjuman

The purpose of this analysis is to expose the issue of ideology enforcement in poems Chadur and Char-Diwari (CCD) by Fahmida Riaz, Gracefully She Approached (GSA) by Simin Behbahani, and Daughter of Afghanistan (DOA) by Nadia Anjuman. The issue of ideology enforcement refers to the patriarchy system strategies in applying their rules to the women. The problem of this analysis is to find how far these poems expose the issue of the patriarchy system's ideology enforcement. This analysis aims to expose men's rule influence toward the Pakistan, Iran, and Afghanistan women. This analysis uses the contribution of poetic elements; imagery, symbol, and diction in revealing the issue of the patriarchy system's ideology enforcement. The analysis is based on the concept of a feminist by Kate Millet, Naomi Wolf, and Betty Friedan that is supported by the text and context-based interpretation. The result of this analysis is the strategy of the patriarchy system enforcing their ideology toward the women. The men play their authority in the women's role and activity in public. The strategies are applied in two ways; manipulation and indoctrination.

Errors in translations of korean poems into russian on the example of the collection of poems by Yun Dong-ju “sky, wind, star and poetry”

The purpose of this work is to identify errors and types of translation, readability, and aesthetic elements in the Korean literary work of the collection of poems by Yun Dong-ju, which is translated into Russian. To analyze the result of the study, errors on the accuracy of the translation were first checked, based on the correct interpretation of the original text by comparing the original with the translation. Further, students of Kazan Federal University studied the errors of text legibility in the reading process. In conclusion, the content of aesthetic elements as literary works, such as Russian grammar and poetic elements were analyzed. It is necessary to determine the priority of language skills in the initial and final version of the translation for optimal translation, as well as a deep understanding of the author and his work.

Elements of Folk Poetics in the Novel Pleasant Things. Utopia by T. Bołdak-Janowska

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

A study of poetics in Coleman Barks’ translations of Rumi

Abstract Coleman Barks’ translations of Rumi’s works are astonishingly popular, especially among the American public. The study presented here deals particularly with the role of poetics in shaping the image and reception of Rumi’s works in the target language and culture. Thus, it describes and analyses Barks’ approach/strategies in rendering the poetic elements of Rumi’s poems, and examines Barks’ translation poetics in the context of the dominant poetics in the target literature. The corpus of the study is delimited to Barks’ renditions of the poems of the first book of the Masnavi included in The Essential Rumi (1995). The findings involve Barks’ modifications in favor of the formal and structural conventions of English poetry, the linguistic and literary norms of the target language and the taste and communicative needs of the target audience as well as the conformity of Barks’ translation poetics with the dominant poetics and ideology of his time.

Unreliable Conservatism and the Politics of Music: Eichendorff, Thomas Mann and Hans Pfitzner at the End of the First World War

In a radio address of 1957, Theodor Adorno praised what he called Eichendorff’s ‘unreliable [unzuverlässig]’ conservatism: a collection of qualities that allowed him to draw dynamically on a musical flow of conventional poetic elements while simultaneously affirming the promise of a shimmering utopian future beyond bourgeois trappings. This article considers these same qualities as valued by another writer Adorno admired, Thomas Mann, and his circle in the aftermath of the First World War. It argues, first, for Mann’s identification (in the Betrachtungen eines Unpolitischen, 1918) of an exemplary national-conservative attitude in Eichendorff’s Taugenichts, himself a musician wandering beyond the bourgeoisie; second, it observes the political potential of this attitude in Hans Pfitzner’s setting of Eichendorff’s poem ‘Klage’. Finally, the article turns to three musical acts c.1918–1921 — a performance, a composition, and the expounding of music theory — in order to demonstrate the close relationship of Mann and Pfitzner at this time, and to position their combined thought as inspirational for a new national conservatism in music in the early post-war period.

Przekład elementów awangardowych w polskich i rosyjskich tłumaczeniach wierszy Charlesa Bukowskiego

Elements of Avant-garde Poetics and Aesthetics in the Polish and Russian Translations of Charles Bukowski’s Poems
 The poetics of Charles Bukowski’s lyrical verse can be considered avantgarde not only because of their scandalous and often scatological content. It also stems from the author’s philosophical fascination with the disintegration and ruthlessness of time, as well as the situation of the monadic isolation of the individual from the beings external to him. This, in turn, makes Bukowski a peripheral and separate phenomenon even within the polysystem of American culture: the translation of his poems is associated with inevitable shifts within the polysystem of the target culture and, at the same time, requires an in-depth analysis of the poetics of the original text. This article deals with the analysis of Polish and Russian translations of Bukowski’s two poems (Dreamlessly and Palm Leaves), paying particular attention to the issue of translating impersonal phrases and textual points.

Learning to Cherish in Five Poems by Audre Lorde

This article entitled Learning to Cherish focuses on analyze the five poems by Audre Lorde which are Who Said It Was Simple, For Each Of You, A Woman Speaks, A Litany For Survival, and Movement Song. The problem in this analysis how far the five poems by Audre Lorde expose the issue of learning to cherish of the Black Women. The aim of this analysis is to find out how far the five poems by Audre Lorde expose the issue of learning to cherish in the Black women. This analysis is involved poetic elements that are imagery, repetition, speaker, and tone to reveal the issue. The analysis is related to the concept of Feminism by Bell Hook (1984) and Naomi Wolf (2002). The result of this analysis shows the Black women have good attitude and behavior to care deeply for their identity.

ОБРАЗ РУСАЛКИ В ДАТСКОЙ РОМАНТИЧЕСКОЙ ПРОЗЕ ПЕРВОЙ ПОЛОВИНЫ XIX ВЕКА

The purpose of this work is to study the image of the mermaid in Danish romantic prose of the first half of the XIX century. In accordance with this goal, the following tasks are formulated: to study the elements of romantic poetics that make up the structure of the image of the mermaid; consider the features of the functioning of the image of the mermaid in the Danish literature of the romantic era. To achieve this goal, we used descriptive, comparative, and contextual analysis methods. The image of the little Mermaid in the Danish romantic tradition combines the functioning of mythological, romantic and individual author's motives, the value space of the fairy tale by G. H. Andersen is built in accordance with Christian axiology.

THE MYSTIC LITERARY DISCOURSE: GENRE FEATURES AND LINGUISTIC SPECIFICS

The mystic literary discourse is a relatively new and unexplored phenomenon, and therefore it requires careful study. The main purpose of our research is to define the concept of mystical prose as a verbal representative of mystic literary discourse. The material of the research is mystical works of modern Ukrainian literature. The object of our research is the mystic literary discourse, and the subject is the linguistic features of Ukrainian mystical literary discourse. After analyzing the scientific literature, we concluded that the mystic literary discourse will be interpreted as part of the literary discourse, which includes primarily prose works, the central theme of which are bizarre events embodied through elements of mythological poetics. Typically, these mystical works are associated with a shift in time and space and external and/or internal metamorphoses of the characters. Also, based on the typicality and frequency of fragments of the mystical text units, we concluded that the main features of mystic literary discourse are mythologycality, ambivalence and philosophical. Lexical units primarily represent mythologycality as a parameter of the mystical artistic discourse. First of all, it is the nominations of beings associated with demonology and mythology in general called mythonyms. Among them mythotheonyms, mythoponyms, mythochrononyms, mythozoonyms, etc. Ambivalence as a parameter of the mystical literary discourse at the lexical level is primarily realized by the words-markers that indicate the shift in time and space. An example is the lexical-thematic group of words “dream”. Philosophical as a parameter of the mystical literary discourse is actualized through the text-discursive category of intetextuality. At the lexical level, it is manifested in the use of precedent names that refer the recipient to other mystical and horror works or sacred and apocryphal texts. Further prospects for the study are related to the description of the nature of other parameters of the mystic literary discourse and its text-forming units at different language levels.