This study examines the concept of the "open text" as a contemporary literary form that deliberately crosses the conventional boundaries separating poetry, narrative, and drama. Drawing on major genre theory discussions from Aristotle to modern theorists such as Todorov, Genette, and Eco, the paper clarifies how genre expectations operate as both creative constraints and interpretive horizons. The applied part provides a qualitative, close-reading analysis of Khalida Khalil’s book A Sea Turbulent on My Palm (2024) as a representative case. The analysis focuses on (1) language and style (poetic condensation, displacement, internal disclosure, and pronoun duality), (2) genre techniques (the integration of poetic imagery, narrative sequencing, and dramatic dialogue/conflict), and (3) distinctive markers of open-text writing (genre overlap, the centrality of language as both means and end, and the reworking of traditional genre features to fit a hybrid structure). The findings indicate that the book achieves cohesion through a controlled balance of genre resources, where poetic language frames narrative movement and dramatic tension without collapsing into any single dominant genre. The paper argues that the open text is not a random mixture of forms but a purposeful compositional strategy that expands interpretive possibilities while retaining formal coherence.

This article investigates the linguoculturological features present in the literature of Sergei Yesenin, focusing on the intricate interplay between language, culture, and identity. Yesenin’s poetry, deeply rooted in the Russian rural experience, serves as a bridge between linguistic expression and cultural consciousness. By analyzing his poetic imagery, lexical choices, and narrative structures, this study explores how his works encode not only aesthetic beauty but also social values, historical memory, and collective identity. The findings indicate that his poetry functions as a repository of cultural knowledge, reflecting a unique synthesis of natural imagery, folkloric elements, and symbolic representations. The article emphasizes the importance of examining linguistic and cultural dimensions together, as the fusion of these elements offers a more nuanced understanding of literature as a medium for cultural continuity.

This article investigates the construction of poetic meaning through two competing theoretical frameworks: the classical Aristotelian concept of mimesis (imitation) and the contemporary theory of cognitive mimesis. By contrasting these paradigms, we reveal fundamental divergences in their mechanisms of meaning-making. Our analysis begins with concrete examples embodied metaphor and imaginative projection—to demonstrate how each theory interprets poetic language. We then trace the historical development of meaning in poetic theory, from Aristotle’s emphasis on repressentation to modern cognitive approaches that prioritize embodied experience. This progression highlights how poetic meaning has evolved into an interdisciplinary nexus, bridging literary criticism, rhetoric, poetics, and cognitive neuroscience. Cognitive poetics, in particular, reframes poetic imagery through models of induction, generalization, and implicature (implied meaning). These models treat the image not as a static symbol but as a dynamic construct shaped by the reader’s imagination and perceptual grounding. Central to this approach is the principle of embodiment, which ties linguistic meaning to sensory-motor experiences and challenges traditional binaries between figurative and literal language. By examining how images emerge from and interact with everyday speech, cognitive poetics reveals the deep cognitive underpinnings of poetic effect.

This article examines the poetic interpretation of the image of Alisher Navoi as a historical and creative personality in modern Uzbek poetry. The study focuses on the representation of Navoi not only as a historical figure, but also as a symbolic and aesthetic ideal that embodies spiritual maturity, intellectual depth, moral integrity, and creative continuity. Through the analysis of lyrical works by prominent Uzbek poets, including Erkin Vohidov and Abdulla Oripov, the article reveals how Navoi’s image functions as a source of inspiration, moral guidance, and artistic reference for successive generations. Special attention is paid to the artistic means and poetic devices used to reconstruct Navoi’s image beyond temporal boundaries, enabling poets to establish a dialogue between the past and the present. The study demonstrates that Navoi’s image in poetry transcends mere historical depiction and acquires a universal humanistic significance, serving as a model of ethical values, national identity, and cultural memory. The research argues that the lyrical interpretation of Navoi as a historical-creative figure plays a crucial role in shaping readers’ aesthetic perception, fostering a sense of pride in national heritage, and reinforcing the continuity of literary tradition. By analyzing poetic imagery, metaphorical structures, and symbolic motifs, the article highlights the enduring relevance of Alisher Navoi’s legacy in the spiritual and artistic consciousness of contemporary Uzbek literature.

The paper focuses on the analysis of the Baroque catastrophic poem “Memorable reflections on the terrible earthquake, which took place in the year 1763 near the end of the month of June in the Hungarian land to prove the terrible wrath of God against the perpetrators of iniquity, in which the famous and beautiful city of Komárno is especially impoverished and deprived of its glory, contained in short verses and written by one of the gardeners working in Christ´s garden. Anno 1763 die 29. Julii” by Štefan Korbeľ. The author views the poem through the prism of the emotions regarding the earthquake, the inhabitants of Komárno, as well as those attributed to the city, the whole world, and the anthropomorphically depicted God. The emphasis is laid on the origin of poetic imagery, which predominantly echoes the Biblical texts. Korbeľ considers the earthquake as a manifestation of God's wrath and punishment, but also as a test and warning for the survivors. The poet sees it as a sign of the Last Judgment and compares it to eternal torment in hell.

In recent years, the rapid development of generative artificial intelligence (Generative AI) has brought new momentum to literary creation and cross-cultural communication. However, its widespread use in language generation and text reconstruction has revealed limitations in conveying Chinese traditional culture across languagessuch as misinterpreting cultural context, lacking aesthetic depth, and oversimplifying poetic imagery. Understanding how AI can accurately reconstruct classical Chinese poetic imagery across languages is therefore of both theoretical significance and practical value. This paper examines the "pine" imagery in classical Chinese poetry to assess Generative AIs ability in linguistic transformation and cultural representation in translation. Through case analysis and by drawing on literary translation theory, this study evaluates AI-generated translations in detail. Findings show that AI excels in semantic accuracy, fluency, and translation efficiency, but falls short in capturing cultural nuance, poetic rhythm, and contextual appropriateness. The study concludes that AI is best used as a supportive tool rather than a replacement for human translators in deep interpretation and creative expression. Future research could analyze more types of imagery, develop a broader framework for cross-linguistic reconstruction, and explore human-AI collaboration models to better integrate technology and culture.

Abstract The inceptive semiosis of jade in ancient Chinese culture combines the physical image and poetic imagery of jade as an original sign and constructs the langue for discourses and exegeses in mythology and religion, in ethics and politics, in rituals and rites, and in personality and gender. The worship of jade arises much earlier than the arrival of the written form of Chinese language. Hence jade is of telepathic divinity, and combining it with religious and philosophical concepts not only helped create the original cosmology and worldview of the ancient Chinese nation, but also enlightened the doctrines and creeds later advocated by both Taoism and Confucianism, signifying the heavenly way and worldly principle, the supreme divine and secular power, and the entelechy of human life. Jade worship gave rise to the semiosis of multifarious cultural categories and social institutions in terms of ideologies, aestheticism, and hierarchy that dominated the feudal times of China. The semiotic analysis of jade in this article starts from the evolution of Chinese characters, extends to the integration of synesthesia and imagination, sensation and rationality, and further relates to the ideation of metaphysical cosmology and practical social culture, which entails a theoretical frame of multiple perspectives.

When poetry travels across cultures, misunderstanding and mistranslation are almost inevitable due to differences in language, historical context, and cultural traditions. Yet, literary translation simultaneously facilitates the circulation, development, and renewal of culture. Ezra Pound, as both a distinguished poet and translator, assimilated elements from Japanese haiku and classical Chinese poetry to create unprecedented poetic imagery within modernist literature. On the one hand, he rendered a wide range of Chinese texts, including The Book of Songs and poems by Li Bai and Wang Wei. In traditional Chinese discourse, writing emphasizes the expression of “implication”, whereas translation must not only capture textual meaning but also anticipate the reception of unseen readers. On the other hand, Pound transformed poetic images into forms familiar to his cultural environment, thereby reshaping their resonance in English. Focusing on Pound’s translation of terms such as “city”, “wall” and “corner” in Li Bai’s poetry, this paper examines how imagery is transformed and reinterpreted in the process of cross-cultural communication.

Chinese classical poetry art songs are one of the important genres in vocal works. The interpretation of each piece place high demands on the singer’s breath control, timbre, and expression of song connotations. With a long history of development and diverse stylistic classifications, they evoke varied emotional responses. A song primarily consists of two components: poetry and music. Poetry uses textual composition to shape poetic imagery, while music employs musical elements to create artistic images. These two elements complement and permeate each other. The integration of poetry and music better serves the presentation of artistic works, interprets the song’s artistic conception, and realizes the essence of Chinese classical aesthetic conceptions—the “Dao” that connects to the cosmic essence and life. Through specific research on the aesthetic harmony between poetry and music, this study clearly demonstrates the path of poetic-musical coexistence in Chinese classical poetry art songs.

The study of a poet's cognitive style offers valuable insights into the interaction between individual creativity, linguistic expression, and cultural perception. This article examines the cognitive style of Mukagali Makatayev, a prominent figure in modern Kazakh literature, whose poetry intricately combines personal experience, national identity, and metaphysical reflections. The relevance of this research lies in the growing interest in cognitive approaches to literary studies, which illuminate how poets structure thought, organize imagery, and convey complex emotions through language. The aim of the study is to identify and analyze the key cognitive models in Makatayev's poetry, including imitation, abstraction–concretization, iconic signs, and material symbolism. These models demonstrate how the poet perceives and interprets reality, shaping both the form and semantic depth of his poetic imagery. The novelty of the article consists in integrating cognitive linguistic analysis with literary interpretation, providing a systematic framework for understanding conceptual structuring and cognitive mechanisms in Kazakh poetry. The research employs qualitative content analysis, cognitive modeling, and figurative-language interpretation. Practically, the findings can enhance literary criticism, pedagogy, translation studies, and cultural preservation by offering tools to analyze poetic imagery and cognitive patterns. By revealing the underlying mechanisms of Makatayev's creative thinking, the study contributes to both the theoretical understanding of cognitive stylistics and the practical appreciation of national literary heritage.

Romantic poetry offers a distinctive way to explore love, longing, and emotional depth. The both poems of Ilya Abu Madi’s "Qatrat-al-Tall" (The Dewdrop) and Raghunath Choudhary’s "Hepah" (Desire) are romantic poems that shed lights on these kinds of themes through distinct perspectives. Abu Madi’s poem depicts love as a philosophical mystery, demanding investigation beyond appearances and highlighting romance as a fleeting but meaningful experience, while Choudhary’s poem celebrates sensory devotion, where love is deeply connected with nature and impacts the reader in passionate nostalgia, trying to discover the presence of love in the breeze, sunlight, and ocean. This study analyses how both poets expressed love using symbolism and poetic imagery including their brief biography. One is via thoughtful introspection while the other is through sensory engagement. Though they have cultural differences, but they share the same message like love has an emotional resonance which is universal, divine, and transformative.

Statement of the problem. The phenomenon of Schubertianism, which is one of the most representative manifestations of the European chamber and vocal tradition, has not yet received the proper interdisciplinary theoretical considering. In most musicological works, it is understudied either as a stylistic category, or as a historical reception of Franz Schubert’s creative work, or as a manifestation of the vocal interpretation of German Lied. At the same time, Schubertianism is much broader – it constitutes a unique cultural and aesthetic code that combines intonation psychology, poetic semantics, performance dramaturgy and the philosophy of subjectivity. The absence of a holistic integral model of this phenomenon determines the need for its comprehensive scientific analysis. Objectives, methods, and novelty of the research. The purpose of the study is to understand Schubertianism systematically as a multidimensional cultural phenomenon that has formed a separate model of musical thinking based on the psychological dramaturgy of Lied, intonational subjectivity and the interpretative tradition of the 19th–20th centuries. The research is based on historical-contextual, structural-analytical, semiotic, hermeneutic and cultural studies approaches, taking into account vocal performance as a component of musical semantics. The scientific novelty lies in revealing the Schubertianism as an integrative intonation and cultural code that encompasses musical text, psychological states, performance models and cultural memory; in defining Lied as a form of musical self-disclosure of subjectivity; and also in emphasizing the decisive role of Dietrich Fischer Dieskau’s performance school in forming the canon of interpretation of Schubert cycles. Research results. As a result of the study, it has been established that Schubertianism functions as a holistic intonation and semantic system, which combines poetic imagery, psychological reflexivity, chamber dramaturgy, and philosophical symbolism. The three F. Schubert’s vocal cycles – «Die schöne Müllerin», «Winterreise» and «Schwanengesang» – form the dramaturgical axis of the lyrical subjectivity: from emotional primordiality to existential brokenness and meditative maturity. The Fischer-Dieskau’s performance paradigm has established microdynamic accuracy, text-centricity, intonation chamber nature and psychological depth as the main principles of interpreting the Lied. Conclusion. Thus, the phenomenon of Schubertianism goes beyond the boundaries of its definition as style and appears as a universal cultural code that determines the modern perception of musical subjectivity, artistic thinking and performance memory.

Abstract This article suggests a new interpretation of a troubled passage of the epitaph for the poet Alcman by the Hellenistic poet Leonidas of Tarentum (Anth. Pal. 7.19 = 57 G.-P.). It argues that with minimal changes to the text of l. 3, one can make better sense of the line and ultimately provide a better understanding of the whole epigram and its poetic imagery, corroborated by parallels both in Alcman’s poetry and other passages of Greek literature.

The poetic imagery of the post-Soviet transition in the Lithuanian and Latvian cultural press, 1988–1992

This article examines the question of the addressee of M. I. Tsvetaeva's poem "A Gypsy Woman's Lament for Count Zubov", included in her poetry collection After Russia. New archival material is brought into consideration, and the poetics of the work are analyzed. The avant-garde nature of Tsvetaeva's text is revealed in the collage-like fragmentation of poetic imagery, linguistic play, and its proximity, at the level of poetics, to her experiments with Futurism and Constructivism, Biographical research aimed at identifying the prototype of Count Zubov has shown that this figure is a composite one, combining features of several historical personalities: from a diverse gallery of Zubovs, most of whom were associated with military service, to Count F. Tolstoy the American, who was once saved by a Gypsy woman. All these characters share the adventurous and aristocratic traits that attracted Tsvetaeva. Tsvetaeva's creative laboratory, as represented by her draft notebook, reveals the connection between the imagery of the poem and a nearby draft letter to B. L. Pasternak, which have been noted by leading critics (V. Bulich, D. Svyatopolk-Mirsky, Vl. Khodasevich, G. Adamovich). To solve the tasks, a combination of textual and historical-literary analysis methods is used. A week before composing the poem, Tsvetaeva sent Pasternak a personal letter in which she articulated a complex of her authorial phobias and reflected on her creative influences, focusing on a number of poems in the book Themes and Variations that he had given her. This book included Pasternak's "Pushkin-esque" poems ("Cloud. Stars. And from the Side...", "So They Begin. When I Was About Two..."), which contained references to the poem "Gypsies". The image of a lamppost serves as a marker linking Count Zubov to Pasternak; it is no coincidence that this detail appears in both the poem and Tsvetaeva's letter. "The Gypsy Woman's Lament for Count Zubov" can be thus classified as an example of addressed lyric poetry. Using a short dissolve, Tsvetaeva creates a dual image of the recipient of the Gypsy woman's frenzied dance (lament): explicitly, the notional Count Zubov, and implicitly, Boris Pasternak, who announced his departure for Soviet Russia.

This paper offers a glance at the poetic oeuvre of two outstanding personalities of Persian and, respectively, Polish literature: Foruq Farroxzād and Halina Poświatowska (both 1935–1967). Although their environment differed in almost every respect: geography, sociopolitics, culture and religion, they shared more than just dates of life. Working on the translations of Poświatowska’s poetry into Persian (a collection of poems was published in 2015 under the title Ādamak, matarsak va āšeq) and Farroxzād’s poetry into Polish helped the author discover their similar sensibilities and shared concerns. Described as feminine, sensual and at times even scandalous, their poetry is also philosophical and reflective, touching upon topics such as woman’s prescribed role in society, relationship with nature, passage of time and inevitability of death. Through linguistic analysis of selected poems, the author would like to draw attention to the similarities in terms of form and poetic imagery between the discussed poets who – despite never meeting each other – sometimes enter dialogue and sometimes sing in unison.

Abstract This paper examines 120 Chinese and English responses to online negative reviews within the Rapport Management Framework. Both cultures frequently use positive rapport move , reflecting rapport-enhancement and rapport-maintenance orientations. Chinese responses more frequently employ negative rapport move, evoke poetic imagery, offer explanations, and use forms of deference and in-group address terms. English responses record a higher frequency of express empathy. Both types of responses manage rapport by addressing reviewers’ face, association rights and interactional goals. This study contributes to the understanding of review response genre and offers practical insights for practitioners in improving customer rapport and service recovery.

Abstract: The 1972 film Sambizanga by Sarah Maldoror embodies a powerful blend of documentary realism with poetic imagery, questioning the tendency to posit aesthetics and politics as antithetical to each other. This paper analyzes these contemplative, de-centered images and aesthetics of liberation, tracing Maldoror's cinematic approach to depicting the Angolan movement towards independence of the 1950s and 1960s alongside the personal narrative of Maria and her husband, Domingos. Focusing on the experiences of a Black African mother under the Portuguese colonial regime, Maldoror introduces a filmic exploration that resonates with both African and American Black feminist discourse and cultural expressions of intimacy and care. Sambizanga puts these theories of care into practice. Performing a close analysis, I consider this radical care as a point of entry into the film's intricate illustration of the intimacies born in and outside of colonial imprisonment. From careful solidarity to subterranean currents of information, Maldoror suggests that revolutionary struggle may take the form of collective mourning, exchange, and care, with special attention to feminized care labor and the particularities of connections forged in landscapes of colonial detention. Sambizanga's expansive notion of who can and has already participated in political transformation stresses the contributions of those frequently excluded from the dominant, masculinized narratives of militancy that center a predominantly able-bodied male image. This article studies a pivotal work in Angola's fight for freedom where networks of intimacy among prisoners, as well as their loved ones and communities, evade state surveillance to tend to the lives (and deaths) of their own, playing a vital role in the larger anticolonial struggle.

This article investigates the principles of reconstructing artistic uniqueness in the English translations of the Baburnama. The study focuses on the comparative analysis of Annette S. Beveridge’s (1921) and Wheeler M. Thackston’s (1996) translations, highlighting their approaches to preserving Babur’s poetic imagery, cultural specificity, and narrative voice. Using linguistic, stylistic, and cultural frameworks, the research examines how different translation strategies—domestication, foreignization, dynamic equivalence, and formal equivalence—shape the reception of Babur’s memoirs among English-speaking readers. The findings demonstrate that Beveridge’s translation emphasizes literary recreation, while Thackston’s version prioritizes historical accuracy and linguistic fidelity. The article concludes that reconstructing artistic uniqueness requires a balance between aesthetic expression and factual precision.

The article explores the transformation of the philosophical and aesthetic principles of Chinese xieyi painting in contemporary artistic practices and addresses the problem of preserving cultural identity under the conditions of art internationalization. The object of the study is contemporary Chinese oil painting as a space of interaction between national and Western traditions. The subject is the processes of visual and technical reinterpretation of the xieyi style in the practice of modern Chinese painters. It is argued that authorial strategies combining traditional figurative thinking with Western techniques turn oil painting into a medium of cultural continuity and adaptation of the national visual code to new artistic and social contexts. Special attention is paid to the works of Zhu Dequn and Wu Guanzhong, in which the techniques of Chinese ink painting—such as the spiritualized brushstroke, poetic imagery, and compositional spontaneity—are integrated with the chromatic, textural, and spatial structures of Western oil painting. The methodological framework includes iconographic analysis, cultural interpretation of artistic concepts, and hermeneutic reading of the cultural spirit embodied in the works. The novelty of the study lies in identifying the mechanisms through which the fundamental values of the Chinese visual tradition are preserved while being adapted to new technical and cultural environments. This contributes to the broader understanding of cultural hybridity in global art history, revealing how the synthesis of aesthetic codes not only sustains national identity but also expands the interpretive potential of oil painting within transnational artistic dialogues and strengthens its relevance in contemporary cultural theory.