Poetic Imagery Research Articles

Nizar Qabbani's Attitude towards Arab-Israeli Peace Treaties: An Analysis of his Poetic Contents

This study aims to discuss the attitude of the Arab poet Nizar Qabbani towards peace treaties with Israel. It examines a number of poems in which the poet shows his rejection of these treaties. Using a discourse analysis approach, the study explores the poet's attitudes toward these treaties and the poetic imagery he uses to express his rejection. The study concludes that Qabbani’s attitude is marked by his rejection of such treaties, and he expressed his anger towards the Arab leaders who signed them and on the Arab nations who did not object their signature. The content analysis of Qabbani’s poetry reveals that it is characterized by directness and constructiveness in some verses. It is also marked by its distance from the simple and compound images and from the aesthetics that are always found in his romantic poetry.

Deconstruct the Poetic Imagery of Poetry and Improve the Teaching Ability of Chinese Teacher on Poetic Imagery with Qualitative Research Methods

Deconstruct the Poetic Imagery of Poetry and Improve the Teaching Ability of Chinese Teacher on Poetic Imagery with Qualitative Research Methods

النسق التصوري والإدراك المتمثل للرحلة في شعر كعب بن زهير

The Imagistic Pattern and Perception of the Journey in the Poetry of Ka’ab bin Zuhair Dr. Fatma Mohammed Al Sowaidi Associate Professor at the Department of Arabic Language College of Arts and Sciences, Qatar University Although the poetic image has always been problematic in poetry, it has been the mark of the poet's uniqueness. This hidden secret lies in the fact that even if the poet’s world is totally his own, it still holds many meanings. Therefore, the objective of this study is to define the borderlines of the imagistic pattern in the poetry of Ka’ab ibn Zuhair, for his metaphors and figures are far from random. Rather, they form harmonious patterns that build the human experience and cognitive perception of Ka'ab. Additionally, they show how the poet created his perceptions of rigid materialistic dumb images and how he converted them into a lively world of poetic imagery. Furthermore, they reflect the true essence of his experience and notions, his constant search for the meaning of his life and existence, and his constant search for his rebellious self. The study includes the following topics: - The concept of the imagistic pattern - The imagistic pattern and spacio-temporal framework of the self and the journey - The imagistic pattern of the hunter and the preys - The imagistic pattern of the female

Лексическая сочетаемость как основа поэтической образности (на материале произведений Э. Дикинсон)

Лексическая сочетаемость как основа поэтической образности (на материале произведений Э. Дикинсон)

Творческая история стихотворения М. Ю. Лермонтова «Спор» (1841) в культурно-историческом контексте

The article gives a holistic understanding of Lermontov’s poem “Dispute” (1841) in the dynamics of its birth from conception to publication in the journal of Slavophile orientation “Moskvityanin.” Creative history of the poem for the first time is fully reconstructed. The results of a comparative analysis of the draft and two finishing manuscripts of the poem having minor discrepancies between are presented. The reasons and mechanisms of Lermontov’s text corrections, which help to understand the movement of the author’s thought, are indicated. The conclusion is made about the peculiarities of artistic imagery of the poem. The process of Lermontov’s work on the text is associated with the saturation of specific images with symbolic sound. The artistic image created by the poet is the bearer of the pan-Slavic concept. The novelty of the study is associated with the clarification of the features of the birth and impact of poetic imagery of Lermontov’s poem significant for understanding his worldview. The urgency of the problem is associated with the need to clarify the features of Lermontov’s thinking; his work, being a reflection of the real pictures of his time, has a visionary potential. The question of Lermontov’s historiosophy is raised, his views on the role of Russia in the world historical process are clarified. Russia is portrayed by Lermontov as a great empire which power is likened to elemental force, exceeding capacity of once historically significant states.

Forme ale demitizării în imaginarul poetic religios al lui Panait Cerna

The poetic imagery of Panait Cerna also has a component of faith as aconcretized form of traditional spirituality. Through religious poetry, Cerna illustrates adirection of literature, backed by time publications that have shaped the traditionalpattern of existence. His work is the expression of Romanian spirituality in axiologicalmoments, when new cultural values were sought. The poet's religious poem is part ofthe poetry where the subject is humanity and not the individual. Although there werecritics who said that the language used by Cerna did not have a great glow, through thevitality of sentiments, it remains the noblest contribution to overcoming Eminescu'spatterns. The value of Panait Cerna's religious poetry is indisputable, especially whenovertaking the individual and encompassing the universe, it reaches an original, originalconcept. Thus, his poetry rises above his age and has a special place in the Romanianlyrical ensemble.

‘Ethics is an Optics’: Ethical Practicality and the Exposure of Teaching

The importance of Levinas's philosophy for education has been widely discussed. In ‘Levinas: Ethics or Mystification?’ however, Alistair Miller questions whether Levinas's work is of value at all, raising doubts about whether his philosophy can, in any way, be helpful when it comes to practical ethical decision-making, especially within education. Levinas's ethics, he argues, in the light of its lack of rational argument, amounts only to poetic imagery and mystical incantation. The purpose of this paper is to read Levinas in relation to education against this indictment by Miller. This paper proceeds by investigating the basis of Miller's arguments, in the light of exegesis of relevant aspects of Levinas's work. My purpose is not the positing of a new system or the formulation of systematic ideas of ethics but rather achieving an understanding of human experience, especially in contexts of teaching and learning, under a different, more accurate description. In doing so I attempt to show that Levinas's philosophy indeed provides a ground for ethics—that is, a means of understanding the practicality of ethics differently, beyond systematic approaches. In the last section, where education is discussed more directly, ethics will be seen as its very condition.

Ćwiczenie ekologicznej wyobraźni. O poezji Julii Fiedorczuk

The key to reading Julia Fiedorczuk’s poems – interpreted within the paradigm of eco-poetry – are the words used in the titles of her poetry volumes: “bio”, “planet” and “oxygen”, which foretell bio-centrism. The poetic imagery unites organic tissues with the artist’s “texture”. A love relationship of a human with a non-human reveals ecological sensitivity, yet it is a painful “love” because it is accompanied by the disagreement about the fragility of existence and the progressing degradation of the planet.

CHILDHOOD AS THE SOURCE OF A WRITER’S INSPIRATION. IGOR KLEKH

The article examines the role of autobiographical retrospections and reminiscences in Igor Klekh’s stories Diglossia [Diglossiya], A Partial Man, or Notes of a 40-year-old [Chastichniy chelovek, ili Zapiski sorokaletnego], The Judgement Day [Svetoprestavlenie], and The 1999 Chronicles [Khroniki 1999 goda]. The writer’s Soviet childhood represents an artistic technique, a unique way to perceive and organize the narration. It is possible to say that it is from a child’s perception of the world that Klekh draws his literary inspiration, and that it is nostalgia that determines his stylistic experimentation. Speaking of Klekh’s leitmotifs and poetic imagery, such as the material metaphor of memory, documentary letter, reshuffled reminiscences, etc., the author points out that it is this specifically perceived and artistically digested phenomenon of the Soviet childhood that defines Klekh’s fragmented narrative style.

The Evolution of the Aesthetic Vision in Kabbani’s Poetic Discourse

If poetry is the verbal art of beauty, and beauty is truth, then, poetry has its own truth which is universal by nature since the poetic patterns embody a particular vision of the universe. This universal truth is encoded in poetic image. The poet who creatively used the poetic image to express his aesthetic vision is Nizar Kabbani (1923- 1998). The study aims at exploring the development of the notion of beauty as structured in the modern Arab poetic works. It aims at investigating Kabbani’s poetic imagery in its amorous-erotic aspects. The study proceeds with the hypothesis that the modern love poet’s synesthetic imagery is an impressive representation of Kant’s aesthetic axioms as encoded in his Critique of the Aesthetic Judgment. The scope of the inquiry focuses upon the love lyrics and songs of the modern Arabic love poet regardless his political writings. Kabbani’s poetics is investigated in terms of Aesthetic Cultural Approach (ACA), a critical orientation that links the cultural patterns of meaning to the aesthetic structures of the poem. Of the seminal findings of the study is that Kabban’s love poems are pleasurable moments in which the body of the beloved becomes the source of the poet’s ecstasy and joyfulness.

A distant dream: Balthus, Henri Michaux, and the Chinese aesthetic tradition

This article examines the relation between twentieth-century artists Balthus, Henri Michaux, and Chinese painting and poetic imagery. The constant echo of a seemingly “Chinese aesthetics” in Balthus’s and Michaux’s works gives rise to a few important questions. How do Balthus’s and Michaux’s creative practices and works engage with and re-invent the Chinese aesthetic tradition? What new understandings of Balthus and Michaux will be revealed if they are seen in the light of Chinese notions about painting, calligraphy, and poetic imagery? What would this say about the relation between artistic influence and creativity, especially in the case of the transformation of aesthetic forms and ideas across cultures and time? By discussing how Balthus’s figurative and landscape paintings relate to the Zhuangzi’s dream imagery and Song dynasty shanshui (mountain–water) paintings, and how Michaux’s ink paintings are integrated into his critical endeavor to break away from Orientalist stereotypes, it is argued that both artists are transformed by the Chinese aesthetic tradition, as well as actively transform how it is understood.

Poe: Stories and Poems

Poe: Stories and Poems

On the Poetic Imagery of Smoke in Warlpiri Songs

ABSTRACTSmoke, an ever-present source of comfort in day-to-day Warlpiri lives, is also a powerful ritual symbol and theme in the poetic language of Warlpiri songs. Rather than signalling these soothing qualities, in this more formalised sung context, smoke symbolically alludes to tension, uncertainty and unknown liminal states of transition. Here, I analyse examples from Warlpiri song texts to argue that, rather than being a semantic paradox, the cultural symbolism surrounding smoke has a functional poetic purpose in that it flags circumstances of discomfort or unknown states within the Dreaming narratives upon which Warlpiri songs are centred. To illustrate this point, I analyse song imagery in which smoke and other visually similar phenomena are focal.

Shaping a World Already Made: Landscape and Poetry of the Canadian Prairies by Carl J. Tracie

Reviewed by: Shaping a World Already Made: Landscape and Poetry of the Canadian Prairies by Carl J. Tracie Molly P. Rozum Shaping a World Already Made: Landscape and Poetry of the Canadian Prairies. By Carl J. Tracie. Regina: University of Regina Press, 2015. ix + 212 pp. Maps, bibliography, index. $27.95 USD/CAD paper. The geographer Carl J. Tracie offers here a welcome poetic interpretation of region and a call to geographers to go beyond considering space as reduced to scientific systems, to space as felt and imagined. While the tradition of poising environmental and cultural determinisms dates to the 1970s' "imaginative turn" in geography, Tracie believes geographers have continued to favor the "natural landscape," or what he calls, citing a phrase of the poet Louis Dudek, a "world already made" (4). Poetry, he argues, yields "resonance" or "what makes space place" (9). Of the book, the strongest chapter focuses on enduring elements—land, sky, and space—in prairie poetry from nine modern Canadian [End Page 115] poets (although some twenty receive mention). Tracie has a good eye for classic poetic imagery. Lorna Crozier suggests the sky "gives you/all the room you need/to grow small" (34) and cites how a windblown aspen "'signs whole alphabets of light'" (36). Eli Mandel depicts wind's effects on fields "strewn with corpses of could" (56) and John Newlove tells of wind's toll "at best, blowing endurance/and stupidity into the people" (61). Tim Lilburn argues the prairie "will set up a small/homestead of thinking in you'" (52). Still, television (59), the "Harlem Globetrotters" (150), a coyote's howl as "weightless as Amway sales talk" (51), and land in "chemical sleep" (50), all suggest late twentieth-century renditions of enduring elements. Empathy expressed for both aboriginals and settlers appears in the poetry of Di Brandt and Andrew Suknaski. Settler society's poets transform not the "natural" patterns to which geographers reduce the world but an Indigenous-made world. Less compelling but still useful chapters discuss themes of gender, race, rural/urban location, mystery/spirituality, silence, and the presence of "interactive binaries" (125) oozing ambivalence. Tracie analyzes the texts of Indigenous poets such as Emma LaRocque, Marilyn Dumont, Armand Ruffo, and others, but these citations serve mainly to emphasize settler society commodification of land. The detail threading this settler regional poetry, what Lilburn calls "thick-looking" (141), Tracie insightfully notes, actually distances settlers from the land. Moreover, popular prairie poetry traditions (such as the lines of Edna Jaques and general cowboy poetry) grow out of rural impulses rather than those of region. Tracie sees the students of academic poets as the main hope for bringing transformative literary prairie poetry into popular consciousness. To raise, finally, the geographic tradition of scientific patterns that Tracie writes convincingly against, how do enduring poetic elements interact with scientific systems to create regions? Molly P. Rozum Department of History University of South Dakota Copyright © 2018 Center for Great Plains Studies, University of Nebraska–Lincoln

Lustrare, abluere: forme di purificazione nelle Metamorfosi di Ovidio

In this paper we focus on some occurrences of the verbs lustrare and abluere in Ovid’s Metamorphoses. By looking at how these verbs are being used in Fasti from a technical point of view, it is possible to appreciate that some ‘metamorphic’ situations rest on the theme of purification and can also reflect ancient surviving ritual practices. Our aim is to show that Metamorphoses and Fasti, which may appear to be very different from one another, actually share the same interest for cultural and religious issues that are essential in order for the poetic imagery to be both constructed and understood.

Refiguring Baudelaire’s ‘poète-chiffonnier’ in contemporary French poetry

In Les Fleurs du mal (1857), Baudelaire developed the image of the poet as a ‘chiffonnier’: a ragpicker who collects the rubbish scraps of modern existence and then re-appropriates them in the poem. This article examines how Baudelaire’s ‘chiffonnier’ is reconfigured in contemporary poetry. Rather than offering an inventory of poetic imagery, as it did for Baudelaire, for many contemporary poets, trash provides productive conceptual models for poetic form. Trash language (slang, anglicisms, marketing slogans and so on) generates rich material for the heterogeneous linguistic texture of the poem, subsequently revising the monologic mode of discourse of traditional lyric poetry. Although the forms and functions of trash have changed, the underlying purpose of a ‘ragpicking poetics’ remains the same; like Baudelaire embarking on his quest for the ‘nouveau’, contemporary poets are in continuous pursuit of innovation, and it is the ragpicker’s rubbish that provides a sustained source of renewal.

시편 23편 분석: 히브리 시 분석 방법론과 이미지 수사학적 분석

시편 23편 분석: 히브리 시 분석 방법론과 이미지 수사학적 분석

Weaving a Song. Convergences in Greek Poetic Imagery between Textile and Musical Terminology. An Overview on Archaic and Classical Literature

Weaving a Song. Convergences in Greek Poetic Imagery between Textile and Musical Terminology. An Overview on Archaic and Classical Literature

برنامج إثرائي مقترح لتنمية مهارات تحليل النصوص الأدبية لدى الطلبة المعلمين في ضوء نظرية النظم للجرجاني

This study aimed at constructing a proposed enriching program for developing literary text analysis skills of the student teachers in the light of Al-Jurjani's theory of poetic imagery. To achieve that, first, the content of Al-Jurjani's book Dala'el Al-E'ajaz was analyzed to identify his method of literary text analysis according to the theory of poetic imagery. In light of his method, the proposed conceptualization was built in a way that can help in practicing the skills of literary analysis. Second, the literary text analysis skills required for the student teachers (i.e. 22 skills) were identified to be developed through the enriching program of the proposed conceptualization. Third, the enriching program was designed after identifying its bases, objectives, the content which consisted of three units, the strategies and the educational activities needed to implement the program, and the appropriate evaluation method. The designed program was validated by some juries and became ready for implementation. The study recommended that the enriching program and the skills of literary text analysis should be included in the student teacher's academic preparation program in colleges of education at the university.

Discordia Concors and Bidirectionality: Embodied Cognition in John Donne's Songs and Sonnets

In the introduction to his 1912 edition of John Donne's poetry, Herbert J. C. Grierson writes of “the vein of sheer ugliness which runs through his work, presenting details that seem merely and wantonly repulsive.” What is more, Donne displays what Samuel Johnson argues is “a kind of discordia concors; a combination of dissimilar images.” Through both a cognitive-literary and an empirical study of the metaphors in Donne's poems “The Bait” and “The Flea,” the authors discuss the grotesque nature of his poetic imagery as constituting “a clash of incompatibles, generated by the great distance between the two semantic fields.” The authors argue that it is this clash that sustains bidirectionality in a metaphor, by preserving the tension between its two subjects, while allowing each to alternatively become the focus of one's attention while reading. Donne's use of grotesque imagery thereby juxtaposes semantic fields and their worlds with frightening consequences, and this impacts upon the bidirectionality inherent in the process of metaphor comprehension. Furthermore, this essay will show how the poetic texts enable both embodied simulation and bodily feeling, both of which manifest embodied cognition in the reader; the authors therefore argue that Donne is, in fact, an early advocate of embodied cognition.