Poetic Style Research Articles

‘Maslow before Bloom’: Implementing a caring pedagogy during Covid-19

This article draws on interviews undertaken with 20 teachers as part of a larger study on the impact of Covid-19 on schools. Although the schools varied by location, level, and socio-economic status, teachers’ experiences were remarkably similar. Teachers found the sudden move to on-line learning stressful, and the constant demands of delivering a different style of pedagogy, maintaining contact with students and their families, and looking after their own family situations exhausting. Participants who worked in isolated or less advantaged communities were also attending to delivering learning devices, food and basic supplies to their families and communities. In this article, we present the data in in both thematic and poetic styles to highlight the nature of the caring pedagogy that they undertook as schools moved in and out of lockdowns, despite the toll that it took on them, personally and professionally.

A step back, a leap forward: tradition, heritage, and visions of a new postcolonial self in the Greek Cypriot popular music of the 21st Century

ABSTRACT In the contemporary Greek Cypriot popular music scape, we witness various and varying instances that feature cultural heritage elements: the frontman of a hard rock band performing in a vraka, the traditional male trousers; a trap song making references to lefkaritiko, a traditional lace; a metal band opening their album with an acapella tsiattisto, a traditional oral poetic style. This paper discusses these and other instances by placing them in the wider historical and political framework of the Republic of Cyprus. Distinguishing between tradition and heritage, as well as place and space, it suggests that the creative turn to the cultural past of Cyprus can be interpreted as a redefinition of the modernisation and decolonisation process of the Republic of Cyprus, which is accomplished through an inward look that emphasises the geographical and cultural particularities of the island. This inward look, it is argued, speaks back to the historical process of decolonisation that was defined by external references (attachment to the motherland(s), desire for Westernisation, and opposition to the ‘Other’). The decolonisation process, itself the cause and effect of conflict and sentiments of ethno-nationalism, defined the identity of postcolonial Greek Cypriot subjects.

The system of comparisons in the works of Even poets

The article is devoted to the issue of the system of comparisons used in the language of Even poetry. The paper provides a list of means of expressing comparisons, distinguished from the positions of "subject", "predicate" and "argument". In order to develop a universal comprehensive model for studying the technique of poetic comparison as a component of the poet's style, we conducted observations on the language of poetic works by Even poets Nikolai Tarabukin, Platon Lamutsky, Andrei Krivoshapkin, Evdokia Bokova and Varvara Arkuk. The obtained material allows, first of all, to clarify the list of means of expressing poetic comparison. Analyzing the material on this topic, we came to the conclusion that comparisons help the poet convey the feeling and mood of the lyrical hero, create a poetic text mainly, such an approach performs such an important function as aesthetic. When classifying examples, we rely on the original Even language and the main research methods are semantic-stylistic, contextual, classification, and also use field methodology. The methodology uses the works of A.N. Veselovsky, A. A. Potebni, B. V. Tomashevsky. The novelty of this article is determined by the fact that Even poetry is one of the young literatures of the national literature of the Russian Federation. The means of enhancing the visual expressiveness of speech, the comparison used by the Even poets, reveal the art of the original culture of the Evens and the wonderful flair of the native Even language. Comparison is a universal cognitive structure where a person learns about the world around them. In Even poetry, the authors, revealing the picture of the world of the North and the Arctic, using a comparison, showed a special artistic perception. The North and the Arctic remain the space that was mastered by the northern peoples and they created a circumpolar culture where the world of people and nature are harmonious. In the poetry of the Even poets, we have identified some noteworthy comparisons that create their own special artistic poetic language.

A corpus of Persian literary text

Persian poetry has profoundly affected all periods of Persian literature and the literature of other countries as well. It is a fundamental vehicle for expressing Persian culture and political opinion. This paper presents a corpus of Persian literary text mainly focusing on poetry, covering the ninth to twenty-first century annotated for century and style, with additional partial annotation of rhetorical figures. Our resource is the largest and the most diverse corpus available in Persian literary text, with a particularly broad temporal scope. This allows us to conduct several computational experiments to analyze poetic styles, authors and time periods, as well as context shifts over time, for which we rely both on supervised models and on Persian poetry-specific heuristics. The corpus, the tools, and experiments described in this paper can be used not only for digital humanities studies of Persian literature but also for processing Persian texts in general, as well as in other broader cross-linguistic applications.

Syntactic Combinations in Frederik Rreshpe’s Poetry

This article will explore the poetical style of Frederik Rreshpja, with specific attention to the syntactic aspect of his poetry. Through the implementation of a poetical structure analysis guided by the concept of prevalence in the text, this research aims to determine the distinguishing features of the creative individuality of the poet and outline his main trends. In our view, the method of text structuring, the selection of constructions, and their distribution in sustaining units are fundamental components for identifying the original spirit and investigating the creative individuality of Rreshpja’s poetry. By analyzing a selection of Rreshpja’s main poems, we will outline the key features that mark the poetic syntax of this poet.
 
 Received: 2 October 2023 / Accepted: 10 November 2023 / Published: 23 November 2023

A study of Tang poetry translation from the perspective of cognitive poetics

Tang poetry, renowned for its profound cultural significance and artistic expression, presents a unique set of difficulties when rendered into different languages due to its reliance on intricate imagery, rhyme, and rhythm. The study emphasizes the necessity of employing cognitive poetics as a guiding perspective for translators, enabling them to navigate the intricacies of Tang poetry's imagery, rhyme, and rhythm, and suggests to utilize modern translation tools to better convey the emotional depth of the original works, while also providing cultural context to enhance readers' understanding. The cross-cultural communication aspect of Tang poetry translation is explored, as it transcends linguistic boundaries to become a channel for cultural exchange. Translators are challenged to strike a balance between faithfulness to the original poem and adaptability to the target culture's sensibilities. This balance is crucial in preserving the cognitive elements of the original work. To ensure the effective cross-cultural communication of Tang poetry, it is essential to retain the unique imagery that carries profound cultural connotations. The study culminates in offering a set of strategies and suggestions for optimizing Tang poetry translation, including maintaining cultural background, preserving rhyme and rhythm, adding explanatory elements, respecting the poet's style, and ensuring proper literariness in the translation.

Fallen Stars: A Comparative Study of the Poetic Works of John Keats and Li He

Due to the short lives and similar poetic styles, the British Romantic poet John Keats and Li He from the Mid-Tang dynasty have always been the hotspot for research. However, most past research compared them by stating the superficial, factual details and failed to address their subtle differences and attribute them. Therefore, this paper aims to compare the pursuit of the ideal, use of imagery, and presence of the narrator to thoroughly contrast Keats’ and Li He’s poetic works and then propose personal and cultural reasons for such differences. It is concluded that Keats pursued poetry to reach the idealized integration, while poetry for Li was a means to enter the political arena until reality turned him down. Regarding imagery, Keats followed the “the death of beauty” pattern, while Li directly utilized macabre imagery to express his poignancy. Finally, Keats’ narrator demonstrates a shift between “realm with the poet” and “without the poet” due to his existential anxiety, while Li’s work demonstrates an unorthodox “realm without the poet”, where the narrator utterly detaches himself from the poem. While Keats’ poetry highlights a struggle to grasp the ideal, metaphorically an impeded upward tendency, Li He’s poetry reflects a downward tendency of merely portraying the macabre, the grotesque, and the degenerate. Personally, this could be attributed to Keats’ internal locus of control and Li’s external locus of control, while culturally, abundant social outlets for a poet in 19th century England and limiting careers for those in the Mid-Tang dynasty explained those discrepancies.

Valeria Luiselli's Desierto sonoro and the Sonic Registers of the Novel

Abstract: Desierto sonoro (2019), Valeria Luiselli's first novel written in English and published both in English and Spanish translation, has been read by critics as an anglophone novel of "sentimental activism" (David James), with focus on the literary representation of an ongoing refugee crisis of children migrating across the southern border of the United States. This essay argues that the multiple archival registers of the novel—listening and recording devices as well as books, notes, photographs—suggest a hemispheric dimension, enabling a reading of the novel situated both in the Latin American tradition of archival fictions as well as the Anglo-American modernist tradition. As a modernist novel written in a densely poetic style, Desierto sonoro is concerned with inhabiting a past always already mediated by other texts, music, and images; as a Latin American novel, its concern is with the critique and retelling of foundational myths, embodied in storytelling and the realist tradition of Latin American writing. As such, through a deployment of different registers of experience, this novel challenges readers to think of archives as depositories of both written history and oral storytelling.

Significant Medical Study Written in Kosovo in the 17th Century Content Analysis of an Anonymous Medicinal Book Written In Kosovo in the 17th Century

The aim of this studies is to analyze an anonymous medicinal book on medicinal herbs written in 1610 at the Halved lodge in Rahovec, Kosova. This book was written in Turkish during the Ottoman Empire and it has not been studied before. The author, a Sufi wise, wrote his works in poetic style and in Turkish, Albanian, Arabic and also French. Since this person is a well-known doctor in the region where he lives, it is thought that he treated people throughout his life and wrote this work for new doctors to use in their treatment due to the lack of doctors. The treatment information in the book has been used for many years during and after the author's time. In addition, it is thought that this information, which includes the doses of drugs and medicinal herbs used in treatment, may be useful in the treatment of many diseases with herbal methods today. Content analysis was used for the review and analysis of the selected study. The analysis and the meaning of the words were performed; the method and the quantity or dosage used is given in the pharmaceutical codex. The Latin names of the medicinal plants referred to in the book were determined. These analyses showed that this book, which is about making remedies from plants used for treatment, has a wide range of treatments for 72 different diseases. 59 different cures for these diseases are reported in the text. It has been observed that many of the treatments reported in the book are still used today. As a result, it is thought that this valuable work that has not been analyzed before will make a great contribution to the related field.

Verbal system and poetics in the works of Yehuda Ha-Lewi

Abstract The article analyzes the verbal system in the Hebrew language of Yehuda Ha-Lewi, which is (and was) represented solely by poetry. It points at Ha-Lewi’s poetics, as the central factor shaping his language, whose verbal forms were ascribed additional poetic functions. It aims to define grammatical units and rhetorical techniques which, combined, were used by Ha-Lewi to create his unique poetic style and linguistic system coherent, though seemingly mimicking Biblical Hebrew. Due to the uniqueness of the corpus of the language and the fact that the rhetorical functions were to a large extent ascribed to grammatical forms, in order to define them most accurately, I apply the discursive-pragmatic approach. This method has allowed to outline the matrix of Ha-Lewi’s verbal system and define its innovative features.

Linguistic Inventiveness, Creativity, and Variation in Taufiq Rafat’s Poems: A Stylistic Study

The current study attempted to analyze the poetic style of Taufiq Rafat. The study focused on Rafat's poetic originality, uniqueness, and grammatical inconsistencies. The qualitative, analytical, and theoretical aspects of this research were analyzed as well. In order to properly and efficiently conduct the study, only a handful of Rafat's poems were selected for analysis and the concentration remained solely on lexical level. The investigation focused on few specific poems of Rafat including Village Girl, Classmate, A Middle-Class Drawing Room, and Once Upon a Time. Leech and Short (1981) models were used to comprehend Rafat's style and how expertly and artistically he handles language to accomplish his objectives and expectations. For academics interested in linguistic and stylistic analysis along with language element identification in any literary text, especially Rafat's poetry, this study is crucial. The study concluded that Rafat used relatively identical stylistic elements. Although, some similarity in the basic form of the poems resulted to deviations and innovations in a few verses while reflecting distinctive and diverse, different and unique meanings along with interpretations in each of his poems.

Strophes in Peshitta Psalms? A Study of Selected Examples

As the Peshitta plays an essential role in literary and textual criticism, the literary features of the Peshitta must be examined not only from the perspective of translation technique but also from the perspective of other factors, such as poetical devices and form. Little attention has been paid to the translation technique in the Peshitta Psalms despite the substantial research conducted on the Peshitta. Most studies have focused on the relationship between the Peshitta Psalms, the Hebrew Masoretic text, and other ancient versions. Therefore, the Peshitta Psalms have yet to be examined from the perspective of classical Syriac poetry. This study investigates how well the Syriac translator employed poetical devices to produce strophic structures and poetic style in the psalms, with particular attention to potential approaches to strophic structure that have not previously been explored. The paper addresses the question of whether the Peshitta Psalms are strophic. The study indicates that Peshitta Psalms 29, 96, 136, and 148 use strophic markers such as word repetition, alliteration, repetition of syntactical structures, parallelism and a balanced number of syllables and words.

A Study of Rhymes in Pope’s Poems: A Historical Perspective

Rhyme is a poetic device that can be studied to know the poetic style of certain writer. The rhyme which was used in historical poetry will also provide a clue of the word pronunciation in certain era in the past. This study investigates the rhymes used by Alexander Pope in the late seventeenth century (early eighteen century), an era called Modern English which is interesting for its in-between characteristics, meaning that the language is similar to and different from current English. Accordingly, this study also aims at identifying the distinctive phonological feature in the form of vowel shift and unveiling the historical background of Pope’s rhyme choice. In order to achieve the purposes, the researcher analyzed fifteen poems written by Pope. The result shows that the rhyme scheme mostly used by Pope is the couplet aabbcc, even though the pattern varies. Some of the rhyming words give a clue on the pronunciation through the vowel shifts, by comparing them to the current English. Some of the vowels were more likely the result of the Great Vowel Shift effect in Renaissance era. Historically, the type of rhyme used by Pope shows that poems, as satirical verses, were used as an ideal vehicle to criticize the situation of English language development and the authority.

G. MUTANOV’S POETRY AS THE UNFADING LIGHT OF A DISTANT STAR

Conceptual analysis refers to the analysis of key words within a specific cognitive domain of the culture being studied. Of particular interest is studying the lexical context and compatibility surrounding the chosen keyword. Other elements within the field are combined in relation to it.While reading the philosophical reasoning of Galym Mutanov, it reminded me of the statements made by I.S. Turgenev in his book “Poems in Prose.” This sparked a desire to compare the philosophical understanding of life between a classic Russian literature figure from the 19th century and a poet from the 21 century.The purpose of this article is to identify the thematic connections in the description of a specific chapter from Galym Mutanov’s book “Shine.” It aims to provide a semantic-syntactic analysis of the analyzed texts, emphasizing the originality of the evidence base and linguistic means used in the book.Analyzing Galym Mutanov’s book “Shining” is challenging not due to its length, but because of the profound philosophical reflections it presents. At the core of Mutanov’s perception of life lies a deep love for life itself, humanity, and the entire world around us. The poetic style employed in his writing showcases a remarkable sense of language.

“Through a Glass, Darkly”: Paradise Lost and Paul’s First Letter to the Corinthians

ABSTRACT To an extent unnoticed in previous scholarship, Milton frequently engages passages from Paul’s First Letter to the Corinthians in De Doctrina Christiana and Paradise Lost. This is attested not only in the exegesis that Milton undertakes in both works but also in Milton’s personal King James Bible in which a marginal annotation records his preference to translate Paul’s reference to seeing “through a glass, darkly” as “in a riddle” (1 Cor. 13:12). This essay argues that Milton’s wrestling with Pauline scripture during the composition of De Doctrina Christiana helps to explicate his recurring citation of 1 Corinthians 15:24–28 in Paradise Lost. In the poem’s scenes of heavenly council, God the Father and the Son predict—repeatedly, and without theological consensus—the apocalyptic state that Paul describes. This begets a Miltonic poetic style that conforms to Paul’s concept of divine mystery, or spiritual truth known imperfectly.

WHEN POETRY SPEAKS: EMILY DICKINSON AND HER INDIVIDUAL STYLE

The proposed study is focused on the search for individual and authorial features of the poetic style in Emily Dickinson's works, which is largely determined by the peculiarities of the poet's general picture of the world, formed under the influence of her attention to nature due to the limitations of the social experience of communication.Emily Dickinson is one of the most widely read American poets of all time. With her unique author's style and figurative language, she was ahead of her time and continues to attract domestic and foreign researchers to "think" on understanding what a metaphor is, where are the limits of the author's imagination, and how can they be achieved.The purpose of this article is a general review of the artistic originality of Emily Dickinson's authorial style and the uniqueness of linguistic and stylistic means of creating imagery in her poetry.At present there is a need to address the world of the poetic personality of Emily Dickinson in the light of growing attention to the work of women writers and poets and their role in the general cultural process, taking into account the special interest that has arisen recently in such global concepts as the linguistic image of the world, the author's picture of the world, as well as the world of a creative person. The world of the poet is of particular value in this chain.Many of Dickinson's poems still need to be deciphered, as the poet balances between adherence to the rules of English grammar and the use of free word order in a sentence, where meaning is prioritized over the need to adhere to correct syntactic form.

КОЛОРИСТИЧНА ЛЕКСИКА У ТВОРЕННІ ЕМОЦІЙНОГО ТА ЕСТЕТИЧНОГО ЕФЕКТУ В ПОЕЗІЇ СИЛЬВІЇ ПЛАТ

Sylvia Plath's poetry has become an indisputable fact of the literary life of the English-speaking world, and thanks to numerous translations, including into Ukrainian, it has exerted an influence on other literatures. Sylvia Plath belongs to those original authors whose works never cease to amaze readers and critics. Sylvia Plath published little during her life, after her death thousands of pages of not only poetry and novels, but also diaries and epistolary heritage remained – an inexhaustible source for searching for the deep essence of the poetess. It is noteworthy that the collection of her poetry, which was published by her ex-husband, won the Pulitzer Prize in 1982 – an award given for new literary achievements. This award was given for poems that were more than twenty years old at the time. Very different topic, the mosaic of poetic style is the source of an increasing number of studies in the direction of both traditional literary studies and modern cultural, linguistic, and intertextual studies. The main motives and images of Sylvia Plath's poetic works are created around the theme of female loneliness against the background of the traditional patriarchal understanding of her gender role and personal frustration with this loneliness, using a wide range of expressive means of poetic language and linguistic structures, which found their embodiment in lexical-semantic and stylistic intonation features of the poet's work. The article is devoted to the characteristics of the color vocabulary in Sylvia Plath's poetry.

خوانشی بر ابهام در شعر معاصر )با تکیه بر قصیده‌ی «رسائل الی الامام الشافعی» اثر عبدالوهاب البیاتی)

Poetry, as one of the branches of art, follows the general rules of art aesthetics, and ambiguity is one of its essential elements, which is considered an attractive factor and an aesthetic criterion in poetry criticism. In this sense, ambiguity is understood as a phenomenon that evokes certain types of reading and understanding in the text. Uncertainty, polysemyand openness of meaning are the characteristics of ambiguous literary text. In this research, after studying the history, concept and function of ambiguity in contemporary Arabic poetry, we have analyzed this phenomenon in the ode "Rasail al-Imam al-Shafi'i" by Abdul Wahab al-Bayati. From the findings of the research, which was carried out in a descriptive analytical way, it was found that artistic ambiguity is a prominent feature of original poetic works, but trying to organize or regularize it is difficult or impossible because multiple readings of an ambiguous text do not necessarily lead to a complete and accurate understanding, but rather Our taste is affected by the fields of our awareness and mental perceptions. We also found that Bayati's poetry has a level of artistic ambiguity that has emerged in the context of new interpretation techniques such as symbolism, mask, myth and intertextuality, and by deepening the poetic experience, it has made his poetic style lasting and effective.

To Risk, One's Life

To Risk, One's Life Bryan Counter (bio) IN PRAISE OF RISK BY ANNE DUFOURMANTELLE; TRANSLATED BY STEVEN MILLER Fordham University Press, 2019. IN PRAISE OF RISK BY ANNE DUFOURMANTELLE; TRANSLATED BY STEVEN MILLER Fordham University Press, 2019. Composed of short chapters and written in a poetic style, Anne Dufourmantelle's In Praise of Risk (Éloge du risque) makes a number of careful interventions related to the notion of risk, intercut with narratives of her own sessions as an analyst. Because of the inclusion of these narratives, as well as the text's overall intimate tone, one could understand it as a series of letters addressed to risk. Each section is granted a particular thematic heading—"To Risk One's Life," "Desire, Body, Writing," and "Life—Mine, Yours," to name the main sections that I will discuss here—all uniquely related to the problematic of risk and its place in contemporary life. But Dufourmantelle does not simply piece together an oblique thesis from disparate fragments that happen to fall under a general idea. Rather, the very form of the book indicates an ethical position with regard to risk. It is through a close, sustained, and nuanced engagement with risk that Dufourmantelle gives voice to a stance that is unpopular, untimely, and risky in itself—namely, that risk is not only something to take seriously but may also be something to be celebrated. Its unorthodox structure notwithstanding, In Praise of Risk is first and foremost a psychoanalytic text. At its core, it is motivated by an understanding of the logic of the unconscious and its ability to disrupt a more traditional philosophical idea of causality, as seen in the descriptions of various analytical sessions. In particular, Dufourmantelle is concerned with highlighting risk as being already inscribed in [End Page 212] our lives before any idea of fate is mobilized, usually after the fact through our own narration. The inclusion of her analytical accounts is crucial in that they provide concrete examples of her patients' self-narration of their own lives, which in turn serve as the backdrop against which Dufourmantelle's discussion of risk takes place. In Praise of Risk begins with a simple but provocative statement: "Life is a heedless risk taken by us, the living."1 As Dufourmantelle suggests by characterizing it as "heedless," risk is installed before any intervention on the part of those who live (and before any calculation of outcome) before the very question of outcome is raised. From the text's beginning, life is established as a risk, indeed as risk itself, something reckless and resistant to calculation. If the living necessarily take part in the heedless risk of life, then living—life itself—is already permeated by risk. Dufourmantelle touches on this apparent paradox just a few lines down, in a passage that includes an important pair of clarifying questions: "To risk one's life" is among the most beautiful expressions in our language. Does it necessarily mean to confront death—and to survive? Or rather, is there, in life itself, a secret mechanism, a music that is uniquely capable of displacing existence onto the front line we call desire? For risk—its object still indeterminate for now—opens an unknown space. (1) The beauty of the expression in question, and of risking one's life, is presented here as already given. But this is also a rhetorical move that lays the groundwork for a unique understanding of risk: we do not necessarily have a solid understanding of it since risk is always in contact with its counterpart, precaution, which secures risk's status as "an unquestioned value" (1)—that is, unquestioned but also uninterrogated. Clearly, this pertains only to a common understanding of the term. So what exactly is risk? If it is not so straightforward as to entail simply putting everything on the line, confronting one's own demise, what can it be? As Dufourmantelle posits here, risk is something within life that subjects the living to desire. If, like desire, risk has an indeterminate object and unpredictable effects, then it is always at work for the living and in life, taking on a double valence: risk is, at once, an act...

Impact Of Poetic Style For Pronunciation: A Systematic Literature Review

Linguistics' field of pronunciation studies how words are pronounced and their intended meanings, arrangement, and classification of sounds as linguistic components. Then pronunciation is often associated in the pronunciation of a poem. It started with an oral tradition because previously poetry was made to be performed. Focusing on the phonemic inventory of poetry, several studies have found a non-arbitrary relationship between the frequency of occurrence of certain phoneme classes and the "emotional meaning", or emotional connotation of certain phonemes and their influence on the perception of the emotional tone of poetry. This research is classified as a collective enterprise and non-experimental descriptive research. PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-analyses) was used in this study to collect data as part of the Systematic Literature Review (SLR). There were 113 data collected from various accredited and Scopus indexed sources such as Elsevier were mobilized to search the data. There are several papers that eliminated by problem topic, publication criteria, and the main outcome, namely the relationship between poetry and pronunciation in writing, 1 journal left. The main key keyword is also obtained, namely "additional language-learner". Then to determine the influence of poetic style on pronunciation, the author identified it through the use of rhyme and rhythm as well as physical engagement, this technology was able to capture "micro-moments" of peer-to-peer learning, illustrating how these techniques might be used to successfully engage students whose first language was not being used in the classroom.