Poetic Texts Research Articles

Motif and thematic clusters in 19th and early 20th century Czech poetic texts: new ways of using the Czech Electronic Library database

Motif and thematic clusters in 19th and early 20th century Czech poetic texts: new ways of using the Czech Electronic Library database

Structural Deviation in the poetical language of Jalal Malaksha

The abstract of this research presents the structural deviation in the poetical language of Jalal Malaksha and analyze his poetical texts. Deviation is deviate of the rules of the language, but it does not mean that there is not any boundary for this deviation. Leech created a boundary between deviation and additional rules when he describes deviation. He believes that deviation is possible when the communication and expression is conceivable and the embodiment is acceptable to be expressed. Jala Malaksha attempted to write in a meaningful and effective way, in all his texts, structural deviation in the three levels of (phonology, morphology and syntax) is perceived, which each of them illustrated in a differ way. For example, phonological deviation in the bases of some texts that is a deletion of phoneme which the necessity of the texts is needed and the poet needs to embody it. Furthermore, Jalal Malaksha to establish invented texts and make a role on the reader, he applied language deviation in the level of word. So, he applied many deviations in the level of sentence such as (delete language elements and move the language elements) in the bases of some poetical texts, he could apply new and invented technique in the poetical texts.

The preface has formed an important position in the poetry of the poet Abdul Zahra Zaki. It serves as a middle threshold linking the author’s domain with the text’s domain, preparing the situation for the transition and crossing into the texts’ domain of

The preface has formed an important position in the poetry of the poet Abdul Zahra Zaki. It serves as a middle threshold linking the author’s domain with the text’s domain, preparing the situation for the transition and crossing into the texts’ domain of the reader. The writer borrows a saying, a line of poetry, a famous idea of a philosopher, thinker, or poet, or a personal saying authored by the writer himself to assert his presence and issue his literary discourse. It is an important gateway among those that the reader employs to enter the atmosphere of the text and its spaces and layers, contributing to the unlocking of many codes in the textual content. The poet recognizes the value of the beginning in the text, which the preface prepares for, as the beginning has a complete image through which he paves the way for the entire victory. Similarly, we find that the external preface (Arabic and foreign) contributes actively and with high methodical intentionality to constructing the poem, drawing his poetic texts in light of the role of these texts’ thresholds.

Style and Stylistics in Literary Research: An Analysis Using the Examples of Goran and Dylan

Stylistics, originally confined to literary criticism, evolved into an independent discipline with the expansion of linguistics. Beyond literature, style extends to the distinctive markers of individuals in public life, encompassing appearance, behavior, and content. Societies exhibit diverse cultural patterns and interpersonal dynamics. This paper delves into the exploration of stylistics, focusing on its manifestation in literary articles where writers convey emotions and thoughts, influenced by various principles. The study introduces style concepts, terminology, and methodologies, examining their impact on writers, texts, and readers. It analyzes style from the author's perspective, considering language choice, rhetorical devices, and mental state. Practical examples from selected poetic texts, including works by Goran and Dylan, illustrate literary style within this comprehensive exploration.

Фиты в дореформенных и пореформенных списках нотированного Октоиха XVII в.

The article is devoted to a significant element of znamenny chant - fitnoy singing. It examines both the lettering and chanting of fitts in the notated Octoechos, in particular, how the general patterns of fitt singing are manifested in the Octoechos. This work shows that the use of fit in the chants of the Octoechos does not depend directly on the genre of the chant, although certain regularities can be traced. In addition, the number of fits is distributed unevenly among the voices, just as in other books and in theoretical manuals - fitniki. At the same time, some fitas are repeated more than once within a vowel section. Comparison of lists close in time and type allows us to identify "author's" variants of the arrangement of fittas or chants of fittas, although in general variants of chants for fittas in the margins or in the banner line of Octoechos chants are rarely recorded. Special attention is paid to the degree of preservation of the chants in connection with the process of correction of liturgical books in the middle of the 17th century, which also affected notated manuscripts. In this connection the lists of the pre-reform, post-reform and transitional editions of the Octoechos are compared diachronically. The comparison shows that most of the fictional formulae were preserved in the process of correcting the notated Octoechos, and, as a rule, their location in the poetic text did not change either. These conclusions testify to the preservation of the tradition, which does not exclude the creative approach of the masters in some cases.

Russia Means a Lot to Me

This article covers autobiographical and research facts from the life of a Mongolian Russian scholar, literary critic, and translator of A. S. Pushkin’s works. The author of the article is a graduate of the Faculty of Philology at Gorky Ural State University and President of the Mongolian Association of Teachers of the Russian Language and Literature. The article discusses issues related to his translation and research activities, and, more particularly, his conceptual approach to assessing literary critical thoughts and the principles he adheres to when translating Russian culture-related phenomena into Mongolian. Also, the article discusses some problems of saving values transferred by Russian literature and culture, with the author expressing his opinion on the Russian national mentality formed primarily through friendly communication. When working in modern Mongolian literary criticism, the researcher had to decide from what position to understand certain parameters in assessing artistic phenomena that existed in the era of socialist realism. As a result, he concludes that the most destructive thing in managing artistic culture, in particular, was excessive ideologization and moralizing, which is temporary and always becomes a barrier to the nature of creative thinking. By working in the field of translation studies and on the ways of transmitting Russian culture-specific phenomena in poetic texts into the Mongolian language, the researcher proposes to adhere to the principle that, first of all, the form and message of the work should not be affected, so that in terms of value it provides readers with an adequate perception in the target language.

Classification of subject-spatial models of modern innovative poetry: variants and functional characteristics

In modern innovative Russian poetry, one of the key problems is the question of the interaction of the concepts “subject” and “space”, as well as the question of ways to rethink their semantic and functional content. As one of the variants of the compositional and stylistic analysis of the poetic text, we have proposed the concept of a subject-spatial model – a conditional image of the concepts “subject” and “space”, which serves to determine the relationship between them and the specifics of their functioning in the author’s poetics. This article discusses the models functioning in the texts of Kirill Korchagin, Galina Rymbu, Nikita Safonov and Yevgeniya Suslova, the classification of models is considered on several grounds: the number of model elements, the specifics of the relations between them and the forms of interaction. It is noted that the models functioning in the texts of the authors studied are multi-basic, each of them has a set of different parameters characterising the relationship between the elements from different points of view, which allows us to consider the specifics of the subject-spatial organisation of the text as a complex structure that reveals the semantic and stylistic features of poetics. The article concludes that the interaction of concepts is based on diffusion and interference, meanwhile the semantics of the subject and space become more complicated – the authors approach their understanding from a philosophical and pragmatic point of view. In addition, the article discusses the issue of trends in the development of subject-spatial relations in innovative Russian poetry.

The Motif of Freedom as a Reflection of the National Identity of Brazil through the Prism Romantic Era Poetry

The article is devoted to the study of the process of the formation of Brazilian national identity through the prism of poetry as one of the most important elements of the nation's identity and maturity. The relevance of this topic is connected not only with the growing interest of Russian humanitarian science in the ‘Other West’, but also with application to the task of successful interaction with representatives of a particular culture requiring familiarity with the meanings that determine their self-identification. It is necessary to have a holistic understanding of the process of national identity formation and social factors behind its transformation. The characteristic features of the rich culture of the Luso-Brazilian world nevertheless suggest a high degree of differentiation in the identity of the people of Portugal and its former colonies. The aim of the study is to analyze how the motif of freedom manifests itself in the works of Brazilian Romantic poets, reflecting the gradual conceptualization of Brazilian national and cultural identity. To achieve this goal, the following objectives were set: first, to systematize the existing works on the national identity of Brazilians; second, to identify the motif of freedom in specific poems by prominent poets of the studied era and trace how this motif reveals identity of a Brazilian. The materials of the study are the corpus of works by Brazilian Romantic poets, comprising both the original works and their translations into Russian (including translations made by the author of this article). The leading research method was culturalhistorical; the corpus study was conducted by means of content analysis. The novelty of the study was determined by the fact of addressing the motif of freedom, considered as a key factor of Brazilian identity. As a result, it is shown how this motif was formed in the work of Brazilian Romantic poets of the 19th century, branching out into many conceptualizations of freedom. The study of the corpus of Brazilian poetic texts provides convincing evidence that the motif of freedom was one of the first steps for Brazilian society to realize its unique identity. The author concludes that the beginning of this process in the 19th century is associated with such vectors of comprehension of freedom as the desire of Brazilians to return to their homeland from foreign lands, escape from reality/life, freedom in the choice of Christian religion and freedom from sin, the desire to show strength, awareness of the important role of indigenous peoples and praise of the Indian struggle against oppression and despotism, resistance to slavery and colonizers. Gradually, however, the ontology of freedom from is complemented by an ontology of freedom for: Brazilian poets find imaginative solutions that reveal the identity of their people as a cultural search for a counterpart of communication.

«SITUATIONAL TIME» IN HISTORICAL EPICS

Conceptual research stands as a cornerstone in uncovering linguocultural values and the collective psyche of diverse peoples, offering profound insights into their worldview. This article endeavors to unveil the manifestation of temporal context within historical epics, deeply intertwined with the epochs and narratives of the respective societies. The study seeks to elucidate the collective consciousness and societal understanding prevalent during the periods under study, achieved through an analysis of linguistic expressions denoting temporal concepts within historical poetic texts. Drawing upon scholarly evidence, the article delineates the mechanisms and distinctive attributes characterizing the portrayal of situational time within historical epics. It underscores the prominent role of grammatical constructs, particularly the active utilization of the verb's grammatical category, in conveying temporal nuances. Furthermore, linguistic analysis reveals the pivotal role of the temporal dimension in discerning historical veracity within these literary compositions. The scholarly significance of this research lies in its theoretical contributions to cognitive linguistics, linguoculturology, and the study of linguistic folklore. Additionally, the practical implications extend to educational contexts, offering enriching content for specialized courses such as "Linguistic Folklore Studies," "Cognitive Linguistics," and "Linguoculturology," thereby fostering a deeper understanding of temporal dynamics within cultural narratives. Key words: concept, cognition, historical epic, linguistic unity, time, situational time, grammatical category

»Prendre de vitesse la mort«: traductions françaises de la poésie baroque allemande

Studies and poetic anthologies devoted to the Baroque are full of texts evoking with a lux- ury of detail the horrors of the tortured or mutilated body . If, at first sight, such a choice serves to register the Baroque by delimiting its anthropological perimeter, it is decided, if we take a closer look, that it is weighted, especially in the French translations of German »baroque« poets, with a strong ideological content: the paratexts of these translations offer a transhistorical reading, whose stated or implied objective is not so much aesthetic as political. Translating German poetic texts from the Baroque period on the description of the corpse is an attempt at catharsis, understood as an exorcisation, by the past, of certain political disturbances of the present time.

Comparative analysis of the poem “An Irish Airman Foresees His Death” by W.B. Yeats translations in the light of M.Y. Lotman’s theory of a poetic text elements semantic correlation

Comparative analysis of the poem “An Irish Airman Foresees His Death” by W.B. Yeats translations in the light of M.Y. Lotman’s theory of a poetic text elements semantic correlation

Пралогическая коммуникация

The paper deals with a pre-logical communication contrasted to verbal interaction founded on logical grounds. The material for the study includes archaic incantations, modern superstitions and poetic texts. The methods of interpretative and intentional analysis have been applied. A pre-logical communication is based on the establishment of relations between objects or events devoid of cause-and-effect relationship in reality. Such conceptualization has been described, explained and terminologically fixed as participation by L. Lévy-Bruhl. It is characteristic of a magic worldview which historically precedes logical reality, but remains up to now in certain types of discourse. Psychologically, such explanation is a biased generalization of accidental connection between things. However, such illogical reality representation has a right to exist as it helps people explain the unexplainable. Semiotically it corresponds to transaction of iconic signs to signals or indices. Three types of pre-logical explanation of events in everyday life have been described in this paper, i.e. diagnostic, prognostic and magical. A pre-logical communication in literary discourse may be understood as a demonstration of universal interconnection of things and events making a whole worldview. This interconnection is based on multiple associations and intertextual allusions. Three types of pre-logical worldview may be singled out as creative, metaphoric and intertextual multiplication of reality. A deliberate usage of pre-logical communication in scientific, pedagogical, legal and political types of discourse may be qualified as a manipulative influence, whereas when used in everyday, advertising, recreational and artistic communication it is determined by the intention to broaden the limits of a routine existence.

An analysis of figurative language in the interpretation of contemporary English poetry

This article examines the various facets of figurative language. This study considers figurative language from a traditional perspective as an embellishment of language and compares it with contemporary theory in literature especially in poetry. The main material for the analysis of figurative language in poetry is poetic texts of contemporary American poets like William Carlos Williams, Robert Frost, and Charles Bernstein. We selected 15 poems that contain a lot of figurative expressions and analyzed them namely “The Red Wheelbarrow”, “This Is Just to Say”, “To a Poor Old Woman”, “The Road Not Taken”, “Stopping by Woods on a Snowy Evening”, “Fire and Ice”, “Mending Wall”, etc. The authors conducted about evaluation of the use of metaphors, hyperboles, idioms, and similes. The most used figurative language in all the analyzed poems is metaphor. It occurred in all 15 poems. Figurative language adds an element of beauty and artistry to poetry. Metaphors, similes, and other figurative expressions infuse the language with color, imagery, and creative aesthetics that captivate the reader's senses.

Images: Cognitive Mechanism, Poetics, Semiosphere

The study is devoted to the phenomenon of the image as a concept of many humanities. The cognitive mechanism for creating a linguistic and textual image (apperception, application of frames with a matching slot, basic categorization of the world) is under consideration. A typology of linguistic images is given: an acoustic image as a second channel of meaning, along with a lexical-and-semantic one; the means of figurative derivation; a figurative internal form of a word of a secondary direct nomination ( осточертеть, накостылять ); lexical figurativeness and syntagmatics of direct and figurative meanings of a monocode (metaphors of one thematic zone) and polycode (metaphors of different thematic areas) kind. It is concluded that the semantic syntagmatics of figurative language means demonstrates the operation of the law of semantic agreement at the level of both explicit and implicit language means. The types of text figurativeness (figurative detail, image-character, correlation of the figurative structure of texts with the concepts of language and style) are considered. The cultural imagery of naming-characteristics of the cultural paradigms of Europe - Antiquity, Middle Ages, Renaissance, Modern times; the evolution of civilizational meanings of previous epochs and their transformation into images of modern language ( египетский труд, высокие амфоры ног, площадная брань, макиавеллизм ) is under the studies. The conclusions are made about the function of an image as a systematizer, an ontology parameter. At the same time, metaphor is a magic crystal of focusing space, time and thought, a linguistic way of connecting simultaneity and continuity of the developmtnt of culture. The scientific novelty of the study lies in the identification of the mechanism of semantic syntagmatics of direct and figurative meanings of lexemes (iteration of denotative, connotative and potential semes; semantic consistency - compatibility of thematic zones “anthropomorphic metaphor - artifact metaphor, anthropomorphic metaphor - naturalmorphic metaphor, phytomorphic metaphor - zoomorphic metaphor”, etc.), as well as in establishing the semiotic evolution of the civilizational meanings of cultural paradigms - the historical transformation, due to the loss of denotations and referents, of the names of denotations into the characteristics of a wide range of objects: патрицианский профиль А.Ахматовой (M. Tsvetaeva) as ‘Roman’, ‘with a proud landing of the head’; марионетка ‘non-independent subject’, ‘state under external control’, барочный торт (L. Ulitskaya) ‘overly decorated’. The article proposes an algorithm for the analysis of a polymetaphorical poetic text.

Textual Consistency and Harmony in the Poetry of Dr. Adel bin Khamees Al-Zahrani (Between Tradition and Renewal)

The theory of Text Linguistics is one of the most important modern theories associated with linguistic heritage. It bears significant benefits as it starts where traditional grammar ends. The traditional approach used to consider the sentence as the basic unit. However, Text Linguistics moves beyond this by recognizing a larger semantic unit, one that encompasses context and related meanings (both before and after), taking into account the circumstances of the receiver. This approach results in a methodology leading to a complete understanding of texts in terms of reference and intent. Nonetheless, it doesn't deviate from traditional grammar. The grammatical heritage and the concepts and rules it contains are the actual foundation for textual trends and a source for many of its ideas and concepts. This study has achieved crucial textual criteria: consistency and cohesion in its various forms and elements, which are built upon it. The poetic texts in this collection have demonstrated that textual consistency and cohesion, according to Text Linguistics theory, have no bounds. The linguistic depth it possesses does not surrender to the limits of modern theory. It has managed to introduce forms beyond its bounds. Some of these include rhetorical questions, imperative style, and various verb forms referring to the future. Additionally, the study has shown that Arabic grammar has defined the distant reference in the demonstrative pronoun. However, this reference remains challenging for text linguists to specify. The study recommends further research into narrative discourse in the collection since it contains a scholarly material that can complement the series of this study.

CREATIVITY IN USING THE MASK TECHNIQUE IN CONTEMPORARY ARABIC POETRY

This research deals with the mask technique in contemporary Arabic poetry in terms of its concept, spread, characteristics, and the creativity of Arab poets in using it, to express their feelings and thoughts in a time when harsh political and social conditions prevailed, and in light of the lack of freedom of expression in the Arab world. The mask technique is a literary concept that expresses the poet's use of terms and visual images to express his feelings and thoughts in a way that makes them have multiple and different connotations. This poetic style reflects the poet's ability to express in an abstract and symbolic manner, creating deep moral layers in the poetic text. The use of the mask technique in modern Arabic poetry includes many elements, such as metaphor, simile, symbolism, and allegory. The poet relies on these elements to express his feelings and thoughts in a way that makes the reader interact with the text and search for deeper meanings in it. The mask technique is considered one of the literary techniques that distinguishes modern Arabic poetry and adds artistic and cultural value to it. This technique is used to explore different themes such as love, home, identity, freedom, daily life, and social issues. The mask technique in modern Arabic poetry represents an artistic means that allows the poet to express his thoughts and feelings in an innovative and attractive way, and enhances the strength of the poetic text and its appeal to readers

«Размером подлинника»: «этнографические» поиски и находки русского переводного стиха Серебряного века и их осмысление на страницах периодической печати

The article presents a wide range of phenomena of national rhythmic culture that appeared on the pages of periodicals (newspapers, magazines, almanacs) of the early twentieth century, primarily in the translation of foreign language poetic texts, for most of which there are still no adequate analogues in Russian versification. However, thanks to the persistent desire of the authors of that time, such analogues are either found among related phenomena or are reinvented. Moreover, this happens in publications of a wide variety of types: from the elite St. Petersburg “Vesi” to the mass “Samara Mustard Man”. Quite in keeping with the spirit of the times, the emerging free verse turns out to be an analogue of the complex ancient Greek logaedas, ancient Egyptian and Akkadian cult poetry, and European and American free verse itself. And to convey traditional Japanese poetry, Balmont uses syllabic-tonic metric, to depict the Persian stanza Vyach. Ivanov turns to its imitation, and S. Sviridenko develops his own version of alliterative verse, designed to convey the general structure of the ancient Germanic versification. It is especially important that Russian poets and theorists place on the pages of periodicals not only works created according to models from different cultures, but also theoretical discussions and explanations designed to help the mass reader understand the original rhythmic innovations, which ultimately contributed to expanding the capabilities of Russian verse.

Intertextuality in the poetry of Ibn Khafaja

This study comes within the framework of literary studies that are concerned with the literary text, and sheds light on the inherited relationships within the poetic connection between the womb of poetry and its people. In order to achieve the highest degree of artistic coloring, an attempt to monitor intertextuality and its types within the poetic text of Ibn Khafaja, relying on the descriptive and analytical approach, which is concerned with tracking the phenomenon. To reveal the extent to which the means and mechanisms of the image are achieved and to clarify their impact on the subject of the aesthetics of intertextuality, and its importance is evident in the analysis at the level of textual creativity, and to go beyond the framework of the new meaning to an old meaning, which the poet presented inside his own container, to touch the soul of the recipient, and the meaning rings on his ears repeatedly, to indicate The poet’s religious and intellectual richness, which is what the study found regarding the richness of the poet’s religious intertextuality, especially the Holy Qur’an, and after it the Noble Hadith, and after them literary intertextuality. Ibn Khafaja employed the religious and poetic heritage that is in harmony with his words and meanings, and it carried a cultural dimension through that employment through his knowledge of Arabic literature and its poets, and this was clearly evident in the exploitation of models through vision and clarification.

Making a Case for Poetry in Action-oriented Foreign Language Courses

"The present article describes a small-scale poetry project intended to foster culturally responsive learning in the C1-level university language course. The instructor of this course had the opportunity to invite an aspiring poet, Ivan Bio from Sierra Leone, to a reading of three of his poems to be performed during one of the sessions. Designed as an extension activity for one of the course units, the project required students to complete a set of tasks to prepare for the poetry reading as well as engage in follow-up activities to reflect on the experience. By describing and analyzing the implementation of this reading session, the authors aim to explore the potential benefits of poetic discourse for language courses based on action-oriented, learner-centered approaches. Against the background of the CEFR descriptors relating to the reception of creative/literary language and the mediation of texts, the authors intend to show that the interpretation and analysis of poetic texts can help students not only to increase their sensitivity to and awareness of the ambivalence of language, but also to in turn expand their communicative language competences, most notably their mediation skills. To achieve these goals, students were asked not only to analyze and explain the poems to their peers, but also to formulate personal responses to the texts. A striking observation was that the context of remote learning where students communicated in a Zoom meeting did not seem to interfere with their willingness and ability to express their attitudes and even their emotions. This made the meeting an emotionally profound experience for everybody involved, and the authors will argue that not only the range but also the intensity of the language learning experience can be greatly enhanced by integrating poetry in the foreign language classroom. The article intends to demonstrate that the CEFR with its Companion Volume (CEFR/CV) and their operationalization in action-oriented approaches form a perfect basis for expanding learners’ language competences through poetry. "

Doing Justice to Poetry: Gadamer and Derrida on Reading Paul Celan

A large part of what scholars do in the humanities is reading and interpreting texts, and they must do so in a just and righteous manner. But what does that mean, doing justice to a text? To a philosophical text, but also to a literary or a poetic text? This is the question at stake in the ‘Gadamer-Derrida encounter,’ which remains relevant for our daily interpretative endeavors. Rather than adding another commentary to the already extensive literature on this debate, this paper offers a comparative analysis of two closely related essays in which Gadamer and Derrida read the work of the German poet Paul Celan with a keen eye for differences, as well as similarities, between the hermeneutical strategies of both philosophers. These two essays lead me to specify the guiding question of this paper: what does it mean to do justice to a poetic text, that is, to poetry? To answer this question, the paper discusses several issues, starting with Gadamer’s and Derrida’s shared rejection of the intentions of the poet as the decisive factor in interpreting poetry. This is followed by a discussion of Gadamer’s hermeneutical approach, as exemplified by his interpretation of Celan, and Derrida’s main objections to this approach. Having subsequently discussed the way in which Derrida demarcates his own hermeneutics from that of Gadamer, the paper first concludes that Gadamer’s and Derrida’s positions are sufficiently refined to be considered as complementary rather than mutually exclusive. Second, this paper argues that doing justice to a philosophical, literary or poetic text means seeking to decipher its meaning, as Gadamer argues, whilst accepting that no articulated meaning can ever be final, certain or exhaustive, as Derrida emphasizes.