Poetic Way Research Articles

Resonant voices: The poetic register in exegetical writing for creative practice

Quality, exegetical writing can be constrained when students marginalize poetic ways of thinking and replace them with carefully edited accounts that reshape the role and nature of emotional response. In the pursuit of rational, theoretically groomed accounts of practice, they can sometimes end up misrepresenting the embodied nature of their inquiries. Considering burgeoning research into poetic inquiry (PI) in the social sciences, this article employs a case study of five doctoral graduates in art and design who have articulated the role of poetic thinking in their creative practice theses. In addition to offering illustrations of how practice-led researchers use PI, the examples demonstrate ways in which poetic approaches can be employed to enhance communicative clarity beyond the constraints of conventional academic writing. Specifically, the examples demonstrate how poetic writing is used to process and articulate indigenous knowledge, enhance embodied thinking and inquiry and deepen levels of reflection and understanding. Such uses can cause a researcher to view the world differently and by extension, expand the nature of what it means to conduct research. In discussing the nature of poetic writing, the article considers three distinct profiles: exegetical writing employed when the nature of the practice is poetic; poetic writing that draws on indigenous approaches to scholarship and poetic writing used as a method for reflection.

Ślęża Mountain as a metaphor for the Western Territories in 1945

The basis of this work is a fragment of Zygmunt Dżuganowski’s diary ‘Wrocławska szansa’, regarding the post-war journey to Sobótka. In the article ‘Ślęża Mountain as a metaphor for the Western Territories in 1945’, the way of how memory works was analyzed by examining stages of the road surrounded by cultural, given meanings. The symbolic peregrination towards Ślęza and the Slavic beginnings of Polishness has a strictly legitimizing purpose.The exploration of space and the ancient traces of ancestors found in it are a poetic way of presenting evidence of the validity of settlement.

Storytelling through Popular Music: Social Memory, Reconciliation, and Intergenerational Healing in Oromia/Ethiopia

Drawing on a popular music video titled ‘Beelbaa’ by a young Oromo artist, Jambo Jote, this article discusses the moments and contexts that compel young people to speak up in subtle and poetic ways. By interpreting the content of the lyrics, doing a visual analysis of the music video, and connecting both to contemporary discourses, it explores how researching social memory through music can be used as a lens to understand Ethiopian society, politics, and history. The article draws attention to alternative spaces of resistance as well as sites of intergenerational connections such as lyrics, music videos, songs, and online discussions. I argue that storytelling through music not only bridges differences on problematic and sometimes highly polarized discourses engendered by selective remembering and forgetting of national history, but that it is also indispensable for reconciliation and peaceful coexistence. Tuning into young people’s music can touch us in ways that are real, immediate, and therapeutic, making it possible for our collective wounds to heal. I further demonstrate that as musical storytelling appeals to multiple generations, it can facilitate mediation, truce, and intergenerational understanding.

GENRE APPROACH IN CREATIVE WRITING PEDAGOGY IN ENGLISH IN UPPER PRIMARY CLASSES IN KENYA

Writing can be used to measure learning of the other three language skills and written materials be used for reference in future. Creative writing (CW) is the production of texts which have an aesthetic rather than a purely informative, instrumental or pragmatic purpose. It is a personal writing where the purpose is to express thoughts, feeling and emotions in an imaginative, unique, and sometimes poetic way. Of all the four language skills, creative writing is a high order skill that calls for molding through appropriate pedagogical approaches. In Kenya, English is both an examinable subject and a language of instruction. CW accounts for 40% of the total score in English subject. However, over 62% of learners fail to achieve writing competence at the end of primary course. Primary schools in Vihiga County have persistently underperformed in CW with more than (70%) of Class 8 learners scoring below the average mean mark. Despite this underperformance, only a few studies on CW pedagogy are available. CW studies conducted in Kenya have established that 60 % of teachers find it difficult to teach CW while 75% of learners find it boring. These have implications for pedagogy and students’ writing enthusiasm. The objective of this study was to explore the use genre pedagogic approach and its effectiveness in the development of CW skills. Archer’s theory of reflexivity which views writing as internal and external conversations was used. The study used qualitative exploratory research design and the study was conducted in Vihiga County. The data collection tools were Lesson Observation Schedule and Interview Schedule whose validity and reliability were tested through triangulation. From Class 6-8, 30 lessons in 10 purposively selected schools were observed and 30 teachers whose lessons had been observed were interviewed. Data were analyzed thematically through transcription, coding and identification of themes. The key finding was: inappropriate use of genre approach due to teachers’ knowledge gaps on CW pedagogical approaches. The study recommended that teachers of English use genre approaches appropriately in CW pedagogy and the Ministry of Education to in-service teachers of English on CW approaches. The results are useful to teachers of English and Teacher Training Institutions. KEY WORDS: Approaches, Genre Approach Creative Writing and Upper Primary Learners.

تأثیر الرمز الصوفي في الشرق الأقصى على الأدب الفارسيّ المعاصر قراءة مضامین مذهب (زِن بوذا) في شعر (سهراب سبهري)

یعد الشاعر (سهراب سبهري) من الشعراء المولدين الذين يمتازون بأسلوب خاص، وقد استفاد من الرمز الصوفي الخاص بالتصوف الشرقي؛ لإظهار منازل الإشراق والشهود الخاصة به، ونجد أنه عبر في شعره عن کافة العناصر الصوفية من ظواهر واصطلاحات بشکل رمزي وشاعري؛ بهدف إيصال مفهوم التصوف للقارئ بشکل مبسط وميسر قابلا للفهم، ومما يميز لغته الشعرية هو استخدامه رمزية خاصة يعبر فيها عن أحواله وتجلياته الصوفية، وکذلک تغنيه بالطبيعة، فهو يلجأ إليها طلبا لاطمئنان الروح وسکينتها، والتعلق بالطبيعة لدى (سهراب) ممزوج بالنظرة الشرقية لها، وجذور هذا التعلق ضاربة في أعماق تصوف الشرق الأقصى(اليابان)، فـ(سهراب) عاش في نصوص الثقافة الشرقية، وتأثر بعناصرها مما انعکس ذلک على شخصيته وشعره. The Influence of Sufi Symbol in the Far East on Contemporary Persian Literature Reading the Tenors of Zen Buddha's1 Doctrine in the (Sohrab Sepehri) Poetry Abstract The Iranian poet (Sohrab Sepehri) is considered one of the novice and stylist poets who have their own unique style. Actually, Sohrab has benefited from the Sufi symbol of the oriental eastern mysticism, in order to show its special brightening positions and statuses. Obviously, and through his poems, Sohrab has expressed all the aspects and elements of Sufi phenomena as well as idioms in a symbolic and poetic way, with a view to conveying the Sufism concept to readers in an easy and understandable way. It is worth mentioning that what distinguishes his poetic language is exploiting a special symbolism which assists him in expressing his conditions and Tajalli (self-manifestation), in addition to his praise of nature. Sohrab resorts and turns to the nature asking for reassurance of his soul. Sohrab’s harmony with the nature is combined with the Eastern view of it, the roots of this harmony is extremely obvious in the deeps of the Far East mysticism (Japan), where Sohrab lived in the eastern culture texts and writings, and he was affected and influenced by its elements, which directly reflected on Sohrab’s personality as well as his own poetry.

Walking as Attunement: Being With/In Nature as Currere

Being physically and spiritually attuned to the world around us forms the loom on which we weave our curricular understandings. Here, we strive to find the extraordinary in the ordinary and make room for a poetic way of attending to the lived curriculum. More than a way of doing research, we regard this way of being as a deep and disciplined presence with/in the world we inhabit. Through our own individual practices of walking the earth, our physicality explores the relationships between flesh and stone, and rain and tears, and the immediacy of the poetic takes form. Our walking practices open up the space not only to mindfulness, but bodyfulness, where the present moment has the capacity for the infinite. This type of active contemplation invites us into an expansive place where we can consider the very nature of education and its potential to foster or impede holistic teaching, learning, living, and being. Through writing together, we lift ourselves and each other out of the metaphorical and literal containment of our current contexts and find an invitation to walk and write into wonder.

Invoking the Wild

Wild places remind us of the adaptability, resilience, and fragility of plants and humans alike. The urban environment is awash in plant life, often taking root in remnants of industrial infrastructure in poetic ways—along roadsides and chain-link fences, between cracks of pavement, and within vacant lots, rubble dumps, and highway medians. Future Green Studio’s investigations into spontaneous urban plants have aspired to engage people with their neighborhood environments—streets, walls, lots, and tree pits—through a series of walks, talks, citizen science participation, and the publication of a book, SUP: Weeds in NYC. This work continues to feed planting concepts behind many of the studio’s designed landscapes, which seek to capture the rugged vision of urban wilderness. Species for the studio’s projects are selected for their ability to tolerate the proposed habitats created on sites and are often drawn from local plant communities, such as oak barrens and shrublands; the plants and ecologies of project sites are a frequent source of inspiration. The studio does not see uncultivated plant growth as the specter of disinvestment, but as an asset to the performance, health, and well-being of its inhabitants, human or otherwise, which demonstrates the ability of the city to support the evolving ecologies of the future.

Articles and chapters about poets of kokand literary environment in “majmuai shoiron”

Fazli Namangani's “Majmuaishoiron” contains information about the poets and poetesses of the Kokand literary environment. it is sufficient to quote an excerpt from a particular poem by a person, usually with a brief account of that person. Even in some data, this passage is not given. In the “complex” the situation is completely different. Fazli provides information about the creators in a poetic (masnavi) way.

Using the Poetry Material in Stage Speech Classes

The aim of this paper is to identify the main paradigms of Ukrainian stage speech. The indentifying and understanding of the specific educational function is very helpful in training the artists in the field of theater art and involvement in further searching of innovative teaching methods in stage speech.The relevance of the research is due to the fact that stage speech as a coursedirectly depends on the changes taking place in the modern cultural process and requires new methods and approaches in the education of actors.Research methodology. The authors have used theatre approach that made possible to identify new approaches and exercises to work with the poetic material. The study also inquires into this issue by comparing, analyzing searching for innovative methods of teaching stage speech in higher educational institutions, colleges and specialized schools with the classical theater school.Results. The article considers the professional training of competent spe-cialists for Ukrainian drama theater and cinema. Now, in the Post-Soviet phase of the theatre development, one of the most significant aspects of such training is stage speech, its melody and poetry. The national theater has always had an inclination for the Ukrainian language euphony and its poetic way of expression and thoughts. This should be the main focus in the stage speech training of future actors, with the national theater undergoing Ukrainization.The novelty of this article is to search for innovative methods of teaching stage speech in the modern theatre process of Ukraine in the 21stcentury.The practical significance. The key results of this research can be used by higher educational and theatre institutions of culture and art of Ukraine and for further improvement of studying, researching process and practical activities.

A despersonalização do paciente e da sua história: uma visão holística da literatura

INTRODUÇÃO: A despersonalização do paciente e de sua história está presente no cuidado e é descrita com muita sensibilidade na literatura, que por representar o ser de maneira integral, demonstra o quanto esse processo de desumanização pode ser danoso. OBJETIVO: Este ensaio tem como propósito demonstrar o quanto a literatura pode proporcionar uma visão holística do paciente no processo de perda de autonomia. RESULTADOS: O conto Paulo do autor Graciliano Ramos analisa, de forma poética e subjetiva,um cenário de despersonalização do paciente e de sua história e como ele pode ser angustiante. Por outro lado, é importante analisar contextos como o profissional com síndrome de Burnout e a pandemia pelo COVID-19 como potencializadoras dessa desumanização do paciente, já que estes cenários representam situações que desencadeiam estresse físico e emocional para o profissional de saúde e, portanto, podem desencadear distanciamento emocional e desumanização por parte do cuidador. CONCLUSÃO: A literatura traz subjetividade ao representar o processo de adoecimento e hospitalização sob a perspectiva do paciente e, dessa forma, permite uma visão integral do ser, que é imprescindível para minimizar a despersonalização do paciente e de sua história, nesse sentido, a análise desse contexto torna necessária a inserção abordagens no cuidado que ultrapassem o foco no adoecimento, com a valorização da escuta e autonomia do paciente.

Las paradojas excluyentes del «lenguaje inclusivo»: Sobre el uso planificado del morfema flexivo -e

Social networks, the media and even academic centers of the Hispanic world register heated debates on various aspects of «inclusive language». Here, it is carried out a n analysis of the planned use of the morpheme -e with the meaning «indistinct gender» or «without gender» in a noun phrase referring to a group integrated by people of more than one gender. The new morpheme -e (and its exclusively written variants -@ and -x) would avoid the masculine morpheme -o as the default option in such contexts. The greatest merit of the use of the morpheme -e is that it makes visible the just claim in favor of gender equality in a poetic way, because it is oriented to the message as such. Nevertheless, the planned use of the morpheme -e faces serious limitations and falls into paradoxes that make it inappropriate in most types of situation.

The Past Sets the Context for the Present

Abstract This contribution examines musical and poetic tradition, in so far as it influenced the culture and society of the Hellenistic period. Epigraphy attests to the recollection of traditional heritage as one driving force for public-at-large performances. Extra-agonistic and agonistic performances pursued by the so-called poeti vaganti, travelling all over the cultural centres of Greece chasing fame and rewards, attest to different ways to preserve the legacy of musical and poetic tradition, by lingering on it or re-modulating its facies. Re-performing ancient times, through selections of dramas and lyric poetry, and demonstrating the musical structures and poetic ways of former days, had the purpose of strengthening social identity and reinvigorating communal knowledge. Inscriptions allow us to envisage the nuances and potentialities of these thoughtful revivals, highlighting the ways this concept could shift with time, context, and place.

Investigating the tectonic effects of openings as ‘built-things’: case of Çavuşoğlu house

Purpose This paper aims to trace the tectonic effects of openings as Heideggerian “built-things”. Design/methodology/approach This study has been organized in two phases. The first phase attempts to set up the theoretical framework through exploring the links between Heidegger’s notion of “built-thing” and contemporary tectonic discourses on dialectics between the values of matheme (construction, technology) and poetics (representation, meaning) to identify the key indicators in tectonic effects of openings. Accordingly, as the term “tectonic effects” is concerned with feelings and emotions that tectonics may evoke in people, the author searches for the indicators based on the poetic aspects of tectonic values and applies them within the phenomenological method implemented in the second phase of the research to explore the indicators in the designated case of the “Çavuşoğlu house”. Findings The results of this study indicate the significance of ontological nexus between tectonics as “poetic revealing” and the ability of the “built-thing” to generate tectonic effects within the embodied experience of dwellers. In fact, an opening can generate ontological tectonic effects in space only if it is brought about through a truthful build-dwell process which responds in a poetic way to the daily-life needs of the dwellers. The tangible examples of this fact are evident in the openings of the Çavuşoğlu house. Originality/value The theory of tectonics of openings as a separate “built-thing”, which is put forward in the present study, is a subject that has not been sufficiently studied so far and has the potential to be developed through further research. In light of this, the theoretical results of this study can contribute to tectonic thinking during the design process.

ЭРКИН ВОҲИДОВҒАЗАЛЛАРИДА ТАЛМЕҲ САНЪАТИНИНГ ЎРНИ

This article is devoted to artistic and visual means in the verses of Erkin Vokhidov, including the artistic-imaging mean-Talmeh. Scientific ideas are based on poetic examples from “Yoshlik Devoni”.The artistic-imaging mean-Talmeh is the art of conveying artistic ideas to the reader in a poetic way,including a historical or legendary person, place or event.

Лингво-поэтико-историко-философская высота высокой личности и многогранность таланта

We consider the problem of mutual relationships between Rus and a Polovtsian Plain, poetry, science and politics in the aspect of universal comprehension and in the aspect of Soviet ideology in comparison with the features of well-developed capitalism, revolutionary (dogmatic) socialism and evolutionary socialism, based on the content of two books with the same title “Olzhas and I”, which were published in Moscow in 2016 and in 2018 in the publishing house “Khudozhetvennaya literatura”. The books are devoted to the investigation of multi aspect creative activity of a poet, linguist, historian, philosopher, diplomat, public and state figure Olzhas Omarovich Suleymenov. The books consist of 167 articles (96 articles in the first book and 71 articles in the second). The authors of works express their points of view on many issues, which were investigated by O.O. Suleymenov, as in the book “Az and I”; on investigation in the field of language history (the study of Turkic languages, Slavic studies, etc.), which were also showed in his other books; on poetry; on diplomatic and political activities, that are characterized with universal orientation, concern for environment and human beings; on anti-nuclear activity in closing the nuclear test site near Semipalatinsk in Kazakhstan. Authors of articles are citizens from different regions of the world: from Asia, Europe, America. In all the articles mentioned above Olzhas Suleymenov is regarded as an outstanding person, a great poet and a scientist, who with the help of contents of his book “Az and I” and content of his performances at the meetings of the Supreme Soviet of the USSR and other state and public forums promoted regeneration of human consciousness towards dogmatism in science and politics of the USSR, which led to its collapse, although wasn’t O.O. Suleymenov’s intention. Linguistic, poetic, historical and philosophical way of thinking, brilliant talent, bilingualism and multilingualism, courage of mind and actions, universal inferences mark out Olzhas Suleymenov as a great poet, scientist and philosopher in the modern world, and a Pro-Human, who is able to predict the future.

Background. The diverse experience of artistic culture, refl ected in the established system of genres, appears in a new light from the standpoint of modernity as experts

Background. The diverse experience of artistic culture, refl ected in the established system of genres, appears in a new light from the standpoint of modernity as experts

A Study of the Poetic Structure in Mao Zonggang"s Comments on the Romance of the Three Kingdoms

With regard to the structural problems of Chinese Ming and Qing Dynasties" novels, under the influence of Western causal traditions and their structural views, there has always been a saying of “episodic”. However, if we take the traditional Chinese view of nature, we can see the poetic structure of Chinese classical novels. Mao Zonggang revealed this in the practice of the commentary of The Romance of the Three Kingdoms. He commented on the external structure of the Romance of the Three Kingdoms and conveyed the concept of its historical cycle with a “circular” structure; And he sorted out the sub-structure chapters of The Romance of the Three Kingdoms by adopting a repetitive(反复), uplifting (起兴), dualistic(对偶) and other poetic way to pinpoint the ideals of Confucian politics. This paper believes that Mao Zonggang"s commentary on the structure of The Romance of the Three Kingdoms reflects a poetic structure that is different from the West. This kind of poetic structure takes the classical tradition of Chinese literary narrative, and combines lyrics with historical narratives to form a new tradition. The “weaving” of structure takes on the dual mission of “Zhu”(杼) and “Xu”(序), making the narrative of chinese classical literature combines the tradition of “Shi Yan Zhi”(诗言志) and the tradition of “Wen Yi Zai Dao”(文以载道) through the poetic structure, forming the national style of “singing story”. 关于中国明清小说的结构问题，在西方因果论传统及其结构观的影响下，一直以来存在“缀段”的说法。但是以中国传统的自然论观之，则可见出中国古典小说的诗性结构特征。毛宗岗在《三国演义》的评点实践中对此有所揭示，他点评《三国演义》总体结构外部圆融统一，借“圆形”结构传达其历史循环之观念；他梳理出《三国演义》具体章节之间采取反复、起兴、对偶等诗意方式连接，以此寄托其儒家政治之理想。本文认为，毛宗岗关于《三国演义》结构的评点，体现出了不同于西方的具有民族特色的诗性结构观。这种诗性结构观承载了中国文学叙事的古典传统，将抒情与史叙揉在一起铸成新法，以结构之“编织”承担起“杼”和“序”的双重使命，使得中国的古典文学叙事借助诗性结构融合了言志传统和载道传统，形成了“歌唱故事”的民族风格。

Un Martes Cualquiera. Aparecer/desaparecer del cuerpo político

Un martes cualquiera es una instalación archivística, sonora y performática que recupera-expone, de manera crítica y poética la voz, la imagen, las memorias oficiales y no oficiales de la matanza de los obreros del ingenio AZTRA sucedida el martes 18 de octubre de 1977 durante la dictadura militar. Este artículo expone el proceso reflexivo que permitió la implementación de la obra para el premio Nuevo Mariano Aguilera. La reflexión desplaza la cuestión estética de las imágenes hacia su rol político como una operación de doble desaparición: por un lado, los cuerpos de los obreros asesinados durante la dictadura militar y por otro las representaciones posibles del horror.

Kirjandus, kontrapunkt ja cantus technicus / Literature, Counterpoint, and Cantus Technicus

Artikkel uurib tehnika representeerimise poeetilisi viise kirjandustekstides. Võttes kompositsiooniteooriast muusikas tarvitusele kontrapunkti mõiste, näitab autor, et iseäranis modernistlikes tekstides, kus tehnikat esitatakse sageli kas vastandlikuna loodusele või ängistavana tegelaste meeletundmustele, saame rääkida kontrapunktist kui poeetilisest võttest, mille eesmärk on eriomaselt rõhutada tehnika kohalolu ja kaalu tegelaste tunde- ja argielus. Autor väidab, et tehnika kui ühe pingestava „hääle“ – cantus technicus’e – tegelaste tundmus- ja kogemusvälja polüfoonsest häälterägastikust eristamine aitab meil paremini mõista üha jõudsamalt argiteadvusse hiiliva tehnilise ajastu loomulaadi ning sünkroniseerib lugeja mõjusalt senitundmatu modernsuse-kogemusega.
 
 This article explores D. H. Lawrence’s and Virginia Woolf’s literary responses to modern technology by analyzing their most typical poetic ways of representing technology-related themes in their works. Since technology, in its various modern industrial forms, is generally depicted as being set against nature or otherwise estranging to Lawrence’s characters, it is suggested that it may be useful to explain his peculiar representational framework for technology via the concept of counterpoint. Indeed, by adopting the term from composition theory, it is argued that the contrapuntal approach to describing technology forms a distinctive literary device for Lawrence in an effort to communicate the “polyphonic” experiences of everyday technical consciousness of the “bewildering pageant of modern life” and thereby synchronizes the readers more effectively with the realities of industrial modernity. While adopting the counterpoint for tracing the technicity in Lawrence promises, perhaps, no overarching solutions, it nevertheless provides a viable literary model, and a novel perspective, for exploring “the dynamic interplay of tensions and contradictions” that technology typically triggers in the poetic creation of the experience in his texts.
 While critics have found Virginia Woolf’s works exhibiting, perhaps, certain passivity in dealing with the themes of industrialism and technological machine, the article argues that there is, in fact, a very nuanced and rich position to be found on human relationship with modern technology in closer readings of Woolf’s works. Despite the fact that counterpoint as a literary technique has been noticed as forming a crucial method in advancing several important aspects in her works, viewing it as a device for extracting particularly modern technology and its many variants has not been researched in depth. By offering new techno-poetic readings of Woolf’s seminal works Mrs. Dalloway (1925) and Between the Acts (1941), the article shows that the contrapuntal approach, in analyzing the key passages, where technology genuinely affects the characters, proves to be a helpful method in making sense of the full impact of modernity in its many and varied aspects. The article identifies the appearances of cars and planes, for example, to represent predominantly Britain’s imperial power, which acts as a counterpoint to the diverse sensibilities of Woolf’s main characters.

THE KEY MODES OF EXISTENTIALISM THROUGH THE PRISM OF VASYL STEFANYK'S NOVELS

Aim. The article is devoted to the study of Vasyl Stefanyk's novels in the plane of the philosophy of existentialism. The aim is to show the main elements of this trend in the structure of the writer's artistic world. 
 Subject: elements of the philosophy of existentialism and poetic ways of their personification in the art of Vasyl Stefanyk. The topicality of the research is to refute the thesis about the incompleteness of the Ukrainian literary process of creative searches. It is proving that elements of existentialism in Ukrainian literature existed in the end of the XIX - early XX centuries. 
 Research methods. During studying of this topic we used the deductive approach as a general scientific method, so the texts for analysis selected those that are most suitable for consideration in the reception of existentialism. In particular, the comparative method, together with the analysis of categories, allowed us to analyze the stories of Vasyl Stefanyk through the prism of the key mods of this direction: loneliness, death, suffering, boundary situations, etc.
 Results. Using the method of analysis of categories and comparative studies, we considered the foundations of the philosophy of existentialism in literature, in particular in the stories of Vasyl Stefanyk, and determined the phenomenon of his work as the forerunner of this trend in Ukrainian literature. We believe that it was unjustly overtaken by critics, because the situations on the verge of life and death, inner harmony and despair, fateful choice are one of the most important features of the "literature of being," which, in turn, are elucidated by the author in the texts. The obtained materials and conclusions can find practical application at classes of Ukrainian literature during the study of Vasyl Stefanyk's works; at classes in the university to present a more voluminous picture of the figure of the writer, and may also need researchers of the philosophy of existentialism in literature.