Poetic Word Research Articles

Птичьи метафоры в повести М. Месея "Высокая школа"

The article examines how the presentation of birds in the text of Miklós Mészöly’s short novel “High School” changes and how the original meaning of the title is deployed in it. The author of the article also briefly points out to the specific literature on the Hungarian writer’s books. “High School” contains different species of birds, which form a natural hierarchy with predatory falcons on its top. The author addresses this issue from a different angle analysing the images of birds both by their own bird characteristics and by their similarity with the human world. She emphasizes that this short novel is not a realistic or ornithological description of natural birds, but the rethinking of traditional cultural connotations. Mészöly’s innovative metaphorization builds a completely unique hierarchy. Much of the article presents the new interpretation of such images as different types of falcons, which play an important role in Hungarian mythology, culture and life, as well as other birds, primarily, herons, pigeons, crows, etc. This question cannot be referred only to the national or cultural aspect, as Mészöly examines universal human problems both ethically and philosophically. However, the focus of the author’s observations in the article is the metaphorical level of Mészöly’s text. As a result of the poetic analysis, the author reveals that the text of the short novel, contrary to the original task of writing a report on the “high school” of falcons, has become completely metaphorical, representing a “high school of writing” rather than “survival”. The conclusion is that Mészöly, through the narrative image of the writer, emphasizes not only the problem of “murder and slavery”, but says that with the help of one’s own poetic language all sorts of ideological languages (including those of authorities and falconers) leading to a cut-off both in life and discourse can be overcome. The author notes that so the “high school” gets a completely new meaning: the experience of acquiring this word by the subject of the text. She also notes that the searching for this word becomes a real act in the short novel, which expresses the history of selfunderstanding through language. The discursive perspective of the analysis reveals that the metaphorization of bird images contributes to this process of getting existential experience by criticizing “the others’ word”. Bird metaphors create a new poetic word, by which Mészöly’s short novel deservedly became a masterpiece of 20th century Hungarian literature. The author of the article in the analysis demonstrates this contribution and innovation of the writer.

ІДЕЙНО-ЕСТЕТИЧНА ІНТЕРПРЕТАЦІЯ ШЕВЧЕНКОВОГО СЛОВА У ТВОРЧОСТІ ІВАНА ГНАТЮКА

The article focuses attention on the peculiarity of the artistic interpretation of Shevchenko's word by the sixties poet Ivan Hnatyuk. Have been researched the specifics of the manifestations of individual figurative and symbolic elements and the main motifs of the artistic paradigm of Ivan Hnatyuk, inherited from Kobzar's creativity. It was concluded that the national-centric ideological and aesthetic principles laid down in Shevchenko's poetic word were continued and artistically interpreted in the writings of the dissident poet. An appeal to the literary and artistic tradition of Taras Shevchenko can be traced both in the poetic and prose creativity of the sixties artist. The multifaceted figurative and symbolic content of Ivan Hnatyuk's artistic world gravitates towards a single vector – the nation-centric orientation of the poet's creativity. The national-centric motif of the dissident artist's literary heritage is reflected in the images of graves, native language, family and people. Imitating the great Prophet, Ivan Hnatyuk poetically called on the people to fight for freedom. The word of Taras Shevchenko on the text canvas of the sixties artist acquires impressive healing properties, national features, sacred content and personifies the idea of people's freedom as one of the nation-centric aspects of thinking. Emphasizing the weighty meaning of the word, the sixties poet saw in it the idea of people's freedom, endowed it with the properties of a talisman, a national symbol as a driving force in the development of generations. Using epigraphs, allusions, paraphrases, reminiscences, intertext, Ivan Hnatyuk continued Shevchenko's poetic tradition, brought out his own interpretation of images-symbols borrowed from the pages of "Kobzar" and understood through the prism of individual experiences, artistically embodied the model of striving for freedom as a manifestation of the essence a person and an ideal historically rooted in the existence of the Ukrainian people.

Ancestralities of the Poetic Word: Evolutionary and Mythological Time in Briusov and Bal’mont

Ancestralities of the Poetic Word: Evolutionary and Mythological Time in Briusov and Bal’mont

ГОЛОС О. МАНДЕЛЬШТАМА В ТВОРЧЕСТВЕ В. ДУДАРЕВА: НАЦИОНАЛЬНЫЙ ОБРАЗ СМЕРТИ

The object of the article is the national image of death in Russian verbal artistic culture. The subject of the research is the thanatological text in Russian poetry. The material for the article is two poems - “Why is the soul so melodious” by O.E. Mandelstam and “There are quiet valleys in Russia…” by V.F. Dudarev. At the center of hermeneutic and culturalphilosophical analysis is the interaction of two types of reality, phenomenal and noumenal, rational and spontaneous in art. Much attention is paid to the image of death in these two poems and the images of wind, groves, and flowers associated with it. The research methodology is reduced to a holistic ontohermeneutic analysis of poetic texts by O.E. Mandelstam and V.F. Dudarev, aimed at highlighting the cultural potential of the problem of perception of the phenomenon of death in the Russian national image of the world, which allows penetrating the poetic word from ontological and apophatic positions, as well as revealing the significance of the literary traditions of the Silver Age in the work of a modern poet; typological and historical-literary methods of text research are applied. The results of the work may be of interest to philologists who include literature in the space of a large dialogue of cultures, and can also be used in teaching courses in cultural studies and Russian philosophy.

Wonder in the Face of Beauty and the Poetic Word. An Aesthetic and Theological Perspective

"L’émerveillement devant la beauté et la parole poétique. Une perspective esthétique et théologique. L’objectif de cet article est de montrer que Hans Urs von Balthasar et Karl Rahner ont présenté une esthétique théologique centrée sur l’émerveillement : tous deux le considèrent comme une réponse du sujet à la révélation divine, qui révèle une belle figure à voir et une parole poétique à entendre. La paire esthétique émerveillement/réponse correspond à la paire anthropologique amour / liberté, de sorte que le mouvement de l’émerveillement s’enracine dans la disposition amoureuse et la réponse dans la liberté. Dans l’horizon épistémologique du dialogue interdisciplinaire entre Littérature, Esthétique et Théologie de notre propre recherche, nous appliquerons ces médiations aux Quatre Quatuors de T.S. Eliot, en le trouvant comme représentatif de l’émerveillement esthétique théologique décrit en son sein. Mots clés : Paul Ricoeur - Hans Urs von Balthasar - T.S. Eliot - Les Quatre Quatuors - Merveilleux - Esthétique théologique – Littérature "

Analisis Majas Perbandingan pada Lirik Lagu “Seperti Tulang” Karya Nadin Amizah dan Implikasinya pada Pembelajaran Bahasa Indonesia

This research was conducted to examine one of Nadin Amizah's songs entitled "Seperti Tulang". The song was chosen because there are many poetic words and have meaning that can be a lesson for students. This study also provides additional insight into the analysis of the comparative figurative language found in the lyrics of the song "Seperti Tulang" by Nadin Amizah and its implications for learning Indonesian. The research was carried out using a qualitative descriptive method. Data collection was carried out by observing and noting techniques. The listening and note-taking technique is carried out by listening to the songs that are the object of research and then noting which song lyrics are included in the comparison figure of speech. The results of the data are then processed in the form of descriptive text and linked to the implications for learning Indonesian. The results of this study found that there are two types of comparative figures of speech found in the song "Like Bones" by Nadin Amizah, namely personification and association figures of speech. In addition, this song can also be used as an example of Indonesian language teaching materials because it has a unique meaning and is interesting for students to learn

Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour

Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour

Hugo Wolf’s Embodiment of Johann Wolfgang Goethe’s Humanistic Views in the Vocal Collection Goethe-Lieder

The purpose of the research is to study the basic principles of G. Wolf’s embodiment of J. W. Goethe’s humanistic views in the songs from the vocal collection Goethe-Lieder written for baritone voice – three songs of the Harpist and the monologue “Prometheus”. The research methodology consists in the analysis of musical and expressive means and their symbolism, with the help of which Hugo Wolf created the images and characters of J. W. Goethe’s heroes. The scientific novelty of the research. For the first time in Ukrainian musicology, the characteristic musical and expressive features of H. Wolf’s vocal works from the collection Goethe-Lieder for baritone voice, with the help of which the composer embodied the humanistic ideas of J. W. Goethe, are investigated. Conclusions. Through the depiction of the inner world of his heroes, the poet illuminates important moral and humanistic themes. In the Goethe-Lieder collection, the composer implements the humanistic ideas of J. W. Goethe with the help of means of musical expressiveness. He embodies his main worldview ideas in the poetic images of the suffering Harpist and the rebellious Prometheus. Every image created by Goethe gets a new meaning from Wolf. For him, the main source of the embodiment of musical thought is the poetic word. For the composer, the persuasiveness of vocal writing lies in the original melody. Harmony, texture, dynamics, and agogics, which he gives a certain meaning, acquire special importance in the creation of musical and poetic images. As a result, these tools acquire a symbolic meaning for revealing the created images. Developing the traditions of his predecessors (R. Schumann, F. Liszt, R. Wagner) with musical and expressive means, the composer strengthens the poetic word and gives it a deeper interpretation.

Camp female prose (based on «Memories» by Nadiia Surovtsova)

The beginning of the 20th century became the time of the Executed Renaissance for Ukraine. The Soviet totalitarian system sought to subjugate Ukrainian writers with prisons, camps and mass executions. We have a number of testimonies: archival materials of investigative cases, memoirs, epistolaries, camp prose. First of all, it is often a matter of men’s reception of prison and camp experience, men’s literature of fact (nonfiction). Women’s testimonies continue to be a marginal phenomenon. It determines the need to actualize in Ukrainian literature the female camp experience manifested textually.
 The scientific understanding of documentary studies was carried out by a number of Ukrainian literary experts. These are the works of Oleksandr Halych, Nadiia Koloshuk, Mykhailyna Kotsiubynska, Oleh Rarytskyi and others. Women’s camp experience as a text entered the circle of scientific interest only sporadically (texts by Oksana Zabuzhko, Nadiia Koloshuk, Mykhailyna Kotsiubynska, Liudmyla Tarnashynska).
 Nadiia Surovtsova reflects on her camp experience both in prose and poetic words. Her «Memoirs» is a unique sample of women’s nonfiction literature mentioning the path of a young woman to «Golgotha» (prisons, camps). The author focuses not only on her own feelings and thoughts but also on everyday life, people who were close to her and their stories. The book is structured according to the shades of the narrator’s life. She defines two periods that reveal the time «before» and «after»: «Chronicle of short-lived happiness» and «On the other side». It is in the second part we find ourselves together with Nadiia Surovtsova for the first time in Lubianka. In the following chapters of «Memoirs» we get to the «famous Butyrka» and then together with the author we walk the path of suffering «Arkhanhelsk – Golgotha» being full of terrible conditions, poor nutrition, hard work and also the ability to enjoy life and see beauty of nature under such circumstances. The author also talks about the imprisoned female body. We are not talking about maximum frankness but we find naturalistic episodes sporadically (a bloody female body after interrogation, bleeding that becomes unbearable in the absence of water). The path to Golgotha for Nadiia Surovtsova is also a continuous hardening of her own character. She states that she wants to «drink the cup to the bottom» and therefore always chooses new challenges for herself.

오순택 동시에 나타난 공기적 상상력

The poet, Oh Soon-taek pursues beauty, purity, and brightness, features of human’s nature in his children’s poetry. There are frangrances and sounds on the foundation of the beauty, purity, and brightness. He makes his readers dream new things and opens an entry for them to experience new world of imagination, through olfactory and auditory images. Fresh airy embodiment provides readers invigoration, definitely. Therefore, this study aims to analyze olfactory and auditory languages focusing on the entire poems of Oh Soon-taek and to trace airy imagination expressed in his children’s poetry. Though the poetic words related to fragrances are not signified in the poet’s works, he is not afraid of trying freely to olfactoryize hearing and to auditoryize olfaction. In addition, he is a subject who experiences more diverse auditory illusions than actual hearing and nature is like a mouth containing every auditory element to him. As mentioned above, the poet puts richly attractive fragrances and sounds in nature with his own imagination, and they are tied in his fantasy world as embodiment of infinite words and images in spite of no forms. Like this, Oh Soon-taek’s poetry showing the images of hearing and olfaction at the same time awake all things and make them live and breathe. There are fun as well as philosophy of life in the poet’s works. They open our eyes to forgotten realities and show freedom when feeling lightness from the materials offering happiness of small things. This is well expressed in Bell Sounds which hopes “all the sounds in the world will be pure like first cry of a newborn baby.” Sounds have no weight. Many things are put down, and then, there is a clean sound. How much this poem resounds! When reading the poet Oh Soon-taek’s poetry, our ears become clean. When we would rather hear it than read it through eyes, we seem to hear pure and bright sounds in the world. In addition, his collection of poems expressing love with fragrances contains lots of perfumes of flowers, grasses, and trees, awaking his readers’ olfactory sense. Someone says sounds last longest and fragrances last for a long and long time. His children’s poems reflecting universality of human emotions will be remembered as sounds or as fragrances to us.

The Concept of The Art of Poetics According to Aristoteles

The art of poetry has its concept, which is to have poetic words so that someone can work hard to create joy. Aristotle has a statement that this art is very useful because the art of poetry can be used by people in differentiating the composition of poetry. There are three genres, namely, tragic poetry, comedy poetry, and idol poetry. Therefore, the art of poetry is an art that contains a human being having a plan for an imaginary representation (fact) of every occurrence of certain things. This research method uses a literature study. Collecting data through documentation, and analyzing the contents of the book.

Gothic leiþu, “strong drink; fruit wine?” and its Cognates in the Germanic Languages

Gothic <i>leiþu</i>, “strong drink; fruit wine?” and its Cognates in the Germanic Languages

«Эсхатологическое слово» в поэме Николая Заболоцкого «Город в степи»

The article analyzes the poem by Nikolai Zabolotsky A City in the Steppe, which was written by the poet after returning from exile in 1946. The poem unfolds before the reader a grand panorama of the Kazakh city of Karaganda. The city appears as a kind of epic and even mythological City that has replaced the timeworn era. It is shown that there are several metaphysical layers in the plot of the poem: along with the description of the real city of Karaganda, the biblical symbolism of both the Old and New Testaments is present in the text. The poetic word of Nikolai Zabolotsky has a unique feature. This feature can be metaphorically described as “multi-readability”. The word reveals all facets of being, it is able to contain and embody the fullness of the meanings of the controversial era, embedded in a broad historical context, primarily the biblical one. The triumph of socialist labor, which creates the earthly kingdom, turns both into a vision of the fiery hell and the construction of the Antichrist kingdom – the New Babylon. But at the same time, the sufferings of thousands and thousands of people who are called to erect the walls of the New Babylon, in the center of which the idol is Lenin, are building the Heavenly Jerusalem. The “many-read” word acquires a pleroma in the testimony of the eschatological Kingdom of God. The poetic word of Nikolai Zabolotsky becomes “eschatological”. Thus, the poet’s “manyread”, “eschatological” word is always located in two time spaces: in the space of a specific historical time and in the space of the time of biblical revelation. The historical chronos is permeated by Zabolotsky’s eschatological kairos, and it is in kairos that his works acquire and reveal their true, innermost, eminent meaning.

La realtà è l’unico genio L’America di Wallace Stevens

&#x0D; &#x0D; &#x0D; The devastation of truth today at work in the Western world forces those who follow the philosophical and poetic word to rethink the meaning of our stay on Earth and to found a new world in which everyone can live within the space and time opened by the relationship between man and the divine. In this perspective, the poetic work of Wallace Stevens lays the foundations for the birth of that new world America set out to be and which does not have its roots in the illusion of abundance that soon resulted in the most alienating consumerism, but in a reality that preserves in its apparent anonymity the trace of a possible new beginning. «The fundamental difficulty in any art – wrote Stevens – is the problem of the normal». The poet’s task, in fact, is to grasp «the full flower of the actual, not the California fruit of the ideal».&#x0D; &#x0D; &#x0D;

The Poetic Word as a Medium for Human Self-Discovery and Identity

The Poetic Word as a Medium for Human Self-Discovery and Identity

ЕТНОПЕДАГОГІЧНІ ТРАДИЦІЇ ВИХОВАННЯ В РОДИНІ КОСАЧІВ-ДРАГОМАНОВИХ У КУРСАХ НАВЧАЛЬНИХ ДИСЦИПЛІН «ІСТОРІЯ ПЕДАГОГІКИ» І «ТЕОРІЯ ТА МЕТОДИКА ВИХОВАННЯ»

The purpose of the study is to reveal the ethnopedagogical traditions of education in the Kosach-Dragomanov family in terms of courses of educational disciplines «History of pedagogy» and «Theory and methodology of education» in the conditions of distance learning. The article proves that the dominants of the upbringing of children in the Kosach-Dragomanov family were cultural, patriotic, spiritual, moral, mental, labor and religious education; the ethnopedagogical potential of the family accumulates spiritual, moral, cultural, national, mental, aesthetic, emotional, labor education through the cultivation of the Ukrainian mentality, in respect of the ethnopedagogical traditions of the Ukrainian people. It is proved that the successful assimilation of the achievements of the ethno-pedagogical familial experience by students, the acquisition of the highest spiritual and moral qualities of the individual is facilitated by audit and practical work: in classes on the theory and methodology of education, the history of pedagogy, the preparation of abstracts, research and search design, Internet quizzes, flash mobs. For example, now we are forced to study remotely, so within 25 days the online project of the Department of Pedagogy of Berdyansk State Pedagogical University «Paths of Pedagogical Heritage of Lesia Ukrainka» took place on the occasion of the 150th anniversary of her birth. Every day students of the Faculty of Psychological and Pedagogical Education and Arts introduced Lesia Ukrainka to poetry for the youngest in different formats: read poems, sang songs on the words of poets, painted portraits. Key words: ethnopedagogical tradition, upbringing of the children, family, experience, educational process, distance learning.

Czesław Miłosz’s Faith in the Flesh: Body, Belief, and Human Identity by Stanley Bill

Reviewed by: Czesław Miłosz’s Faith in the Flesh: Body, Belief, and Human Identity by Stanley Bill Magdalena Kay Bill, Stanley. Czesław Miłosz’s Faith in the Flesh: Body, Belief, and Human Identity. Oxford University Press, Oxford and New York, 2021. ix + 204 pp. Notes. Works cited. Index. $80.00: £60.00. The first chapter of Stanley Bill’s book makes the brilliant choice to begin not with the body but with the longing to reach beyond it: namely, Czesław Miłosz’s concern with transcendence. Belief in transcendence is rooted in the belief that separation from the body is possible, yet in the twentieth century, this belief is put in crisis. This crisis is, to Miłosz, at the heart of European intellectual modernity (p. 8). Readers of Charles Taylor may quarrel with the equation of this crisis with secularization but to Miłosz, secularization is very much real and compels response. Stanley Bill is absolutely right to begin his book with this urgency, as Miłosz is an agonistic thinker. He does not shy away from Miłosz’s (seeming) contradictions: well aware of the ‘polyphonic’ nature of Miłosz’s poems and dialectical thought process, Bill does not seek to unify its disparate strands into handy synthesis. Indeed, it is an achievement to explicate the ideas of a complex thinker without simplifying them. Throughout this study, Bill writes with an eye to big ideas that will interest general audiences beyond Slavic Studies (and perhaps the title of the book could have signaled this orientation). Miłosz held many controversial opinions, and Bill does an excellent job of clearly summarizing them while avoiding the drama attendant upon purposely stoking controversy. The book elucidates how both Miłosz’s thought and poetic practice frequently reflect ‘a mixed or “transcendent” materialism’ in which ‘his writings [End Page 547] affirm the embodied nature of human experience, while still insisting that matter is capable of generating properties that partially transcend it: poetry, consciousness, and even a version of the “soul”’ (p. 4). This is well put. Here Bill carefully maps out a terrain of more-than-physical meaning that cannot simply be described as transcendent — the term is too simplistic to account for the many “properties” that seem to point beyond the body (for instance, through lyric poetry). The metaphor implicit in the term transcendence — a climbing up or out — is complicated in Miłosz’s work. Bill clarifies the two dimensions of Miłosz’s transcendence, the vertical (rising higher) and the horizontal (going deeper). Their crossing ‘unites’ the human self (p. 5). Bill perceptively connects these concepts to the political realm, in which ‘a disappointed desire for disembodiment’ (p. 72) underlies the attraction of totalitarianism, and to Miłosz’s writing about gender. This is tricky territory, and Bill gracefully maneuvers between clear-eyed recognition of Miłosz’s essentialized gender associations and the expressed possibility of reversing sexist hierarchies. It may be impossible to reconstruct Miłosz as a pro-feminist writer, but Bill’s discussion helpfully demonstrates Miłosz’s insistence on the metaphysical and poetic value of ‘feminine’ embodiment. As one reads, however, it also becomes obvious that some of these lines of thought do not start or end with Miłosz. Possible points of contact come to mind, and we may wonder whether Bill decided not to elaborate them in order to allow his primary subject full attention. For example, as ‘the poetic word stands alone against an impoverished reality’ marked by the ‘modern collapse of metaphysical certainties’ (p. 16), we may think of Wallace Stevens’s defence of a ‘supreme fiction’ to fill the gap formed by this collapse. Miłosz’s defence of poetry as an instrument for communicating and reaching transcendence appears rather late in the twentieth century, but begs to be situated within an aestheticist context that the poet himself may have repudiated but appears tenaciously relevant. A brief comparative glance at similar poets and thinkers would not be out of place, perhaps, but would blur the sharp focus of this analysis. Indeed, the chapter on poetry and rhythm does an excellent job of showcasing Mi...

겸재 조태억 문학론 검토 試論

Gyeumjae Jotaeeok is one of the representative literary figures of Soron Faction in the late Joseon Dynasty and enjoyed excellent literary reputation in that era. Despite such reputation, however, there has not been a comprehensive study on the entire literary world of Jotaeeok, and his literary theory has not been discussed at all. This situation is thought to be due to the limitations of the data that he did not leave a writing his literary theory. However, if you look at the articles that evaluated Jotaeeok's literature or the articles that Jotaeeok evaluated other writers and works, you can get a glimpse of his literary theory. The evaluation of Jotaeeok's literature is that his work is based on writer's feelings and contents of writings rather than rhetoric or technical skill, and poetry and prose are natural, both expression and composition are appropriate, and in the creation of poetry, the design and utilization of poetical imagination and poetic word are natural, and proficient. He denied poetry full of technique by pursuing newness. This assessment is similar to the assessment that Jotaeeok made for other writers and works. In his evaluation of literary works and writer, Jotaeeok emphasized the authenticity of the author's emotion revealed in poetry and prose, so he focused on the contents of poetry and prose and the author's emotion contained in poetry and prose rather than formal and rhetorical aspects, and emphasized the learning and training for the creation of poetry and prose, and when the accumulated inside of the author was naturally revealed, the poetry and prose was considered to be excellent. He therefore considered that he did not have to try to use a lot of power, a strange or a poetic word full of technique. However, if Jotaeeok's literary theory is summarized like this, his literary theory does not deviate much from the universal literary theory of the period. If so, Jotaeeok's literary theory is not Jotaeeok's literary theory but rather a universal literary theory of the times. And Jotaeeok accepts such universal literary theory as much as possible and creates and criticizes the work. However, his literary theory is in the same position as the universal literary awareness of the period. But his literary theory and work's literary value are not lost just because he created and evaluated his works according to such literary theory. It is because it has the same perception as the universal perception of an era and it is not a legitimate evaluation to lower the person's perception and the value of the work he created because he created the work that most meets the perception.

Trauma, History, and Terror in the Poetry of Yusef Komunyakaa and Sinan Antoon

In her comparative study “Trauma, History, and Terror in the Poetry of Yusef Komunyakaa and Sinan Antoon,” Hessa A. Alghadeer considers the work of the African American poet Yusef Komunyakaa (b. 1941) and the (Arab) Iraqi poet Sinan Antoon (b. 1967) through the lens of trauma theory of some notable theorists including; Freud, Cathy Caruth, Jean Laplanche, Roger Luckhurst, and Shoshana Felman—have negotiated in this field. The article explores the literary manifestations of trauma in two distinct historical periods and geographical settings to show the specificities of each prototype and how the historical-cultural significance and textual meanings of trauma have intertwined into a plural space. Drawing upon a cluster of selected poems, the article investigates through textual analysis how Komunyakaa and Antoon bring to light, articulate, and address their historic traumas, and how they elaborate similar discourses of trauma across their distinct cultures. The article thereby underlines the power of the poetic word and image to unveil several complex manifestations of trauma. It asserts that these two poets are situated within a global context that empowers the poetic voice and brings vitality to the predicaments of the traumatized subjects through a broad sense of connectivity and belonging regardless of their distinct histories, cultures, and homelands.

Интуиция магического в теории: “Медленное чтение” М.О. Гершензона

M.O. Gershenzon theorized that poetry is a magic action which appeals directly to “the primal myth”. The primal myth in the poetic word is opposed to metaphorical meaning in its rhetorical sense (as A.A. Potebnja described it). A poet sees an invisible world and really believes in the existence of ghosts (Gershenzon stated this in The Poet’s Vision, Pushkin’s Wisdom, Gulfstream, etc.). The magic poetic word of antiquity is no longer accessible to the understanding of the modern reader. Therefore, Gershenzon thought, a scholar / exegete must have congenial intuition in order to reveal the word from under layers of obliterated metaphors. It is ironic that for many decades this view was realized as a metaphorical style of thinking, almost destroying itself. But the theoretical ideas connected with this view went unnoticed (unlike the theory of Russian formalists, who also relied on Potebnja’s ideas about the genesis of metaphor). Gershenzon’s theoretical intuition is based on transference of the properties of the studied subject (the primal myth in a poet’s word) into research itself (attempts to reveal the poetic word’s “spell” through slow reading), making the magic a constructive element of the theory.