Poetic Works Research Articles

«Муза встала рядом со мной» (об источнике творчества от Гомера до Канта)

The article explores the question of how the ideas about the source of creativity were been changing among European thinkers. In the classical period in Ancient Greece the idea prevailed, coming from Homer, Hesiod and Pindar, that poets derive the content and form of poetic works from Muses, who give them the opportunity to create at their will. At the same time, a common place was the idea that poets do not always bring the truth to the world. Plato, analyzing the work of poets, speaks of two sources – pleasure and inspiration, but only the gods choose when the poet speaks on their behalf. He also clarified the content of poetry by relating it to the different Muses. Aristotle moves away from an external source, placing the source of creativity in the creator of the work, who obtains special abilities, and Aristotle calls imitation (mimesis) the main mode of creativity. Yet at the same time he takes imitation as not limited by visible reality, since the poet speaks of what could have happened, not of what actually has happened. Christian thinkers, from apologists to scholastics and mystics, agree that God is the source of creativity. But their views differ considerably in the details. Thus, for instance, in Thomas Aquinas works we find a peculiar synthesis of the Aristotelian concept of mimesis and Plato’s breakthrough to the divine. The Renaissance desacralization of the world ultimately leads to an exclusively rational conception of association, which allows us to explain the emergence of the new only as the creation of wrong associations. Kant, turning to the theme of genius, finds himself in a difficult situation between two positions: on the one hand, he cannot accept the traditional idea of divine inspiration, on the other hand, the purely empirical idea of association built on tabula rasa material. He had to find some third way. He finds it in the a priori given principle of the ability to think the particular as subordinate to the general, which manifests itself in two aspects – as determining and as reflective. The poet has an idea of some goal and some indeterminate idea of the material and, guided by his genius and not limited by any rules, freely expresses aesthetic ideas.

The Rumble of a Locomotive, Traumatizing Screams, and Mortal Dance: Firsthand Poetic Testimonies Haunted by the Sounds of the Holocaust

Abstract This article analyzes the relationship between Holocaust trauma and firsthand poetic testimonies through the lens of literary acoustics. Specifically, it explores the work of three Jewish poets, Stanisław Wygodzki, Ilona Karmel, and Stanisław Jerzy Lec, who wrote in Polish of their tragic experiences in the Nazi camps. The article compares these poetical works to involuntary flashbacks composed of haunting sounds that recall trauma and violence and applies the concept of thantosonics to these auditory memories. In particular, the author notes the importance of trains as not only an auditory motif, but also as the metrical underpinning of the verses, and as a point of juxtaposition against sounds of innocence in the Holocaust soundscape. Furthermore, the article also explores the imagery of folk dance as a kind of danse macabre, as well as instances of involuntary sonic identification with the perpetrators.

David Burliuk – many-faced and individual

INTRODUCTION. The creative personality of David Burliuk gave grounds for naming a kind of International Avant-garde Artistic Award after him. Consider the incarnations of the creative personality of the “father of Russian futurism” David Burliuk means to penetrate into the world of avant-garde art and various forms of artistry, which is especially relevant these days, representing great interest for the study of Russian futurism. The purpose of the article is to show the diversity of activities of the father of Russian futurism, David Burliuk, in establishing new forms of art.MATERIALS AND METHODS. The research material was the personal experience of the author of the article working with the work of David Burliuk, the life and work of those associated with the Tambov region. Techniques for collecting, systematizing and analyzing material underlie the methods used, including bibliographic, descriptive, linguistic and poetic.RESULTS AND DISCUSSION. The hypostases of the creative personality of David Burliuk are considered, which gave grounds for assigning a kind of avant-garde artistic award to his name. The innovative activity of David Burliuk as the organizer of the leading futurist group “Gilea”, the initiator of exhibitions, publishing projects, presentations of the work of cubo-futurists in different cities and regions of Russia is described.CONCLUSION. The features of David Burliuk’s poetic work with nonstandard forms are revealed, in which he acted as an innovator, stimulating the search for his colleagues, especially those who joined the movement as it developed. An important hypostasis of Burliuk’s creative personality has been established – the “instinct of aesthetic self-preservation” – the recording of creative activity in memoirs, correspondence and in the magazine “Color and Rhyme”.

STÉPHANE MALLARMÉ’S POETRY IN RUSSIAN AND TRANSLATION ISSUES

The article regards the problems concerning the Russian translations of S. Mallarmé’s (1842-1898) poetical works. Different methods and systems of translation, various approaches to rendering of mallarméan poetics and style are introduced and compared. The difficulties of translation are associated with the originality of the French poet’s aesthetic program, as well as with the singularity of his revolutionary approach to language. Different variants and directions of resolving the main translation problem are taken into consideration, while the problem itself is formulated as a search for a language adequate to the aesthetic, philosophical and poetical pursuits of the French poet.

The colour-symbol «white» in visual perception (based on the material of B.M. Kanapyanov's poetic works)

The colour-symbol «white» in visual perception (based on the material of B.M. Kanapyanov's poetic works)

Poetry of G.A. Levin on the pages of Saratov publications in the 20s of the XX century

The purpose of this article is to analyze the poetic works of the Saratov poet G.A. Levin, published on the pages of the periodicals «Artistic Saratov» and «Sarrabis» in Saratov in the 20s of the past century. The scientific novelty of the study lies in the fact for the first time the poems of G.A. Levin «The air shines with a blessed blue», «I know, a dark, beloved voice», «Chernyshevsky’s Monument», «The early coolness has been drained to the dregs», «Shakespeare» are mentioned. The article focuses on the aesthetic side of these poems, emphasizing their extreme lyricism and abundance of figurative means. In addition, this study notes the relevance of the poetry of G.A. Levin on the pages of these publications not only because of their external artistry, but also because of their ideological expressiveness. The editorial board of the magazines «Art Saratov» and «Sarrabis» considered the poems of G.A. Levin worthy of understanding, since the goal was to instill good taste in the Saratov reader of the 1920s and teach him to appreciate genuine literary works. As a result, the following was revealed: (a) G.A. Levin gives the images greater ideological and artistic capacity and expressiveness; (b) the poet uses metaphors and epithets not only as conventional methods of expressiveness, but also as forms of holistic knowledge of the essence of the Universe; (c) the poet paid special attention to love lyrics, intertwined Russian and Italian themes in individual poems, and resorted to Shakespearean heroes. The article notes the versatility of the poetic image, and the analysis of the poems is carried out taking into account the influence of the lyrics of famous poets of the Silver Age on Levin’s poetry.

El poeta español Pedro Herreros (1890-1937) en el espacio editorial y literario de Buenos Aires

The autobiographical marks that traverse the poetic work of Pedro Herreros show the gaze of an emigrant who, in difficult economic conditions, adapted himself to living at the beginning of the 20th century during the expansion of modern capitalism in Buenos Aires. The correspondence he had with his close friend, the Argentine cartoonist Antonio Bermúdez Franco, still unpublished, shows some of the strategies that the Spanish poet used to publish his work and be part of literary and publishing circles that would give him the desired recognition. Through both documentary sources, which have served as a methodological guide, we show the difficult economic conditions that Herreros endured and some of the resources he used to make his way into the literary world.

THE IDIOLECT OF REVEREND ECONOMOS DIMITAR POPNIKOLOV PETKANOV

A less studied talented author and brother of the popular fiction writer Konstantin Petkanov, priest Dimitar wrote in the 1950s. This publication analyzes several parameters of his idiolect: phonetic peculiarities (reflex of ѣ, ѫ, ъ; epenthetic [l]; reflexes of the [tʃ] [dʒ] groups; phonetic dialectisms; phonetic doublets); morphological paradigm (case inflections; noun form for number; dualis; nomina collectiva; extended Church Slavonic suffix for adjectives; dialectal and contracted pronoun forms; a temporal system characterized by high frequency of the verbs in terms of origin, distribution and stylistic differentiation); lexical specifics (in terms of origin, distribution and stylistic differentiation). Emphasis is placed on those lexical layers that constitute and ditinguish the author’s language. Hapaxes (produced using morphological and nonmorphological methods), rare words, semantic transponents, dialectisms, colloquial vocabulary and foreign words are studied. All linguistic phenomena are examined retrospectively and in comparison with the synchronous linguistic situation before and after the orthographic reform of 1945 in order to highlight the innovative contribution and the mechanisms through which the author enriched the contemporary Bulgarian vocabulary. Occasionalisms, dialectal and archaic units occur more often in Petkanov’s poetic works than in his fiction. The source material has been excerpted from Volume 1 (January – March) and Volume 2 (April – June) of the hagiographic tetralogy “The Year of Our Lord“ and the memoir “A Book about My Brother – the Writer Konstantin N. Petkanov“, which were published a few years ago by Dimitar Petkanov’s heirs.

The Creativity Literary of Gongora

يعد (غونغورا Gongora) واحدا من رموز الفن الادبي الاسباني ونموذجاً (لجيل شعراء 1927 في اسبانيا), خلال مسيرته الادبية كتب عدة اشعار ومسرحيات ذات مواضيع تقليدية شعبية مكوناً في ذلك لوحة عن شخصيته الطيبة والغامضة يمتاز بأسلوب التصنع والبديع في الاعمال الادبية وهذا واضح في عمله الموسوم (اسطورة بوليفيمو وكالاتيا la Fabula de Polifemo y Galatea)، وكذلك في عمله الموسوم (الخلوات las soledades)، الذي يصل فيها إلى قمة غموضه الشديد في (أسلوب الباروكو) .ان ذلك الغموض كان أسلوبا فنياً خاصاً بقصائد تلك المرحلة. كان ذا أسلوب فني وأحاسيس وذكاء حاد في الكتابة، الامر الذي جعل البعض من أصدقائه ان يطلبوا منه أن يبدل أو يلغي بعض التراكيب اللغوية في أعماله وذلك لأسلوبه الادبي الغامض لقد كان غونغور واحدا من الشعراء الاسبان الذين اسهموا بشكل كبير في "الكولتيرانيسمو: وهو تيار أدبي ظهر في عصر البارّوك الإسبانيّ ويستخدم الألفاظ النقيلة والاستعارات الخالصة والتلميح عبر الأساطير القديمة. ويعرف هذا التيار الجمالي أيضاً باسم "غونغوريسمو" نسبة إلى غونغور الذي يعد واحدا من مؤسسي هذا التيار الادبي. ينقسم البحث على فصلين الاول يتناول السيرة الذاتية للشاعر واسلوبه الادبي واعماله البارزة ,اما الفصل الثاني يعرض ال "غونغوريسمو" والبناء الادبي لقصائده الشعرية الغنائية

Home in the Poetry of Saudi Distinguished Poets

The homeland is represented in the poetry of poets who are passionate about its love in multiple images and different ways. This paper highlights Abdullah Al-Faisal's skill, familiarity, and competency through one of his famous poems, "The Redemption", demonstrating his allegiance to the great nation. Before returning to the career of Saudi poet Abdullah Al-Faisal, a brief discussion of poetry and homeland and its importance concerning poetry in the Kingdom of Saudi Arabia is provided. The main concern of this study is Al-Faisal's The Redemption and its critical-analytical description. An analysis of selected lines of the poem illustrates the great spectrum and depth of the concept of the homeland in Al-Faisal's poetry. The study generally reflects Al-Faisal’s love for his country through his poetry, deep attachment to his nation, and unwavering loyalty. His poetic works are intended to inspire readers to live better lives and communicate with those in authority. The paper concludes that The Redemption exemplifies Al-Faisal’s poems of pride and affection for the homeland. The study promotes a taste for literary work that supports learners’ literary competence to portray their thoughts and imagination in verse.

The spirit of freedom in the works of Mashkhur-Jusip Kopeyuly

Relevance. The works of Mashkhur-Zhusip Kopeyuly always differ in science in terms of their national content, style, and breadth of knowledge. Over time, the poet's legacy is being studied in detail, and its significance and relevance is growing. Purpose. The purpose of the study was to analyze the patriotic poems of Mashhur-Zhusip Kopeyuly and their impact on the modern youth of the sovereign country of Kazakhstan. In addition, to analyze the poet's personal statements, his poetic thoughts and philosophical views. Methodology. The research employs a qualitative approach, involving a comprehensive analysis of Mashkhur-Zhusip Kopeyuly's literary works. The study delves into the historical context, thematic elements, and symbolic representations within the poet's writings, drawing insights from literary criticism and historical accounts. Results. The article covers topical issues such as the national spirit, heroism and identity of the country, freedom and liberty, and their impact on the Kazakh spirituality, which are the basis of the poet's works. The historical events of the early 20th century, the violence of colonial policy and their consequences were widely reflected in the poet's legacy. In addition, the poet's own personal expressions, poetic thoughts and philosophical views were scientifically described and analyzed in detail. The poet's basic humanistic views on education and science, tradition and culture are depicted in the research. Conclusions. The study concludes that Mashkhur-Zhusip Kopeyuly's literary legacy holds enduring relevance in fostering a sense of patriotism and national pride among the youth of modern Kazakhstan. His works remain a testament to the indomitable spirit of the Kazakh people and their unwavering pursuit of independence and self-determination. The research underscores the need for further in-depth analysis and broader dissemination of the poet's works to inspire future generations and promote a deeper understanding of Kazakhstan's rich cultural heritage.

LINGUISTIC FACTORS OF THE FORMATION OF NEOLOGISMS OF THE AUTHOR'S SPEECH

In this article, the author's speech talks about the criteria for the emergence of neologisms. The need for the occurrence of such a phenomenon observed in the work of art, linguistic factors are justified. It is explained by examples that the reality of neologisms of the author's speech is not just a simple situation, but a special phenomenon that acquires special importance in a poetic work.

Assessment of the quality of poetic translation (based on the material of translations of British poetry into Russian)

The subject of the research in the article is the peculiarities of assessing the quality of translation of poetic texts. The object of the study is the translation of a poetic text as a complex multidimensional process. In this paper, we will be interested in criteria for evaluating the quality of translation of a poetic work, since a comprehensive assessment of the quality of a poetic translation remains an unresolved problem, and the need for such a procedure remains. The criteria for evaluating poetic translation mean such signs of high-quality poetic translation, on the basis of which a standardized assessment of any poetic translation can be made, for example, in the conditions of a translation competition. To develop evaluation criteria, the author examines in detail the difficulties of translating poetry. The results of a comparative analysis of original and translated poetic texts are analyzed on the basis of the selected criteria. The work uses methods of directed sampling, comparative linguistic (phonetic, semantic, syntactic) analysis of parallel texts, linguistic and pragmatic analysis using elements of cultural and stylistic analysis, as well as quantitative data processing methods. The scientific novelty of the study lies in the fact that a method of analyzing a poem based on an assessment of the quality of poetic translation is proposed. The concept of the quality of poetic translation is clarified, criteria for a comprehensive assessment of the quality of poetic translation are formulated. A comparative analysis of parallel original and translated texts – works of British poetry and their translations into Russian, performed by professional translators, is carried out. The quality of a poetic translation can be the object of a comprehensive assessment, which is carried out using a number of criteria: the preservation of the original author's idea, composition and rhyme of a poetic work, the selection of appropriate equivalents by the translator, the absence of significant permutations, omissions and distortions, as well as compliance with the norms of the translation language. The criteria for a comprehensive assessment of the quality of poetic translation can be recommended to the organizers of translation contests to evaluate the works of the participants of the contests, as they reduce the effect of subjective factors in the analysis of quality and make it possible to rank translation options, identify the most qualitative of them.

Linguocultural and conceptual features in poetic works

Relevance. The relevance of the work is conditioned upon the need to study conceptual systems in national literatures from the standpoint of different approaches. Purpose. The purpose of this article is to explore and analyze modern literature, particularly Kazakh poetry, through linguistic and cultural lenses, aiming to elucidate the conceptual core and periphery of national identity while considering global influences and the integration of international concepts into the Kazakh poetic tradition. Methodology. The methodology of the article involves a comprehensive exploration of linguistic, cultural, and conceptual analysis methods applied to the study of Kazakh poetry, emphasizing the interplay between linguistic expression and cultural context, with a focus on identifying and interpreting key thematic and symbolic elements within the poetry of Zhyrau and other Kazakh poets, ultimately aiming to advance understanding of national identity and literary traditions. Results. In the article, the problems of analysing literary texts on the example of the poetry of Zhyrau and the creativity of Kazakh poets are thoroughly and voluminously comprehended, the conceptual systems of these authors with the key (basic) dominants of the steppe, Homeland, native land, home, childhood memories, natural philosophical sketches (description of the beauty of nature, the change of seasons) are represented. Conclusions. The materials used in the work may in the future become useful for continuing the in-depth study of the conceptual foundations of modern Kazakh poetry, analysing the reintegration of Eurasian concepts into a stable national system, tracking changes, opportunities for reinterpretation, developing the poetic arsenal in a semantic-linguistic and ideological way, understanding linguocultural, psycholinguistic, communicative, conceptual processes in the interdisciplinary study of Kazakh literary tradition.

Versified physico-theology of Paul-Alexandre Dulard

Paul-Alexandre Dulard was an eighteenth-century literary figure keenly interested in the science of his time and theology. He poetically blended tohether these two interests in his poetic work, The grandeur of God in the marvels of nature, where, as presented in this article, he addressed in the spirit of the then popular physico-theology the problem of the existence of God: the harmonious makeup of the universe points directly to its divine Designer. He also addressed the problem of theodicy by using the orderliness of the universe is explaining the existence of what is deemed to be evil. Finally, Dulard discussed the immortality of the soul as indicated by the desire of happiness which cannot be fulfilled in this world.

Critical and Utilitarian Sigla in the Adespota Greek Hexameter Texts on Papyri

Abstract Within the framework of the preparation of the first edition of P.Fouad inv. 220 (unknown provenance, 3rd c. AD), an anonymous Greek hexametric poetry fragment accompanied by a critical siglum, and following my previous work on scribal practices in Greek literary papyri, especially on the graphic signs that accompany these texts, this paper lists all the critical and utilitarian signs attested in the 247 Greek surviving hexametric papyri of the Ptolemaic, Roman and Byzantine periods. These sigla are either directly associated with editorial work or were added by the scribe or corrector to provide the reader with practical information about the text. In doing so, the paper aims to better understand how the ancients conceived the writing of poetic works, and how they read, cited, and used them.

Abitudine, contingenza, oralità: per una letteratura “viva” a partire da Leopardi


 
 
 What is the relationship between habit and literary creativity? What role does the notion of habit play in the process of composition and, in general, in artistic productivity and the aesthetic experience? How do the terms habit and improvisation, habituation and contingency relate to each other? To answer these questions, crucial for aesthetics, this essay moves from the discussion of some significant passages in Giacomo Leopardi’s Zibaldone. On the one hand, the notions of habit and habituation will be discussed, understood – in the specific case of their application to poetry – as the poetic work of giving oneself a form; on the other hand, I shall analyze the notion of environmental or contextual contingency as the input that activates the poetic composition, in terms of a so-called “deliberate improvisation”. Against the background of these interconnected concepts the issues of the relationship between book and orality, performativity and recitation, lowbrow culture and highbrow culture will emerge, in a dense web of cross-references that defines, at least in its general lines, one of the axes of Leopardi's theoretical thinking around the 1820s.
 
 

Una mirada total sobre la poética actual y eterna de Aurora Luque

The publication of Aurora Luque’s complete poetry in one volume (Las sirenas de abajo. Poesía reunida, 2023) invites us to analyze her poetic work as a whole. Accepting the invitation, this article argues that since their beginning the poetics of Aurora Luque (Almería, 1962) have woven a network of shared key references mentioned in the titles of some of her books: Carpe noctem (1994), Carpe mare (1996), Carpe verbum (2004), and Carpe amorem (2007, 2021), that is “seize the night,” “seize the sea,” “seize the word,” and “seize love.” In all these books (as in the rest of Luque’s poetic work, including her translations), the same appeal to joy and to the celebration of existence (her “solar poetics,” as the poet herself calls it) are present, with the word and song pitted against death. It is also interesting to note how Luque’s latest poetry collection (Un número finito de veranos, 2021) summarizes her entire work, as can be observed by analyzing her poems and linking them to the rest of her poetry. Finally, the article explains the symbolism of Aurora Luque’s own name, and how it implies her poetic destiny.

Alienation, Innocence, and Death in Naples: Unmasking the Poetic World of Antonio De Curtis

ABSTRACT As well as being one of the greatest comedians of the twentieth century, Antonio De Curtis (1898–1967), better known by the pseudonym of Totò (his comedic mask), was also a noteworthy dialectal poet. Intersecting the growing interest of scholarship in Neapolitan culture and following the recent new edition of De Curtis’s complete work of poems and songs, Il principe poeta: tutte le poesie e le liriche di Totò (2018), this study intends to draw scholarly attention to his neglected poetical work in dialect, exploring, in Pasolini’s words, the poetic innocence which is inextricably linked to his use of Neapolitan dialect. Unveiling the poet behind the mask and placing his opus in the wider context of Italian dialectal poetry, the article offers a close reading of ‘’O schiattamuorto’, ‘Bianchina’, and ‘Riflessione’, exploring the distinctive use of the theme of death.

ПОЭЗИЯ ЭЗРЫ ПАУНДА В ВАРИАНТАХ ПЕРЕВОДА НА РУССКИЙ ЯЗЫК: СТИХОТВОРЕНИЕ “A GIRL” КАК ПРИМЕР ПЕРЕВОДНОЙ МНОЖЕСТВЕННОСТИ

The article, based on the work of domestic and foreign researchers, identifies the features of Ezra Pound's poetry, characterizing it as a translation problem. Based on the Russian translated texts of the poem “A girl”, made by I. Probstein, V. Dukelsky and M. Vzorov, the author of the article explores variants of translational solutions and the variety of approaches to the transmission of the features of the poet's work, which are regarded as predesposing to translation multiplicity.