Poetic World Research Articles

The Ego that Dedicated to Freedom in the Poetic World of Bui Giang

Participating in as sideliner, Bui Giang was strange in both his thought and poetry. For him, poet did not express his thought and self in poetry, but was itself. The denial of expression status of the language was concept that poetry was like aesthetics of another, where or thing in was what was signified. It meant that Bui Giang freed the artist from the constraints of language. Only when freedom and liberation must go above and beyond the fetters of words, poet could be completely free in the meta-language of the poetic world. According to the assessment of many literary researchers and critics, Bui Giang's brought the spirit of postmodern through the confused and cynical language game to dedicate to freedom. From the theory and practice of the language game, Bui Giang gradually rejected the status of a sideliner to put the periphery into the center, forming human migration of minority line of poetry.

Premisas constructivas del sentido y de los mundos explicativos en los aforismos de Lucian Blaga

"Constructive Prerequisites for Sense and Explanatory Worlds in Lucian Blagaʼs Aphorisms. The main purpose of this study is to tackle Lucian Blagaʼs aphorisms by emphasizing the generative strategies involved in the construction of both philosophical or poetic sense and explanatory worlds. If we are to integrate aphorisms within the typological frame of texts, according to Mircea Borcilăʼs proposals, it will be imperative to take into account both their formal peculiarities and, much more importantly, the elements that converge towards their sense creation. In connection with Eugenio Coseriuʼs universes of discourse theory, Blagaʼs aphorisms project two different levels of sense and typological finalities, namely the level of philosophical thought, which underlies the apophantic logos, and the level of creative phantasy, which underlies the poetic logos. However, as we talk about a special prototype of text, we are able to grasp a mixture of universes of discourse and, implicitly, of both their corresponding finalities and strategies through which philosophical or poetic sense is generated. In theory, the hybrid form of some aphorisms reveals their synthetic nature, which coagulates two complementary zones of auctorial consciousness within the same level of discourse, undoubtedly interconnecting creative imprints. Keywords: language, linguistic creativity, universe of discourse, philosophic sense, poetic sense, explanatory worlds, metaphor, aphorism "

La traduction poétique comme enrichissement et processus transculturel : Julio Herrera y Reissig traduit Albert Samain

This work focuses on the unusual, poetic affinity between the Uruguayan poet, Julio Herrera y Reissig (1875–1910), and the French poet, Albert Samain (1858–1900), that took shape in Julio Herrera y Reissig’s Spanish translation of some of Samain’s poems from his 1898 volume of poems Aux flancs du vase. Our objective is not to write a critical review of Herrera y Reissig's translations. Instead, we aim to identify the similarities between the two poets. Thus, our contrastive analysis will demonstrate the affinities between the French author and his Uruguayan translator. In this collection, Samain was able to transpose the emotions aroused in him by the radiant landscapes and by certain moments in his daily life into terse, sensual and harmonious verse. Even though his style did not in any way conform with the poetic world of Modernism, full of exotic fragrances, colours, swans and characters from the classic world, it gave Herrera y Reissig the opportunity to creatively rework the original text and produce some truly remarkable transformations. These poems in Alexandrine verse place nature centre stage, and the sensations shared by both poets are evoked by their choice of colours and fragrances, by their combinations of sound and the profusion of images of rare intensity.

A. Blok in the Poetic World of V. Shalamov

Shalamov repeatedly noted the significant role of A. Blok in the formation of his own poetic system. The work of the outstanding artist of the Silver Age is discussed in Shalamov’s essays (in more than twenty works), as well as in “Kolyma Tales” and unpublished notes about Blok (The Russian State Archive of Literature and Arts). Shalamov emphasizes that Blok is a great poet, at the same time very little studied. It is precisely taken poetic lines of Blok that serve as the epigraph for “Kolyma notebooks”. The article analyzes parallels in the worldview of the two poets (a feeling of the closest relationship of personal fate with the turning points in Russian history); in the imagery (in particular, various levels of interpretation of the snowstorm motif, which has special significance in the work of both poets, are discussed in detail. Shalamov’s succession in relation to Blok in comprehension of this image is shown, as well as cardinal differences in its explication in the lyrics of the two poets). The unanimity in understanding the challenges of art is analyzed (Blok’s idea of combining “beauty and benefit” in artistic work is close to Shalamov’s thinking); in verse technique (special significance of phonetic component). Not only published texts are involved in the study, but also materials stored in Shalamov’s archive at the Russian State Archive of Literature and Arts.

Parts of Speech Features in B. Pasternak’s Lyrics

The article studies the distribution of the main parts of speech in lyrics such as nouns, verbs, and adjectives. The analysis is carried out both in the poems taken separately and in whole collections. The main goal of the present research is to find out the level of stability and variability of the number relating to the 
 parts of speech belonging to different classes in poetic texts. At the same time the article examines the questions concerning the degree of the poetic text nominality, the relationship between dynamic description of Pasternak’s poetic world, expressed by verbs, and static description made by adjectives. 
 Six collections of Pasternak’s poems which constitute an important part of his heritage have been analyzed. Since the collections were published at different times and during different periods of the poet’s literary work, they reflect peculiar features of Pasternak’s creative manner and individual style over time. The 
 counts have helped to make a data-base including 178 poems (5962 lines) in total that has been organized and used for the study. To achieve the goal a number of statistical methods are used, including the Busemann coefficient, chi-square, and the coefficient of variation. The results obtained demonstrated a high degree of the poet’s style stability at the level of morphological features, strong prevalence of dynamic over static description, significant downward deviation from the accepted norm of the number including adjectives and (in later poems) verbs.

Style Evolution: Space and Movement in Longfellow’s Lyrical Poems

ABSTRACT Variance of individual style over time and the tendencies in style evolution are important issues in modern linguistics. This paper investigates how parameters of space and movement categorization were deployed by the famous American poet H.W. Longfellow at different stages of his creative career. The attention is focused on lexical units with spatial meaning. The analysis revealed significant changes in (i) the structure of space, (ii) the ratio of horizontal vs. vertical relations of objects, statics vs. dynamics, and (iii) the role of a human being in poetic space. The early verse represents the world as a balanced unity, which then turns into a more complex system with two strata of reality. At the final stage of Longfellow’s creative career, space in his poetic world is integrated again but now acquires a new structural organisation that is different, to a certain extent, from that of his early period.

Was wäre möglich, wenn die Poesie noch möglich wäre? Und was hätte die Natur damit zu tun? Zeitgemäße Annäherungen an Eugenio Montale

This essay puts forth a definition of poetry rooted in experience. In following Eugenio Montale, it analyzes two of his poems – “I limoni” and “Notizie dall’Amiata” – to show how the poet, rather than constructing discrete poetic worlds, aims at a poetry revealing the world and nature to a concrete reader, unforeseeable for the poet. Poetry thus aims at imbuing this reader’s life with an ephemeral poetic form, rather than evoking its own self-sufficient aesthetics. In doing so, chance and flaws in the social and cultural construction of reality act as co-authors of his “poesia”

Looming Diasporic In-Betweenness: A Critical Study of Hybridity and Culture in Agha Shahid Ali’s Poetic World

Hybridity is an outcome of consistent movement and interaction of two different aspects of human existence. The forces of nature when confluence each other cause hybrid existence bringing the traces of both into it. It may by and large cohabit the space and time, race and culture, philosophy and religion etc. It encompasses the divergent modes of existence, thinking patterns, behavioral norms, socio-cultural ethos, political and administrative ambience. Diasporic Hybridity is pertinent discourse. It is cause of anxiety in the early stage of migrant experience whereas settling base of later stage of existence of diasporic community. Present paper is an attempt to trace the threads of looming diasporic in-betweenness as reflected in the poetry of Agha Shahid Ali.

PLOT-MOTIVE COMPLEXES OF THE ACMEISM BALLAD

The plot-motive complexes of the acmeism ballad are considered: the classification of ballad plots and motives is presented, several groups of “acmeistic” ballads are distinguished - fantastic, novelistic, exotic, historical and some others. Ballad motives and plots are processed by the Acmeists in accordance with their creative “code”. The Acmeists’ ballads reveal a part of the poetic world of the Silver Age, carrying both the traditional elements of the genre and the features of modernism. The transformation of the ballad in N. Gumilev, A. Akhmatova, M. Kuzmin, I. Odoevtseva, G. Ivanov, Vs. Rozhdestvensky and O. Mandelshtam’s work demonstrates the features of the Acmeists’ poetic relief. For the classification, there were chosen the poets’ poems which represent the direction quite fully, although their work was considered not only within the framework of the Silver Age. The selection contains both «pure» ballads and ballad-type poems, in which «ballad» motives and images are clearly visible.

궁핍한 시대, 시인의 사명 -미겔 에르난데스의 사랑과 저항의 시

This study aims to examine the literary world of Miguel Hernández, the Spanish poet of generation''36, and to analyzes the aesthetics of his works in the political and social context of the time. He was a writer who participated as a Republican in the historical scene of the Spanish Civil War, so his poems are not free from criticism that they are political, inciting, and ideological. Nevertheless, as with all poets, love for his family, neighbors, and people is the source of his poems, and his poems express deep and warm human love. In particular, it is necessary to study Miguel Hernández in-depth as his work reflects the barren lives of people and reveals the will of people not giving in. Only one of his poetical works has been translated to Korean and there has been little research measuring his literary world. This paper introduces and analyzes Miguel Hernández''s poetry works against paltry and barren research on him. This study attempts to reconstruct his poetic world through his poems of love and resistance, the axis of his poetry, and ponders on the responsibility and mission of poets through him who actively participated in social crises, without keeping silent.

Material Devotion in a South Indian Poetic World. By Leah Elizabeth Comeau

Material Devotion in a South Indian Poetic World. By Leah Elizabeth Comeau

Sambandhar - A Cognoscente in the Field of Fine-Arts

Thirugnana Sambandhar is a multifaceted personality. He is a Saint, Poet, Philosopher, Composer, Scientist, Mathematician, Musician of the 7th century. He has no parallels in the poetic world. Indian poetry has its root dating back to the Vedic times. His poetry for decades has reflected diverse spiritual traditions within India and in many Foreign Countries. He had penned down amazing poetic structures through his mystical experience. His vision, lyrical skills, technical expertise, command over Language, Vocabulary, word-play, meters, Imagery, attitude, love towards his mother tongue are uncomparable. Ultimately he is the Epitome of Tamil Literature.

ЕСТЕТИКА МОВНО-ОБРАЗНОГО ЗНАКА-СИМВОЛУ КРИНИЦЯ У ПОЕТИЧНОМУ КОНТИНУУМІ ВАСИЛЯ ГОЛОБОРОДЬКА

The article attempts to consider the semantics and connotative shades of the linguistic-aesthetic sign-symbol well in the poetic language of Vasyl Holoborodko. The peculiarities of the use of synonymous equivalents for the designation of hydro objects for water extraction and consumption, which are used by the artist as figurative-poetic signs-symbols, are clarified. The semantic and emotional-expressive load in the texts of the word-image is characterized. The specificity of the artist's figurative rethinking of the ethnonym is substantiated. In the process of analysis it was established that the well is a sign-symbol inherent in all civilizational cultures; the name of the well is poetic, characteristic both for everyday use and forfolklore. In V. Holoborodko's poetic discourse we mostly fix the word-image of a well in unity with the concepts of water, bucket and actions to drink water, go for water, dig a well, etc. Krynytsia - in the poetic world reproduction of V. Holoborodko - a symbol of earthly life, a symbol of eternal existence, a sign of cosmic existence. At the same time - it is a source of truth, the key to knowledge of the universe, its laws, the reality of ethno-being. The token well as a word-image in V. Holoborodko's poetry is attested with the seeds "memory", "genealogy", "succession of generations", "earthly life focused on high spiritual principles". The well is also a "measure of the honesty of the individual." The word-image well is also based on the seeds "quenching thirst", "source of inspiration", "life". The image-symbol is characterized by a positive emotional and expressive load. We record a significant expansion of the occasional semantics of the word-image in the idiolect of the artist of the sixties, which occurs due to the analogy: the depth of the well - the depth of thought, soul; purity of the well - purity of thought, soul; well - terrestrial life, reaching the cosmic heights (water cycle).

Robert Browning’s Poem Porphyria’s Lover: Viewed from the Perspective of a Short Story

Robert Browning quite as an exception to his contemporary Victorian poets opted for the psychoanalysis of his characters in his poems. His obsession of delving deeper into the psyche of his characters most often lent his poems with the essence and atmosphere of a story, to be more accurate – a short story. Browning’s readers still today hovers in the labyrinth created in his poetic world. He leaves his readers in such a juncture from where the readers time and again look back into the plot of his poems to find answers of the mysteries invested by the poet. Stylistically being much ahead of the contemporary trend of poetry, Browning’s poems could be labeled as futuristic. His artistic faculty in his poems can only be somewhat explained and understood if analyzed from the perspectives of a short story. Only then the crossroads where Browning leaves his readers in his poems can find a destination and provide a literary solution. One of the most extraordinary poems of Robert Browning is ‘Porphyria’s Lover’. This paper is an analysis of the poem from the perspective of the features of a short story. The plot and theme of the poem is quite obscure especially the ending of the poem leaves the readers with a feeling of puzzle and incompleteness. In order to explain this puzzle and incompleteness this study presents an elaborate discussion of the characteristics of short story. Then it discusses the storytelling ability of Browning in his poems and finally based on the findings presents an analysis of the poem to determine the matching characteristics of a short story in the poem. The study is completely based on a qualitative analysis.

“For the World’s Complexity”: Intellectual “Condensing of Reality” in O. Mandelstam’s Works

ABSTRACT This article focuses on the theoretical foundations of Osip Mandelstam’s semantic poetics, its cultural–philosophical richness, and its aesthetic novelty. The principal features of Mandelstam’s poetic world are its metaphorical and associative complexity and persistent struggle with metaphysical “emptiness.” Guided by Yu. Tynianov’s law that verse structure should be tight and unified, the poet achieves an exceptional “condensing” of his poetic texts, using this for his particular creative strategies aimed at enhancing the polysemy of the word, expanding its cultural–historical context, achieving semantic uncertainty, and combining philosophical “connectedness” with associative “disconnectedness.” These strategies include a reliance on semantic clusters, which involve “bunches” of contradictory meanings, chains of binary and ternary deep structures of text, and a dramatic combination of binarity and ternarity. Mandelstam’s creation of a “moiré” texture in his poetic texts contributes to the deepening of their tragic outlook of confusion and hopelessness, which corresponds to the realities of the Stalin era and the impending Great Terror.

The Poetry of Grammar and Ungrammaticality

The Poetry of Grammar and Ungrammaticality Interviewed by the editors of Pushkin Review Igor Pilshchikov. I guess this is our second time speaking English with each other. Alexander Zholkovsky. When was the first time? IP. When I delivered a lecture at USC… AZ. … on Pushkin, right? IP. Yes. Somehow in our conversations, English is linked with Pushkin—a good sign. I'll be asking questions compiled by Joe Peschio and me. Question 1. You came to Pushkinistika from another discipline. What were the social-political circumstances that shaped the cohort of "officially-sanctioned" Pushkinists in the '60s and '70s? Did you ever want to be part of it? AZ. For me, the "main" Pushkinist at that time was Lotman. And then there appeared Jakobson's notable analysis of "Ia vas liubil…"1 I was excited by it—and I thought I could outdo Jakobson, whom I had always admired. I tried to do that in my piece on "Ia vas liubil…"2 Like Jakobson, I was a linguist and thus, too, came from the outside. But let me stress, linguistics is not all that much outside poetics, to which it is inherently relevant in at least two basic ways. Firstly, literature is written in a language, language is the material of literature, and a mastery of that material is essential for poetics. Secondly, literature is itself a kind [End Page 135] of language—a semiotic system; therefore, linguistics has lessons to offer about how you describe it. In addition to this general framework, I proceeded from the model of literary competence I was developing together with Yuri Shcheglov: a poetics of expressiveness, or the "Theme à Text" model, which is based on three major principles: 1. Themes should be formulated explicitly, rather than cautiously danced around in an impressionistic discourse that avoids itemizing the relevant findings (of motifs, devices, etc.). To this day, some colleagues abhor explicitness. 2. The (postulated) themes and the (actual literary) texts are to be correlated by a transformation history, or derivation, describing the structure of a literary text as legitimately evolved from a theme. Without claiming that the text was actually generated from the theme in a chronological step-by-step procedure, such a derivation is intended to identify all the elementary operations (we call these expressive devices) in terms of which the text can be shown to be a successful, "artistic" embodiment of a purely semantic, "unartistic" theme. All this is, in fact, inherent in traditional poetics, going all the way back to Aristotle; the point was making this explicit and formalizable. The heuristic motto was: "Theme equals Text minus Expressive Devices." And vice versa: "Text equals Theme plus Expressive Devices." 3. The "poetic world" of an author is the system of invariant motifs and patterns systematically recurrent in his/her works.3 The upshot is that looking at "Ia vas liubil…" one should keep the three principles in mind. What is the theme of the text and what devices are used, and how invariant are those themes and devices in Pushkin? These are, of course, heuristic tools. It's not that I have a complete set of Push-kin invariants—but I did develop a blueprint.4 The point is, in analyzing a text, to consistently correlate it with the poet's invariants. The more of those you recognize in the text, the more convincing your analysis. As long as scholars ignore invariants, the field of literary studies remains a terra incognita—one can easily walk into most any corner of it and pick up from the ground a discovery nobody cared to make. Studying literary texts without recourse to the author's invariants is like parsing sentences without recourse to grammar. [End Page 136] IP. Your definition of the poetic world partly coincides with Jakobson's definition of poetic mythology in his famous "Statue" article, written in Czech in 1937 and translated into English only in 1975.5 AZ. … and into French in 1973. I remember making sure I got a hold of that text, and a French colleague sent me the entire collection, Questions de poétique.6 I have proudly used a quote from that article as an epigraph to some...

ИНТЕРПРЕТАЦИЯ В ИНОЯЗЫЧНОМ ОБРАЗОВАНИИ: ПСИХОЛОГИЧЕСКИЙ АСПЕКТ

The article is devoted to one of the problems of foreign language education – the definition of the role of interpretation in preparing students of special (language) directions to participate in the dialogue of cultures. Interpretation is considered as a phenomenon and as a way of comprehending reality, which allows the subjects of the dialogue of cultures to reach mutual understanding. The main characteristic of interpretation, which is necessary for the purposes of foreign language education, is its psychological character. It is determined by the psychology of the author, the psychology of the work, as well as the psychology of the reader-interpreter. It is proved that the interpretation of a work of art, which has universal, historical and personal plans, has huge epistemological and axiological possibilities. They activate the entire educational potential of interperetation (educational, developmental, cognitive, and educational). Russian Russian poet A. A. Fet (1820–1892) uses the poem “Wir saßen am Fischerhaus” by the famous German poet and publicist Heinrich Hein (1797–1856) and the translation of this poem into Russian to illustrate the interpretation technology. The poem is considered as a space of personal meanings of the author. They are the ones that are subject to interpretation and bring the reader-interpreter back from the poet's world to the modern real world. And the real world is full of unexpected cultural facts, closely related to the content of the work of G. Heine, with distant Lapland and the life of modern lapps. Thus, interpretation is presented as an educational strategy. Together with the strategies of contextualization, philologization and argumentation, it ensures the achievement of the main goal of foreign language education – the creation of an individual who can act as a genuine subject of the dialogue of cultures. The article also emphasizes the importance of the teacher as the organizer of the educational process and the subject of the dialogue of cultures.

СКАЗОВАЯ ТРАДИЦИЯ В ЛИРИКЕ В. НАРБУТА

The article is devoted to the analysis of the fairy tale manner of narration in the poetic heritage of V. Narbut. The researched author, in the context of the main poetic tendencies of Russian literature at the turn of the 19th and 20th centuries, in search of new forms of narration, actively rethinks and includes existing narrative models in his work. The tale in this aspect provides great opportunities for poetic representation of the author's intentions. This work reveals the main stylistic, figurative and lexical signs of the tale, as well as the ways of their embodiment and refraction in the artistic picture of the poet's world in line with the poetic quests of acmeism.

Suggestion in a communicative system of “The Lay of Igor`s campaign”

The paper explores suggestiveness in a communicative system of “The Lay of Igor’s Campaign” including the analysis of the literary term “suggestion”, which characterizes poetic images and plots, literary techniques and motives. The suggestive image in literature makes the reader’s imagination work, poetically influencing him. The suggestiveness comes as a type of speech act in a communicative model of literary text. In the communication system of “The Lay of Igor’s Campaign”, the phenomenon of suggestiveness allows us to understand the relationship between the characters. In the monument under study performative-rhetorical speech genres of Christian discourse provide suggestiveness of the communicative phenomenon. Suggestiveness is not limited to the emotional “charging” of the text and hypnotic suggestion. Here the performative suggestion carries an ontological function of the ritual-magic word. Performative suggestion served as a communicative revelation involving the medieval addressee in an actual communicative event. Christological constructions and ecclesiastical pathos, as well as the end of the work concluding with a rhetorical formula “Amen” once again indicate that the rhetorical structure of the text is of a religious and magical nature. Since “The Lay of Igor’s Campaign” has a unique and complex communicative system, each group of poetic legends is organized in accordance with its form of expression and functions in a general structure of the author’s poetic world allowing his thoughts to penetrate the world of intention in the form of a plan.

«Перекликаться Пушкиным»: Ходасевич и Пастернак о массовой и элитарной поэзии

The article deals with several issues: first of all, it is a question of building the creative strategy by two of the largest representatives of Russian poetry of the XX century. Khodasevich's aspiration is based on separating himself from mass literature, closing in on the elite poetic world, focused on the Russian "golden age" and, mainly, the poetry of Pushkin. Against this background - the opposite direction of the development of Pasternak, also focused on Pushkin, but aimed at the mass reader, starting from the first half of the 1920s and ending with the late work. The author asks how the focus on Pushkin could lead one poet to abandon poetry and silence, while the otheron the contrary, to full realization and world fame. The article also touches the question of Khodasevich's attitude to Pasternak's work and, more broadly, to futuristic poetry in the context of ideas about the destructiveness of mass and the high mission of elite poetry.