Poetic Texts Research Articles

Images: Cognitive Mechanism, Poetics, Semiosphere

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

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

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

CREATIVITY IN USING THE MASK TECHNIQUE IN CONTEMPORARY ARABIC POETRY

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

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

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

Intertextuality in the poetry of Ibn Khafaja

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

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

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

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

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

Cognitive Illusion, Lucid Dreaming, and the Psychology of Metaphor in Tibetan Buddhist Dzogchen Contemplative Practices

A classic set of eight similes of illusion (sgyu ma’i dpe brgyad) are employed recurrently throughout Indian and Tibetan Buddhist literature to illustrate the operations of cognition, its correlative perceptions, and experiences that emerge. To illustrate a Buddhist psychology of metaphor, the fourteenth century Tibetan scholar and synthesizer of the Dzogchen (rdzogs chen) or Great Perfection system, Longchen Rabjam Drimé Ödzer (1308-1363), composed his poetic text, Being at Ease with Illusion. This work on illusion is the third volume in Longchenpa’s Trilogy of Being at Ease (Ngal gso skor gsum) in which he presents a series of Dzogchen instructions on how to settle totally at ease. To complement each volume in his trilogy, Longchenpa composed auxiliary contemplative guidance instructions on their meaning (don khrid). This article contextualizes Longchenpa’s meditation manual on Being at Ease with Illusion, a translation of which is included in the appendix. Special attention is given to Dzogchen practices of lucid dreaming and working with cognitive illusions to spotlight underlying contemplative dynamics and correlative psychological effects. To analogically map these Tibetan language instructions in translation, this article interprets Buddhist psychological understandings of cognitive and perceptual processes in dialogue with current theories in the cognitive sciences.

Eco, Riffaterre, and a poem by Baudelaire

Abstract In Eco’s work between around 1960 and 1992, “openness” in a modern literary text can mean (a) “permitting more than one interpretation,” and (b) “requiring a good deal of decoding work from the reader,” which is close to my own position. These two aspects of openness are demonstrated using Baudelaire’s Les Chats, in regard to which Eco denies that the text may be cristallin in Lévi-Strauss’s sense, while still requiring constructive effort from the reader. It is apparent that this term is equivalent to Riffaterreʼs textual “monumentality.” Eco does not go into detail about the reader’s work in assembling the text’s global propositional structure. It is left to Riffaterre and myself to detail the various stages of this work, involving comparison of images in order to discover their common underlying generative proposition. In contrast to Riffaterre, I have long suggested that the modern poetic text is built on two such propositions. It is at the stage of relations between text and sociolect that Eco contributes much to modern poetics. Openness (b) seems to be a prerequisite for perceptual change in the reader, produced by contrast between textual structure and its sociolectic context. Riffaterre prefers to remain within the text/intertext/interpretant triad, preventing him from describing the text-sociolect relation, where the propositional innovation of the modernist text takes effect.

THE TWO LETTERS W.H. IN THE DEDICATION TO W. SHAKESPEARE’S SONNETS AND THE CUMULATIVE EFFECT OF DIRECT AND CIRCUMSTANTIAL EVIDENCE IN SHAKESPEAROLOGY

William Shakespeare’s works had been written more than 4 centuries ago; since then scholars had enough time to subject his texts and the facts of his biography to the interpretations which are so numerous and so diversified that many Shakespearologists have come to believe that it is simply impossible to give indisputable answers to quite a number of highly significant questions. To these unsolvable problems one might attribute the identification of the addressee of Shakespeare’s sonnets and of Mr W.H. who is mentioned in the dedication to these poetic texts. Syntactically the text of the dedication may be interpreted either as one sentence with “Mr W.H.” acting in the capacity of an indirect object or as a subject in the first of the two independent clauses. The choice of either of these two variants of reading (in the article the second variant is accepted as the only possible one) influences the direction of the further discussion of the sonnets. The article is aimed at showing that through studying the literary texts by Shakespeare and his contemporaries and through closely analyzing the relevant direct and circumstantial evidence one may arrive at the inherently sound and noncontroversial interpretations of Shakespeare’s life and work. When applied to Shakespeare’s sonnets, such an approach allows one 1) to corroborate certain theories concerning the time when most of the sonnets were created and 2) to prove that the addressee of the sonnets and Mr W.H. were two different people who may be identified with a fair degree of certainty.

Передача художественной образности при переводе поэтического текста (на материале поэзии Р. Бёрнса)

The study aims to identify the features of rending artistic imagery in the translation of Robert Burns’s poetic texts from English into Russian. The scientific novelty of the study lies in the fact that the researcher for the first time focuses on translation techniques from the perspective of their image-forming function. Using the comparative method and contextual analysis, the most effective ways of translating tropes, stylistic devices and the specifics of preserving the author’s imagery are revealed. The results showed that when translating R. Burns’s poetry, such translation techniques as trope omission, equivalent translation, replacement of the original trope with another stylistic device and word-for-word translation have the greatest distribution. It is noteworthy that it is not always possible to find the equivalent necessary to recreate the image in the target language. Omission is resorted to in the case of cultural and linguistic inconsistencies. A distinctive feature of the translation of the analyzed poetic text is the presence of cases in which the translation of the poetic form and the image it contains virtually have nothing in common with the original and such translation is interpreted as an independent text created on the basis of the original.

Репрезентация творчества А. Блока в видеопоэзии

The aim of the research is to identify the most important features in representation and reception of A. Blok’s poetic texts in the genre of video poetry presented at the international festival ‘Videostikhiya’. The paper examines the specifics of video poetry as a new sphere in art associated with the search for both modern forms of poetic creativity and ways of its interpretation and representation; analyzes video clips based on A. Blok’s poems. Scholars’ attention is focused on the complexity of audio visualization of the works by the symbolist poet, who perceived life in its transcendent essence. The scientific novelty of the research lies in the fact that for the first time, the results of analysing modern works in the genre of video poetry based on Blok’s texts are presented; approaches to the study of the visual sphere of A. Blok’s poems are expanded. It is proved that the representation of A. Blok’s creative work in video poetry has its own specifics: the authors can modernize the Blok text, deepening the perception of the poem through metaphorical and symbolic video sequences, or recreate the context, immersing the viewer in the atmosphere of the Silver Age; intertextual inclusions also help each of the video artists to present in the media space a new reading of A. Blok’s poetic statement about the world and about people.

From Christmas [Rozhdestvo] to Ariel’s Message [Soobshchenie Arielya

The article discusses the poetic evolution of the contemporary author Polina Barskova. Nuzhdina follows the logic of Barskova’s poetic experimentation: from her early works written in the 1990s–2000s and inspired by the then-fashionable postmodernist intertextuality to the present-day verse marked by Barskova’s engagement with other, non-poetic new genres. Particularly important are her historical essays, such as The Seventh Alkali [Sedmaya shchyoloch], a book concerned with the distinguishing features of the poetry written in the besieged Leningrad in the 1940s, or her article in the collection of fiction and literary criticism entitled After the Siege [Blokadnye posle], which she also prepared for publication. The matter of genre becomes prominent in Nuzhdina’s analysis: the scholar argues that, following her beginnings in the tradition of intertextuality, typical of the period, Barskova, as early as in the 2010s, went on to master a specific genre of a ‘poetic archive,’ evidenced both in her poetry and historical research. Her poetic texts and essays share a number of characteristics: a diversity of ‘disguises’ and voices, a focus on documentary accuracy, and an ‘uninterrupted alternation’ of narrative and lyrical scenes.

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.

Intertextuality in Poetic Texts

Each text has standards to be regarded as commumicative. Intertextuality is one of those standards. People in their everyday conversations use intertextuality as a proof to enhance their turns. Intetextuality means using a past (old) text in a present (new) text for the purpose of giving the communicative sense to the new text . The researchers follow Laurent Jenney’s article " Stratigies of forms "( 1980 ) as a model to analyse the chosen texts . They use a qualitative analysis method only which is concerned with the descriptive level of analysis. The current study aims at (i) presenting the concept of intertextuality and examining its forms. (ii) Cheking , to what extent , intertextuality is apllicable and provides a communicative sense to the texts in literary works. The hypotheses of this study are (i) intertextuality can be expressed in both ways implicitly and explicitly. (ii) The three forms (allusion , quotation and parody ) of intertextuality are used repeatedly in spoken or witten texts )iii) the readers’ background knowledge to understand a certain text is essential .

Problems and prospects of educational lexicography: a new school dictionary of Russian pronunciation

The article critically examines various educational pronouncing (orthoepic) dictionaries and states the main objections to the quality of such resources. Criticism centres on the irregularities in the transcription rules adopted in school textbooks; phonetic and orthoepic errors; mixing orthoepic information with other linguistic phenomena; the issue of age-related adaptation of school dictionaries; insufficient relevance of pronunciation instructions; criteria for glossary compilation. The analysis demonstrated the need for creating a new educational dictionary, a Dictionary of Russian Pronunciation Difficulties, for years 5 to 11. It was compiled at the V. V. Vinogradov Russian Language Institute of the Russian Academy of Sciences under the editorship of M. L. Kalenchuk and D. M. Savinov. The cornerstone of this lexicographic source is the idea that normative recommendations in dictionaries should be based on the actual speech practices of educated people. The article justifies the choice of the pronouncing dictionary type and argues for a dictionary of difficulties rather than an orthoepic dictionary proper. We provide comprehensive criteria for compiling a dictionary glossary and structuring a dictionary entry. The paper also formulates the principles of normative evaluation of stress and pronunciation of sounds used in codification, as well as the system of permissive and prohibitive standard notes. If necessary, the Dictionary entries provide additional orthoepic data about obsolete pronunciation variants, folk poetic and professional accentual features, stress variants and pronunciation of sounds specific to phraseological units. Information about obsolete variants found in fiction is illustrated and verified with examples from poetic texts.

How the Visual Form of the Poem Serves the Poetic Indications? An Analytical Reading of Two Poems by the Poet Anwar Saba

The place in the creative space of poetry has always been a focus of sight, and a subject that occupies the pioneers and scholars of this art, who have counted the place as an integral part of the identity of both the poetic text and the poet alike. The concept of 'place' is not exclusive to the physical space or geographical space in which events take place but an important element that demonstrates the relationship between man and place, identity, belonging, and the origins that bind man to the past and present, and the characters with their concerns, feelings, pains and hopes. In my talk about the place in the poem, I do not deal with these concepts only; I actually Igo beyond it to talk about the space that has geometric dimensions over which words are arranged, how these words are designed, the relationship of blackness to whiteness above this visual space, or what we might call the visual formation of the poem. This study seeks to discuss the features of the thematic and visual location in two selected poems of the poet Anwar Saba, to monitor the relationship between the spatial expressions mentioned in each poem and their visual spatial formation, and how they serve or complement each other, and their visual spatial formation, and how they serve or complement each other.

Bina'u al-Nash al-Syi'rii fi Diwan Ibni al-Arandas al-Hilli

The study “Structure of the poetic text in the collection of Ibn al-Arandas: an objective and artistic study” aims to understand and analyze the poetic structure in the collection of the poet Ibn al-Arandas in an objective and artistic way. The study focuses on analyzing the literary methods and techniques that the poet used in constructing his poems, including rhyme, meter, sentence structures, and use of poetic language. The topic aims to shed light on the artistic aspects that distinguish Ibn al-Arandas’ poetry and how they affect the quality and creativity of poetry.Method: To achieve its objectives, the study relies on an analytical approach that includes a comprehensive review of Ibn al-Arandas’s poetry collection and a deep analysis of a number of his poems. The approach consists of analyzing Ibn al-Arandas's poetic texts in terms of their structure, artistic methods, and their impact on the poetic content.Result: Through this study, it is expected that the results will yield a deeper understanding of the structure of traditional Arabic poetry and how to use poetic techniques to achieve artistic and expressive goals. The results will contribute to enriching the discussion about Arabic poetry and Arabic literature.

Reanimacija poljske poezije

The sketch outlines contemporary tendencies in Polish poetry, which can be subsumed under global trends connecting poetry with certain features of modern culture: iconicity and secondary orality. The author identifies three forms of the visualisation and oralisation of a poetic text: extreme exploitation of material components of print (visual poetry), forsaking the written word for telewriting and image (cyber poetry, video poetry), and a melancholic attempt to return to the oral word as the substance of poetry (slam poetry, rap). The author views these tendencies as an attempt to revitalise poetry, which became fossilised in the form of “poetry for reading” and as such ceased reaching its audience.

Cognitive perspective of metaphors in Chinese Hua'er folksongs

The cognitive frame and transferences from sources to targets of metaphor study have been evident in humanities. The present article aims to compare Chinese heritage Hua'er folksongs, Chinese new poetry, Chinese prose, Chinese news reportage, and Chinese news editorials. By adopting the indicator I1, the results show that the A = B metaphor is typically representative of Chinese Hua'er folksongs. At a more detailed level of comparison of the a-index, heritage folksong Hua'er bears the lowest level of metaphoricity for its repeated use of the metaphorical lexis both in the target domain and source domain. The genre-specific metaphorical expressions in Chinese poetic texts show that the higher a-index is, the more metaphoricity and more cognitive the effort will be. The nominalized metaphorical expressions in heritage Hua'er might limit the working memory constraints and the cognitive mastery of source-to-target structure for the singers to create metaphors.