Poet Feels Research Articles

Civil nationalism in Jalal Maleksha's book "The Chain of Captive"Words

Civil . In this study, civil nationalism is reflected as a prominent feature in Maleksha's poetryIt is based on the principles of citizenship, .n a tionalism is one of the types of nationalism coexistence, common interests, and the will of human, wherever they want to live. Whatever The poet's civilized It is important to be within a particular country. . language he speaks Although the poet lived in a attitude alongside national values can be seen in his poems. However, the nation has suffered many times country where many other nations live in. because of them. But in many places in his book, the poet appears to be a civilized person and He makes his human and poetic feelings a coolness for his mind and shows puts us a beautiful example of humanity aside hatred. But Maleksha .Nationalism is the least mentioned and rarely seen in Kurdish literature has his fingerprints on the field. Maleksha may have been known as a country or ethnic poet from the readers. But Maleksha has not forgotten civilization. In this regard, he has shown his poetic power. Therefore, based on the French theory of "will to live together" the poet's poems are analyzed, the aim is to show the poet's nationalist feelings, whether the poet's feelings of civil nationalism are evident in his poems He is a well-known ethnic poet.

Stylistic Analysis of Laxmi Prasad Devkota's Poem 'The Lunatic'

This study is based on a stylistic analysis of the poem 'The Lunatic' by a great modern poet of Nepal, Laxmi Prasad Devkota. This analysis focuses on the foregrounding, metaphors, graphological, phonological, morphological, and semantic levels to explore and analyze what the poet wants to convey by describing his own experiences, showing the complex relationship between the poet and people living in the society that is going through social transformation. Stylistic techniques and methods are tactfully used to unfold the hidden feelings and experiences of the poet's life. Keeping in view stylistics is the study of different devices employed in language that give literary style and beauty to any writing; this article aims to explore and reveal hidden realities of poetic lines used in the poem 'The Lunatic'. This analysis helps us understand the poetic expression that can beautifully provide the picture of social transformation through the conflict between the poet and society. The stylistic devices used in this poem are the setting of the poem, along with the figures of speech. This study examines how the changing social context affects the poet's feelings and thoughts when composing poetry. Furthermore, the article explores how figurative speech enhances the impact of poetry on the readers' thinking.

Correspondance in poem of Mohammed Belkacem KHAMMAR

This study aims to review the technique of transmitting the correspondance in the poetry of Muhammad Belkacem Khamar, in order to demonstrate the extent of the poet’s success in employing this technique to create innovative expressions and meanings, and to stimulate the recipient’s feelings to comprehend his poetry. In order for the recipient to feel what the poet feels in terms of emotions and transformations at the level of vision, and this study aims to reveal the semantic and aesthetic aspect that has been achieved by the correspondence of the senses in the poetic fabric of the poet, and in this research we study this technique by choosing poetic models, and interpreting them on the basis of the method Descriptive analytic.

Gazal al-Auṭān wa al-Buldān fῑ Syi’r Māni’ Sa’ῑd al-‘Utaibah

The study examines courtly love themes in the homeland and country of the Emirati poet Manaa Saeed al-Otaiba through his two Diwan, "To Where" and "Songs and Wishes." Additionally, it intends to explore the concepts of courtly love and its origins and how to employ poetic imagery and fitting music to achieve the intended results. The poet's feelings are described in the spinning topics based on the places and countries with which he has dabbled, and it is examined how the rhetorical devices and music accompanying those poems were in line with the poet's psychological state. One of the study's conclusions is that he chose separate poetry to express what he wanted to those countries in a fluid manner replete with terms of courtly love. Hence, the titles of those poems explain the content of their verses, and the poet's courtly love extended beyond his native country to countries in the East and West. As if he intended to inform people of the lyre in his heart in many places, the poet selected the new method to be overwhelming in his lyrical poetry. The researcher believes this work has contributions that make it a new building block in the relevant studies of Emirati literature in general and al-Otaiba poetry in particular. As an outstanding poet, he deserves extensive study and research from critics to understand his poetry's substance and multiple purposes.

Analisis Semiotika Puisi “Kesabaran” Karya Chairil Anwar

Literary work is a creation that is conveyed by speaking or communicative about the author's intention which aims for aesthetics. One example of a literary work is poetry, poetry is a type of literary work that has beautiful, animating, and deep meanings and meanings, the words and sentences contained in it mostly come from the heart of the creator of the poem, when reading it you also have to use a good intonation. clear, and expressions that match the content of the poem. This study aims to semiotically analyze the poem entitled "Patience" by Chairil Anwar. This poem describes the patience of a poet or poet who always faces people who are near him and around him, even though he always feels uncomfortable with the environment. and always feel annoyed by the people around him, but he realizes that this is what is called fate and life, in the first stanza describes noise so that the poet feels uncomfortable and very disturbed by the sounds around him, not only is it ridicule and insults were heard and thrown from one person to another. In this world, only a few are filled with goodness, and badness is increasingly rampant, even though many have warned and rebuked, but the reprimands and warnings were only a passing wind, and were not paid any heed to by the parties concerned. The second stanza describes something that the poet wants to convey, but the idea is not heard at all, they seem to regard the writer as if the wind were passing by, the third stanza describes a state of life that has lost its calm and serenity, so that life is worthy very hard to reach. The last stanza describes the condition of the poet who is no longer respected and heard by those around him so that the poet no longer cares about it. At this time, the poet hopes that calm and tranquility will return, so that a decent life can be created again.

Menginterpretasikan Makna Yang Terkandung Dalam Lagu “Ragu Semesta” Isyana Sarasvati

This study aims to explore the meaning contained in the song entitled "Ragu Semesta" composed by Isyana Sarasvati from her third album "LEXICON" which was released on November 29, 2019. One of the Indonesian singers, Isyana Sarasvati, born on May 2, 1993. "LEXICON" which is the third album from Isyana Sarasvati attracted attention for showing Isyana's true identity. Isyana's identity is the music that she really liked and admired from a long time ago, classical music. The song "ragu Semester" has varied parts with arrangements with beautiful dynamics and describes the patience of the universe that is never undeniable. The lyrics of the song "Ragu Semesta" are not only related to romance with someone, but it's also about calling yourself a decision-making in life. The methods used to analyze data use a qualitative descriptive method, which is a method that is described by words or sentences separated by categories to obtain conclusions. The expected result of this research is to be able to understand the meaning of describing and expressing the poet's feelings in the reality of life, which cannot escape uncertainty, especially in the search for identity and saturation when undergoing an unhealthy relationship.

Analisis Puisi “Aku Tidak Akan Berhenti Mencarimu” Karya Heri Isnaini dengan Pendekatan Struktural

Literary work is a form of expression of human feelings as outlined in oral and written forms. Literary work is a language art that can be enjoyed by oneself and for everyone to enjoy. Poetry is one type of kasya satsra which is an expression of the poet's feelings which is poured using figurative words. The poem entitled "Aku Tidak Akan Berhenti MencariMu" by Heri Isnaini was chosen as research material for poetry studies using a structural approach. The Structural Approach is an approach that examines poetry based on the elements that build poetry in an objective systematic manner. This study aims to describe the physical and mental structures contained in the poem "I Will Not Stop Looking for You" by Heri Isnaini. By analyzing using a structural approach, the writer can find the meaning of a literary work. Through a structural approach, the structures studied are the physical structure and the inner structure of poetry. The method used in this research is descriptive qualitative. The qualitative description method used describes the data through words that show the meaning according to the concept. The result of this research is the discovery of all physical and mental structures in a poem by Heri Isnaini entitled "Aku Tidak Akan Berhenti MencariMu ".

The Psychopathy of John Berryman and Its Application to His Poetry “Not To Live”

The phenomenon of psychopathic behavior that occurs in society has unconsciously inspired various forms of art, one of which is poetry. More poets write about their mental illness through indirect expression. Poetry is one of the popular ways to express it. This research aims to analyze the word or phrase in “Not To Live” to find the psychopath of the poem. The approach used in this study is a semiotic approach and uses a qualitative method. Data were collected through observation and repeated readings through heuristic and hermeneutic readings. Data analysis used descriptive qualitative analysis. The results of semiotic research in John Berryman’s poetry is that reading heuristics describes how bad the world and life are. That meaning can be seen through simile, metaphor, personification, ambiguity, and contradiction. To show the author’s personality, hermeneutic reading shows the feelings of hatred experienced by John Berryman because the world is full of hypocrites and deceit. Matrix, model, and variant in Not to Live can be seen as distorted personality due to the sorrw of his life, and proven by unrhyme matrix in his poetr. The hypnogram of the poetry is when the poet feels how real life is and how to survive. From the semiotic approach, the poem can be seen as psychopathic poetry.

Analisis Struktural Puisi “ Aku Ingin” Karya Sapardi Djoko Damono

Poetry research can be defined as the result of research or the process of analyzing poetry. Poetry is one type of literary genre that expresses the poet's feelings. The series of words are beautiful, contain deep meaning and touch the hearts of the readers. This research aims to know and describe the physical structure and inner structure of poetry contained in the poem Aku Ingin by Sapardi Djoko Damono with a structural approach. The method used in this research is descriptive qualitative method, namely science that aims to describe the deep and intact content in the poem "Aku Ingin" by Sapardi Djoko Damono. The approach used is a structural approach, a structural approach tries to examine poetry into elements or structures that build and function. The data collection technique used is reading literature. The result of this research is the discovery of the entire physical structure and inner structure in the poem Aku Ingin. Physical structure in the form of poetry form, diction, language style, concrete words, imagery. While the inner structure in the form of theme, tone, atmosphere, and mandate.

PENDEKATAN STRUKTURALISME PADA PUISI “GUGUR” KARYA W.S. RENDRA (KAJIAN APRESIASI PUISI)

Poetry is a literary work that generally contains expressions of a poet's feelings wrapped in beautiful diction and accompanied by a meaningful style of language. To understand, appreciate, and appreciate a poem specifically, it is necessary to study poetry, of course, by involving a certain approach. One approach that can be used to study poetry is the structuralism approach. Structuralism approach is an approach that emphasizes more on the study of the building elements of the poem itself. In this case, a poem is considered as a unified whole. Furthermore, in this study, the poem that will be analyzed is the poem "Gugur" by W.S. Rendra. W.S. Rendra is an Indonesian poet, playwright, actor and theater director. Since he was young, he has been involved in writing poetry, drama scenarios, short stories, and writing literary essays for various mass media. The research method used is descriptive qualitative using a structural approach. Meanwhile, the purpose of this research is to examine the poem "Gugur" by W.S. Rendra uses a structuralism approach based on the physical elements of poetry and the inner elements of poetry. The physical elements of poetry include diction, rhyme, typography, imagery, concrete words, and language style. Meanwhile, the inner elements of poetry include theme, tone and atmosphere, message, and taste.

“Fratelli dei cani”: Autobiographical and autodiegetic interferences of the incipit of Pier Paolo Pasolini’s Orestiade

Abstract Starting from the examination of a marginal text like Letter of the translator, this article analyzes Pier Paolo Pasolini’s translation of the prologue to Aeschylus’ Agamemnon. The paper delves into the central image of Pasolini’s Letter: the comparison between the translator and a dog picking a bone. This juxtaposition alludes to the method used by the translator, which is based on an instinctive approach to the text, similar to that of a beast. I think that this rhetorical figure was suggested to Pasolini by the figure of the lookout on the roof of Atrides’ royal palace; his solitary nocturnal vigil is compared to the derelict condition of a dog. In the association between man and dog made by Aeschylus at the beginning of his trilogy (Orestea), Pasolini finds an expressive way very congenial to himself. In fact, this analogy is used in many points of his entire production as a writer to indicate the marginalization of the intellectual. The immediate proximity that the contemporary poet feels to the canine world implies an unconscious identification of the translator with the hardships of the Aeschylean character. This direct relationship between the human sphere and the animal sphere would explain the free and personal aspect of some interpretative choices about the introductory monologue of the Greek tragedy. It would also explain why Pasolini intended to reuse the prologue of Agamemnon, which he translated into a chapter of the posthumous novel entitled Petrolio.

تحليل الشعر "زهر اللوز او أبعد" لمحمود درويش الدرسة السيمائية ريفاتير

The problem in this research is the hidden meaning contained in Mahmoud Darwish's collection of poems entitled Almon Yang Blooms and Other Things. This study aims to describe (1) heuristic and hermeneutic readings, (2) matrices, models, and variants in Mahmoud Darwish's collection of poems entitled Almon Yang Mekar and other things on the theme "Aku". Based on the data sources studied, the researchers found signs that indirectly have meaning. The results of heuristic readings on each title in the theme of "I" show that this poem tells about the poet's feelings in facing the war that occurred in his country which is expressed through several seasons such as autumn, spring, and winter. Then the poet's hermeneutic reading has a hope in his country that is not necessarily achieved. The matrix on the theme of "I" is a poet who hopes for happiness in the midst of war. The model for the “I” theme is Blooming Almonds. The model is transformed into variants, namely variants I, II, III.

레오폴도 마리아 파네로: 디스토피아의 시적 구현

Leopoldo María Panero came to be known in 1970 for his inclusion in José María Castellet’s anthology Nueve novísimos poetas españoles. In his first collection of poems, Así se fundó Carnaby Street, Panero built a universe full of cultural references deriving from both pop culture and high culture. Additionally, in those poems, it is possible to find certain tender and naïve sensibility typical of childhood which the author seems to long for. However, from his second collection of poems, Panero’s poetry comes to reveal a discouraging and bleak vision of the world. The world is portrayed as a deserted cruel ghostly place in which the poet feels like an abandoned child. His verses are filled with all sorts of actions which go against accepted morals and customs such as homosexuality, violence, incest, etc. On the other hand, his poems are sprinkled with words considered clearly inappropriate for lyrical poetry such as “pedo”, “mierda”, “excremento”, “culo”, “ano”, “falo”, “vagina”, “cagar”, “masturbarse”, “cópula”, “necrofilia”, “semen”, etc. His father, Leopoldo Panero, who was defined by Dámaso Alonso as a “poeta arraigado”, was the official poet laureate of the Francoism, as he came to support the National-Catholic ideology of the Francoist regime portraying it in his works as a guarantor of harmony and peace. Leopoldo María Panero’s poetry constitutes a sharp contrast with the utopic worldview of his father, as what we find there is a discouraging dystopia. Undoubtedly, this change was possible due to the sociopolitical shift which Spain went through in the latter half of the 20th century.

The Poet from Winthropos

The Poet from Winthropos STAMATIA DOVA St. Porphyrios, the twentieth century Greek Orthodox Saint, wrote that in order to become a Christian, one has to first become a poet.1 This sense of profoundness inherent to poetry is omnipresent in Winthropos, George Kalogeris’s new collection of poems published in 2021 by Louisiana State University Press. Writing about the poetry of George Kalogeris is both a pleasure and a challenge, as it entails serendipitous discoveries of beauty in verse, which, despite their abundance, may prove too subtle to capture in words. The collection follows the author’s journey of self-discovery from the moment he started writing poetry after his father ’s death in 1979. This seminal event sanctioned George Kalogeris’s need for poetic expression, whose culmination we see in Winthropos. Named after the grammatically Hellenized toponym of his hometown in Boston’s North Shore, both the collection and its opening poem make a statement on the essence of humanity (“Winthropos”). With his father’s joke, Winthrop-os, evoking the answer to the riddle of the Sphinx, Kalogeris merges the registers of language, memory, and identity. Anthropos is at the center of this masterpiece. The poet’s consummate art breathes new life in words “dead to the world,” (“Talking to Myself about Poetry”), fusing millennia of Greek poetic traditions with the immigrant experience of a Greek family in 1930s Massachusetts. In magnificent English verse, George Kalogeris unlocks narratives of belonging that had been “out of sight but never so arion 29.3 winter 2022 George Kalogeris, Winthropos: Poems. Louisiana State University Press. Baton Rouge, 2021. 106 pages. 20.95. 112 the poet from winthropos far out of mind” (“Peponia”). Under his pen, words become mnemonic codes ready to yield a bounteous crop of poetic themes, forms, and cadences. “Honeydew melons, swelling their shipping crates” in his father’s grocery store, trigger the remembrance of long-lost relatives in black-and-white snapshots . As he gently turns over the ripening fruit in order “to keep the luminous pallor of their moist complexions fresh” in the store’s dark cellar, his father illuminates the vault of memory in all its richness of sights and sounds. Throughout Winthropos, the gracefulness of formal versification releases enchanting music, summoning a rapid succession of images. The grapes, stafýlia, the poet and his Uncle Charlie weigh in preparation for Saturday sale at Winthrop Quality Market become a signifier of “[w]hatever hangs / In the balance, and always comes in clusters”—a child sensing his family’s anxiety about the military dictatorship in Greece, the Vietnam War, and the violence of the sixties (“Weighing Grapes”). From vri-shi, the rural pronunciation of the demotic Greek word for “fountain” and its ability to conjure up the poet’s Spartan heritage (“Berlitz School of Language ”), to the Homeric homophones, in modern Greek, for “city wall” and “fate,” τείχη and τύχη,2 fluttering between his Uncle Taki’s cellar in Argos and the burial chambers in Mycenae (“Mycenae Revisited”), language manifests itself as the DNA for culture with disarming immediacy. Even the sound of a single vowel wields the power to activate memory —“[i]ts the O in Victrola”—as the ancestral hearth in Arcadia witnesses the horrors of World War II (“RCA Victor”). A gramophone, sent with love from America to the mountain village of Ákovos, confiscated by the Nazis, and burned in a bonfire upon their infamous retreat. A grandmother who loved music, and died from immolation while trying to rescue her beloved record-player. In Kalogeris’s poems, English and Greek enter a synergy to serve poetry. This happens after young George’s speech class, when the liberating recollection of the Greek word for Stamatia Dova 113 sea, thálassa, during the walk home from school on Shore Drive, counteracts a stressful session of enunciation practice at the school’s basement (“Speech Class”). Or, when mandatory (and character-forming) mentions of horta, “dandelion greens,” before bountiful family feasts in Winthrop turn the humble weed that kept Greek families alive in times of hardship into a diachronic symbol of resilience in the face of uprootedness, as Syrian refugees seek shelter on “Sappho’s golden island” (“Dandelions”). The poet feels...

المضامین الذهنیة وعلاقتها بالدوال اللفظیة فی الشعر المعاصر(دراسة تحلیلیة)

الملخص بسم الله والصلاة والسلام على رسول الله، وعلى أصحابه وآل بيته الطيبين الطاهرين وسلم سلاما کثيرا، أما بعد؛ فهذا البحث يحاول في صفحاته ، إلقاء الضوء على نتاج شاعرين معاصرين، منطلقا من الرؤية الشعرية التي تدور أولا في خلد المبدع ، وتعتمل في شعوره ، ثم تظهر للمتلقي في صورة لفظية معبرة ،عن کل ما يدور بداخل النفس الشاعرية من أفکار وأحاسيس ،کما تهدف تلک الدراسة الدوال اللفظية التي يعبر بها الشاعر عن هذه المضامين، ومن ثم تحليل الأساليب البلاغية المتنوعة التي يلجأ إليها الشاعر لاستخراج ما في ذهنه وضميره من عواطف جياشة أو أفکار دوارة في عقله ، ويحب أن يطلع عليها الناس والمتلقين ، وتحاول الدراسة : تبيان مواطن الإجادة في استخدام هذه الدوال اللفظية للتعبير الصادق عما يحسه أو يعانيه الشاعر من معاناة فاضت بها روحه فباح بها شعرا عربيا رصينا ، وقد اتجهت الدراسة للتطبيق على النصوص الشعرية المعاصرة :وبخاصة الشعراء المعاصرين لوقت هذه الدراسة –أطال الله بقاءهم ومتعهم بالصحة والعافية- وهما الشاعر الدکتور : بسيم عبد العظيم في ديوانه الشعرى لو تطلبين العمر ، والشاعر المبدع أ. محمد ناجى يحى في ديوانه احتواء وسقت على ذلک الشواهد المتعددة من قصائد الديوان مع الشرح والتحليل ،وهى دراسة لها الأسبقية في تحليل الديوانين وإظهار مواطن الإجادة فيهما ،والله من وراء القصد وهو يهدى السبيل. Abstract In its pages, this research tries to study literary and rhetorical phenomena that the modern criticism has been interested in looking at and analyzing, and to use psychology data and methods to explain linguistic and rhetorical phenomena through the mental contents of poetry, and these contents that include everything that goes on inside the poetic soul in terms of thoughts and feelings It also aims to study the verbal functions by which the poet expresses these contents, and then analyze the various rhetorical methods that the poet uses to extract the strong emotions or thoughts in his mind and his conscience, and he likes to be viewed by people and the recipients, and the study tries to show the points of mastery. In using these verbal functions to express honestly what the poet feels or suffers from suffering that overflows his soul, so he explores sober Arabic poetry:Bsseem Abdel Azeem In his poetry collection Lw Tatlobeen Alumar (If you want a lifetime) the creative poet A. Mohammad Naji Yahya, in his collection of poems ,book “Ehtewaa(Contain)”, and I cited the multiple evidences from the Divan poems with explanation and analysis. It is a study that takes precedence in analyzing the two divisions and showing the areas of mastery in them.

COMMUNICATIVE STRATEGY OF DRAMA LYRIZATION

The article is devoted to the study of the communicative strategy of drama lyrization. The study was based on the works by Oleksander Oles. In modern literary criticism, the lyrization of drama is associated with the subjectivization of dramatic action. Different types of lyrical composition of drama serve for the structural organization of the author's emotions and thus implement the communicative strategy of lyrization of drama through rhythmic-intonational organization of the text, polyphony of the author's position, musicality of the text, combination of stage realism and artistic conventionality. Expression in a lyrical drama realizes many meanings, which are often transmitted through a metaphor or a symbol. One of the functions of this type of expression in lyrical drama is to blur the line between the poetic experience and the word, which has absorbed the potential of the poet's feelings, and to give it a symbolic status. At the level of the genre in the late nineteenth - early twentieth century the dramatic theme is actualized, which is a reflection of the tendency to lyricize the drama. It is realized by the poeticization of drama as a manifestation of communicativeness or operable properties of lyricism in drama, when the laws of lyricism become the structure-forming foundation of drama. Based on the communicative strategy of form transformation, Oleksandr Oles managed to create a lyrical drama with no traditional division into actions or acts. Instead, there is only a graphical-mathematical division into episodes, which unite the text of the play with a dream vision, a model of in life, which has a conditionally ironic game character. Due to the vision of the dream, the author of the drama actualized the world - theater, symbolized the chronotope of the play, giving it a conditional and playful-ironic character.

Rabindranath Tagore’s Gitanjali: An Ecocritical Study

Rabindranath Tagore’s Gitanjali is a garland of songs which adorns the Indian English poetry with its fragranced melodious strings sung by someone who experienced an ecstasy—a state of divine union of soul with the Supreme. Tagore’s philosophy of nature has wide range and variety. The imagery, pervasive but not startling, is taken from nature and from Indian classical mythology. Tagore was also bold enough to fight against the fineries that keep man away from mother earth. Tagore’s Gitanjali echoes in its cadence the essence of every religion, giving solace to the whole humanity in the heart of mother earth; the nature, resonating the ancient Indian mysticism. “To Tagore the world of nature is not an illusion but is rather a medium for accomplishing indivisibility with the infinite” (Nagar 77). Aridness is the result of drought and dried soul. The poet feels sorry for the causes of this aridness that he experiences both in spirit and body. Deforestation and urbanization has led the land to cry in anguish to save it from further destruction. It is there Tagore sang again on the fragmented land where the walls have separated man and nature and stopped God from dwelling amidst. Man separated man from his company and the nature is destroyed at the hands of technology. It is in this anguish Tagore says “Send thy angry storm, dark with death, if it is thy wish, and with lashes of lightning startle the sky from end to end.” (Gitanjali Poem No.40)The ecological world can be easily explored through literature in order to bridge the gap between science and literature. The poetical works of Rabindranath Tagore is imbued with ecological elements.

Athar al-Shi‘r fī Tadwīn al-Aḥdāth al-Tārīkhīyah fī al-Qarn al-Tāsi‘ ‘Ashar: Qaṣīdat al-Shaykh Muhammadu Bello ibn al-Shaykh Usman ibn Fodio fī Ghazwat Kano Unmūdhajān

Poetry is a notable record for historical events, a tool for arousing enthusiasm and a capability of emotional expression that drives society. The objective of this article is to investigate and appraise the degree for special literary description on poetic influence in the recording of historical events in the 19th century in Nigeria. The article contains a biography of the poet Shaykh Muhammadu Bello bin Sheikh Usman bin Fodio and preamble that will assist in understanding the meaning of historical Arabic poetry. The theme of this article comprises the meaning of historical Arabic poetry, word expression, skills in the language of poetry, the poet’s artistic doctrine, and the belief of the poet feels. The poetry of historical events is counted among the best poems in Arabic literature of the past and present period. The author collected lots of data and will use the descriptive and analytical methods in carrying out the research.

КОНЦЕПТУАЛЬНО-ФІЛОСОФСЬКЕ І ЛІНГВОКУЛЬТУРОЛОГІЧНЕ ОБҐРУНТУВАННЯ ТРАНСФОРМАЦІЙ ПРИ ПЕРЕКЛАДІ ПОЕТИЧНОГО ТЕКСТУ З АНГЛІЙСЬКОЇ МОВИ ЯПОНСЬКОЮ І КИТАЙСЬКОЮ : ПОРІВНЯЛЬНО-ТИПОЛОГІЧНИЙ АСПЕКТ

The paper focuses on the problem of translation and translatability of poetic texts with regard to genetically different languages that have dichotomically opposed writing systems, particularly alphabetic and character based ones. On the one hand these are the languages that belong to the Indo-European family, namely, English, Ukrainian and Russian and, on the other, the East Asian languages, particularly, Japanese and Chinese. The core of the study is Robert Burns' poem "A Red, Red Rose" translated into the above-mentioned languages. When translating this poem from English (phonetic) into Japanese (character-syllabic), or Chinese (ideographic) languages, an attempt to convey poet's feelings embodied in the original context with the help of characters, the structural and semantic properties of which are dichotomously opposite to the alphabetic graphemes of the English writing, it is necessary to make substantial lexical and grammatical transformations that do not allow to preserve the identity of the original. In a sense, such translation can be viewed as an attempt to use characters as phonetic signs that correspond to certain lexemes of the original. At the same time, replacing words written in the phonemic way (letters) by whole graph-semantic units (characters), leads, on the one hand, to the loss of specific connotations of the original, and on the other, to the emergence of semantic interference due to multiple meanings of the most characters, therefore preventing adequate perception of the original content by native speakers of the Japanese or Chinese languages. Characters are intended, first of all, to directly fix thoughts as ready-made word forms. Consequently, when translating, or more precisely, interpreting the mental code of the English written tradition, and accordingly poetry, using Japanese / Chinese language, you need to find a way to translate it into the mental code of the Japanese or Chinese poetic tradition. Only by getting more or less successful result one can consider the goal of the adequate translation accomplished. So, this paper suggests an approach to translating a poetic text from a phonetic into a character language on the basis of semantic and linguocultural analysis of the dichotomically opposed cultural concepts.

REGÍMENES MIMÉTICOS EN PUGNA EN ALTAZOR DE VICENTE HUIDOBRO

El artículo pretende poner de manifiesto el doble régimen del "realismo" utilizado en Altazor de Vicente Huidobro, valiéndonos de los trabajos de Francois Rastier, y observar como en su obra maestra el poeta chileno está forzado a superar totalmente su poética creacionista basada en una confusión ontológica ruinosa, verbigracia la ilusión de emular poéticamente la magia primitiva. Rastier muestra que, entre las dos tradiciones de la literatura occidental, por un lado el realismo empírico, basado en la representación de lo sensible e ilustrado especialmente por la novela clásica, y por otro lado el realismo transcendental, asociado con la expresión lírica, el surrealismo ha elegido la vía de la antinomia, que destruye las dos formas clásicas miméticas, tanto las empí ricas como las transcendentales. En cambio, en el caso del creacionismo, creemos que podemos hablar de la co-presencia conflictiva a lo largo del poema de los dos tipos de realismos, empírico y transcendental. La solución del poeta consiste en imaginar una palabra que no se reduzca a una imagen mental y tampoco salga por completo de los límites de la representación.