Symbolism In Poetry Research Articles

THE ANALYSIS OF THE MIRROR PRAYER POEM IN HÜSEYIN AKKAYA'S BOOK POEMS PASSING THROUGH THE MIRROR

Hüseyin Akkaya, born in Sivas in 1955, worked as a professor at Cumhuriyet University since 2004 and retired. In addition to being an academic, his interest in poetry has never ended due to his childhood curiosity. After his first poem, Beli Gül, he wrote his poems with the theme of "mirror". “When I started writing poems centered on the mirror nine years ago, I did not expect that there would be so many of them."I think my poem, "Living in Mirrors", which I first wrote in 2012, must have been born from a fertile source because it paved the way for other mirror poems." He describes his arrival in this way. "Mirror", which has an important place as a symbol in poetry, has been used by many poets from divan literature to the present day. The "Mirror" symbol has appeared in poems both in mystical and human terms. Akkaya, on the other hand, wrote his poem called "Mirror Prayer" as a Sufi style in his book where he compiled his poems on the symbol of "mirror". Roman Ingarden and Nicolai Hartmann are two important names in the ontological analysis method, which is one of the poetry analysis methods. Ingarden stands out in dividing assets into layers, and Hartmann stands out in dividing these layers into real and irreal asset areas. Under the guidance of this information, İsmail Tunalı examined the layers of existence in his book titled Art Ontology. The poem "Mirror Prayer" mentioned in this study was analyzed ontologically according to the layers of existence in İsmail Tunalı's book titled Art Ontology.

كلمة العدد (الإنجليزي)

كلمة العدد (الإنجليزي)

A Poeteme as a Tool for the Analysis of a Lyrical Text in L.A. Novikov’s Concept of Language as Art

The purpose of this study is to demonstrate the methodological, “instrumental” potential of some theoretical concepts developed and deepened in the concept of language as a verbal art by Lev Alekseevich Novikov - poetemе and ostrannenie (alienation). The lyric poetry of Pavel Vasiliev, the Russian Soviet poet (1910-1937), whose work is of a transcultural nature and belongs to the “literature of the borderland”, is analyzed. The poetemes “a steppe - a parent” and “a steppe - an ancient mysterious land” are modeled, allopoets are defined, in which the image of the steppe, key for the poet, is presented; the linguistic means of creating aesthetic imagery in allopoets are identified. The concept of a poeteme allows one to compare different images and interpretations in the poet’s work, draw connecting lines between them and ultimately determine the originality of the individual author’s poetic picture of the world. The method of the ostrannenie was introduced into scientific circulation by V.B. Shklovsky; in Novikov’s concept it appears as an invariant of linguistic imagery, which includes traditional tropes and figures as special cases. For the ostrannenie in his poetics Vasiliev uses the method of breaking stereotypes, which allows him to attract the attention of the reader, making the image unusual and alien. The article provides examples of violation of poetic stereotypes inherent in Russian poetry: the symbol of poetry - a goose feather, sound like silver, as well as a typical for Vasiliev method of violating ethnic stereotypes, for example, appearance: attribution of Asian features to a lyric hero - slanting eyes, cheekbones, etc. Thus, a broad understanding of ostrannenie in Novikov’s theory makes it possible not only to fundamentally unite traditional tropes and figures, but also includes specific individual author’s techniques of poetic technique.

REVEALING THE "SWAN" SYMBOL AND SOCIAL CRITICISM IN RENDRA'S POETRY “NYANYIAN ANGSA”

The purpose of this research aimed to reveal symbols that are often present by applying semiotic critical analysis to poetry. Nyanyian Angsa (The Swan Song) is the source of data in this analytical practice. Rendra is a writer who is familiar to the Indonesian people through his sharp lines and directly affects the social phenomenon critics. In this article, the researcher implemented Riffatere's semiotic reading theory to examine the Swan symbol in poetry. Riffatere introduces 4 things in semiotic of poetry, they are (1) poetry is an indirect expression, stating something with another meaning, (2) heuristic and hermeneutic reading (retroactive), (3) matrix, model, and variant, and (4) hypogram. By using qualitative research methods, this research focused on critical analysis of the text in poetry. The results of this analysis indicated that there are many ungrammatical expressions in poetry that could not be read heuristically reading so that the reading is done by hermeneutic reading (retroactive). Through the semiotic stages, there are two major criticisms behind the ungrammatical meaning found, namely the representation of social criticism on individuals in medical and religious institutions. The Swan symbol also refers to the Maria Zaitun character who has done forgiveness of sins.

Поэтика гвоздики: слово и образ в русской поэзии от Тредиаковского до Бродского (в контексте европейской традиции). Часть 2

The article outlines the use of the word gvozdika [eng. ‘carnation’] ('flower of the genus Dianthus’) in the language of Russian poetry. Part Two of the article demonstrates that the Russian poetry of the 18th - early 19th centuries features carnations sporadically and only within certain lyrical contexts borrowed from Western lyrical poetry, mostly as an element of an idyllic floral catalogue or as part of the antithesis that opposes wild and noble decorative flowers. In the second quarter and mid-19th century, the flower emerges in new poetic circumstances: since the traditional connection of floral imagery to the erotic theme is renewed, the carnation begins to epitomize passionate love. The article dwells on the poetic representations of the carnation in the poetry by Vasily Trediakovsky, Mikhail Muravyov, Aleksandr Sumarokov, Yermil Kostrov, Vasily Pushkin, Semen Bobrov, Vasily Zhukovsky, Anton Delvig, Aleksey Merzlyakov, Pyotr Vyazemsky, and others. Both the antique and the decorative-garden connotations of the carnation are brought together in Pyotr Vyazemsky’s poem “K podruge” (1815), based on a playful alternation between an Epicurean-Horatian and “domestic” tones. The poet combines two planes - that of the real and the symbolic/poetic garden, and if the carnation can refer to both, then the myrtle - only to the second. The author also examines a variety of contexts where the carnation is adjacent to the rose in poetic texts. This juxtaposition is not accidental, since the flowers are united by common attributes (colour, fragrance, expressive beauty), which also suggests a motif of rivalry between the rose and the carnation in many poems. The similarity of the two flowers also explains the fact that the carnation appears in poetic contexts as a substitute for the rose. Since the second quarter - the middle of the 19th century, the carnation is associated with love and erotic motifs, typical of the rose. This symbolism in poetry is consistent with the main meaning of the carnation in the “language of flowers”, where the wild carnation is a sign of love languor, although the process of transferring the traditional meanings of the rose to the carnation is still more important. Finally, the author analyses the rhyme gvozdika: diko and shows that it, together with its variations (gvozdika/gvozdik: dikiy/dik, etc., also in the reverse order), belongs to the set of exceptionally stable rhyme pairs in the Russian poetic tradition. The author declares no conflicts of interests. The author expresses her deep gratitude to A.S. Belousova, A.A. Dobritsyn, A. Shele, N.V Pertsov, and I.A. Pilshchikov, who read the manuscript for inaccuracies and made valuable suggestions. Many thanks to M.V. Oslon for advice and assistance.

ANALISIS HERMENEUTIKA PADA PUISI “AKU INGIN” KARYA SAPARDI DJOKO DAMONO

This article discusses hermeneutic analysis of the poem Aku Ingin by Sapardi Djoko Damono. The things discussed in this article are the meaning of the poem Aku Ingin by Sapardi Djoko Damono using the concept of hermeneutics, namely analyzing poetry with stages of meaning in accordance with the steps of hermeneutic analysis paul ricoeur. The stages are: 1) placing poetry as autonomous text; 2) classify the layers of symbols in poetry; 3) associating symbols with something outside the text; and 4) interpret the text. The measures aim to analyze the symbols contained in sapardi Djoko Damono's poem Aku Ingin. Thus, this research can explain the meaning of poetry Aku Ingin more comprehensively. The results showed that hermeneutic analysis of sapardi Djoko Damono's poem Aku Ingin shows the use of symbols, wood, fire, and ash is a representation of efforts and efforts to achieve true love and simple love.

CULTURAL EROSION AND CULTURAL MEMORY IN TAUFIQ RAFAT’S ARRIVAL OF THE MONSOON

Purpose of the study: This study focuses on analyzing and locating the cultural images and the elements which present the idea of cultural erosion, and with the lens of cultural memory evokes the idea of identity, and nostalgia in Taufiq Rafat’s poetry.
 Methodology: This research is qualitative in design. To explore the concepts of cultural memory and cultural erosion Purposive sampling is used for the selection of the poems. For analysis, textual and descriptive methods of analysis are used. Jan Assmann's (cultural theorist and archaeologist) theory of cultural memory serves as a theoretical framework for this study.
 Main Findings: From the analysis, it is explored that Rafat’s poetry discerns the concepts of cultural erosion and cultural memory. In the majority of his poems, few dominant images are used repeatedly to strengthen the notion of memory and yearning for the past such as time (clock), the flow of time which is fleeting and nontransient. He not only laments on cultural erosion but also keeps his personal and social memories, traditions, ancient civilizations, rituals, and objects alive so that they could be transferred to the next generations to establish mnemonics.
 Applications of the study: This research may be beneficial to those studying Anthropology, Culture Studies, History, South Asian Literature, and Sociology. Furthermore, the interpretation of major symbols and images related to the culture, and history which evoke cultural memory, and erosion will pave the way for the deconstruction of symbols in poetry.
 The novelty of the study: Rafat’s poetry is enriched with natural and romantic images, the depiction of beauty and culture about which many studies are available. The significance of this study lies in the fact that the concept of cultural memory from his poems has been evoked and analyzed.

Methodological issues in the study of phonetic symbolism

Abstract There is a growing research literature on phonetic symbolism in poetry, sometimes with incongruent results. Through a theoretical structural analysis we show that, (a) individual speech sounds have (sometimes conflicting) potentials to suggest elementary percepts, such as abruptness, hardness, smoothness; and (b) from these elementary percepts some general psychological atmosphere may be abstracted that may be individuated in specific emotions as ‘love,’ ‘joy,’ or ‘anger,’ by semantic feature-addition. This proposal can reconcile incongruous research results. Sound-symbolic lexical entries are governed by similar principles, but fossilized. Large-scale statistical investigation may reveal significant sound-symbolic effects only when the same phonemes repeat throughout the poem. They may, however, miss conspicuous local sound effects, revealed only by local analysis. Some sceptical conclusions in the research literature may be due to this phenomenon. The proposed method may account not only for statistical correlations, but also for the perception of a pervasive emotional atmosphere in a poem.

ІНТЕРПРЕТАЦІЯ ПОЕТИЧНИХ ТЕКСТІВ ЯК ЗАСІБ РОЗВИТКУ ЛІНГВОСОЦІОКУЛЬТУРНОЇ КОМПЕТЕНТНОСТІ СТУДЕНТІВ

У статті представлено загальний зміст елективної навчальної дисципліни «Інтерпретація поетичного тексту». Описано такі теми курсу, як «поезія у колі красних мистецтв», «образність і символізм у поезії», «англо-шотландська фольклорна балада». Зазначено, що художні твори мають високий естетичний, виховний і розвивальний потенціал, а інтерпретація закладеної у них інформації стимулює аналітичне мислення студентів, розвиває їх художньо-естетичне сприйняття, збагачує духовний світ. Зроблено висновок про те, що сформувати лінгвосоціокультурну компетентність студентів можливо засобами тлумачення поетичних творів, оскільки опосередкована міжкультурна комунікація зумовлює розширення кругозору студентів лінгвосоціокультурними знаннями, які є необхідними для досягнення порозуміння у ситуаціях міжкультурного спілкування та розвитку їх здатності до медіації в усній чи письмовій формі. Наголошено, що інтерпретація поетичних творів сприятиме вихованню любові та інтересу до естетики художнього слова, фаху філолога.

The image of women in the poetry of the Umayyad revolution

Women represent a human element in which life can only be achieved through which it is a fundamental pillar in the poetic formation. Therefore, it has received great prestige and attention from poets since poetry emerged as a mirror reflecting the image of life that can not be sustained without women. The poets of different ages and intellectual orientations have paid attention to them, and they have appeared in two forms, the real picture derived from the nature and role of women in life, and the mythological symbolism as a life companion and a symbol of poetry.

“Caracol”. Una respuesta de Darío al soneto “Ses purs ongles très haut dédiant leur onyx” de Stéphane Mallarmé

It is possible to see in the seashell of Darío’s sonnet “Caracol”, published for the first time in 1903 and included in Cantos de vida y esperanza, the symbol of poetry. The story told by the lyrical voice of the verses can be interpreted from the background of the myth of the Argonauts cited in the poem, as a variation of the translatio poesis from Europe to America of Bello’s “Alocución a la poesía”. But this possible understanding does not end here. On the basis of the seashell and its symbolic meaning, Darío’s sonnet seems to answer Stéphane Mallarmé’s sonnet “Ses purs ongles très haut dédiant leur onyx”, well known by Darío. In Mallarmé’s poem, the “ptyx”, which can be identified with the absent seashell in the room mentioned by the lyrical voice, represents the poetry of silence, which Mallarmés tried to found. Unlike the French poet, who nevertheless he admired, Darío proposes with his poem a poetic renewal in Spanish language, capable to overcome the risk of muting, which poetry as such ran with the subtleties of French Symbolism.

نصیر، نادر او بابو نا علامتی شاعری

Symbolism has been part of Brahui poetry and other languages from ancient. The impact, value and utilization of symbolism has enhanced with passage of time. In this regard if we evaluate the poetry of Brahui poets i.e. Meer Gul Khan Naseer, Nadir Qambarani and Babu Abdul Rehman kurd, we find that they have used symbolism in their poetry regarding their passionately love, respect and relation with their motherland as well as pursuit of justice and ethical values. The impact, value and beauty of poetry rely on use of symbolism which foretell as about future and coming age. Poetry that incorporates Symbolism never becomes obsolete or insignificant; rather, owing to fascinating subject and visionary thinking such poetry becomes classical. This topic is an Endeavour to look into the essence and disposition of symbolism in poetry; a comparison of thoughts of three contemporary poets, and a discussion about the demands of symbolism in modern poetry. It is also an attempt to tell that use of symbolism in poetry not only rejuvenates the thoughts of poets but also makes it impressive.

Marie Ponsot’s Ever-Fixéd Mark

Marie Ponsot’s Ever-Fixéd Mark David Yezzi (bio) Every poet has her tutelary gods—those guardians, daimons, or genii of place that guide her and watch over her. Often, though not always, these are fellow writers—colleagues or eminent predecessors conjured by a Lararium of photos tucked on bookshelves or tacked above the writing desk. Their familiar faces keep watch, radiating encouragement and occasional censure, but always with an offering of fellowship, founded on a shared experience of craft and cunning. Such kindred spirits offer proof that many have spent and others will spend their lives in the pursuit of the peculiar activity of writing poems. They, too, overcame fallow periods and the loss of faith, in order to fashion something striking out of words, something life-filled and, perhaps, even lasting. Such household deities offer courage. Many such guiding spirits peer out from the poems of Marie Ponsot who, now in her tenth decade, has been recording their voices and lives in a half-dozen books of poetry, beginning with True Minds in 1956 and up through her most recent volume, Easy from 2009. (Her gods have also seen her through dozens of books translated from the French, including her brilliant versions of the Fables of La Fontaine.) Ponsot’s women—for her poem-portraits are almost always women—lead by their example. These mothers, daughters, teachers, lovers, bohemians, adventurers, scholars, and poets act out of a fierce resolve to face down successive challenges, both the ordinary and extraordinary. Let the fearless Eunice B. Winkless, photographed midair on horseback in 1904, serve as an example of the extraordinary. Winkless’s daring speaks to anyone—parent, traveler, artist, teacher—who is called upon repeatedly to take a leap of faith. Imagine the scene: it is the Fourth of July in Pueblo Colorado. Eunice Winkless rides past a crowd of eager spectators atop a tall white mare, her Gibson-girl hair swept up high on her head and tied with a black ribbon. Ponsot’s poem fixes her there: Regal as Iphigenia taking the upward course in a drift of white eyelet muslin she rides the animal horse. Merrily fife & drum pace their climb. Women think prayers, set to not-look, just in case. Men do not snigger, forget [End Page 506] their faces/ladies/bets, and stare once she reaches the platform. The crowd—women preparing to look away, men staring unflinchingly—has come to see a woman ride a flying horse (Pegasus being, as Ponsot knows, the symbol of poetry) out into thin air. What runs through her mind as stories below her, “[t]he pool glints like a tame star on the ground”? Before she has time to ruminate, the decisive moment arrives: Out & groundless horse & girl drop flying clear of equilibrium Her body jockeying air touches only bridle & with one knee, horse, as nothing to spare they head for the hope they head in dread in dread for the pool. Then follows a stanza break, like a caught breath, after which Winkless’s relief mingles with rue: To herself she says among her wet hair, “Did it again. Damn fool.” A photo of the horse and rider, caught halfway between the platform and the pool, hangs in the Smithsonian, but Ponsot’s act of ekphrasis does more than exhibit the scene or breathe life into the airborne heroine. An italic passage, which ends the poem, brings Ponsot herself into the frame: I need her dreadful ease, its immense self-reference. I watch to catch her hand-span skill addressthe radius of her practice then guess, self-tested, at its circumference. Such immense skill may only be guessed at: here is as powerful a figure for the artist as the bell-casting scene in Tarkovsky’s Andrei Rublev or the life-or-death fabulations of Scheherazade. The trick rider and the poet belong to the same guild; both know that in order to get the job done you have to leap. The story has a telling footnote, one which could not have been lost on Ponsot: According to a squib in Time magazine, Winkless “accepted being a part of a horse dive as a dare...

중국의 예이츠 연구와 상징주의 미학

W. B. Yeats is one of the major foreign writers of the early twentieth century, who has lasting influence upon Chinese literature and is now a central object in Chinese literary research. China’s Yeats scholarship can be roughly divided into three phases―the May 4th Movement period through the 1940s; the 1980s; the period since the 1990s, through which symbolism is always a major topic. Pu Durong’s monograph W. B. Yeats’s Aesthetics of Symbols in Poetry (2006) forms a milestone in this field. Systematically sorting out the poet’s symbolist statements and offering a constructive exploration for the sources of symbolism and an inspiring analysis of the aesthetic mechanism of symbolism in his work, this monograph not only presents a summary of Chinese scholarship on Yeats’s symbolism but also proves to be a big step forward in the world Yeats scholarship.

Landscape poetry, daffodils, Symbols in poetry of daffodils, the expression of flower, Sense of beauty, Ancient Chinese poetry

Landscape poetry, daffodils, Symbols in poetry of daffodils, the expression of flower, Sense of beauty, Ancient Chinese poetry

Pengungkapan Makna Puisi "Bila Tomanurung Balik ke Langit" Karya Husni Djamaluddin

Puisi ini mengisahkan tentang puisi tema budaya “Bila Tomanurung Balik ke Langit”. Untuk memahami puisi ini salah satunya dengan pendekatan semiotika. Metode yang digunakan adalahmetode penelitian deksriptif kualitatif, yaitu suatu penelitian yang menggambarkan objeknya secara apa adanya. Pengumpulan data penelitian ini menggunakan teknik inventarisasi, baca simak, dan pencatatan. Teknik analisis data yang digunakan dalam penelitian ini adalah teknik analisis isi yang mencakupi identifikasi, kiasifikasi, analisis, interpretasi, deskripsi, dan konfirmasi. Hasil temuan yang diperoleh dalam penelitian ini adalah deskripsi ikon, indeks, dan simbol dalam puisi. Setelah itudilanjutkan dengan pembacaan puisi secara heuristik dan hermeneutic. pada akhirnya, peneliti menemukan tema dan relevansi tema pada puisi. Relevansi tema puisi dengan kebudayaan yang ada di Sulawesi Selatan adalah mitos dalam masyarakat Bugis serta religiusitas masyarakat dan hubungannya dengan mitos-mitos.

Obadiah's ‘Day of the Lord': A Semiotic Reading

The semiotics of Yuri Lotman employs a theoretical contradiction. A symbol, by definition, must be both repeatable and unrepeatable within the same semiotic system. This paradox precludes the possibility of a perfectly static symbol in poetry. Every symbol, by nature of its syntagmatic axis, must develop as the surrounding semiotic system unfolds. This article demonstrates that when Lotmanian semiotics is applied to the poetry of Obadiah, it becomes evident that Obadiah's use of ‘day’ originally appears to be two distinct symbols as determined by their differing syntagmatic values. Yet as the system develops, the apparently separate usages of the symbol are drawn together in a heightened state of tension before their fusion into a single unified sign for the ‘day of the Lord’ within the system.

“Ave (aunque muda yo)”: The Image of the Nightingale in Góngora's Love Sonnets

The nightingale is one of the most metatextual symbols in poetry, but its meaning varies considerably from one context to another. In the works of some poets, the bird is a figure of orality, a symbol of virtuosity in singing. In others, however, it is a metaphor for writing. In classical mythology, the nightingale is the metamorphosis of Philomela, who after being raped and having her tongue cut out by Tereus, reveals what has happened to her by weaving a tapestry with images of Tereus's transgression. The bird is thus associated with silent signs that resemble those of a text. This essay examines the representation of the nightingale in three sonnets by the Baroque poet Luis de Góngora, and contrasts his use of the image with that of Garcilaso de la Vega. Whereas Garcilaso represents the nightingale as an ideal of perfect singing and as a natural analogue of the poet, Góngora emphasizes its writerly nature and creates a more complicated relationship between the lyric voice and the bird.

Conquering Cities and “Conquering” Women: A Contribution to the Understanding of Symbolism in Poetry

Conquering Cities and “Conquering” Women: A Contribution to the Understanding of Symbolism in Poetry

Sobre los significados del laurel y sus fuentes clásicas en la Edad Media y el Siglo de Oro

As part of the classical heritage, fully valid throughout the Middle Ages and the Golden Age, the laurel was still during this time the symbol of power, the military triumph, the gift of prophecy and, above all, the symbol of poetry as well as the sign of glory which can be achieved through the arts. It was also associated with it the belief, preserved to the present day and very much alive in our classical literature, that laurel cannot be struck by lightning. On the other hand, its branches were both the symbol and trophy of the heroic poetry, whereas myrtle was suitable for the erotic and the ivy for the minor poetry, mainly the pastoral or bucolic, but in spite of this, laurel is often used as seasoning and with its symbolic meaning in eclogues and pastoral books. Finally laurel is associated with love: Petrach, together with his followers, used it to refer to his beloved Laura, by means of the phonic association, and sometimes semantic as well, between Laura and laurel ; and as for the Ovidian legend that tells Apollo's love for the nymph Daphne, who was turned into a laurel, its different versions, the serious as well as the burlesque ones, were plentiful during the Renaissance and Baroque periods.