Verbal Art Research Articles

СИМФОНИЗМ ПРОИЗВЕДЕНИЙ И. Л. СЕЛЬВИНСКОГО: РОМАН-ЭПОПЕЯ «АРКТИКА» И ПОЭТИЧЕСКИЙ ЦИКЛ «АЛИСА»

The article examines the interconnection of musical and verbal arts. Using the novel «Arctic» and the poem cycle «Alice» as examples, an analysis is conducted of the artistic techniques employed by I. L. Selvinsky to create verbal analogs of musical structures. It is established that the thematic depth of the works, detailed depiction of the processes of character formation and development, their spiritual quests, and the resolution of internal conflicts indicate the symphonic nature of the poet’s thinking. The reference to the symphonic works of P.I. Tchaikovsky, the disruption of the composer’s accepted symphony order, enhances the aesthetic direction of the poetic work and reveals profound meaning. The unity of thematic and imagery material, the utilization of similar principles in the development of musical and literary works allow for the poetic cycle «Alice» to be considered as a symphonic suite, with its poetic elements assessed in the parameters of musicology correlated with literary methodology.

Folklore on Kayori: An Oral Tradition about Natural Disasters in Central Sulawesi

The characteristics of Indonesian society are firmly attached to the image of expressing language orally, which has been done since long ago and has survived until now. Folk beliefs and imagination are the main essences of cultured human life when creating stories. Although the current situation signifies a modern life, the researcher argued that folklore is an oral tradition still relevant to life’s context substantially and functionally, as on kayori from Central Sulawesi. This research aimed to revitalise kayori as folklore in Central Sulawesi, an oral tradition about natural disasters. The researcher generated knowledge in this research qualitatively as a method that included a literature review study. The researcher collected and used reference sources related to the variables of this study. The research showed that kayoriis a folklore that affirms oral tradition as an art to express the function of learning and remembering the messages in poems and sounds. The messages of kayori have implications for practical actions for the community regarding natural disaster mitigation related to disaster policy, ethics, religiosity, and ecological values. In the end, the verbal art of kayoriremained a part of the futuristic world because it provided knowledge on humanitarian and environmental aspects related to natural disasters in the contemporary era.

PROVERBS AND SAYINGS REFLECTED IN GIBI BITHAI

Proverbs and sayings are a form of verbal art. They enhance the appeal of speakers, singers, and authors, making them more intriguing and relatable by facilitating a stronger connection with their audiences or readers. Proverbs and sayings are powerful tools for sharing knowledge due to their interesting, relatable, and culturally meaningful nature. Although they are different, most of them are similar. One of the only epic works of the Bodos, GibiBithai, has a large number of folklore elements. GibiBithai is a verse relating to Bathouism, and there are many good examples of proverbs and sayings in various chapters. These are closely related to Bathouism and Bodo society. The study has been done through descriptive analysis with a close reading method. In GibiBithai, the author BihuramBoro has used proverbs and sayings to enhance the quality of the epic or to make it attractive to the recipients or the reader. These are often said in a tricky or indirect way to make you think and help you understand. These are like wisdom puzzles that you have to think about to solve. The proverbs and sayings of the GibiBithai are collected and gathered from the Bodo society prevalent among them. These are mostly related to their daily conversations and different situations. They serve as timeless guidelines for navigating numerous elements of life and making ethical decisions. BihuramBoro has employed proverbs and sayings to improve the quality of his work by making it more appealing to the receivers or readers. Furthermore, by documenting these in the book, many forgotten and endangered proverbs and sayings have been brought back to life.

MƏHƏMMƏD FÜZULİ SÖZÜNÜN QÜDRƏTİ

The Power of Muhammad Fuzuli's Words Summary M.Fuzuli is the pearl of our classical literature. His works are loved, read and will continue to be read even centuries later. The work of Fuzuli, who treats his native language with great respect and love, is not a source accessible to every human mind. To understand this source, the reader must have high taste and deep thinking. The great artist knew the value of every word he spoke and managed to lift it to the skies. It is for this reason that Fuzuli, indispensable in praising the divine beauty, stands at the top of the world's verbal art. Kay words: meaning, word art, language, artistic style, philosophy

Interrogating the Algerian Folkloric Identity in Khadra’s What the Day Owes the Night

This paper is an attempt to explore Folkloric material in Yasmina Khadra’s What the Day Owes the Night, to reconsider folklore, not as a remnant of the past, but as an artistic vehicle to locate cultural belonging. It examines the different elements by which folklore shapes individual and collective identity in colonial Algerian literature. The novel of Yasmina Khadra represents material and spiritual folk constituents of the Algerian national and cultural identity during the French colonization, mainly the moral struggle of the protagonist between his Algerian cultural heritage and the French-acquired culture. The novel is rich in cultural, artistic, and folkloric elements of the Algerian individual and collective identity. It also exhibits the contrast between the local, and everyday French habits, causing a chasm between the two cultures the protagonist is struggling to bear and fill. This research indicates that the protagonist’s internal conflict reflects the larger struggle that nearly all Algerians went through during French colonization by imposing the colonial culture on their own. Research findings demonstrate that folklore is a popular material that springs out from recurrent situations of everyday life. Khadra’s What the Day Owes the Night expresses verbal art as academic parlance to encounter identity issues. Khadra effectively captures the essence of Algerian society and its diverse cultural fabric through vivid descriptions and storytelling, shedding light on the intricate nature of identity in a colonized nation.

«Снежная королева» Х.К. Андерсена: зримый образ и скрытый смысл в детской иллюстрации

<p>The article examines the visible image and hidden meaning in children's illustrations using the example of comparing drawings by artists of from different periods of the XX — early XXI centuries: V.S. Alfeevsky, N.K. Golts and V.E. Yerko to the fabulous story of the Danish writer H.Chr. Andersen "The Snow Queen" (the third story "The Flower Garden of a woman who could conjure"). The main idea of children's illustration as a visual material for rational analysis is the correlation of pictorial matter and the possibilities of verbal interpretation of plots and motifs. The aim of the work was to identify the hidden meaning in the visual image of a children's illustration. The material for the analysis was the drawings of the artists, as well as the text of the work itself. It is proved that children's illustration is a synthesis of arts in which visual spatial art depicts the same idea as verbal art, but does it by other means: color, light, volume, composition, space, line, texture, etc. Pictorial (material) metaphor through a dialogical system (author-artist-reader) it affects the perception and understanding of the meaning of a work of art and the author's idea. The novelty of the research is seen in the expansion of ideas about the synthesis of visual image and verbal in the perception of an artistic work.</p>

Toward a Poetics of Maya Art and Writing

This article identifies large-scale chiastic and bracketing structures in contemporary, colonial and Classic Maya verbal art and literature. These structures are composed of the repetition of lines, verses and stanzas that frame sections of texts and sometimes images. Initially, the argument focuses on an ethnopoetic analysis that directs attention to such forms in modern and colonial narrative and presents an extended contemporary Yucatecan story to illustrate key forms. Second, it turns to similar structures in Classic Mayan narrative written in Maya hieroglyphs to examine the way rhetorical and linguistic tropes intertwined with corresponding features in visual compositions to craft highly sophisticated artistic programmes. By tracking how specific structures are deployed and in what contexts, this article defines an aesthetic that not only sheds light on verbal narratives, but also elucidates visual programmes and their interrelationship with text to reveal a fundamental principle in Maya world conceptualization. This literary and visual analysis develops a cross-medial Maya aesthetics comparable to other global poetic traditions.

National Code of Kazakh Proverbs and Sayings

Proverbs that store centuries-old cultural and historical information of the people, as a national code, are one of the spiritual values of the people. Proverbs and sayings are one of the most valuable types of verbal art, continuing from ancient times to the present day. It is known that the culture, spiritual wealth, and worldview of a people with a centuries-old history are transmitted from generation to generation through the language of the nation. That is, the true image of each nation and its existence are stored in the memory of descendants based on the language of this nation. Thus, one of the basic concepts of linguoculture can be considered the linguocultural code, the main tool that allows you to recognize the national code, get information about the ethnic group. In this regard, the main purpose of the article was to recognize proverbs and sayings that have accumulated national values of the Kazakh people as a national cultural code. The article analyzes the ethno-cultural, cognitive content of linguistic units in the paremiological system of the Kazakh people, proverbs and sayings are considered as a set of centuries-old signs of information. In linguistics, the anthropogenically relevant scientific paradigm considers the relationship between a person, language and culture, correlating language with the society in which this language functions, the social environment accumulated over the years of experience of the population as a whole, centuries-old history, the world of knowledge and traditions. Anthropogenically relevant paradigm is a branch of science that involves solving the problems of determining the influence of language on cognition, human culture, and how it functions. Obtaining proverbs as an object of study in the knowledge of the national-cultural picture of the world is one of the urgent problems of linguistics. The national code has been preserved in the language, traditions and customs, national character, culture and literature of the people. In particular, proverbs and sayings that convey the knowledge and worldview of the people, the general way of life, reflect the peculiarities of the national picture of the world. Since time immemorial, the cultural and spiritual identity of the Kazakh people has been distinguished by virtue, integrity, wisdom. The national code is rich in kindness, dignity, honesty, kindness, teaching and upbringing, commitment to spiritual and moral values. The national code peculiar to the Kazakh people has long accumulated debt and justice. Therefore, the systematic study of the linguistic nature of proverbs and sayings in the knowledge of the linguistic picture of the world and the definition of the national code is inextricably linked with the study of cultural identity, the nature of the people.

العلاقة بين الشعر الفني والصور المرئية في فيلم مرآة لأرسيني أليكساندروفيتش تاركوفسكي وأندري تاركوفسكي

هذا العمل مخصص إلى مواضيع نظرية مطبقة على فلم المرآة للمخرج والكاتب الروسي تاركوفيسكي، فعمله يعدُّ نموذجًا جيدًا لدراسة العلاقات الفنية بين الفنون بشكل عام والثقافة المرئية للسينما الأدبية والتعبيرية بشكل خاص؛ لانَّ هذا العمل يجمع تقريبا كل الفنون (الموسيقى, الرسم, الشعر والصورة). الدراسة تشمل عرض عام لمشاهد الفلم، فضلًا عن تحليل البنائي لبعض الظواهر النظرية التي تظهر العلاقة بين الفنون سواء كانت الفنون هذه طريق عن ثقدمالتعبيرية (الصورة الشعرية) أو الصورة مرئية ( الصورة التصورية المرسومة او الصورة الفلمية) وكيف يتمالتنسيق فيما بينها من خلال وسائط للغويه وفنيه وتقنيه تشير بطريقة أو بأخرى الىاكيفراسس, ميتافورا,سينستسيا, متا ايماخن الى اخره.... التي تهدف إلى تهيئة الجمهور للفيلم، والتي تثيرحالة معينه من الحماس أو بعض المشاعر الحقيقة

“Kuna Corona fake na Og”: The Role of Postcolonial Laughter during the COVID-19 Outbreak in Tanzania

Abstract Scholars are basically divided in their perception of the functions of postcolonial humour. One block ascribes it to the role of criticising postcolonial governments for maladministration. Another group ascribes it to ridiculing the masses for their passivity to unjust rulers. In addition, there is also a middle group that does not specifically assign the art to either side. Taking these varying opinions as a point of departure and the novelty of COVID-19 humour, the researcher adapted multimodality and social semiotics to analyse and ascertain the role of postcolonial humour used in debates about COVID-19 in Tanzania during the peak of the malady. In this regard, the study reports that besides entertainment function, COVID-19 postcolonial humour reminded people from all walks of life to take responsibility in the fight against the disease. Thus, the findings confirm that postcolonial humour in social media, like other traditional African verbal arts, criticises undesirable societal practices regardless of a person’s social and political status.

Narratives of Ujamaa and the constitution of the Tanzanian nation through the verbal art of Euphrase Kezilahabi and Marijani Rajabu

Euphrase Kezilahabi’s novel Dunia Uwanja wa Fujo (1976) carries on a debate with other Tanzanian texts about the forced migration and economic displacement being carried out at the time of its composition. Songs such as “Masudi” (n.d.) and “Mwana Mpotevu” (1978) by Marijani Rajabu, together with a host of others such as the song “Gezaulole” by Urafiki Jazz, participate in discussions, carried out across genres, demonstrating the ambiguous position Ujamaa then occupied within both intellectual and widespread sociocultural circles. These two works also serve to emphasize the centrality of this debate, in Swahili, regarding the formulation of Tanzanian society as an imaginary, postcolonial, and national space. A consideration of these texts alongside the rhetorical artistry of Tanzanian politicians allows us to formulate responses to the following: what are the ideas expressed in these works about the validity of the Ujamaa project as hyper-forced intranational migration and how did artists such as Kezilahabi and Rajabu formulate meaningful articulations of these situations?

Digitization of African Verbal arts

The twenty-first century is characterized by steady advancement in technology, ever increasing need for migration and evolution from the rural and archaic mode of operation to a more digitalized and urban modes. These evolutions in technology, migration and jettisoning of the old ways to embrace the modern ways have led to cultural displacement, loss of the authentic rustic flavours, and alteration of identity. In as much as technological advancement and, perhaps migrations, have led to the loss of the above stated, technology, specially, has aided the recovering, preservation and dissemination of the said African oral traditions to a wider audience and those who, ordinarily, might not have had access to them. Consequently, scholars of African oral traditions have embraced this development in technology and produced works where the cultural and linguistic interactions of the indigenous people are exhibited, thereby promoting intercultural relationships and preserving cultures. This study aims to examine the impact of digitization on African oral traditions, investigation how technological advancements simultaneously displace and preserve cultural heritage. The hybridity approach in use in this study finds out that digital platforms blend traditional and modern forms, creating new elements and challenging essentialized notions of African culture. The study concludes that digitization, while preserving the cultural heritage also threatens it. It was recommended that there should be a critical evaluation of technological impacts on cultural identity and authenticity as well as a community-driven digitization initiatives to ensure cultural ownership and authenticity.

An Insight into Translation Trends (with Special Reference to Russian and Armenian Translations of “A Christmas Carol”)

The article presents a comparative analysis of the cultural transfer of Dickens' novel “A Christmas Carol” in Armenian and Russian translations. The main objective of the article is to elucidate the distinctive characteristics of literary translation through the paradigm of cultural transfer, as well as the prevailing translation trends in Russian and Armenian national culture. In the Armenian literary environment of the late 19th century, British verbal art exerted a notable influence, precisely due to the influence of Russian literature and the intermediary role of Russian translations. The evaluation of Dickens' heritage as a literary classic, especially in Eastern Armenia, is first realised through the prism of its popularity in the Russian literary environment (in this context, significant textual modifications are made due to the different linguistic–cultural usage). At the same time, quantitative and qualitative studies have demonstrated the existence of Armenian translations or abridged versions (in Western Armenia and other centres of the Armenian diaspora, such as Athens and Beirut) of “A Christmas Carol”, created from the original text with apparent contextual alterations based on the influence of Armenian national specificity.

Artistic communication as an object of semiotics and linguistic aesthetics

The paper addresses the concept of artistic communication as a type of semiotic interaction in the discourses of art. Semiotic methodologies for modelling the sign and the communicative act, developed in the works of Gottlob Frege, Gustav Shpet, Jan Mukařovský, Roman Jakobson, Juri Lotman, Umberto Eco, Suren Zolyan, and some other semioticians, are discussed with a focus on the models of aesthetic sign and the corresponding models of semiosis in relation to artistic systems. The study focuses on the discourses of verbal art in its various manifestations (poetry, prose, drama, performance, spoken word, etc.) as material for a linguistic analysis of artistic communication. The paper specifically discusses the linguistic representations of artistic discourse within a model of aesthetic semiosis. The resulting model of artistic communication in verbal art is presented as a synthesis of Jakobson’s scheme of communicative act and its important specification in Lotman’s model of “literary communication”. Based on the existing models of sign, semiosis, and communication (taking Jakobson’s scheme as the main framework), a synthetic, linguo-aesthetic model of artistic communication is outlined, considering together the linguistic, semiotic, and aesthetic parameters of the artistic act.

НЕКОТОРЫЕ ПРОБЛЕМЫ НАУЧНО-АНАЛИТИЧЕСКОГО ПЕРЕВОДА ЭПИЧЕСКИХ ТЕКСТОВ

Translation remains the most important means of communicating the phenomena of verbal art to a foreign language audience. Therefore, for different tasks of recording the features of a literary text, there are different types of transferring the content of the original into the language of another medium. The article discusses some of the most typical difficulties that arise when turning to the type of translation called scientific-analytical. Recognizing the actual uniqueness of all the features of the source, attention is drawn to what ways to overcome the language barrier can be used in working on poetic texts when the source and translation languages belong to such different structural types as Adyghe, belonging to the group of Ibero-Caucasian languages and Russian - one of the Indo-European ones. Without denying the important role of the individual skill of the translator, the author comes to the conclusion that it is necessary to search for the organic unity of the translated text and accompanying comments with a glossary. The study's focus is solely on poetry texts.

RESEARCH OF MODERN KAZAKH LITERARY CRITICISM

Literary criticism is one of the most important and complex parts of literature, closely related to history and the theory of literature. It defines the nature of verbal art, the relationship and aesthetic peculiarities between the reality of life and artistic reality. It is aimed to evaluate literary heritage, artistic works in terms of the requirements of today. Literary criticism mainly considers contemporary literary trends, its development, writers and their work from a modern point of view. Since it defines the ideological power and aesthetic qualities of a literary work, literary criticism is based on the challenges facing the development of a society, differentiating it from the heights of human values. One of the topical issues of modern Kazakh literary scienceis the analysis of the current state, development directions, shortcomings and achievements of literary criticism, the study of features, the study of internal laws. It is awell known fact that the Kazakh literary criticism has passed various stages and is based on the best experience of world literature and sets up ts own scientific conclusions and positions. Scientific principles of literary criticism are interconnected with new methods of semiotics, structuralism, postmodernism in modern Kazakh literary science. Contemporary literary criticism focuses on receptive aesthetics and aesthetic categories. Comprehensive understanding of new directions has determined the goals and objectives of our research work. In this connection, the article has covered issues of generalization, analysis, comparisons, study of critical views, new searches, scientific works, critical views of modern Kazakh literary critics. The review of new approaches to the study of Kazakh literary criticism was conducted as well. Having conducted the analysis of significant research works of foreign and domestic researchers, the role in the literature has been determined. As a result of a comprehensive analysis, the article has presented its findings.

Peculiarities of the semantic representation of religious images in modern Ukrainian poetry (the period of the full- scale Russian invasion)

The article is devoted to the study of modern poetic texts regarding the interpretations and semantic content of religious images. Studying the implementation of one of the key language concepts based on the poetic speech material allows, on the one hand, to talk about the expressive capabilities of language as the main means of communication, and on the other hand, to investigate the specifics and changes in worldview orientations of representatives the modern generation of Ukrainians. The material for analysis was poetry posted on the pages of social networks during a difficult period for Ukrainians – the full-scale Russian invasion. The choice of language material is explained by the fact that poetry as a form of verbal art is capable of broadcasting the first quick reaction to events. The texts of different authors collectively provide a kind of the society’s emotional state projection, reflect a collective emotion. The ability to publicize poetic texts with the help of social networks and respond to them quickly endows modern poetry with a psychotherapeutic function. According to our observations, in the analyzed poetic texts, the most frequent religious image is God/Creator/Lord/Almighty. We note a number of traditional semantic interpretations of the image – faith, comfort, help, higher justice. The motif of disappointment, hopelessness, despair, which is realized in the image of an indifferent, blithe God, is typical for the poetry of a certain period. We also observe original interpretations, for example, God who sets out to fight for freedom and truth with weapons in his hands, or God who manifests himself in every Ukrainian – soldiers, volunteers, medics, power engeneer, etc. Interpretations of biblical stories are also interesting for analysis, for example, the story of the execution and resurrection of Christ is broadcast to modern Ukraine, which is currently suffering for the sins of humanity, but will surely be resurrected.

THE BORDER AS A FORM- AND MEANING-FORMING PRINCIPLE OF THE LYRICAL WORLD OF J. BOBROVSKY («DIE JUNGE MARFA»)

The study is devoted to the problem of the artistic language of verbal art, in particular, the German-language lyrics of the 20th century. The article notes that changes in the consciousness of a person at the turn of the XIX-XX centuries led to a change in the role of the author in the poetic statement. The experience of the border in its various manifestations finds its realization in the languages of the arts of the twentieth century. The purpose of the work is to study the phenomenon of the boundary in verbal art, its functions and forms of implementation at the level of the structure of the artistic image and the organization of the poetic statement. The material was a poem by the German-speaking poet Y. Bobrowski as a typical example of conscious creative work to create a new artistic language. In the article the main literary categories are presented as a border and as a result of the meeting of the individual and the supra-individual in the dialogue of the creative subject with universal human experience. Such an approach from the standpoint of the author’s theory and the problem of artistic activity makes it possible to discover the form and meaning-forming mechanism of the border. The example of analysis shows how a creative subject in a dialogue with genre structures and other poetological categories, challenging or confirming their boundaries, creates new boundaries that give them life in new material.

“I collect the rosary from words...”: Poetic features of Razil Valeev’s verses

The article describes the life and creative path of Razil Valeev, analyzes his poetic works and determines the poet’s place in Tatar poetry of the second half of the 20th–early 21st centuries. Although the writer worked fruitfully in all three forms of verbal art, it was in the poetic field that he became famous as a talented poet. This article proves that many poet’s works have become “programmatic” for Tatar poetry and identifies the main trends in his literary career. The central motifs and innovations, introduced by R. Valeev into the concept of the lyrical hero and the verse poetics, are presented in the context of the literary process of the second half of the 20th–early 21st centuries. As a result of our analysis, we trace a revival of rebellious traditions in R. Valeev’s works; against this background, we reveal the concept of his lyrical hero, as well as his system of motifs. The poet revived avant-garde traditions in the spirit of Taktash, successfully used Aesopian language through symbolic images and referred to the folk style in spiritual lyrical poetry.

Orality in Yorùbá films: A study of selected films of Akínwùmí Iṣọ̀lá

Despite technological innovations, orality still forms one of the aesthetic elements in the new media such as home video films as a result of the unending interface between orality and the literacy tradition. Using intertextuality as an approach, in this article I examine orality in selected films of Akínwùmí Ìṣọ̀lá, with a view to showing how he uses verbal arts as a powerful tool for the transmission of cultural values. The selected films are Saworoidẹ (1999), Agogo Èèwọ̀ (2002) and Ẹfúnṣetán Aníwúrà (2005). The films were selected based on their preponderant featuring of oral narratives. My findings reveal that folktales, legends, songs, Ifá corpus, drumbeats, incantations, and panegyric are the Yorùbá oral genres that Akínwùmí Ìṣọ̀lá incorporates into his films. One can infer from Ìṣọ̀lá’s films that there is an overlap between his oral culture and his creative work because culture is the active force that energises and drives the creative work. I conclude that Ìṣọ̀lá uses his creative ingenuity to re-awake and preserve Yorùbá oral tradition in his films, which points to the fact that oral literature has a continued vitality for contemporary society.