Academic literature on the topic 'Artistic work and poetic style'
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Journal articles on the topic "Artistic work and poetic style"
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Sipkina, N. Ya. "WAR BALLADS GENRE IN THE POETRY OF R. ROZHDESTVENSKY AND V. VISOTSKY (comparative poetics of the poets’ styles) IN THE CONTEXT OF THE LITERARY PROCESS OF 1970S: BASIC TRENDS OF DEVELOPMENT." Bulletin of Kemerovo State University, no. 2 (July 8, 2016): 210–15. http://dx.doi.org/10.21603/2078-8975-2016-2-210-215.
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The paper considers the poetics of the artistic styles of romantic poets R. Rozhdestvensky and Vladimir Vysotsky in the context of poetic-style trends of the second half of the 20th century, with the example of their ballad works. This aspect of the research is topical in the modern literary criticism. The author concludes that the unity of the poetic trends and feeding their traditions have helped artists to reveal their talents more brightly and make a new word in the evolution of the style of the Russian verse.
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Sultangalyeva, Zh. "MODERN KAZAKH POETRY AND LYRICS F.UNGARSYNOVA." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 330–35. http://dx.doi.org/10.51889/2020-4.1728-7804.67.
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The article presents a detailed analysis of the multifaceted poetic work of the famous poetess F. Ungarsynova. This is the indissoluble unity of the lyrical hero and author, and the poet's finest poetic speech, and the variety of the genre of her works, and the complex world of the image of the lyrical hero. The article attempts to describe the aesthetic worldview and work of F. Ungarsynova in a comparative manner. Particular attention is paid to the artistic world and the linguistic means of F. Ungarsynova, who have her own poetic style. Also considered is the enormous influence of the poet's work on modern Kazakh poetry. The article draws attention to the fact that the poetess managed to combine such principles as open citizenship and piercing lyricism, purity and nobility of human relations and the tragedy of unrequited love, lines about sacred friendship and wise thoughts about the poet’s craft. Her poems are an impressive picture of modern reality.
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Tieliezhkina, Olesia. "Means of expression of Ukrainian baroque poetry: linguistic style view." Ukrainian Linguistics, no. 51 (2021): 95–106. http://dx.doi.org/10.17721/um/51(2021).95-106.
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The mysterious world of Baroque poetry has scientific interest among both literary critics and linguists for a long time. However, despite some elaboration of the problem, there are some gaps that need linguistic and stylistic coverage. It determines the relevance of the consideration of expressive and pictorial means of different linguistic nature, manifested in the poetic works of the Baroque era. The purpose of the research is to identify and characterize the means of linguistic and artistic expression of the language of the Ukrainian Baroque poetic. Fundamental in the formation of a system of artistic means, realized in Baroque poetry at all levels of language, is a combination of rational and irrational principles. In the poetry of that time, the “atmosphere of the literary game” was consistently created, which was embodied with the help of certain linguistic and expressive units. The author concludes that Ukrainian Baroque poetry is characterized by the use of various tropes and stylistic figures, including assonance and alliteration, equiphony and metaphony, paronymic attraction and phonetic epanalepsis, sound imitation and capitalisation, metaphor and metonymy, comparison and epithets, personification and periphysis, hyperbole and meiosis, parallelism and gradation, antithesis and oxymoron, polyptoton and annomination, doubling and anadiplosis, anaphora and epiphora, homeothelium and chiasm, amplification and polysyndeton. Among them, the artists mostly used figures based on exaggeration, opposition, repetition, and metaphor. The masterful combination of different stylistic means ensured the creation of an expressive, unique and perfect linguistic and artistic picture of that time. The logical continuation of the started research is to find out the influence of the Baroque tradition of decorating the fabric of a poetic work on the further formation of the Ukrainian poetic language.
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Novozhilova, Elena V. "Individualization in poetic book review." Neophilology, no. 19 (2019): 357–63. http://dx.doi.org/10.20310/2587-6953-2019-5-19-357-363.
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We present the individual results of a qualitative, comprehensive reviews analysis of collections of poems published in Russian literary periodicals of recent years. We formulate the goal of the reviewer – to attract the reader to his text and through it to the poetic work; the task of the reviewer is to detect and convey to the reader such signs of the author’s style and poetic work (book) as the essence of this style, which make it possible to speak of the author and book as unique, different from all others (“Pushkin is Pushkin”). We emphasize that a literary critic works primarily on the individualization of an artistic work. In this regard, we unfold the analogy of the work of the critic with the work of the forensics analyst on the identification of an unknown ob-ject: as such object (identifiable) serves not yet written content of the review, as an object for comparison (identifying) serves the poetic text. We list the features that are being compared, we indicate that these features are not accidental, but are strictly due to the task of individualization. We sum up that the poems review is not a simple reflection of the poems peculiarities, plus the critic’s subjective attitude towards them; for a deeper understanding of how a literary-critical work is created, it is necessary to borrow a number of concepts from another field of knowledge – the forensic identification theory.
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Potashova, K. A. "Poetic Formula “I see” in K. N. Batyushkov’s Work: Creative Assimila-tion of the Derzhavin Tradition." Nauchnyi dialog 1, no. 8 (August 31, 2020): 258–71. http://dx.doi.org/10.24224/2227-1295-2020-8-258-271.
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The author analyses the visual metaphors of K. N. Batyushkov’s poetry, in which he acts as the creative heir to the artistic style of G. R. Derzhavin. The urgency of the problem is connected with the need to clarify the features of the creative method of K. N. Batyushkov in the aspect of his assimilation of the Derzhavin tradition. The novelty of the research is connected with the expansion of ideas about the poetics of the visual in Russian poetry of the early 19th century, in particular, in the work of K. N. Batyushkov. It is proved that K. N. Batyushkov represents vision as a process of cognition of the world. The mechanisms of K. N. Batyushkov’s transformation of visually perceived world in an artistic image are considered, the artistic thinking of the poet is reconstructed. It is revealed that the model of creating a visual verbal image in K. N. Batyushkov’s work is based on the poetic formula “I see.” It is shown that K. N. Batyushkov emphasizes the position of the observer, reflecting at the same time on the diversity and greatness of God’s world, on the cause-and-effect relationship of reality phenomena. It is established that a special place is given to the representation of historical events in the work of the poet: through the poetic formula “I see” K. N. Batyushkov places himself inside the picture, which corresponds to the emerging aesthetics of romanticism with its cult of personal perception of reality.
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Khodjakulov, Sirojiddin. "THE GRADUAL DEVELOPMENT OF THE GENRE OF TARKIBBAND (POETIC FORM WI TIC FORM WITH REPEA TH REPEATED REFRAIN) IN J TED REFRAIN) IN JADID LI ADID LITERATURE." Scientific Reports of Bukhara State University 4, no. 6 (December 29, 2020): 167–75. http://dx.doi.org/10.52297/2181-1466/2020/4/6/10.
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Background. This article describes the evolution of the genre of tarkibband (poetic form with repeated refrain) in the system of lyrical genres in the national enlightenment and jadid literature, the principles of evolution of this genre, its place in the general literary process, new principles, updating the theme and ideological content, examples in the works of jadid and enlightened poets, like Abdurauf Fitrat and Saidakhmad Siddiki Ajzi, the gradual development of the content of the genre tarkibband and the traditional and innovative features of this genre are studied in a monograph in comparative typological, analytical-comparative, descriptive and critical aspects. Methods. We have seen such a situation in the works of poets of the first half of the twentieth century, mainly in the example of Ajzi's poetry. Although the language, narrative style, style and style of the poem are traditional, apparently none of the poetic images, means of artistic expression and high-meaning expressions in both verses of this tarkibband deviate from the normative requirements of classical poetics.
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Frențiu, Rodica, and Florina Ilis. "‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy." Eikon / Imago 10 (February 8, 2021): 311–22. http://dx.doi.org/10.5209/eiko.74154.
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The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a representative and an expressive art – with the practice of calligraphic art, the present endeavour aims to identify the factual and artistic poetics of this visual (pictorial) and verbal art. As such, our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object (through its linguistic scriptural contents). In our analysis, the Japanese calligraphic art becomes the object of a reading that exploits the Western and Eastern aesthetic poetic theories, in an attempt to explore this art’s means of existence, functioning, and reception, by revealing its calligraphicity, or its artistic-aesthetic quality. As a reflection on the relation between the image and the word, and on the coherence of the vision triggered by it, based on the characteristics of the visible, our study is an original approach that analyses and interprets the vocabulary and the formal style of a unique artistic field that begins with a linguistic expression, as a means of representation, and culminates with an abstract form of expression, as a means of presentation.
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PALASH, Alyona. "INTERTEXTUALITY IN THE POETIC LANGUAGE OF MAXYM RYLSKYI." Culture of the Word, no. 92 (2020): 114–22. http://dx.doi.org/10.37919/0201-419x-2020.92.9.
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Problem’s setting. The problem of interpretation and research of the term “intertextuality” today is a topical issue of philosophy, literary criticism, linguistics, modern Ukrainian linguistic poetics, and stylistics of the text. That is, no text can be created in an empty space, it must have an intertextual relationship with other works or texts. Analysis of recent studies. The theoretical basis for the study formed works in the field of modern linguistics, in particular, Robert de Bogrand, Alexander Veselovsky, Olga Vorobyova, Wolfgang Dressler, Alexander Potebnya considered “intertextuality” as a textual category; Yuri Lotman, Vladimir Lukin – as a prerequisite for textuality; Lyudmyla Babenko, Suren Zolyan, Larysa Omelchenko, Natalia Fateeva – as means of its implementation in specific texts. Objective of the research. The purpose of the work is to analyze the external and internal connections of the literary text of Maksym Rylsky and the means of their realization in the explicitly intertextual process of the text’s existence. The main part. The article studies the peculiarities of the artistic embodiment of intertextuality in the poems of Maxim Rylsky; the definition of intertext in a broad and narrow sense is traced; the classification of the intertextuality of Jennet is singled out. The focus is on the separation of language units, intertextual components in the language of Maxim Rylsky; examples and quotations, allusions, titles, epigraphs, hints, genre connection of texts, references to the pretext in the artist’s creative work are given and analyzed. Conclusions. Research and analysis of the intertextuality of the artist’s poetics show that in a new way the comprehension and depiction of quotations, allusions, epigraphs, titles, hints, paraphrases become differential features of the individual author’s style.
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Airapetova, Svetlana G. "Variable methods of complex text analysis in Russian language lessons." Psychological-Pedagogical Journal GAUDEAMUS, no. 3 (2020): 44–49. http://dx.doi.org/10.20310/1810-231x-2020-19-3(45)-44-49.
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We considered methods of teaching Russian language and literature. To satisfy the student's desire for creativity we used various forms of work on editing, correcting texts on each lesson. We paid much attention to the study of vocabulary and stylistics. Practical stylistics considers ways to best use of speech tools. We gave the concept of “school” stylistics. We gave examples that give a rich material for stylistic analysis. We placed the emphasis on the fact that the artistic style differs from other styles of the Russian language primarily by a special aesthetic function. If spoken speech performs a communicative function – the function of direct communication, scientific and official business – an informative function – the function of communication (scientific or business), then the artistic style performs an aesthetic function, the function of an emotional-like influence on the reader or listener. Esthetic function defines fiction language, focuses attention on how ordinary words, used in everyday life, having been included in the poem, the story or the novel, get a special poetic charm, charm, depth for some reason.
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Yunusova, Gunel Xanlar. "Functioning of Proper Names in the English Literary Text." Path of Science 7, no. 5 (May 31, 2021): 3006–11. http://dx.doi.org/10.22178/pos.70-3.
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This article discusses the functioning of proper names in a literary text. The primary attention is paid to the study of the essential functions of anthroponyms. This work will focus on studying the origin of anthroponyms and their use in a poetic text. The features of each functional style have long made it possible to contrast the literary and artistic style with everyone else in the presence of exceptional semantic complexity in the literary texts, a multi-tiered composition, and the aesthetic function of the word that organises the entire context of the work. Onomastic units are integral components of the space of a literary text; they are a connecting, constructive element of the meaningful and semantic space and structure of the text. Proper names participate in the creation of semantic multidimensionality of the text, are a means of translating the author's intention and the artistic idea of the work. The article uses descriptive and comparative linguistic methods. It is noted here that the creation of proper names is a practical process and is directly related to the mental-national thinking of the people. The scientific and methodological study of names is theoretical. The proper name in a work of art performs some artistic functions. They include identification, ensuring unity of perception, characterising a character, shaping his image and plot of work, forming subject-object relationships, spatio-temporal and compositional organisation of work, and implementing intertextual connections.
Dissertations / Theses on the topic "Artistic work and poetic style"
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Alyal, Amina. "Changes of mind : imitation and metamorphosis in the work of Petrarch, Shakespeare, and their contemporaries." Thesis, University of York, 1997. http://etheses.whiterose.ac.uk/10789/.
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Gcumisa, M. S. S. (Mlindeli Samuel Simeon). "Nature as a source of inspiration in Zulu poetry." Diss., 2003. http://hdl.handle.net/10500/1064.
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This study explores nature as a source of inspiration in Zulu poetry. With the exception of the introductory and concluding chapters all chapters are structurally similar. Each chapter consists of an introduction, communication of meaning, elements of poetry employed to communicate meaning, types of poems and observations and conclusion.
Chapter 1 deals with the aim of the study, definition of terms, motivation, delimitation of scope of study and research methodology.
Chapter 2 discuses poetry of the period between 1935 and 1945.
Chapter 3 looks at poetry of the period between 1946 and 1955.
Chapter 4 deals with poetry of the period between 1956 and 1965.
Chapter 5 investigates poetry of the period between 1966 and 1975.
Chapter 6 focuses on observations and conclusion.African Languages
MA (African Languages)
Books on the topic "Artistic work and poetic style"
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Od psalmów słowiańskich do rzymskich medytacji: O stylu artystycznym Karola Wojtyly = From Slavic psalms to Roman meditations : on Karol Wojtyła's artistic style. Warszawa: Wydawnictwo Uniwersytetu Kardynała Stefana Wyszyńskiego, 2013.
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John, Piper. Seeing beauty and saying beautifully: The power of poetic effort in the work of George Herbert, George Whitefield, and C. S. Lewis. Wheaton, Illinois: Crossway, 2014.
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Thucydides and Pindar: Historical narrative and the world of Epinikian poetry. Oxford: Oxford University Press, 2004.
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Masters of repetition: Poetry, culture, and work in Thomson, Wordsworth, Shelley, and Emerson. New York: St. Martin's Press, 1998.
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William, Blake. Milton a poem: And the final illuminated works: The ghost of Abel, On Homers poetry (and) On Virgil, Laoco"on. London: William Blake Trust, 1993.
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Thomas, Greg. Border Blurs. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620269.001.0001.
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This book presents the first in-depth account of the relationship between English and Scottish poets and the international concrete poetry movement of the 1950s-70s. Concrete poetry was a literary and artistic style which reactivated early-twentieth-century modernist impulses towards the merging of artistic media while simultaneously speaking to a gamut of contemporary contexts, from post-1945 social reconstruction to cybernetics, mass media, and the sixties counter-culture. The terms of its development in England and Scotland also suggest new ways of mapping ongoing complexities in the relationship between those two national cultures, and of tracing broader sociological and cultural trends in Britain during the 1960s-70s. Focusing especially on the work of Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard, and Bob Cobbing, Border Blurs is based on new and extensive archival and primary research. It fills a gap in contemporary understandings of a significant literary and artistic genre which has been largely overlooked by literary critics. It also sheds new light on the development of British and Scottish literature during the late twentieth century, on the emergence of intermedia art, and on the development of modernism beyond its early-twentieth-century, urban Western networks.
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Shcherbakova, Marina I., ed. Literary process in Russia of the 18 th — 19 th centuries. Secular and spiritual literature. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/lit.pr.2020-2.
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Investigations of the creative heritage of Russian writers and poets of the 18 th -19 th centuries, as well as of the most prominent representatives of the Russian clergy and Russian culture, are presented in the scientific work; key issues of the writers’ work method and style, of their works’ genre features, creative self-determination, are raised; new and unique explanations of both widely known and less read classics’ works, which reveal deep meanings and ideas that have not yet been identified in literary criticism, are given. The literary process of the era is illustrated by the special continuity of thoughts and ideas characteristic of Russian literature for which, deep vision and understanding of life, religious consciousness (it is from the said position the study of the works’ artistic worlds is necessary). Materials of archives, rare book publications and periodicals equipped with scientific commentary are introduced into scientific circulation. The originality of the published investigations and materials gives the collective work topicality and special colour on the whole.
Book chapters on the topic "Artistic work and poetic style"
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Hedberg Olenina, Ana. "Motor Impulses of Verse." In Psychomotor Aesthetics, 43–102. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051259.003.0003.
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Chapter 2 explores scholarly theories that accounted for the role of kinesthetic sensations of pronunciation in the aesthetic experience of the poetic form. The Russian Formalists described the articulatory properties of various poetic styles as an objective, impersonal formal structure. They aimed to establish whether this structure takes shape during the process of verse composition and whether it impacts the subsequent oral renditions of the poem by the author and other readers. In historicizing the Formalists’ conceptions of the performative, embodied aspect of poetry, my analysis centers on the Petrograd Institute of the Living Word (Institut Zhivogo Slova) and the Laboratory for the Study of Artistic Speech under the auspices of the Institute of Art History (Kabinet Izucheniiа Khudizhestvennoi Rechi pri Institute Istorii Iskusstv) between 1919 and 1930. Their endeavor to register poetic rhythms and intonations closely resembled the methods of experimental phonetics used by the European and American phoneticians. My analysis points to numerous common sources shared by the Russian and Western authors—notably, the publications coming out from Jean-Pierre Rousselot’s laboratory of experimental phonetics. The final section of the chapter unravels the concept of “formal emotions,” proposed by the Russian Formalists, as they attempted to distance themselves from the simplistic biographic interpretations of affects encoded in literature and considered the psychomotor properties of verse from the standpoint of genre and style.
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Hagen, Trever. "From Socialist Realism to the Prague Spring." In Living in The Merry Ghetto, 21–50. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190263850.003.0002.
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Chapter 2 explores aesthetic models, forms, and materials of creative practices in Czechoslovakia from the 1940s to the 1960s. It centers on how people made available aesthetic resources: the practice of furnishing an ecology. I examine the historical conditions of artistic production of post–World War II Stalinism’s “socialist realism” to the Czechoslovak Prague Spring and its political direction of “socialism with a human face” beginning with Egon Bondy’s work. I focus particularly on his biography as a producer and early poetry works after the 1948 coup, emphasizing two styles he developed with Ivo Vodseďálek from 1950 and 1951: Total Realism (Totalní Realismus) and Poetry of Embarrassment (Trapná Poezie). These poetic styles and content served as a response to the perceived absurdity of post-1948 Stalinist culture felt by Bondy and Vodseďálek. By examining this body of work, I investigate what Total Realism and Poetry of Embarrassment afforded, solved, and transmitted. On the heels of Stalin’s death and Khrushchev’s secret speech in 1956, I continue onto the boom and popularity of rock ’n’ roll during the 1960s and the initial, inchoate formation of the Underground following the Prague Spring of 1968. I analyze people’s engagement with circulating cultural media during this period that contributed to a cosmopolitan music scene in Prague, detailing the proto-underground rock bands of the 1960s and the emergence of psychedelic music in Prague.
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Thomas, Greg. "Abstract Concrete." In Border Blurs, 203–48. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620269.003.0006.
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In the work of the London-based poet Bob Cobbing, we can sense the culmination of a global shift in the definition of concrete poetry. For Cobbing, concrete poetry became a means of transcending or evading language in order to access a space of objective communication. His work responded to a whole gamut of twentieth-century and historical forms, from ritual chant-based practices to Dada performance, to the contemporaneous sound poetry of French ‘Ultralettrists’ such as Henri Chopin, William Burroughs’s cut-ups, and auto-destructive art. The example of classical concrete poetry served more as a stylistic counterpoint than a direct influence. Cobbing’s practice was also centrally motivated by a counter-cultural belief that artistic forms which broke down boundaries between media could have more broadly, socially disruptive and revolutionary effects. The development of these sentiments is traced from Cobbing’s early production of duplicator prints during the 1940-50s to his non-semantic, performance-oriented concrete practice of the early 1970s, in which single visual poems become the basis for endless improvisatory reworking. At the close of the chapter, the non-linguistic quality of Cobbing’s work is considered as a manifestation of, and response to, broader tensions within the concrete style.
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Burrow, Colin. "From Mimēsis to Imitatio." In Imitating Authors, 37–70. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198838081.003.0002.
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Beginning with the earliest Greek uses of the word mimēsis, this chapter charts the early stages of thinking about the imitation of authors. It suggests that Aristophanes’ parodies and imitations of Euripides influenced Plato’s negative view of artistic representations more generally. Plato’s use of the word mimēsis of moments when a playwright or narrative poet represented direct speech through a persona was a crucial development. It enabled later rhetorical writers to discuss how one author might perform such mimēsis on the style of another. The development of that thinking is explored in relation to Isocrates and Dionysius of Halicarnassus’s fragmentary treatise Peri Mimēseōs (concerning imitatio). These early discussions of the subject, however, left many questions unanswered. Is the object of literary imitation a particular set of texts, the moral character of an author, or a set of quasi-mathematical axioms that underlie the work of earlier writers?
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McCann, Ben. "1946–56: darkness and light." In Julien Duvivier. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719091148.003.0006.
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This chapter traces Duvivier’s return to France in 1945, and his difficulties in readjusting to a new film-making climate that now feted new directors and emphasised authentic, location-filmed reality. The chapter pays close attention to one of Duvivier’s key post-war films, Panique (1946). Although the film was a failure – critics likened it to pre-war poetic realism, a style and sensibility not in vogue in the changed artistic and political post-war landscape – Panique cleverly incorporates the pessimism of Duvivier’s 1930s films, while grafting on a new set of political and social contexts. Like David Golder and the figure of the Jew, Panique sheds light on another problematic representation in Duvivier’s oeuvre; it stands as an exemplar of viciously misogynistic ‘réalisme noir’ which seemed to scapegoat women for wartime collaboration. The chapter also looks at the different films Duvivier shot at this time. As well as darker works like Panique and Voici le temps des assassins (1956), Duvivier also made broad comedies, an adaptation of Anna Karenina, and intimate chamber pieces. One of his least known films – La Fête à Henriette (1952) – will be analysed to showcase Duvivier’s deft visual and narrative touch.
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Dawson, Clara. "Poetic Style: Jewellery and Value in Victorian Poetry." In Victorian Poetry and the Culture of Evaluation, 73–123. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856108.003.0003.
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Chapter 2 examines evaluations of poetic style from the 1830s to the 1860s and argues for the existence of a jewelled style which crosses over the genres of the album-book or anthology, the single-author volume and the periodical review. The intersection of raw economic value with fashionable display and artistic craft that coalesces around the jewel overlaps with the commodification of poetry as it circulates in the literary market. Jewellery becomes an important trope in both reviews and poetry, serving as a metaphor to express and calculate the kind of value that literature could offer. As a material commodity newly subject to mechanical reproduction, jewellery offered an analogy for the material changes to literary production. The chapter analyses poetry from gift annuals which exemplify the jewelled style, followed by a reading of Robert Browning’s The Ring and the Book and Elizabeth Barrett Browning’s A Drama of Exile.
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Rodríguez Matos, Jaime. "Sovereignties, Poetic and Otherwise." In Writing of the Formless. Fordham University Press, 2016. http://dx.doi.org/10.5422/fordham/9780823274079.003.0003.
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Chapter two traces the link between the Guerrilla or Foco in the early stages of the Cuban Revolution and the role of the dictation of the Muses in Romantic poetry. The chapter shows to what extent what is at issue is not simply a literary or aesthetic question, but the difficulty of confronting the void at the center of any politics. This void is not something that is offered as a motif by the arts, but the central evidence made available by the political upheavals in the Age of Revolution. Nevertheless, much of the intellectual, political, and artistic work that confronts that foundational abyss has no other aim than to cover it up. Thus, the central aim of the chapter is to bring into sharper focus the implications of a thought that is central to the history of modern aesthetics and politics, but which remains fundamentally occluded by that same archive.
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Long, Megan Kaes. "The Work of the Words." In Hearing Homophony, 57–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190851903.003.0003.
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Composers of homophonic partsongs developed formulaic text-setting schemas that translated poetic meter into musical meter: line lengths determine phrase lengths, poetic accents establish musical accents, and poetic form controls cadences and formal boundaries. Consequently, text-setting establishes an increasingly deep mensural hierarchy. At the same time, schematic text-setting codifies an organizational framework that parallels the way the mind constructs musical meter. According to dynamic attending theory, listener attention peaks in response to environmental regularities; this theory suggests that regular metrical frameworks like those in homophonic partsongs facilitate tonal expectation by drawing listener attention toward metrically accented harmonic events. Regular text-setting contributes to musical meter in a period when mensural structures are giving way to metrical ones. A new metrical style and a new tonal language emerge in tandem in the early seventeenth century, and the balletto repertoire highlights the close relationship between these evolving musical systems.
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"On Works Suitable to Men of Genius, and of Artists Who Counterfeit Others’ Style." In Critical Reflections on Poetry and Painting (SET), 415–18. BRILL, 2021. http://dx.doi.org/10.1163/9789004465947_066.
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McCarthy, Kathleen. "Poetry as Conversation." In I, the Poet, 38–80. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739552.003.0002.
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This chapter discusses the conversational model of positioning the agency of the poet in relation to the speech and events depicted in the storyworld. This model quite strongly segregates the poet's artistic motivations from those of the speaker by heightening the sense that the speaker is reacting to his immediate context and minimizing his consciousness of the poetic status of his words. Poems structured on this model may or may not give a full picture of storyworld events, but the speaker's language tends to highlight features like questions and imperatives or shorter and simpler sentences. This model can be called “conversational,” not because its style is particularly colloquial, but because it situates the speaker's language as an attempt to meet needs in his social and emotional environment. Significantly, such poems exhibit a high degree of artistic polish and thus offer ample evidence of the poet's artistic agency and motivations, but these discursive features are not linked to the speaker's agency in the storyworld. The overall effect, then, makes clear the distance between the speaker's wholehearted focus on his own world and the poet's careful orchestration of the poetic discourse, thus expressing structurally the distinction between speaker and poet, in spite of the first-person form and in spite of the speaker's characterization as a poet. The chapter then analyzes the poems in Sextus Propertius's first book, which forcefully demonstrates this model.
Conference papers on the topic "Artistic work and poetic style"
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Figedyová, Marianna. "POETIC TEXT OF VASILY SHUKSHIN – THE RED GUELDER ROSE IN RUSSIAN AS A FOREIGN LANGUAGE CLASS." In Aktuální problémy výuky ruského jazyka XIV. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9781-2020-2.
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The paper is devoted to teaching the interpretation of the artistic text in the master’s degree program at the Department of Russian Studies, Faculty of Arts, UCM. In the process of study, we look for the most effective way to bring students to learn about fiction, to help them discover the meaning of the work of art and find its place in the Russian and world artistic heritage. The paper aims to approach the teaching process as a synthesis of the reader’s own experiences and work with relevant scientific resources. The aim of such work is to gain deeper and more professional knowledge of students.
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Moiseeva, Victoria Victorovna. "Work on the musical phrase, style and artistic image in works of small forms." In IX International Research-to-practice Conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-113068.
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Frances Dias, Sarah, and Maria João Durão. "Architecture and Art: La Ronchamp’s symbiosis as a ‘total work of art’." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.612.
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Abstract: Le Corbusier developed his own unique poetics of architecture, perceived and understood as an art. In La Ronchamp, due to his complete creative freedom, he found a space to express his most poetic and artistic views. The research paper thus analysis the Chapel as a case study, in order to clarify Corbusier’s artistic and architectural vision, ideals and driving principles: drawing firstly from the architectural characteristics that define the space, secondly defining an integrated set of principles that conceptualize the architecture as an art, and lastly, an analysis of the particularities that compose the chapel as a ‘total work of art’, analyzing the union of the arts, both in concept, form and meaning, and in the overall context of Corbusier’s unqiue theory. Thus, the research paper aims to understand and uncover how the poetics and emotional condition lives through Ronchamp: the meaning it encases, the artistic values is sustains and the timeless ways it recreates. The overall study has both practical and theoretical applications and implications for architects and artists with an interest in the integration of art and architecture, as well as the conceptual connections between the arts; a vital issue in the contemporary world for the definition of a more meaningful and sustainable environment. Keywords: Art, Architecture, Le Corbusier, Principles, Poetry, Emotion. DOI: http://dx.doi.org/10.4995/LC2015.2015.612
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Koryčánková, Simona. "POETIC TEXTS IN TEACHING OF RUSSIAN ON B1 LEVEL (ON THE EXAMPLE OF WORKING WITH VOCABULARY DENOTING PERCEPTION IN THE POEMS OF O. BŘEZINA AND V. S. SOLOVYOV)." In Aktuální problémy výuky ruského jazyka XIV. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9781-2020-5.
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The author of the article aims to introduce Russian poetic texts into the teaching of Czech students on B1 level. The chosen teaching methodology is based on motivating the students with the use of Czech symbolist poetry by O. Březina and a subsequent analysis of a poem by V. S. Solovyov. Work with the poetry of both authors focuses on perceptual lexicon, which plays key role in uncovering the meaning of a symbolist text. Students can thus gain knowledge of polysemous words and their different author’s connotations in an enticing and creative way. This enhances not only their knowledge of the content and language, but also of the aesthetic component related to the main function of an artistic text
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Woolley, Tom. "Architectural Education and Community Power." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.53.
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Architectural Education in the UK has drifted toward an esoteric preoccupation with style and artistic production and is ignoring important issues of society and urban change. Techniques of user participation and involvement of students in real life social problems is on the agenda in only a few schools of architecture. Yet in the real world more emphasis is being placed on tenants and resident participation in social housing programmes. The Community Technical Aid movement is going from strength to strength. However UK schools of architecture are not preparing students for work of this kind. In this paper it is argued that architectural history and theory is largely to blame for placing too much emphasis on precedent studies divorced from social and political context. Progressive movements in CIAM and radical social programmes are ignored in favour of pre-occupation with fashionable but content free stylisms.