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Journal articles on the topic 'Poetic forms'
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Elliot, Alistair. "Translating Poetic Forms." Translation and Literature 2, no. 2 (September 1993): 67–83. http://dx.doi.org/10.3366/tal.1993.2.2.67.
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Glaser, Ben. "Forms of Poetic Attention." Genre 53, no. 3 (December 1, 2020): 241–46. http://dx.doi.org/10.1215/00166928-8847188.
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Tavlin, Zachary. "Forms of Poetic Attention." Comparative Literature 73, no. 4 (December 1, 2021): 506–8. http://dx.doi.org/10.1215/00104124-9313157.
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Romanyshyn, Nataliia I. "ANTIQUITY AND ENGLISHNESS AS LITERARY AESTHETIC FORMS OF NATIONAL IDENTITY IN JOHN KEATS' POETRY." MESSENGER of Kyiv National Linguistic University. Series Philology 23, no. 1 (July 3, 2020): 41–50. http://dx.doi.org/10.32589/2311-0821.1.2020.207226.
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AbstractThe paper focuses on the study of John Keats' poetic world shining with Antiquity and Englishness. Studyingthe ways of poetic embodying of these two concepts the paper assumes that Antiquity and Englishnessare considered to be literary aesthetic forms of expressing the national identity in poetic text. Based onthe cognitive poetics and literary studies the paper generates the idea of Keats' world perception and the meansof its verbalization in the text.RésuméThe paper focuses on the study of John Keats' poetic world with its Antiquity and Englishness.Studying the ways of poetic embodying of these two concepts the paper assumes that Antiquity andEnglishness are considered to be literary aesthetic forms of expressing the national identity in poetictext. The matter is that each poet makes his own unique poetic world, based on his personal experience,his personal background. John Keats creates antique imagery and in his own artistic way depictsreminiscences of ancient mythology and art. The paper analyses the ways of depicting this antiqueimagery and its functions in literary text. Based on the cognitive methods of literary and linguisticanalysis of poetic texts the paper generates the idea of author's perception, understanding andverbalization of the sense of national universe and human existence laws.The dissemination of antique images in Keats' poetry produces an effect of intertextuality.The aesthetic and pragmatic functions of images reflect the author's individual understanding of interactionbetween a human being and the national environment. This poetic intertextual power fosters theperceptionof cultural space of the motherland as an organic unity of "the domestic" and "the strange".Chronotopes and realia in Keats' poetry: 1) favor the embodiment of universal symbolicmeaning both in specifically ethnic, folklore and well-known, prominent ancient imagery forms, whichresults in semantic diversity; 2) create an effect of intertextuality; 3) perform evaluative pragmaticfunction. Keats uses the antique poetic palette for the creation of multilayer, versatile backgroundof panorama, which depicts the portrait of his own motherland underlying social, cultural, historicaland ideological implications of these images in the poetic texture. National identity is manifestedin Keats' poetic discourse by semantic superpositions and transformations of imagery poetic forms,which verbalize the concepts of Antiquity and Englishness.
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Mann, Iurii. "The Dynamics of Poetic Forms." Russian Studies in Literature 35, no. 1 (December 1998): 24–27. http://dx.doi.org/10.2753/rsl1061-1975350124.
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Bruce, Anne, and Coby Tschanz. "Poetic Forms: Shaping Aesthetic Knowing." Journal of Nursing Education 52, no. 9 (September 1, 2013): 543–44. http://dx.doi.org/10.3928/01484834-20130822-12.
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Patke, Rajeev S. "Yeats: Prosody and Poetic Forms." Yeats Journal of Korea 37 (June 30, 2011): 25–60. http://dx.doi.org/10.14354/yjk.2012.37.25.
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Schweppenhäuser, Jakob. "Poetikkens kunstformer: Om forholdet mellem poesi og poetik i Niels Lyngsøs MORFEUS." K&K - Kultur og Klasse 37, no. 108 (August 22, 2009): 160–87. http://dx.doi.org/10.7146/kok.v37i108.22002.
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Art Forms in Poetics: On the Relationship between Poetry and Poetics in Niels Lyngsø’s MORFEUS:In Denmark, the genre of poetics has to a high degree developed into poets’ own reflections on their literary work and working process. This turn has resulted in a textual hybridity, restlessly oscillating between essayistic-theoretical orientation and poetic discourse. It has been pointed out that scholars have generally failed to pay attention to the artistic elements of such poetological writings. This is where this article takes its point of departure, probing Danish poet Niels Lyngsø’s abundant, complex and ambitious bastard piece MORFEUS from 2004 – a blend of visual poetry, sonnets, associative lists, essays on literature and the arts and many other forms. Inserted in a slipcase, the large quadratic, unpaged sheets, fastened with metal rings, seem extremely tactile; the reader becomes a percipient, a sensing body. As the poetry and the poetics are inseparably wrapped in each other, the poetic, sensuous perception mode is encouraged to be transferred to the ordinarily content-orientated reading of theoretical reflections. The point is now that this transfer turns out to be fruitful: the poetic function is at times strikingly operative. Passages where this is the case are analysed profoundly and the implications and perspectives of this fusion of poetry and poetics are unfolded.
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Vinokurova, Antonina Afanas'evna, and Anna Igorevna Oshchepkova. "The metaphorical nature of V. Lebedev 's lyrics." Филология: научные исследования, no. 12 (December 2023): 96–105. http://dx.doi.org/10.7256/2454-0749.2023.12.69111.
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The authors examine the poetics of metaphor in the lyrics of V. Lebedev, one of the founders of the Even literary tradition. Vasily Dmitrievich Lebedev is a collector of Even folklore, a linguist who creatively reworked and adapted the spiritual heritage of his people in modern poetic forms, thereby breathing new life into the epic and song oral creativity of the Evens. The peculiarity of the poetic style of V. Lebedev, as a representative of young-written literature, is the orientation to folklore poetics. It is metaphoricity that is a characteristic feature of the poet's individual manner. Metaphors in Lebedev 's poetry have a number of features: the transfer of signs of the external world to the phenomena of mental life; folklore character of the metaphor; metaphors that create its unique poetic style; grammatical construction of the metaphor, poetic syntax of the text. The methodological basis of the study is the individual provisions of the works of A.N. Veselovsky, V.M. Zhirmunsky, V.F. Asmus, used in the work as methodological guidelines and premises for specific textual analysis. The research methods are determined by the nature of the text material. The novelty is due to the understanding of the lyrics of the Even poet V. Lebedev as a representative of young-written literatures. The artistic and visual means used by the poet reveal him as a talented master of words and an expert in his native Even language. On the one hand, the poetics of his works form an idea of the poet's individual style. At the same time, Lebedev is a follower of folklore poetics, focusing on the formulaic language of oral tradition. In this context, the metaphoricity of his poetic texts is of particular importance. Let's consider separately the metaphoricity of Lebedev's lyrics. The poetry of the Even writer is distinguished by the allegorical nature of the word, which is needed for a strong emotional impact, to create a visual image, a vivid artistic impression. In the poetry of Vasily Lebedev, we have identified the most interesting metaphors that create his own special author's style.
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Valentini, Jordi. "giovane poesia nella Svizzera italiana." Polisemie 2 (November 10, 2021): 159–75. http://dx.doi.org/10.31273/polisemie.v2.844.
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The article provides a broad overview of the poetry produced in Italian-speaking Switzerland over the past twenty years. The first part presents three channels of poetry dissemination (journals, editorial projects, and literary festivals) both within and outside the Swiss-Italian territory. The second part reflects on some critical readings of Swiss-Italian poetry and addresses the reasons why some forms of poetic writing have appeared later or to a lesser degree within the Swiss territory than they have in Italy, despite the two countries’ proximity. From this analysis, it is argued that the lack of strong counter styles in Swiss-Italian poetry has hindered the development of more mature and diverse forms of poetic expression. In the conclusion, it is argued that the non-use of digital resources for poetry production and dissemination in Italian-speaking Switzerland, as well as an often short-sighted cultural policy, are other important points to address in order to promote dialogue within and beyond the Swiss-Italian border. L’articolo fornisce una panoramica ampia della poesia prodotta nella Svizzera italiana negli ultimi vent’anni. La prima parte indaga tre principali canali di diffusione (riviste, case editrici, festival letterari) dentro e fuori il territorio della Svizzera italiana. La seconda parte riflette su alcune letture critiche della poesia nella Svizzera italiana e cerca di stabilire le ragioni per cui alcuni tipi di scrittura poetica siano giunti tardi o poco sul territorio svizzero rispetto all’Italia, nonostante la vicinanza tra i due paesi. Da questa analisi, si argomenta che la mancanza di controtendenze forti nella poesia nella Svizzera italiana abbia impedito lo svilupparsi di forme di espressione poetica più mature e diverse. In conclusione, si ritiene che il mancato uso di strumenti digitali per la produzione e la disseminazione della poesia nella Svizzera italiana, oltre che una politica culturale spesso poco lungimirante, siano temi importanti da affrontare per promuovere dialogo dentro e oltre il confine della Svizzera italiana. English title Young Poetry in Italian-speaking Switzerland. Publishing Strategies and Critical Readings
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Matyakupov, Sa'dulla Gaipovich. "Forms Of Dialogue And Artistic Expression In Modern Uzbek Poetry." American Journal of Social Science and Education Innovations 03, no. 04 (April 17, 2021): 35–46. http://dx.doi.org/10.37547/tajssei/volume03issue04-06.
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The article examines the factors of creating a dialogue in poetry and its formation, the synthesis of lyrical and dramatic images, forms of artistic expression, creative artistic skills. On the basis of the poems analyzed as the object of research, the peculiarities of the theory of literature and the issues of the poet's creative individuality are widely analyzed. It is also scientifically and theoretically proven that each poetic work created is in a sense a product of dialogical thinking and its main factors.
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Bochettaz, Olivier. "A New Language for a New Perception: A Study of the Influence of Chinese Poetry on the Composition of Spring and All." William Carlos Williams Review 40, no. 2 (December 1, 2023): 243–61. http://dx.doi.org/10.5325/willcarlwillrevi.40.2.0243.
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Abstract This essay highlights the numerous evidences of Chinese influences on Williams’s poetry, and particularly on the composition of Spring and All. What was it in Chinese poetry that could help Williams accomplish his poetic modernization which Pound was urging him to perform? In which ways and to which extent did Williams use Chinese poetic forms and concepts to compose his modernist masterpiece? As a continuation of the research of Wai-Lim Yip and Zhaoming Qian, two of the very few scholars who have focused their attention on this topic, this essay asks how much of what is seen by Western critics as poetic innovations by Williams can actually be seen as appropriations or derivations from Chinese language and poetics. It highlights that many of the poetic devices used in Spring and All, Williams’s breakthrough volume as a modernist, are actually either borrowed from traditional Chinese poetics, or result from the fusion of the English language with ideogramic linguistic concepts.
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Ogurechnikova, Natalija. "Theme of Lucifer and forms of speech in Icelandic biblical paraphrase." Scandinavian Philology 20, no. 1 (2022): 127–49. http://dx.doi.org/10.21638/11701/spbu21.2022.109.
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The subject of the article is the theme of Lucifer in Lilja, a poetic Icelandic biblical paraphrase dating from the first half of the 14th century. When analyzing Lucifer stanzas, attention is paid to the forms of speech of the author, their communicative properties and distribution. Attention to the sources of the monologue is determined by specificity of its structure and by peculiarities of the internal monologue as a form of speech. One thesis is that the context of St. Anselm’s speculative theology supports an interpretation of the monologue, which corresponds to the main idea of all Lucifer stanzas in Lilja. The article contains two sections, within the framework of which the following tasks are solved: In the first section, the forms of speech in Lucifer stanzas are compared with the forms of speech in the songs of the Poetic Edda; the purpose of the comparative analysis is to clarify relationship of Icelandic biblical paraphrase to the poetic traditions of Iceland. The second section of the article examines Lucifer’s monologue and its sources; here the structure of the monologue is considered and its meaning is clarified in the context of Lucifer stanzas on the one hand and the works of St. Anselm on the other. Results of the analysis are summarized in the Conclusion. The main method of work is comparative textual analysis from the standpoint of historical poetics.
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Ulyanova, Olga B., Daria E. Ertner, and Albina A. Mavlyutova. "Polycodal mechanisms in interpreting small poetic forms of the internet literature." Tyumen State University Herald. Humanities Research. Humanitates 5, no. 2 (June 28, 2019): 88–106. http://dx.doi.org/10.21684/2411-197x-2019-5-2-88-106.
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The article addresses the problem of decoding creolized “small” poetic forms with the reference to Russian and English Internet literature. Thus, we focus on the phenomenon of Russian Internet poetic texts poroshki and their authorized English language versions. Comic poetic texts poroshki are popular among Russian Internet users and reflect the reality of modern life. The novelty of the work lies in the new literary paradigm of interpreting poetic texts poroshki, which originally appeared within the Russian Internet.<br> The article aims at finding the mechanisms of decoding creolized “small” poetic forms as they appear in the Russian language and their English variants. Thus, we have implemented the lexical-semantic, stylistic, cognitive-discursive, and comparative analyses as we attempted to create original literary analysis which will allow to find algorithms in interpreting poetic texts poroshki (and any other “small” poetic forms) and to explain using image transformations based on creolization of verbal and non-verbal components of the texts. The suggested strategy takes into account the linguistic and extralinguistic literary codes and their creolization with non-verbal code of poroshki and allows creating semantic unity between verbal and non-verbal components of the poems. The results of the research help to promote poetic texts poroshki in the English language social networks and thus distribute this poetic form within other linguocultures.
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KSENIA N., GUSHCHINA. "FABULOUS TRADITION IN THE LYRICS OF V. NARBUT." HUMANITARIAN RESEARCHES 78, no. 2 (2021): 107–11. http://dx.doi.org/10.21672/1818-4936-2021-78-2-107-111.
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The article is devoted to the analysis of the fairy tale manner of narration in the poetic heritage of V. Narbut. The researched author, in the context of the main poetic tendencies of Russian literature at the turn of the 19th and 20th centuries, in search of new forms of narration, actively rethinks and includes existing narrative models in his work. The tale in this aspect provides great opportunities for poetic representation of the author's intentions. This work reveals the main stylistic, figurative and lexical signs of the tale, as well as the ways of their embodiment and refraction in the artistic picture of the poet's world in line with the poetic quests of acmeism.
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Ma, Ming-Qian. "Asserting the Ineffable: Rhetorical Appropriation of ‘Poetic’ and the Contemporary Poetry Text." CounterText 3, no. 2 (August 2017): 144–61. http://dx.doi.org/10.3366/count.2017.0085.
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An elusive, trace-like entity, ‘poetic’ presents itself in the form of an intangible and yet indispensable relation, or relatedness, in the overall dynamics of information transformation. Paradoxical in nature and function, its ineffability forms the very condition of expressivity in poetry and poetics. ‘Poetic’, as such, also gains popularity and practicality in popular culture at large where and when it becomes articulated, tailored pragmatically to the specificities of any given activity. As an epochal phenomenon, this pragmatic rendition of ‘poetic’ takes the more pronounced form of rhetoric, which appropriates ‘poetic’, and which is resorted to by the contending smaller narratives in the postmodern world as their means for their respective identity formations and legitimations. In the context of the contemporary poetry scene, this rhetorical appropriation of ‘poetic’ manifests itself eloquently in the three areas of rhetorical situation, constitutive rhetoric, and rhetorical styles, which reveal the mechanisms of a soft interpellation that grants the contemporary poets their identity and legitimacy through their own performative confirmation.
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배호남. "A Study of Poetic Forms in 『Baekrokdam』." Korean Poetics Studies ll, no. 35 (December 2012): 141–72. http://dx.doi.org/10.15705/kopoet..35.201212.005.
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Finch, Zachary. "Forms of Poetic Attention by Lucy Alford." Wallace Stevens Journal 45, no. 1 (2021): 123–25. http://dx.doi.org/10.1353/wsj.2021.0017.
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Nichols, Elizabeth. "Japanese poetic forms: haiku and martial arts." International Journal of Applied Psychoanalytic Studies 5, no. 2 (June 2008): 97–109. http://dx.doi.org/10.1002/aps.159.
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Gerver, Larisa L. "On the Structure of the 16thcentury Madrigals on Texts in Fixed Poetic Forms." Contemporary Musicology, no. 2 (2022): 4–47. http://dx.doi.org/10.56620/2587-9731-2022-2-004-047.
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Our study investigates madrigal settings of sestinas, sonnets and ballata with highly structured forms. They are, to a varying degree, unambiguously attributed to fixed poetic forms (formes fixes). In particular, the study explores the correspondence of the musical form to a specific fixed poetic form (rather than text-music correspondences of the most general nature, as is the case with the analysis of musico-poetic lines). A number of publications focusing on madrigal settings of texts in certain poetic forms (most often ballads) show that “the poetry precedes and influences the music” (Anthony Newcomb). This understanding is somewhat different from our observations, which have revealed two complementary descriptions. The first affirms the idea of precedence of the poetic form and its influence on the musical form; the key word for the second is “reformatting”: it describes the transformation of sestina stanzas, sonnets and ballata as they are set to music. Thus, we witness a certain tectonic shift: • the displacement of boundaries of the poetic form, • a change in the number of structural elements, • the violation of original proportions, • the replacement of the equality of poetic constructions with the equality of musical constructions, etc. These and other similar signs of the refusal to simply follow the structure of the text are also the signs of a symmetrical metrotectonic construction produced exclusively by musical means. This occurs beyond the direct interaction of music with the word—in the sphere where the beauty of the numerical structure of the musical form becomes manifest (Georgi Conus, Alexey Losev).
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Adeleke, Duro. "Poetic Exploration of Obasa’s Prolegomenous Poetry." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–43. http://dx.doi.org/10.32473/ysr.v5i1.130057.
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Mere mentioning of poetics often ignites the memory of Aristotle whose admiration is hinged on the elegance and clarity of his style in poetics. Tis is as a result of the historic influence of poetics or aesthetics as well as the quality of its thought. Tus, poetics is not devoid of philosophical nuances. Based on this premise, an attempt is made here to explore the poetic strands in Obasa’s trilogy, wherein Yorubá proverbs are strung together. The paper, therefore, considers aesthetic category of artistic mimesis, intertextuality and components of all diction alongside stylistic elements because the principal task of poetics is to measure its legitimate domain in language. Tus, it is averred that literature depends on linguistic structure for its existence since language is the substance of literature (in our own instance, poetry). The essay adopts an eclectic theoretical approach since Obasa’s craftsmanship and subject-matter span an avalanche of forms and structures imbued with stylistic features. Primary data are largely drawn from his anthologies which facilitate the content analysis. In its findings, the paper has brought to the fore the fact that Obasa employed adaptation and mimesis in his presentation creatively, ̣ while different stylistic elements in his trilogy are replete with deviation. An attempt is made to bring into bold relief the suggestion that metaphor forms the hub of all other tropes that give grandeur to poetics in Obasa.
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Gadban, Alaa Hussein, and Omar Adeeb Ghanim. "Intertextuality in Poetic Texts." JOURNAL OF LANGUAGE STUDIES 8, no. 1 (January 31, 2024): 272–80. http://dx.doi.org/10.25130/lang.8.1.12.
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Each text has standards to be regarded as commumicative. Intertextuality is one of those standards. People in their everyday conversations use intertextuality as a proof to enhance their turns. Intetextuality means using a past (old) text in a present (new) text for the purpose of giving the communicative sense to the new text . The researchers follow Laurent Jenney’s article " Stratigies of forms "( 1980 ) as a model to analyse the chosen texts . They use a qualitative analysis method only which is concerned with the descriptive level of analysis. The current study aims at (i) presenting the concept of intertextuality and examining its forms. (ii) Cheking , to what extent , intertextuality is apllicable and provides a communicative sense to the texts in literary works. The hypotheses of this study are (i) intertextuality can be expressed in both ways implicitly and explicitly. (ii) The three forms (allusion , quotation and parody ) of intertextuality are used repeatedly in spoken or witten texts )iii) the readers’ background knowledge to understand a certain text is essential .
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Mohamad, Abdulqadir Hamaameen, and Sarhad Hussain Mustafa. "Deviation of simile in Qubadi Jalilzadas poetry." JOURNAL OF LANGUAGE STUDIES 6, no. 2 (January 31, 2023): 299–318. http://dx.doi.org/10.25130/jls.6.2.25.
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Poets in all literary schools utilize the poetic and rhetorical technique of simile in their works. QubadiJalilzada is on of the contemporary poets with a distinctive style. So because poet innovates with poetic imagination and style rather than adhering to a predetermined poetic form, the researcher in this study emphasizes the presence of many simile forms and techniques in his poems. Thus, the present study pinpoints poetic simile, according to its types, forms, morphology and place.
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Koul, Radhika. "Navigating the Space Between Hermeneutics and Aesthetics: Dhvani and Comparative Poetics." Comparative Literature Studies 59, no. 2 (May 1, 2022): 292–315. http://dx.doi.org/10.5325/complitstudies.59.2.0292.
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ABSTRACT In Production of Presence: What Meaning Can’t Convey (2003), Hans Ulrich Gumbrecht suggests that through their unremitting emphasis on hermeneutics, modern critics have ignored the ineffable, bodily aspect of aesthetic experience that he calls “presence.” In the realm of poetics, such a theory implies a dissociation between the hermeneutic activity of a poem and a reader’s emotional response to it. Two aestheticians from medieval Kashmir, Ānandavardhana, c. ninth century CE, and his tenth-century commentator Abhinavagupta, propose a cause of poetic beauty and aesthetic effect that is still grounded in meaning: dhvani. They delineate how, in certain poetic conditions, dhvani leads to rasa, roughly “aesthetic enjoyment,” an experience at once mental and visceral. Whereas the poetic forms the Indian aestheticians discuss go beyond the lyric per se, this paper brings some of the most critical aspects of their poetics in conversation with current critical overtures as well as resonant poetry we might be more familiar with today in order to inspire further work on comparative literary aesthetics and “world criticism.”
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Anders, Jaroslaw. "Poetics of Loss and Dislocation." Polish Review 67, no. 1 (April 1, 2022): 9–26. http://dx.doi.org/10.5406/23300841.67.1.02.
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Abstract This essay examines several recurring themes, references, and poetic tropes in Anna Frajlich's poetry, to establish how her personal experience of exile and dislocation shapes and enriches her poetic universe. It focuses on the poet's treatment of space, time, memory, human relations, and the nagging sense of incompleteness often expressed by her lyrical personae. The essay combines historical and structural analysis of the main features of Frajlich's poetry, paying special attention to the prosodic organization of her verse, types of poetic diction, the intermittent use of traditional and innovative poetic forms to show that the poet's work, though highly diverse in form and content, inclines toward the “classical” model of expression characterized by a sense of poise, emotional restraint, and search for order, while at the same time avoiding intellectual and moral aloofness, didacticism, abstractness usually associated with “classicist” literary style. Frajlich's poetry acknowledges life's confusion without yielding to it, resists chaos without denying its presence in our lives. Her personal experience presents itself primarily as a heightened sensitivity to all forms of discord and discontinuity in the lives of people, communities, and nations. Born of a “wound,” it surmounts a personal tale of anguish and alienation, and forges it into a universal tale of the modern human condition. An escape, an exile from home, a painful dislocation, self-doubt, and uncertainty, is transformed into what the poet calls a “perfect journey” of self-affirmation, self-renewal, and intellectual as well as emotional discovery.
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Yermolenko, Svitlana. "«How to teach the indifferent to feel? How to awaken the mind that founded?»." Culture of the Word, no. 93 (2020): 7–18. http://dx.doi.org/10.37919/0201-419x-2020.93.1.
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Modern receptive poetics encourages the study of verbalized end-to-end motives of Lesia Ukrainka’s work. Embodied in various linguistic forms – lexical-semantic, phrase-forming, syntactic-rhythmic and intonation, Lesia Ukrainka’s poetic texts testify to the change of the traditional dictionary of Ukrainian poetry, filling it with new associative connections, consistent with the needs of a particular historical era. Emphasis is placed on the connection of the word with music, not only formal, but also concretized in rhythms, syntactic and intonational variation of verse lines. The considered textual variants of the sonnet “Fantasy” convince in dynamism, originality of figurative-associative linguistic thinking of the poetess. The dynamics is traced in the textual representation of concepts фантазія, мрія, сон життя, in the symbolic meaning of the token камінь and вогонь, камінь and байдужість. Emphasis is placed on various forms of contrast expression – from antonyms, oxymorons, to opposing sentences-judgments. They are representatives of the logical and sensual content of Lesya Ukrainka’s poetic texts. On the example of evaluative significant words to the concept-token WORD as an instrument of poetic creativity, a conclusion about the antithetical thinking of the poetess is made. The dynamic perception of semantics is fixed вогонь, жар, пожежа, associated with a negative assessment of the destructive element, but in the poetic contexts of the author, these symbols are positively assessed as the ability to be a stimulus to creative inspiration, inflammatory, caring soul of the creator. Poetic phraseology to denote the concept of “indifference”, which acquires the meaning of linguistic and aesthetic sign in the Ukrainian language culture, is recorded.
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LEE, Hyeon-Jeong. "DEVELOPMENT OF THE KOREAN POETIC DRAMA AND THE SIGNIFICANCE OF THE POETIC DRAMA MOVEMENT." International Journal of Korean Humanities and Social Sciences 7 (December 27, 2021): 117–41. http://dx.doi.org/10.14746/kr.2021.07.06.
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This paper deals with the definition and characteristics of poetic drama, and attempts to clarify the significance of poetic drama works during the time when the poetic drama movement took place. Unlike drama-poetry or plays, poetic drama is an independent art genre. It presents artistic vision through the conflict of poetics and dramas. The unity of poetic and dramatic things, which is facilitated through music, internal necessity, stage image, sound effect, and visual auditory indication, poetic drama is a part of complex art. The entire work functions as a poem and must be realized on the stage. For Choi Il-soo, in order to develop the characteristics of these poetry plays, the innatrhythm of the free verse should be embodied within these plays. He accepted Eliot’s theory and tried to establish the position that Western poetic drama works and theories are unique to Korea. This deepening perception of theory led to a poetic drama movement with the creators. In this paper, we classify its characteristics by focusing on approximately 18 poetic drama works. From 1920 to 1999, 18 representative works were classified, focusing on the completeness of the works and the remarkable artists. The characteristics of works can largely be divided into historical, narrative, reality, and philosophy. The meaning of this classification can serve as an opportunity for poetic dramas to advance into more diverse topics or forms. The poetic drama movement was dominated by critics and poets with the aim of pursuing independent Korean art works, and although it failed in performance and popularization, it was an achievement of the times to give a glimpse into the possibility of poetic drama. Poetic drama can act as a new element in the genre of poetry and drama that are losing original literary character, and there is a need to revive in Korean literature.
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Pakhsaryan, Natalia. "TOUCH THE "TRUTH": POETRY IN FACE OF SCIENCE AND KNOWLEDGE. (REVIEW OF THE SPECIAL ISSUE OF THE JOURNAL "HISTORY. LITERATURE. THEORY")." RZ-Literaturovedenie, no. 3 (2021): 23–30. http://dx.doi.org/10.31249/lit/2021.03.02.
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The special issue considers the problem of «poetry and the truth» in historical evolution from Middle Ages (F. Villon) to the present time (Ph. Jaccottet, I. Bonnefoy) and demonstrates a wide variety of relations between poetry and reality, poetry and the truth, imagination and science. The articles in consideration focus on some new aspects of poetics of S. Coleridge and M. Leiris, clarify some paradoxes of poetic journeys in the eighteenth century, explore the specifics of poetic discources of S. Mallarmé and certain features of «deontology» in the poetry of R. Kaillois. The specificity of communication forms due to the process of reading poetry is emphasized.
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Lyubchenko, Irina. "Resisting Clarity/Highlighting Form: Comparing Vanguard Approaches in Poetry and Programming." Leonardo 53, no. 5 (October 2020): 547–51. http://dx.doi.org/10.1162/leon_a_01744.
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This article contributes to the study of an esoteric programming language, brainfuck. It proposes a novel view that brainfuck embodies a poetic turn in computer programming, which could be viewed in relationship to Giambattista Vico's historical concept of ricorso—return to an earlier age that Vico, without derogation, identified as barbaric and characterized by the prevalence of poetic forms. Ricorso presupposes a previous existence of an analogous form of communication, which resurfaces in a transformed but recognizable shape in the current time. This article suggests that this older form of poetics is the Russian Futurists' Zaum poetry theorized by the Russian formalist Viktor Shklovsky among others.
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Gudavičiūtė, Aušra. "Dimensions of Poetic Expression in Drama and Theatre." Colloquia 36 (June 27, 2016): 93–116. http://dx.doi.org/10.51554/col.2016.28919.
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The author of this article has two goals: a theoretical one – to use the concepts of “poetic drama” and “poetic theatre,” which date from the first half of the twentieth century, to explore the concept of “poetics in theatre,” and a practical one – to discuss poetic forms of expression in contemporary theatre. The author reveals that the concepts of “poetic drama” and “poetic theatre” still lack strict genre definitions, so that poetic means of expression in drama and theatre can only be named. She discusses means of poetic expression within several examples of contemporary Lithuanian theatre – the plays “Audra” (The Tempest, by William Shakespeare; staged in 1997); “Jobo knyga” (The Book of Job, from the Old Testament; staged in 2014); Nutolę toliai (Distant Distances, based on the poetry of Petras Širvys; staged in 2010); and the performance “Gondii sindromas” (The Gondii Syndrome, by Gabrielė Labanauskaitė; 2014) – and comes to the conclusion that poeticism is expressed both through the reinforcement of early twentieth century principles about the use of poeticism in drama and their deconstruction, and in the highlighting of characteristics typical of postdramatic theatre – the shifting of emphasis from meaning generated by spoken discourse to sensuality, spatialisation, “textual landscape,” dedramatizing, and so on. Even though postdramatic theatre deconstructs traditional means of expressing poeticism – the generating of a poetic verbal text through drama – the author discerns, in postdramatic theatre, continuation of neoromantic Lithuanian drama traditions.
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Cherneyko, L. O. "ORDINARY CONSCIOUSNESS: ITS BOUNDS AND FORMS OF SPEECH." Bulletin of Kemerovo State University, no. 3 (July 28, 2016): 194–202. http://dx.doi.org/10.21603/2078-8975-2016-3-194-202.
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The paper is devoted to the problem of two types of ordinary consciousness – metalinguistic and poetic. Selected by R. Jakobson, metalinguistic and poetic functions of the language are considered with a focus on speaking and listening that allows you to select “speaker metatexts” (“narrow” = “definitive” and “wide” = “evaluative” presented by reflexives) and “listener metatext”. Special attention is paid to such little-studied speech fact as "meta-apologies", for which there are no conventional rules. The paper also raises the problem of studying the metatext (particulary metaevaluations) in academic speech.
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Furman, Rich. "Poetic Forms and Structures in Qualitative Health Research." Qualitative Health Research 16, no. 4 (April 2006): 560–66. http://dx.doi.org/10.1177/1049732306286819.
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Chapman, Alison. "Afterword: Victorian Salons and Forms of Poetic Sociability." Victorian Poetry 60, no. 2 (June 2022): 263–71. http://dx.doi.org/10.1353/vp.2022.0013.
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Kuntso, Oksana. "LINGVO-POETIC ICONICITY IN LITERARY PROSE." Grail of Science, no. 14-15 (June 10, 2022): 385–90. http://dx.doi.org/10.36074/grail-of-science.27.05.2022.070.
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The paper considers the role of lingvo-poetic iconicity in providing the imagery of literary prose, in particular the symbolic novels by Nathaniel Hawthorne. Given the nature of the phenomenon under study, the cognitive linguistics and poetics principles of analysis, including the existing classification of poetic iconicity, were chosen as the methodological background of the research. The primary iconicity, which consists in the mental association of words with a number of other words that contain a certain phone or phonological unit, is embodied in the text under analysis as the metonymic abbreviation of the initial letter "A". Iconic phonaesthesia, secondary associative iconicity, which is motivated by the links between forms, each expressing a certain meaning, consists in the co-sensation of a particular color that arises by the letter "A" perception. In the studied text lingvo-poetic iconicity, represented at the phonological and morphological levels, serves as one of the basic mechanisms for providing imagery.
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Burieva, Firuza Normurotovna. "THE ROLE OF LYRICAL GENRES AND FORMS IN KHURSHID DAVRON'S ESSAYS." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 04, no. 01 (January 1, 2023): 38–41. http://dx.doi.org/10.37547/philological-crjps-04-01-08.
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This article talked about the features of the essay, which is a relatively new genre in literature. Although this genre belongs to the epic type, sometimes it was thought that lyrical experiences, poetic passages were expressed in an unrestrained way and manifested some lyrical features. Such essays were noted in the work of the Uzbek poet Khurshid Davron, and his essays were subjected to analysis. In essays on the work of the poet, mainly patriotic, historical, spiritual and educational topics lead. Even in his essays, the poet artistically reflects his subjective attitude to reality or thought. His essays based on the ideological goal of the author, the experiences were expressed in prose, sometimes poetic.
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MIRABILE, P. "THE INDISSOLUBILITY OF PHILOLOGY AND POETICS IN THE CREATION OF THE MEDIAEVAL EURASIAN KOINÊ." Eurasian Research Journal 5, no. 3 (September 4, 2023): 27–49. http://dx.doi.org/10.53277/2519-2442-2023.3-02.
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Philological methods of afnalysis are not only perfectly congruous with reflections of a poetic order, but especially in the comprehension of a mediaeval epic tale, western or eastern. Philology practised as the art of unveiling images behind sounds and forms, figures and structures, communicates poetically, thus significantly the polyphonic import of the mediaeval epic tale. To defend this philological-poetics experience this paper compares the Turkic Dede Korkut Kitabı with the Armenian David of Sassoun, the poetic structures of the Tamil Periya Puranam, the iconic singularity of the Chinese Ji Bu Ma Zhen (Ji Bu Insulting the Enemy) and the Byzantine Digenis Akritas set within an Anatolian sub-koinê landscape with the Book of Dede Korkut and David of Sassoun. Homage has been rendered to three philologists whose philological training and academic works led them to the most extraordinary poetic works of art: F. Nietzsche, P.P. Pasolini and J.R.R. Tolkien.
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Koliadko, Svetlana V. "Emotive analysis of poetic text." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 45–51. http://dx.doi.org/10.20323/2499-9679-2021-1-24-45-51.
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The purpose of the article is to examine the functioning of emotion in a poetic work and to describe this process by means of emotive analysis. The aim is to describe this action through revealing the author's subjectivity and depicting his inner world, as well as through the subjective organisation of the poetic text. Emotive analysis of a poetic work is based on establishing the influence of emotion on the organisation of the text at all levels of its structuring. Identifying the emotivity of textual components in content and form is carried out by the method of emotive analysis. We propose a multilevel emotive analysis, concerning different structures and levels of poetic text: phonetic (sound writing), lexical, descriptive and expressive (tropes, figures of speech, images), syntactic (poetic syntax), genre (genre forms and varieties), plot and composition (emothemes and changes in poetic experience), etc. The author of the article concludes that emotivity is characteristic not only of stylistic means, but also of the emotheme, emotive image, lyrical plot, emotive type of creative personality, etc. Emotivity coordinates all levels of the poetic text structure and influences the revealing of the poet's message and the reader's perception of it. And the poetic emotion also becomes an activator of certain lyrical situations / lyrical events, a regulator of emotional changes in 'events of the soul', an emotive marker of certain moods, states, experiences.
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Gon, Oleksandr. "The Epic Mania: Pound’s Response to E. A. Poe and T. Hulme." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 39 (2021): 32–42. http://dx.doi.org/10.17721/2663-6530.2021.39.04.
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The article is devoted to the analysis of a specific component in the post-epic artistic picture of the world contextualized in the genre experiments with epic forms that symbolize the search for new ways to express the substantial unity of the individual with a society. It is important that in «The Poetic Principle» (1850) Poe appeals to the epic tradition and expresses an essential thesis about the paradigm of the epic and the lyrical in precedent texts and mentions a significant lyrical inderpinning in Homer's Iliad. In «A Lecture on Modern Poetry» (1908), Hume posits that the very assumption that in modern poetry there will appear an artist capable of synthesizing all the experience of modern peroson in the form of a great epic is an utter misunderstanding of the tendencies in modern poetry. Both Pound and Yuri Klen consider the creation of a modern epic in the coordinates of the continuum of the national poetic canon. The concept of «return» constitutes an omnipresent aesthetic program of the Pound’s epic. The poetics of repetitions in the Cantos is based on the versification models of the European fixed poetic forms that are extensively represented against the background of new emphases and reformatting of the ancient epic forms, making new their conventions and motives. Creative and receptive aspects of the innovative application of specific features in the epic composition (recurrent historical plots, the νόστος topos) deeply correlate with the artistic form of the modern epic.
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Thwala, Jozi Joseph, and Mandla Alfred Twala. "An Investigation of Poetic Techniques from Stanzaic Forms to Fourteen-line Narratives in IsiZulu Poetry." Mediterranean Journal of Social Sciences 9, no. 1 (January 1, 2018): 109–19. http://dx.doi.org/10.2478/mjss-2018-0011.
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Abstract The objectives of this article are to survey and explicate the poetic techniques that are functional in stanzaic forms and fourteen-line narratives in isiZulu. Various types of stanzas, namely: expanding, bulging, mixed, diminishing and regular are selected for analysis. The stanzaic forms start from four-line stanzas to fourteen-line narratives. Detailed discussions on the lines are the major focus of the article. Relevant examples are cited to display the stanzaic forms, types and sonnets. The differences among various sonnets are structurally highlighted to show the poetic techniques. The formalist approach is appropriate for this poetic discourse from the counting of lines, stanzas to fourteen-line narratives. Despite the poetic techniques that are fundamental in this analysis, the selected poems have a sound didactic principle that broaden human experiences, acquaint the reader with language proficiency and awaked new reality. They have artistic values that enhance coherence, social truth and descriptive imagery.
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Yeo, Jinsook. "‘Poetic Justice’ of Kim Jong-sam on Nussbaum's Philosophy of Sympathy." Korean Society of Culture and Convergence 44, no. 12 (December 31, 2022): 1185–97. http://dx.doi.org/10.33645/cnc.2022.12.44.12.1185.
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This paper aims to reveal the ‘poetic justice’ that Kim Jong-sam’s poetry embodies. The path from the emotion of sympathy implied in Kim Jong-sam's poem to public power was captured and analyzed as a 'virtuous cycle of sympathy'. We paid attention to the fact that ‘empathy’ revealed in the work becomes a pivot point for converting negative emotions such as loss and deprivation into tolerance, and as a result, the influence of empathy contributes to public judgment. The fact that sympathy forms the core of Kim Jong-sam's poetic world is that his life was aligned with the face of a painful other in the turbulent times of liberation, national division, and war. The virtuous cycle of sympathy, which is the driving force of Kim Jong-sam's poetry, is the context of poetic imagery that captures the shabby reality in the wretchedness of the times, and at the same time, his poetic pursuit through the course of the poem. This paper focuses on the path of sympathy that stands out in Kim Jong-sam's poem, and attempts to reveal the poet's vocation and poetic direction as he realizes it.
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Voloshina, O. A. "The poetry of science and the science of poetry (about the scientific and poetic heritage of M. V. Panov)." Russian language at school 82, no. 2 (March 19, 2021): 90–99. http://dx.doi.org/10.30515/0131-6141-2021-82-2-90-99.
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The article examines the scientific and poetic creativity of the outstanding Russian philologist Mikhail Viktorovich Panov. The author analyses Panov’s ideas formulated in the course of lectures on the language of Russian poetry, emphasizing that, for Panov, the development of the Russian poetic language relies on the movement of poetic forms embodied at the level of phonetics, verbal and figurative series of literary works. The dynamics of poetic form is determined by poets’ desire to search for new and unexpected forms of poetic language; however, this search frequently follows the path of repeating familiar poetic formulas or their conscious displacement (shift). Panov-the researcher finds a scheme or matrix for describing a wide variety of poetic trends and styles, offering a scientific classification of poetic techniques. However, having a poetic talent, Panov was able to discover poetry in science, which he adored. The author of the article analyses several of Panov’s poems about life and war (of which he was a participant), about science and scientists. Linguistics and scientific ideas formulated by linguists became heroes of Panov’s poetry. Therefore, Panov’s work intertwined the approach of both a scientist and a poet: he finds science in poetry and poetry in science.
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Kowalska, Magdalena. "Xavier Forneret odczytany przez surrealistów i czytany Norwidem." Przegląd Humanistyczny 61, no. 4 (459) (May 21, 2018): 173–84. http://dx.doi.org/10.5604/01.3001.0012.0680.
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The author discusses the history of Xavier Forneret’s (1809–1884) reception focusing on the trend which portrayed the Romantic as a surrealist and a precursor of vers libre. At the heart of the considerations there is the volume Vapeurs, ni vers, ni prose (1838) regarded as exceptional in both the publishing format and the content. The author, however, argues that the poet’s innovation can also be seen in his presentation of typically romantic themes: love, death, poetic vocation, as well as oneiric poetics. The last part of the article is a comparative analysis of the Forneret’s poem “Elle” and Cyprian Norwid’s poem “Polka” [Polish Woman], which allows showing both romantic anticipations and traditional forms of poetic description of a woman.
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Pokropek, Jorge. "UNA TEORÍA DE LA SIGNIFICACIÓN PARA EL DISEÑO DE LOS SIGNIFICADOS ESTIMULADOS POR LAS FORMAS Y ESPACIALIDADES ARQUITECTÓNICAS." DISEÑO ARTE Y ARQUITECTURA, no. 14 (June 21, 2023): 11–30. http://dx.doi.org/10.33324/daya.vi14.647.
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El presente escrito pretende explicar de un modo resumido un conjunto de conceptos y estrategias que favorezcan el diseño eficaz de los diversos mensajes que, tanto las formas en general, como las espacialidades habitables en particular, tienden a vehiculizar merced a su condición de sistemas de signos, estimulando en los fruidores o habitantes, emociones y conductas coherentes o contradictorias con las prácticas sociales que demandaron la generación de dichas formas y espacialidades. Estos conceptos y estrategias configuran una Teoría de la Significación que opera dialécticamente con una Teoría Estética del modo poético de regular el estar de las formas, y con una Teoría de la Espacialidad Arquitectónica. Juntas configuran una Teoría del Proyecto Poético que actúa dialécticamente en la determinación de una Teoría de la Arquitectura, que pretende renovar y mejorar la práctica y la enseñanza del proyecto. Esta teoría del Proyecto Poético constituye nuestra tesis doctoral que ha sido resumida en otros escritos.
Palabras clave: Arquitectura, espacio, poética, proyecto, retórica.
AbstractThis paper aims to explain in a summarized way a set of concepts and strategies that favor the effective design of the various messages that, both shapes in general and inhabitable spatialities in particular, tend to convey thanks to their condition as sign systems. , stimulating in the users or inhabitants, emotions and behaviours that are coherent or contradictory with the social practices that demanded the generation of said forms and spatialities.These concepts and strategies configure a Theory of Signification that operates dialectically with an Aesthetic Theory of the poetic way of regulating the being of forms, and with a Theory of Architectural Spatiality. Together they configure a Theory of the Poetic Project that acts dialectically in the determination of a Theory of Architecture, which aims to renew and improve the practice and teaching of the project. This theory of the Poetic Project constitutes our doctoral thesis that has been summarized in other writings.Keywords: Architecture, space, poetics, project, rhetoric.
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Tangirova, Dilbar. "Variety Of Forms And Genres In Modern Poetry." American Journal of Interdisciplinary Innovations and Research 02, no. 12 (December 20, 2020): 32–41. http://dx.doi.org/10.37547/tajiir/volume02issue12-05.
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This article gives information on variety of forms and genres in modern poetry. In world literature, poetic genres form a unique artistic system. In particular, genres such as room, sonnet, ballad, rondo, triolet, hokku, elegy have signs of centuries-old development. Therefore, the characteristics of these genres are intertwined, interacting and living. These genres, which are traditional in world poetry, have their own laws and certain definitions. We discuss those issues in our research.
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Jahromi, Mohammad Mehdi Torabikhah, Ali Eshghi Sardehi, and Abolghasem Amirahmadi. "The Changes of Poetic Forms in the Contemporary Era." Journal of History Culture and Art Research 5, no. 4 (January 5, 2017): 272. http://dx.doi.org/10.7596/taksad.v5i4.604.
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Adame, Alexandra L., Larry M. Leitner, and Roger M. Knudson. "A Poetic Epiphany: Explorations of Aesthetic Forms of Representation." Qualitative Research in Psychology 8, no. 4 (October 2011): 370–79. http://dx.doi.org/10.1080/14780880903304519.
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Simmons, Sanda K. "Wagstaff, Emma. André du Bouchet: Poetic Forms of Attention." Comptes rendus, no. 122 (July 13, 2023): 143–44. http://dx.doi.org/10.7202/1101638ar.
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Панеш, У. М., and Герелегиз Хюсню. "The influence of folklore poetics on the development of genre forms of historical prose of the 1960-1980s (based on the work of T. Kerashev)." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 3(302) (January 24, 2023): 121–27. http://dx.doi.org/10.53598/2410-3489-2022-3-302-121-127.
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Исследуются проблемы, связанные с природой влияния поэтики фольклора на творчество писателя. Рассматриваются такие черты нового, современного этапа в произведениях Т. Керашева 60 - 80-х гг., как усиление проблемности, углубление концепции личности, активизация художественных средств, которые определяются в том числе изменением форм связей с устным поэтическим творчеством. Обозначаются черты нового этапа творчества писателя, связанные с эволюцией фольклорного влияния - усиление интеллектуального начала, углубление психологического анализа, движение к многообразию поэтических форм. The paper examines the problems associated with the nature of the influence of folklore poetics on the work of the writer. The authors consider such features of the new, modern stage in the works of T. Kerashev of the 1960-1980s, as strengthening the problematic nature, deepening of the concept of personality, activating artistic means, which are determined, among other things, by changing the forms of connections with oral poetic creativity. The features of the new stage of the writer's work related to the evolution of folklore influence are indicated - i.e. strengthening of the intellectual principle, deepening of psychological analysis, movement towards a variety of poetic forms
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Zeiger, Melissa Fran. "The Ecopoetics of Survival: The Transborder Immigrant Tool and The Desert Survival Series // La ecopoética de la supervivencia: Transborder Immigrant Tool y The Desert Survival Series." Ecozon@: European Journal of Literature, Culture and Environment 10, no. 1 (April 27, 2019): 99–116. http://dx.doi.org/10.37536/ecozona.2019.10.1.2857.
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The Desert Survival Series (2010, 2014) by Amy Sara Carroll, a set of poems that forms part of an activist project called the Transborder Immigrant Tool, departs from the methods of both radical political poetry and some avant-gardist forms of aesthetic resistance that rely on a poetics of randomness to challenge the prevailing order. Instead, the DSS employs design—the design of the poetic object revealing other designs—as a political resource. It addresses a group endangered and abjected by the United States government: migrants crossing the Sonora desert. In doing so, it recalls traditional forms such as the pastoral and the georgic in order to reimagine earlier attitudes toward poetic making, hierarchical politics, and the environment. Orienting in their address to migrants, disorienting and counterintuitive with reference to their contemporary poetic context, the poems are of interest for debates around ecopoetics, because they make an intervention in the domains of environmental poetry as well as political activism of the border. Resumen La serie Desert Survival (Supervivencia en el desierto) (2010, 2014) de Amy Sara Carroll, un grupo de poemas dentro del proyecto artivista llamado Transborder Immigrant Tool (La Herramienta del Inmigrante Transfronterizo), se aleja de los métodos tanto de la poesía política más radical como de algunas formas de vanguardistas de resistencia estética dependientes de una poética de lo aleatorio para desafiar el orden predominante. En su lugar, la serie Desert Survival utiliza el diseño—el diseño del objeto poético que revela otros posibles diseños—como una herramienta política. Esta enfocada a un grupo en peligro y vilipendiado por el gobierno de Estados Unidos: los migrantes cruzando el desierto de Sonora. De esta manera, recupera formas tradicionales como el género pastoril y las geórgicas para reimaginar actitudes pasadas hacia la creación poética, la política jerárquica y el medio ambiente. Los poemas están dirigidos a orientar a los migrantes, aunque su vocación en el contexto poético contemporáneo es desorientadora y contraintuitiva. Son poemas interesantes en los debates de lo ecopoético, pues postulan la intervención de la poesía sobre el medio ambiente al igual que sobre el activismo político en la frontera.
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Reisner, Marina L. "Visual images of beauty of the word in the Persian poetry of XVI - the beginning of XVIII century: the Indian style and painting by word." RUDN Journal of Philosophy 24, no. 1 (December 15, 2020): 12–22. http://dx.doi.org/10.22363/2313-2302-2020-24-1-12-22.
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The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’ ( rangin ), appears alongside with criteria of previous period, expressed with epithet ‘sweet’ ( shirin ) and step by step gets leadership. Lyric poetry ( qhazal ) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal . These motifs serve one of the regular contexts of author’s name ( takhallus ) and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino (1569-1625).