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Journal articles on the topic 'Poetic riddle'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Omar, Nida Salim, Kais Amir Kadhim Al Alwan, and Mahmood Abdul Khaliq Al-Baqoa. "Translating Arabic Poetic Riddles into English: An Approach in Qualitative Studies." Respectus Philologicus, no. 41(46) (April 15, 2022): 180–92. http://dx.doi.org/10.15388/respectus.2022.41.46.118.

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A riddle is a question that usually occurs in prose and poetic form. The composition of poetic riddles is complicated since it encompasses trick structure of English utterances that require more efforts and deep thinking on the part of readers to reach the intention of the riddle maker. The present study investigated the interpretation of utterances in poetic riddles when translated into English. The main objective was to extend the tricky utterances in poetic riddles to obtain the intention of the riddle maker through translation. To achieve this target, a Relevance Theory by Sperber and Wils

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2

Pimonov, V. I. "THE VEDIC «FEET» OF THE GREEK SPHINX." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 77 (2021): 76–80. http://dx.doi.org/10.37313/2413-9645-2021-23-77-76-80.

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Object of the article: the riddle of the Sphinx and the Vedic riddles. Subject of the article: structural and semantic comparison between the riddle of the Sphinx and the riddles in “Rigveda” and “Yajurveda”. Purpose of research: to show that the scheme of the riddle of the Sphinx about “man”, based on the description of an allegorical creature which is “two-footed, three-footed and fourfooted”, has a structural correspondence in the Vedic ritual-offering formulas, which describe Vedic poetic metres, divided by number of padas (“feet”) in a verse. Research methods: methods of the structural an

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Kousso, Cheronne Letissia Kouadjo. "Rhythm as a Marker of Expressiveness in Akye Riddles." Uirtus 4, no. 1 (2024): 65. https://doi.org/10.59384/uirtus.2024.2618.

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African society has never been on the margins of literary practice for anthropological and sociological reasons. However, if the notion of rhythm is an inherent fact in literature, we cannot ignore its existence in African literary productions. Indeed, oral poetry in its diversity has made rhythm an essential reality. For this, rhythm governs all African literary creativity, particularly riddles. The latter, which is a poetic form of orality, generally takes place during poetic evenings in the villages. It depicts two literary spaces: that of the transmitter and the receiver, passing the word

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4

Kizi, Choriyeva Zebiniso Bakhtiyar. "COMPARATIVE-TYPOLOGICAL ANALYSIS OF LINGUOCULTURAL TERMS IN UZBEK AND ENGLISH RIDDLES." American Journal Of Philological Sciences 03, no. 05 (2023): 94–99. http://dx.doi.org/10.37547/ajps/volume03issue05-17.

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According to Dahl, a riddle is "an allegory or allusion, a roundabout speech, a bluff, a brief allegorical description of a subject, proposed for a solution." The most accurate definition of a riddle is V.P. Anikin: "A riddle is a poetic complex image of a thing or event, made to test the ingenuity of a person, as well as to instill a poetic view of reality." A riddle is a brief description of a silent object or phenomenon according to similar or suggestive signs of another object or phenomenon. A riddle develops a poetic view of reality in a person, creates an unlimited field for fantasy. So,

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5

Gasharova, Aida R. "Role of Lezgin Folk Riddles in the Structure of Everyday Fairy Tales." Proceedings of Southern Federal University. Philology 2021, no. 2 (2021): 126–32. http://dx.doi.org/10.18522/1995-0640-2021-2-126-132.

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The article deals with Lezgi folk riddles. They can be a constituent element of many genres of folklore, although they exist in folk art as an independent genre. The analysis is focused on folk riddles in the “fairy tale” speech, as well as the use of various kinds of “mysterious” elements in the creation of folk tales. The riddle participates in the complication of many fairy tales. The role of the riddle in a fairy tale is controversial. Basically, the function of riddles in a folk tale is entertaining, but their role in fairy tales is also very significant for the formation of the plot. Rid

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6

Burrows, Hannah. "Riddles and Kennings." European Journal of Scandinavian Studies 51, no. 1 (2021): 46–68. http://dx.doi.org/10.1515/ejss-2020-2017.

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Abstract The skaldic kenning is frequently described as ‘riddling’ or ‘riddle-like’. Valuable work has been done (e. g. Lindow1975) in establishing the structural, linguistic, and cognitive similarities between kennings and riddles, but this has usually been done in terms of the broad modern English sense(s) of the word ‘riddle’ or ‘riddling’. This paper, more specifically, explores the comparison by examining Old Norse riddles, namely items described as gátur in their textual setting, and Old Norse kennings, in the context of each other. In doing so it highlights Old Norse poetic techniques o

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7

Berberov, Burkhan A. "История и поэтика карачаево-балкарской загадки". Oriental Studies 14, № 3 (2021): 635–48. http://dx.doi.org/10.22162/2619-0990-2021-55-3-635-648.

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Introduction. The riddle which reflects the world outlook of the people is a popular genre in the Karachay-Balkar folklore. However, the richest materials collected over decades have not been studied so far. The present study aims at examining the history and poetics of the Karachay-Balkar riddle drawing on the works of leading foreign and Russian theorists. This has involved i) the discussion of the socio-cultural factors that were conducive to the emergence of the genre, ii) the description of the five principal thematic circles, iii) the analysis of the key structural formulas of the Karach

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8

Aiello, Matthew. "Books in Battle: The Violent Poetics of Misdirection in Old English Riddle 53." Review of English Studies 71, no. 299 (2019): 207–28. http://dx.doi.org/10.1093/res/hgz115.

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Abstract Riddle 53 is one of the only remaining Old English riddles that still lacks a satisfactory solution. Previous solutions have included ‘battering-ram’ and GEALGA (‘gallows’ or ‘cross’), but neither of these answers solves the whole text. This article offers the first solution to solve the riddle completely without ignoring contradictory evidence or difficult lines; my solution is BOC OND FEÐER (‘book and quill-pen’). In addition to a new solution, this article offers an alternative approach for decoding medieval enigmas, one that foregrounds the connections between texts that surface r

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Mokitimi, 'Makali I. "The Sesotho riddle as a poetic text." South African Journal of African Languages 16, no. 3 (1996): 96–100. http://dx.doi.org/10.1080/02572117.1996.10587125.

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10

Wilcox, Jonathan. "Objects That Object, Subjects That Subvert: Agency in Exeter Book Riddle 5." Humanities 11, no. 2 (2022): 33. http://dx.doi.org/10.3390/h11020033.

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A sequence of Old English riddles from the Exeter Book allow an implement to speak. This article focuses on one example, Riddle 5, generally solved as either a shield or a cutting board, to show how each interpretation gives voice not just to an inanimate object but also to a non-elite member of early medieval English society—either a foot-soldier or a kitchen hand. The two solutions come together because the two answers are captured in a single Old English word—“bord”—and also because the two interpretations resonate in parallel ways, creating sympathy for down-trodden members of society who

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11

Zalar, Diana, and Ana-Marija Trepšić. "Zagonetke Aljoše Vukovića kao poveznica s tradicijom." Magistra Iadertina 14, no. 2 (2020): 119–36. http://dx.doi.org/10.15291/magistra.3150.

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The paper focuses attention on the riddle as a special poetic species, which in the twentieth century captured the attention of researchers (Jolles, Crnković, Kekez, Valand). First it is talked about its characteristics, and then the tradition of appearance throughout the history of Croatian children’s literature, from a comparative point of view in relation to the creativity of several Croatian poets (Vitez, Halovanić, Luketa, Videk, etc.). The central part of the work is dedicated to the puzzles of Aljoša Vuković, a Croatian poet who draws on the tradition and work of past writers for childr

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KAZIMOVA, A. Ş. "İNGİLİS VƏ AZƏRBAYCAN DİLLƏRİNDƏ TAPMACALARDA İNDİKİ ZAMANIN İFADƏ XÜSUSİYYƏTLƏRİ." Actual Problems of study of humanities 2, no. 2025 (2025): 53–59. https://doi.org/10.62021/0026-0028.2025.2.053.

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Features of Expressing the Present Tense in Riddles of the English and Azerbaijani Languages Summary Riddles, which are widespread genres of oral folk art, have arisen and formed in the literatures of different nations in their own unique way. They have been formed according to the customs, traditions, lifestyle and mental characteristics of each nation, and have been concentrated in different tense forms of the verb according to their expressive features. However, as a result of translation, sometimes differences in expression in the sense of time can arise. This article examines riddles in d

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Mazel, Adam. "“YOU, GUESS”: THE ENIGMAS OF CHRISTINA ROSSETTI." Victorian Literature and Culture 44, no. 3 (2016): 511–33. http://dx.doi.org/10.1017/s1060150316000073.

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Throughout her life, Christina Rossetti was an enthusiastic writer and player of word games in verse. When she was seventeen, for instance, she spent the summer of 1848 in Brighton playing bouts-rimés sonnets with her brother, William. Together they timed themselves to see how fast they could write lines of verse to a given set of end rhymes: “emotional devastation in ten minutes or less,” Anne Jamison wittily puts it (145). Two years later, Rossetti published under her initials instances of different word games – an enigma (“Name any gentleman you spy”) and a charade (“My first is no proof of

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Vijūnas, Aurelijus. "On the Old Icelandic Riddle Collection Heiðreksgátur." Scandinavistica Vilnensis, no. 9 (December 20, 2014): 167–80. http://dx.doi.org/10.15388/scandinavisticavilnensis.2014.9.13.

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In this article, the language of the Old Icelandic riddle collection Heiðreksgátur is studied, paying attention to its tropes (kennings and heiti), humour, and narration techniques. In addition to this, also literary links with other poems of the Poetic Edda are discussed.

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Kensminienė, Aelita. "Riddle of the Talking Quill: Wandering Motives." Tautosakos darbai 58 (December 20, 2019): 73–91. http://dx.doi.org/10.51554/td.2019.28392.

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The subject of the article is an international riddle type about the quill pen, which could be provisionally entitled The Tortures of the Quill. The Lithuanian riddle of this type has over one hundred of the recorded variants, the oldest of which dates back to the beginning of the 18th century, and reads the following way: “Cut my head, take out the heart, and let me speak”. Variants of the riddle differ in terms of using the imperative vs. more neutral indicative – first or third person; frequently, they also include the fourth motive – drinking. Having accumulated all the Lithuanian variants

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16

BRODBECK, DAVID. "On Some Enigmas Surrounding a Riddle Canon by Brahms." Journal of Musicology 20, no. 1 (2003): 73–103. http://dx.doi.org/10.1525/jm.2003.20.1.73.

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ABSTRACT Even for a riddle canon, Brahms's setting of the text ““Mir läächelt kein Früühling,”” WoO 25 (1877), presents more than its share of enigmas. The solution to this haunting spiral canon is relatively straightforward. But questions remain concerning both the freely composed ending that Brahms had hoped would be published (through which the piece could be made suitable for performance), and the identity of the author of the canon's poetic text (which expresses profound hopelessness and a sense of utter loss). Documenting the entire publication process sheds light on the former question;

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STRUKOVA, T. V. "A POETIC RIDDLE AS AN ACTIVATION METHOD OF STUDENTS' MENTAL ACTIVITY IN RUSSIAN LESSONS." Scientific Notes of Orel State University 98, no. 1 (2023): 354–59. http://dx.doi.org/10.33979/1998-2720-2023-98-1-354-359.

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The article considers the possibilities of using of poetic riddles within the framework of the university courses «Russian language and culture of speech», «Culture of business written speech», «Practice of professionally oriented communication in Russian». It has been established that the use of texts of poetic riddles not only contributes to the development of logical and figurative-associative thinking of students, but also enriches their vocabulary, forms ideas about the relationship between linguistic and cognitive pictures of the world.

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Akhunova, Olga. "Pindar's Pythian 2: the riddle of the epilogue." Acta Classica 66, no. 1 (2023): 1–14. http://dx.doi.org/10.1353/acl.2023.a914052.

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ABSTRACT: The final triad of Pindar's Pythian 2 has been the object of particularly close attention by scholars. In this triad, Pindar suddenly switches both the imagery and the intention of the poetic statement itself: he is no longer praising the addressee but instructing him, rebuking certain slanderers, flatterers and envious men—but it is not straightforward accusation. Pindar deploys fable imagery as a vehicle for the censure (a monkey, foxes, a fawning dog, and a wolf). The role of castigator is not unfamiliar to Pindar, but Pythian 2 is unique: only in this ode does Pindar devote an en

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Papoutsakis, Nefeli. "Quṭbaddīn an-Nahrawālī’s (917-990/1511-1582) Treasure of Names and Other Ottoman-Era Arabic Treatises on the Art of the Muʿammā". Journal of Arabic and Islamic Studies 20 (24 квітня 2020): 53–89. http://dx.doi.org/10.5617/jais.7905.

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In Timurid times Persian littérateurs devised a new kind of logogriph (muʿammā) that differed considerably from the muʿammā as was known in the Arabic tradition. The most salient feature of the new, Persianate muʿammā, which is normally a couplet, is that it has two levels of meaning: an obvious or surface meaning (‘the poetic meaning’), and an encoded ‘riddle meaning’, which gives the clues to the solution of the riddle. Since the 16th century the new, Persianate muʿammā became very popular with Ottoman Turkish and Arabic littérateurs as well. In fact, to judge by the available evidence, it

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20

Potić, Dušica. "SENSE AND MASKS - A RIDDLE IN STEVAN RAIČKOVIĆ‘S OPUS." Folia linguistica et litteraria X, no. 32 (2020): 85–106. http://dx.doi.org/10.31902/fll.32.2020.5.

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A riddle in StevanRaičković’s work comes into existence primarily as a pattern interpolated in a new text, which demands formal modification. Research focus at typology pattern underlines Raičković’s creative approach to tradition. In the opus aimed at adults, we are more cautious when speaking about its presence – it is more about our own interpretative position then the author’s poetic selfconsciousness. In the opus aimed at children, a playful potential of the genre has been adjusted to the supposed audience, developing their intelligence and imagination, but also introducing themto the com

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Larsen, David. "The Riddle of the Thread: On Arabic ghazal." Studia Metrica et Poetica 10, no. 2 (2023): 61–88. http://dx.doi.org/10.12697/smp.2023.10.2.03.

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Ghazal is the Arabic word for “amatory verse”, and in other languages of the Islamic world it designates a sonnet-like poetic form. The notion that the word stems from Arabic ghazl “spinning thread” is widely held, despite the absence of support for this in classical lexicography and poetry criticism. Comparison to Semitic cognates points to an alternative derivation of ghazal from a verb of speaking – specifically, speech that is ambiguous and suggestive – by way of attraction to the gazelle (Arabic ghazāl), an ancient Near Eastern idiom for the beloved. While ghazal poetry emerged in Western

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Sijakovic, Bogoljub. "Riddle and secret: Laza Kostic and Branko Miljkovic around Heraclitus’ fire." Balcanica, no. 50 (2019): 437–52. http://dx.doi.org/10.2298/balc1950437s.

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The culture of ancient Greece, and particularly its philosophy, contains paradigms that are predetermining, binding and eternally valid for the entire body of European culture. European culture and, in its distinctive way, Serbian culture, as an important dynamic motif has the need to constantly revisit Hellenic culture. This is in fact a productive (re) interpretation as a way of acquiring cultural self-awareness and self-knowledge. The entire cosmos and human fate in it are revealed in Hellenic thought as both a riddle and a secret. Both of these relationships to reality, in the model form f

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Sazonova, Anna. "Medieval Felines in Poetic and Visual Narratives of Anglo-Saxons and the Irish in the 7th–9th Centuries." Adam & Eve. Gender History Review, no. 30 (2022): 213–36. http://dx.doi.org/10.32608/2307-8383-2022-30-213-236.

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The article examines the origin of cat’s image in the medieval written tradition. The author believes that the first early medieval portrait of domestic animal was the Latin riddle of Anglo–Saxon Aldhelm. The development of felinistic imagery is analyzed in the comparative aspect of Anglo-Saxon and Irish cultures. The Anglo–Latin riddle tradition is compared with the visual images from hybrid Irish–Northumbrian (or ‘Hiberno–Saxon’) decorated art (Book of Kells) and with the Old Irish poetry of Insular monks (Pangur Bán). The author’s interpretation for enigmatic plot of the famous miniature wi

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Makoha, Nick. "Riddle Me This, Batman: Basquiat3 as a New CODEX © to Poetic Form." Callaloo 43, no. 1 (2025): 50–56. https://doi.org/10.1353/cal.2025.a962545.

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Bernabé, Alberto. "‘Decoding’ a literary text. The commentary of Derveni." Trends in Classics 10, no. 2 (2018): 338–66. http://dx.doi.org/10.1515/tc-2018-0025.

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Abstract The author of Derveni Papyrus consider that the poem he commentates is like a riddle used by Orpheus to make it understandable to only a few. In our terms, he considers the poem an encoded text that he needs to decode in order to recover its true meaning. So he had to imagine a code in the text that once ‘decoded’ would yield the ‘true’ meaning that he wants to attribute to it. In the paper the way in which the commentator constructs the hypothetical process undertaken by Orpheus to express philosophical (presocratic) contents through a poetic mask is analyzed.

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Fulk, Robert D. "Kennings in Old English Verse and in the Poetic Edda." European Journal of Scandinavian Studies 51, no. 1 (2021): 69–91. http://dx.doi.org/10.1515/ejss-2020-2030.

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Abstract To shed light on questions pertaining to the similarities and differences between kennings in Old English and in the Poetic Edda, a survey is undertaken of the density of kenning use in the two corpora. The likeliest conclusion to be drawn from a comparison of findings is that the two poetic traditions are rather similar in regard to kenning use. In both traditions, kennings are notably simpler and less riddle-like than in skaldic poetry, though the Edda contains a few kennings of sufficient complexity to suggest skaldic influence. Although kennings, on average, occur more frequently

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Gładkowska, Dorota. "The Communicative Function of Performative Ekphrasis, the Anagram Riddle and Proverbial Sayings in John Donne’s Poetic Diptych." Papers in Literature, `10 (July 30, 2022): 137–52. http://dx.doi.org/10.31648/pl.7860.

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This essay takes a communication-oriented approach to selected early modern English poetry. It presents a textual analysis of John Donne’s elegy The Anagram, related to the earlier observations concerning his elegy The Comparison, and reveals its multi-generic patterns as well as certain thematic and structural relations between these poems. It thus argues, on textually substantiated grounds, that these elegies may be regarded as a poetic diptych which utilizes features and functions of various forms of communication, associated with literature, visual arts, popular entertainment and folk wisd

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Tymchenko, Antonina. "The poetics of the riddle in Lesya Ukrainka`s "northern" works." 89, no. 89 (December 13, 2021): 29–33. http://dx.doi.org/10.26565/2227-1864-2021-89-04.

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The article considers the ways of realization of the motif of the riddle in the works by Lesya Ukrainka such as the poem "One word" and the fantasy "Polar Night". The artistic means of creating a mystery are analyzed at the level of metrics, syntax, vocabulary, phonics as well as at the semantic level. Lesya Ukrainka's lyrical heritage is rich in images of exotic loci, an interesting attempt was taken to recreate the topos of the north as a place inherently alien to the Ukrainians both psychologically (opposition "warm-cold", "near-far", "day-night") and socio-historically (the north as a plac

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Nikolaeva, Alla A. "S.A. Esenin’s Sketches: To the Origins of the Poet’s Creative Ideas." Literary Fact, no. 4 (30) (2023): 162–77. http://dx.doi.org/10.22455/2541-8297-2023-30-162-177.

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The article for the first time analyzes in detail the rough notes of words and poetic lines of S.A. Esenin, which the poet’s draft notebook (1917–1919) preserved though it was partly burned in a fire in Konstantinovo in 1929. This unique draft notebook has a special place in the manuscript heritage of Esenin, who did not keep notebooks and diaries. The established semantic and figurative echoes of the text about the cup and the poem “The Silver Road...” (1917) allow us to consider the sketch as the original version of the poem, to witness the author’s intention changing and to reveal the bibli

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MIHAN, SHIVA. "Hidden from Scholarly Eyes for a Century: An unknown Bāysunghurī manuscript sheds new light on his court and library." Journal of the Royal Asiatic Society 29, no. 1 (2018): 51–73. http://dx.doi.org/10.1017/s1356186318000470.

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AbstractPersian arts of the book reached new heights under the patronage of the Timurids, in particular in the atelier of prince Bāysunghur (1399–1433) in Herat. This paper introduces a dual-text manuscript produced there in 833/1430, now held in the Suleymaniye Library in Istanbul, which has previously escaped scholarly attention. Up until now its scribe, Saʿd Mashhadī, has been known only for his copy of the Tārīkh-i Jahāngushāy of ʿAtā-Malik Juvaynī (834/1431). He has been identified with Maulānā Saʿd al-Dīn named in the ʿArża-dāsht, the report written by Bāysunghur's chief librarian, Jaʿfa

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Mumović, Ana. "Reaffirmation of the methods and spirit of literary criticism: Contribution to the interpretation of The history of Serbian literature by Jovan Deretić." Bastina, no. 53 (2021): 55–80. http://dx.doi.org/10.5937/bastina31-31036.

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The paper discusses five monographs by Jovan Deretić, which the author considers "accompanying books" of his History of Serbian Literature. These are: Marko Kraljević's riddle - about the nature of historicity in Serbian folk epics, The path of Serbian literature - identity, borders, aspirations, Poetics of Serbian literature, Serbian folk epics and Etudes from old Serbian literature. In this paper, we analyze them as a contribution to the interpretation of the History of Serbian Literature, the most comprehensive history of literature in Serbian science to the extent that they are important a

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Selmer, Aidan. "“Through a Glass, Darkly”: Paradise Lost and Paul’s First Letter to the Corinthians." Milton Studies 65, no. 2 (2023): 223–51. http://dx.doi.org/10.5325/miltonstudies.65.2.0223.

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ABSTRACT To an extent unnoticed in previous scholarship, Milton frequently engages passages from Paul’s First Letter to the Corinthians in De Doctrina Christiana and Paradise Lost. This is attested not only in the exegesis that Milton undertakes in both works but also in Milton’s personal King James Bible in which a marginal annotation records his preference to translate Paul’s reference to seeing “through a glass, darkly” as “in a riddle” (1 Cor. 13:12). This essay argues that Milton’s wrestling with Pauline scripture during the composition of De Doctrina Christiana helps to explicate his rec

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Мартыненко, Лариса Борисовна, and Евгения Алексеевна Жиркова. "KUBAN RIDDLES: REGIONAL FEATURES OF SEMANTICS." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 4(109) (January 26, 2021): 86–95. http://dx.doi.org/10.37972/chgpu.2020.109.4.010.

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В системе фольклорных жанров особое место отводится жанровым формам, сохраняющим свою актуальность в современной культуре. Данная статья посвящена изучению современного бытования одного из малых нелирических фольклорных жанров - загадки. В работе раскрывается своеобразие загадок, зафиксированных в различных районах Краснодарского края в 70-90-е гг. ХХ века. Авторы исследования исходят из постулата, что в основе формирования языка фольклора лежит картина мира, которая отражает определенные ментальные установки. В фольклорном дискурсе особенно отчетливо проявляются миромоделирующие потенции язык

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Mysovskikh, Lev Olegovich. "Existential and Religious Concepts of Fyodor Tyutchev's Poetry as Proof of the Existence of God." Litera, no. 7 (July 2022): 102–10. http://dx.doi.org/10.25136/2409-8698.2022.7.38487.

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The philosophical nature of Tyutchev's poetry was noted by researchers of his work during the poet's lifetime. The study of Tyutchev's work makes it possible to trace the origin of a unique direction of philosophical thought in Russian poetry of the XIX century – religious existentialism. The research carried out within the framework of this article allowed us to trace the genesis of the original direction of religious existentialism in the poetry of F. Tyutchev, who interpreted Nature in his work in philosophical categories. In his poetic works, Tyutchev does not just depict the splendor of N

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Mysovskikh, Lev Olegovich. "The formation of a unique paradigm of religious Existentialism in the poetry of Fyodor Tyutchev." SENTENTIA. European Journal of Humanities and Social Sciences, no. 4 (April 2022): 20–29. http://dx.doi.org/10.25136/1339-3057.2022.4.38468.

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The philosophical nature of Tyutchev's poetry was noted by researchers of his work during the poet's lifetime. The study of Tyutchev's work makes it possible to trace the origin of a unique direction of philosophical thought in Russian poetry of the XIX century – religious existentialism. The research carried out within the framework of this article allowed us to trace the genesis of the original direction of religious existentialism in the poetry of F. Tyutchev, who interpreted Nature in his work in philosophical categories. In his poetic works, Tyutchev does not just depict the splendor of N

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Revol-Marzouk, Lise. "La sphinx décadente: topos et poetique de la transgression." Nordlit 15, no. 2 (2012): 41. http://dx.doi.org/10.7557/13.2043.

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During the last decades of the 19th century, the Sphinx, in its Egyptian representation, seems to be on the decline. This figure, which traditionally embodies the universal mystery, is particularly threatened in a world beset by materialistic disillusion. Texts and pictures portray a myth in agony, with such tediousness that it has become a cliché. Decadent imagination then seizes upon another myth which is particularly suitable, both in its form and its history, to regenerate the old Sphinx: the Greek Sphinx. As the riddle teller of the Theban legend, it shares with its Egyptian ancestor, in

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Strukova, Tatyana Viktorovna. "Anagram as an Enigmatic Genre." International Journal “Speech Genres” 28, no. 4 (2020): 302–9. http://dx.doi.org/10.18500/2311-0740-2020-4-28-302-309.

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This article studies structural-semantic and compositional aspects of the poetic anagram, which reflects the cognitive and linguistic picture of the world, as well as the national conceptual sphere. It is noted that the anagram genre originated in Russian poetry in the 1820s on the pages of the magazine “Blagonamerenny”. It published the first theoretical justification of such enigmatic genres as a riddle, a logogriff, a charade and a homonym. Its author was the famous statesman N. F. Ostolopov. It was he, as well as other poets, who actively collaborated with “Blagonamerenny”, who tested and

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Cavell, Megan. "Seeing Red: Visuality, Violence, and the Making of Textiles in Early Medieval Enigmatic Poetry." Medieval Feminist Forum 57, no. 1 (2021): 17–48. http://dx.doi.org/10.32773/dqyj1594.

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This essay explores a group of thematically related, enigmatic poems in Old English, Anglo-Latin and Old Norse that play with gender through their representations of violent textile production. The tenth-century Exeter Book’s Riddle 56, eighth-century archbishop Tatwine’s Enigmata 11 and 13, and the traditional eddic-style poem Darraðarljóð merge the highly gendered activities of textile production and warfare, questioning binaries and naturalized categories in the process. This process ends with the containment of gender play during the act of solving and interpreting the enigmatic, which res

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Xu, Changchang. "The children's poetic story about the travels of foreigners in the USSR in the 1920s and 1940s." Litera, no. 11 (November 2024): 97–106. http://dx.doi.org/10.25136/2409-8698.2024.11.72279.

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The main purpose of the study is to analyze the genre originality of the Russian (Soviet) children's poetic story of the 1920s-1940s about the travels of foreigners in the USSR, to identify the didactic significance of these works. The article is based on the works of L. Lesnoy, P. Yakovlev, L. Zilov and S. Marshak. There are two types of poetic stories about the journey of foreigners: pilgrimage trips of disadvantaged children from oppressed countries / curious Western children, as well as trips of wealthy Westerners to the USSR. The general genre features of this type of works are analyzed,

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PRUSHKOVSKA, I. ""Aesthetic" and "content" of modern Turkish literature: visual poetry of Y. Bal." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 27 (2021): 45–49. http://dx.doi.org/10.17721/1728-242x.2021.27.45-49.

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The literary-critical study is devoted to the work of the master of Turkish visual poetry, Yusuf Bal, and contains a short excursion into the history of the development of Turkish literature in the late 20th – early 21st centuries and discussions about the visual literary works of this period. The main direction in the Turkish literature of the mentioned period is determined – postmodernism, represented by various modifications and its inherent specifics. In this context, the state of visual poetry in modern Turkish literature is considered; special attention is paid to the poetry of Y. Bal. T

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Zirnīte, Daiga. "Topogrāfiskās dzejas tēlainība Marta Pujāta dzejoļu krājumā “Dāma baltos džinsos”." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 30 (March 24, 2025): 40–50. https://doi.org/10.37384/aplkp.2025.30.040.

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The article focuses on the collection of poems by Marts Pujāts, which was published in 2023; it has also received important awards this year, including the Poetry Days Award and the Latvian Literature Award of the Year (2024). Artis Ostups, one of the book’s reviewers, admits that the poet speaks a new poetic language in the collection, which can promote a different sensitivity and understanding of beauty, a different view of Latvia and a different view of poetry. The reviewer’s statements determined the purpose of the study – through analysis and interpretation of the poems, to discover the a

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Kensminienė, Aelita. "Riddles on Writing, Linked together by the Image of Field." Tautosakos darbai 50 (December 28, 2015): 100–112. http://dx.doi.org/10.51554/td.2015.28992.

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The subject of the article is typology, genesis and semantics of the popular riddles on writing Balta dirva, juoda sėkla [‘White soil, black seed’] and Baltos lankos, juodos avys [‘White pasture, black sheep’]. For encoding various phenomena related to writing, the riddles frequently choose the visual graphic aspect of “the black on white” as the chief attribute and the core of the artistic image. This contrast is so suggestive and overshadowing all the other visual aspects that along with similar answers it is the main reason why even the riddles based on rather differing images like the abov

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Kudlová, Klára. "On Fields of Bones, Headsmen and Madonnas: The Symbols and Figures of Central Europe in the Past 25 Years of Jáchym Topol’s Writing." Porównania 27, no. 2 (2020): 247–63. http://dx.doi.org/10.14746/por.2020.2.13.

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In the Czech literary scene, it is Jáchym Topol who may justly be labelled the author most consumed with Central Europe, one who is constantly attempting to decrypt the message encoded in its scars and wrinkles. His fictional treatment of Central-European themes is preceded by thorough knowledge of both the history and present state of the region. However, Topol is not merely a historian; in his fictionalising he uses a poetic, complex perspective, and arrives thus at a unique expression. Particular recurring figures in his literary work seem to answer in a riddle the questions of present-day

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STRUKOVA, T. V., E. F. DUDINA, and A. V. ANTYUKHOV. "ARTISTIC ORIGINALITY OF LITERARY POETIC RIDDLES OF THE MAGAZINE «YEZHEMESYACHNYYE SOCHINENIYA, K POL'ZE I UVESELENIYU SLUZHASHCHIYE»." Scientific Notes of Orel State University 98, no. 1 (2023): 151–55. http://dx.doi.org/10.33979/1998-2720-2023-98-1-151-155.

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The article deals with the ideological-artistic and structural-compositional features of literary poetic riddles published in 1755-1759 in the magazine «Yezhemesyachnyye sochineniya, k pol'ze i uveseleniyu sluzhashchiye». It has been established that the authors' riddles reflect the trends of the Enlightenment and the ideological and aesthetic principles of classicism. Poetic texts are characterized not only by an entertaining function, but also by a didactic orientation, which can be traced both at the ideological and artistic, and at the structural and compositional levels. The features that

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Gardella, Mariana. "Aristotle on Riddle." Ancient Philosophy 42, no. 1 (2022): 233–49. http://dx.doi.org/10.5840/ancientphil20224218.

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Aristotle presents two different approaches to riddle in the Poetics and the Rhetoric. In this paper, I intend to argue that, despite meaningful differences, these two views on riddle are not contradictory, but rather complementary. Taken together, they provide a valuable explanation of the structure, as well as the cognitive function, of riddle.

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Москвин, В. П. "Десять темных мест в поэзии О. Мандельштама: комментарии и расшифровка". Studia Slavica Academiae Scientiarum Hungaricae 65, № 1 (2021): 129–47. http://dx.doi.org/10.1556/060.2020.00019.

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Предложен ряд решений, проливающих свет на темные и спорные места в десяти стихотворных текстах выдающегося русского и советского поэта О. Э. Мандельштама, критически проанализи- рованы существующие в современной специальной литературе трактовки таких мест. Выявлены тактики, реализующие характерную для позднего Мандельштама «установку на загадку» (О. Ронен), определены базисные функции данной установки в его поэтике. Как показал анализ, основной из таких тактик является метафора, различными способами затемненная, а потому допускающая вари- ативность трактовок либо в той или иной степени гермет

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Petrov, Alexander. "PROSIMETRICAL COMPOSITIONS IN THE WORKS OF VIKTOR PUL’KIN." Проблемы исторической поэтики 20, no. 2 (2022): 406–24. http://dx.doi.org/10.15393/j9.art.2022.10942.

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The article deals with the problem of prosimetry (prosimetrum) in a work of literary fiction. Viktor Pul’kin’s works in the literary tale genre (narration in the first person, or skaz) from “The Kizhi Stories”, “The Bronze Horseman”, and “The Royal Fingers” literary collections were analyzed. A hypothesis is put forward that Viktor Pul’kin’s works can be classified as prosimetrical compositions. Literary tales (skaz) are proven to be an important material for the study of prosimetry and are of particular interest for verse studies. The author discovers that Viktor Pul’kin relies on the spoken

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Shonazarova, Hulkaroy Bunyod qizi. "LINGUI-POETICS OF THE RIDDLES." International Journal of Education, Social Science & Humanities. Finland Academic Research Science Publishers 11, no. 9 (2023): 752–55. https://doi.org/10.5281/zenodo.8401527.

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<em>This article analyzes anthropocentric paradigm and the tendencies in the study of riddles in world linguistics, as well as the various opinions expressed in this regard. The views of Uzbek, Russian and English linguists on the lingui-poetics of the peoples oral work are discussed, riddles with metaphorical texts, aspects related to nationality in them are highlighted.</em>

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Bicheev, Baazr A., та Yeerda. "Триады в тексте «Истории Усун Дебескерту-хана»". Монголоведение (Монгол судлал) 12, № 1 (2020): 22–36. http://dx.doi.org/10.22162/2500-1523-2020-1-22-36.

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Introduction. Long before the creation of a national writing system, the Oirats (Kalmyks) had developed a unique oral poetic tradition. By the late 17th century, there appeared a large number of translated poetic works distinguished by genre and artistic diversity. Oirat scholars would insistently turn to the rich oral poetic heritage. And triads were one such most ancient type of aphoristic poetry, their genre characteristics still remaining a matter of debate: some classify them as riddles, others as proverbs — but it is universally accepted that triads hold a special place in the oral poeti

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Chesnokova, Olga S., and Timur F. Usmanov. "Images of Nature in Tuvan, Tatar, Russian, and Spanish Riddles." RUDN Journal of Language Studies, Semiotics and Semantics 13, no. 2 (2022): 483–501. http://dx.doi.org/10.22363/2313-2299-2022-13-2-483-501.

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The article offers evidence of contrastive ethnolinguoculturological analysis of images of major natural phenomena (the sun, the moon, the day, the night, the stars, the wind, the rain, the snow/ice) in the riddles of four folk cultures that belong to Turkic (Tuvan and Tatar), Slavic (Russian), and Romance (Spanish) linguocultures, with interpretation of peculiarities of the poetics. Nature binds together different levels of cognition, evokes imaginative associations, refers to the archetypal constants of mythopoetic creativity. Riddles about nature are presented in the verbal creativity of an

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