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Journal articles on the topic 'Poetic text'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 June 2025

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1

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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Takacs, Axel Marc Oaks. "Transposing Metaphors and Poetics from Text to World." Journal of Sufi Studies 9, no. 1 (2021): 106–44. http://dx.doi.org/10.1163/22105956-bja10008.

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Abstract This article examines the use of Sufi lexicons (iṣṭilāḥāt) through the relatively unknown Mystical Commentary of the Love Lyrics of Ḥāƒiẓ by Abū al-Ḥasan Khatamī Lāhūrī. It resituates the iṣṭilāḥāt within the context of the philosophical-Sufi tradition, engaging theories of metaphor, imagination, poetry, and imaginaries from Ricœur, Castoriadis, Lakoff and Johnson, and Caputo. Rather than employing the iṣṭilāḥāt to produce a static correspondence between poetic terms and metaphysical realities, Lāhūrī’s theo-poetics transposes the metaphors and poetics of the poems into metaphors and poetics of this phenomenal world. This reading challenges previous criticisms of Sufi commentaries, particularly on the dīvān-i Ḥāfiẓ. The critique that the application of iṣṭilāḥāt disembodies or allegorizes the poetic images is challenged when they are interpreted within the philosophical-Sufi tradition. Contrary to literary criticisms of iṣṭilāḥāt, the poem is not merely a formal suitcase for mystical meaning; rather, poetics, the poem’s content, and theology create a nexus of interpretation for Lāhūrī.

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3

LEMPERT, MICHAEL. "The poetics of stance: Text-metricality, epistemicity, interaction." Language in Society 37, no. 4 (2008): 569–92. http://dx.doi.org/10.1017/s0047404508080779.

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ABSTRACTThis article examines the text-metrical (“poetic”) organization of epistemic stance-taking in discourse, focusing on epistemic stance in a form of argumentation, Tibetan Buddhist ‘debate’ (rtsod pa) at Sera Monastery in India. Emergent text-metrical structures in discourse are shown to reflexively map utterance-level propositional stance into larger-scale, fractionally congruent models of interactional stance. In charting the movement from epistemic stance to interactional stance by way of poetic structure, the article argues for and clarifies the place of poetics in the study of stance.

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4

Davies, Diane, and Timothy R. Austin. "Poetic Voices: Discourse Linguistics and the Poetic Text." Modern Language Review 92, no. 1 (1997): 145. http://dx.doi.org/10.2307/3734694.

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5

Schmit, John, and Timothy R. Austin. "Poetic Voices: Discourse Linguistics and the Poetic Text." South Atlantic Review 60, no. 3 (1995): 148. http://dx.doi.org/10.2307/3201153.

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6

Ma, Ming-Qian. "Asserting the Ineffable: Rhetorical Appropriation of ‘Poetic’ and the Contemporary Poetry Text." CounterText 3, no. 2 (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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7

Sakr, Mohammed Gamal. "Prosodic text analysis theory." Journal of Arts and Social Sciences [JASS] 6, no. 2 (2016): 283. http://dx.doi.org/10.24200/jass.vol7iss1pp283-295.

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Within the field of poetic text linguistics, the theories of both text linguistics and prosodic linguistics have failed to reveal the nature of the creation of the poetic text and the way it is received by people. This necessitates adopting a new theoretical framework that combines the two approaches by focusing on nine norms: domain rules, length and separation rules, paragraph and sentence rules, phrases and words rules, and syllable and sound rules. These rules should be used by anyone who compares between different poetic texts on the one hand, and between poetic and non-poetic texts on the other.

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8

Moskvichova, Oksana. "Poetical Text as the Specific Way of the Reflection of Reality." Studia Linguistica, no. 13 (2018): 215–27. http://dx.doi.org/10.17721/studling2018.13.215-227.

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The article is dedicated to the embodiment of reality in the poetic model of the world of the British poetry by means of the linguistic and poetic analysis of tropes as the way to actualize cognitive processes in the formation of the world model. By means of linguistic, poetic and cognitive analysis the cognitive aspect of the poetry of the British romantic, modern and post-modern periods is investigated. From the position of cognitive linguistics and cognitive poetics poetry is analyzed as the embodiment in the poetical works the result of cognition of a poet and his interpretation of reality on the background of his physical, social and cultural experience. Reconstruction of the poetical model of the world on the base of British poetical texts is accentuated on the notion of poetry and poetic texts, on the reflection of reality in poetry, on esthetic aspect of poetry and on linguistic and communicative peculiarities of poetry. The article is actual as the generalization of linguistic, poetic and cognitive paradigms aimed to the construction of the model of the world of different cultural and historic periods. The aim and the results of investigation are determined by the specification of the poetical viewpoint embodied in the British poetry of romantic, modern and post-modern periods.

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9

Kharkhurin, Anatoliy V. "Cognitive Poetry: Theoretical Framework for the Application of Cognitive Psychology Techniques to Poetic Text." Creativity. Theories – Research - Applications 3, no. 1 (2016): 59–83. http://dx.doi.org/10.1515/ctra-2016-0005.

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AbstractThis article presents a theoretical framework for the author’s experimental work in contemporary poetry, which has received the term cognitive poetry. In contrast to cognitive poetics, which applies the principles of cognitive psychology to interpret poetic texts, cognitive poetry applies these principles to produce poetic texts. The theoretical considerations of cognitive poetry are based on the assumption that one of the major purposes of creative work is to elicit an aesthetical reaction in the beholder. The aesthetical reaction to poetic texts could be achieved via their satiation with multiple meanings presented through multiple sensory modalities. Cognitive poetry employs techniques developed in cognitive psychology to explicitly address cognitive processes underlying the construction of multiple conceptual planes. The following techniques are discussed: priming, the Stroop effect, multimodal and multilingual presentations. The applications of these techniques are illustrated with examples of poetic texts produced by the author.

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10

Shukurov, Ahat Akhmatovich. "LINGUISTIC INTERPRETATION OF POETIC TEXT." Theoretical & Applied Science 84, no. 04 (2020): 533–36. http://dx.doi.org/10.15863/tas.2020.04.84.90.

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11

Moisiienko, Anatolii. "Quote in a Poetic Text." Ukrainian Linguistics, no. 49 (2019): 130–37. http://dx.doi.org/10.17721/um/49(2019).130-137.

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12

Cherkasova, Inna P., Vera N. Korobchak, Lyudmila E. Kuznetsova, Svetlana A. Malahova, and Galina A. Formanyuk. "Poetic discourse: text, hermeneutics, harmony." LAPLAGE EM REVISTA 7, no. 3A (2021): 300–308. http://dx.doi.org/10.24115/s2446-6220202173a1402p.300-308.

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The article is devoted to the investigation of poetic discourse. Discourse is understood as the actualization of text structures in interaction with extralinguistic factors. The article considers the problems of understanding, methods of comprehension and the method of analyzing a poetic text; understanding of the unity of language and thinking, the author's axiological paradigm, refracted through the prism of the dynamics of cultural experience. The author analyze fiction that allow to retrace the formation of poetic concept. The influence of the structure on the formation of text is also presented. The main individual concepts are determined. The given examples illustrate the statements under consideration.

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13

Милованова, М. С. "SYNTACTIC TIME AND POETIC TEXT." Russkii iazyk za rubezhom, no. 4(287) (September 10, 2021): 118–21. http://dx.doi.org/10.37632/pi.2021.287.4.015.

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Монография Т.Е. Шаповаловой посвящена осмыслению категории синтаксическое время. Время как синтаксическая категория и обязательный компонент предикативности исследуется на материале поэтического текста, в котором все грамматические элементы преображаются. В частности, синтаксемы и субстантивные обороты – носители временнóй семантики получают дополнительные субъективно-модальные оттенки, событийные коннотации, сопутствующие созначения (пространственные, условные и др.). Рассматриваются также такие принципиальные для понимания синтаксической проблемы времени теоретические вопросы, как абсолютное и относительное время, временнáя определенность и временнáя неопределенность, предикативные свойства синтаксемы, субстантивного оборота и др. Monograph by prof. T.E. Shapovalova is devoted to understanding of the category of syntactic time. Time as a syntactic category and an obligatory component of predicativity is considered on the material of a poetic text, in which all grammatical elements are transformed - in particular syntaxemes as the carriers of temporal semantics receive additional subjective-modal shades, event connotations, and accompanying connotations (spatial, conditional, etc.). We also considered such fundamental for understanding of the syntactic problem of time as absolute and relative time, temporal definiteness and temporal uncertainty, predicative properties of substantive turnover, etc.

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14

Ohrynchuk, O. P. "THE STYLISTIC FUNCTIONS OF REPEATED VERB UNITS IN A SEPARATE TEXT." Opera in linguistica ukrainiana, no. 28 (September 28, 2021): 207–14. http://dx.doi.org/10.18524/2414-0627.2021.28.235540.

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The article is devoted to the complex study of functional features of verbs and verb lexical-semantic repetitionsin poetic texts M. Bazhan and I. Drach. Advantages of linguopoetic approach, which gives possibility to define, how linguistic unit is included by the author in the process of word-artistic creative work, provides creation of aesthetic effect, structural and semantic integrity of the text is substantiated in the thesis. Linguistic and stylistic approach doesn’t give us comprehensive answers to the question about notional, structural and communicative organization of the text, that is why today they become a prerogative of linguo-poetics and linguistics of text. Taking into account new directions, approaches in modern linguistic science in the last decades, such key concepts as “text”, “poetic text” were specified; advantages of communicative functional approach to its study were specified; constant features of text and text categories were specified; style, idiostyle, idiolect concept was defined. At determining the poetic text, we proceed from the fact that this is a special semiotic system, which has its own laws of formation of self-organization. Decoding the poetic text takes into consideration apertception moments of each word in the works of writer, who, staying within the limits of national-language picture of the world, creates a unique linguistic world according to his world view, his own psychology, philosophy. Let us motivate the use of idiostyle concept, closely connected with the author’s image, which we understand as a “word- conversational structure”, which permeates all work and leads to comprehensive study of literary text. Linguostylistic verb potential as lexicogrammatical word class, which has detailed system of personal-methodical and kindtime morphological forms was analyzed in the work; figurative and expressive features of verbal categories of manner, time, kind and person were tracked in the poetic texts of M. Bazhan and I. Drach; certain writers’ priorities in use of one or another verbal form were revealed. An important means of actualization of poetic content, dynamization of descriptive world, which assists the reader to focus attention on one or another reality, actions, feelings, and provides a link between the parts of the text, is repetition. Decoding of the poetic texts of M. Bazhan and I. Drach provided considering different apperception moments of verbal repetition.

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15

Lumi, Elvira, and Lediona Lumi. "Text Prophetism." European Journal of Language and Literature 7, no. 1 (2017): 40. http://dx.doi.org/10.26417/ejls.v7i1.p40-44.

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"Utterance universalism" as a phrase is unclear, but it is enough to include the term "prophetism". As a metaphysical concept, it refers to a text written with inspiration which confirms visions of a "divine inspiration", "poetic" - "legal", that contains trace, revelation or interpretation of the origin of the creation of the world and life on earth but it warns and prospects their future in the form of a projection, literary paradigm, religious doctrine and law. Prophetic texts reformulate "toll-telling" with messages, ideas, which put forth (lat. "Utters Forth" gr. "Forthteller") hidden facts from fiction and imagination. Prometheus, gr. Prometheus (/ prəmiθprə-mee-mo means "forethought") is a Titan in Greek mythology, best known as the deity in Greek mythology who was the creator of humanity and charity of its largest, who stole fire from the mount Olympus and gave it to the mankind. Prophetic texts derive from a range of artifacts and prophetic elements, as the creative magic or the miracle of literary texts, symbolism, musicality, rhythm, images, poetic rhetoric, valence of meaning of the text, code of poetic diction that refers to either a singer in a trance or a person inspired in delirium, who believes he is sent by his God with a message to tell about events and figures that have existed, or the imaginary ancient and modern world. Text Prophetism is a combination of artifacts and platonic idealism. Key words: text Prophetism, holy text, poetic text, law text, vision, image, figure

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16

Herman, Vimala. "Book Reviews: Poetic Voices: Discourse Linguistics and the Poetic Text." Language and Literature: International Journal of Stylistics 6, no. 1 (1997): 71–76. http://dx.doi.org/10.1177/096394709700600106.

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17

Nosirova, Umida Ikromovna. "PRAGMASEMANTIC FEATURES OF THE POETIC TEXT." Theoretical & Applied Science 80, no. 12 (2019): 37–41. http://dx.doi.org/10.15863/tas.2019.12.80.7.

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18

Grigoriev, Yuri. "System harmony of poetic text translation." Science Bulletin of the Novosibirsk State Technical University, no. 1 (March 20, 2018): 79–102. http://dx.doi.org/10.17212/1814-1196-2018-1-79-102.

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19

Ponomareva, Olga B. "Conceptual Integration in the Poetic Text." Procedia - Social and Behavioral Sciences 200 (August 2015): 520–25. http://dx.doi.org/10.1016/j.sbspro.2015.08.012.

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20

Koval, Halyna. "Folk-poetic numerology in calendar text." Ethnology Notebooks 143, no. 5 (2018): 1229–38. http://dx.doi.org/10.15407/nz2018.05.1229.

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21

Medvedchikova, Kseniya Sergeevna. "Biblical Expression in Modern Poetic Text." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 12, no. 1 (2012): 33–36. http://dx.doi.org/10.18500/1817-7115-2012-12-1-33-36.

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22

Mukhamejanova, G., and A. Mukhamejanova. "POETIC FEATURES OF THE LITERARY TEXT." BULLETIN Series of Philological Sciences 73, no. 3 (2020): 123–32. http://dx.doi.org/10.51889/2020-3.1728-7804.19.

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Currently, due to linguistic personalities associated with culture, language, national existence, especially with literature, various aspects and aspects of linguistics are revealed in the development of literature in linguistics and linguoculturology. From this point of view, linguistics, first of all, reveals the essence of linguistic poetics, determines the degree of its residence in the language, literature, reveals the subject of study, development, teaching, and connections with other branches of science. This article examines the phonetic micropoetics of the language of a work of art, and also analyzes the nature of phonetic phenomena used in a work of art, using specific examples.

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23

Radwańska-Williams, Joanna, and Masako K. Hiraga. "Pragmatics and poetics: Cognitive metaphor and the structure of the poetic text." Journal of Pragmatics 24, no. 6 (1995): 579–84. http://dx.doi.org/10.1016/0378-2166(95)00049-x.

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24

Et. al., Riyadh KareemAbdullah,. "The mythical structure and bridging of functions A nominal reading in the poetry of KhazalMajidi." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 5 (2021): 1985–98. http://dx.doi.org/10.17762/turcomat.v12i5.2282.

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: Interconnectednessin the cultural center of the poetic text of Khazaal al-Majidi embodies the actions of the focus of differentiation in employing the myth, and it connects at the other end to the possible rays of what the mythical event is, right up to the poetic dramatization of that event in the text, so that the mythical character becomes the focus of the poet’s attention, poetic employment from the point of view of the format implicit represents a formats own culture poet mm of making the choice myth employee tends to favor the poetic vision of the poet Majidi Although Tmahiaa with methods of recruitment of myth in contemporary poem, making the opening of the text of poetic commonplace and acceptable in the architectural light the modern poem , is not too much that we went to that all the formats that have appeared in this chapter or the next chapters later in the poetry Majidi her mythological roots, identifies with Alostor of mother sometimes approaching, moving away altogether, but the result is orbiting the legend, and draw Its manifestations and existence came from the womb of the myths that lived in the poet's imagination.

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25

Berdnikova, Olga A. "On the Poetics of Titles in I. A. Bunin’s Poetic Heritage." Izvestia of the Ural federal university. Series 2. Humanities and Arts 22, no. 4 (202) (2020): 238–55. http://dx.doi.org/10.15826/izv2.2020.22.4.074.

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This article considers I. A. Bunin’s poetic oeuvre from the point of view of title poetics in order to identify the main patterns and author’s strategies in working with the title complex. The methodology is based on the correlation of the title with the text, subtext, and metatext of the poem, taking into account textual refinements. In Bunin’s principle of working with the title complex, there is a noticeable striving for accuracy and at the same time for a metaphorical semantic comprehensiveness that includes existential, natural, and cultural constants. Thus, the main features of Bunin’s poetics of titles are changes in the titles of one text, removal of titles and dedications, repetition of titles in two or more poems, combination of the theme and genre in a number of titles, and the addressing factor. In recurring titles, the researcher finds key images of Bunin’s poetry that include him in the Russian poetic tradition. However, a tendency to modernism is also noticeable in Bunin’s poetry in the titles of poems that contain Bunin’s philosophical and poetical reflection. The titles of such poems refer to the theme of death and often contain the words “grave” / “tomb”, but the text of the poem enters into an antinomic relationship with the title, i.e. a person belonging to the “world of art”, culture, and tradition (myth and religious tradition) has already ascended over the world and is doomed to immortality. The removal of titles as a strong position in texts on political topics shifts the reader’s attention from the temporary to the eternal and metahistorical, which is found in the text itself and clarifies the author’s position.

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26

Yeshchenko, T. "POETIC COMMUNICATION AND ANTROPOCENTRISM." East European Scientific Journal 3, no. 5(69) (2021): 33–36. http://dx.doi.org/10.31618/essa.2782-1994.2021.3.69.61.

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The author substantiates the idea of the anthropocentric nature of the poetic text, in which the addresser and the addressee form an interactive communicative chain, and artistic-poetic communication in the aspect of discursive approach is considered as a process in which the subject of verbal interaction between its participants is encoded in poetic form. Poetic verbal goals act as the source for this research, from which a selection of units that manifest the text category «anthropocentrism» is done in a way of accurate and complete inventory. The research method is descriptive. The author considers the poetic text as an intermediate link in the paradigm, which presupposes certain communicative roles of the addresser (author) and the addressee (reader). This triadic structure of speech interaction is caused by the tactical and strategic repertoire of the speaker, their intention, functional parameters of the text and pragmatic effect. The prospect of the research is the description of the text category «anthropocentrism» and its components (addresser / addressee) in semantic, pragmatic, communicative aspects.

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27

Britsyn, Victor. "MODAL ASPECTS OF INTERPRETATION OF POETIC TEXT." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2021, no. 32 (2021): 35–44. http://dx.doi.org/10.24195/2616-5317-2021-32-2.

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The article outlines the main provisions of the cognitive theory of modality and shows the possibilities of applying this theory in the process of describing poetic texts. The methodology of applying the cognitive theory of modality is demonstrated mainly on the material of the poetic works by T. Shevchenko. They exhibit an extremely wide palette of modal meanings and modal thought transitions. In particular, the visual perceptions presented here are an example of the verbal continuation of the talent of the wonderful artist. The article shows the innovation of T. Shevchenko in the modal organization of poetic texts, the correlation between his finds and new stylistic devices that were introduced by A. Pushkin who greatly enriched the literature.

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Nurgalieva, Anastasiya F. "POETIC TEXT PERCEPTION BY POET MARINA TSVETAEVA." Tekst. Kniga. Knigoizdanie, no. 9(2) (December 1, 2015): 39–43. http://dx.doi.org/10.17223/23062061/9/3.

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29

Ponomareva, Olga. "COGNITIVE-DISCURSIVE INTERPRETATION OF THE POETIC TEXT." Kognitivnye Issledovaniya Yazyka 24 (2016): 551–59. http://dx.doi.org/10.20916/2071-9639-2016-24-551-559.

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30

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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31

Hoffstaedter, Petra. "Poetic text processing and its empirical investigation." Poetics 16, no. 1 (1987): 75–91. http://dx.doi.org/10.1016/0304-422x(87)90037-4.

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32

PUKITA, ALEXANDER P. "MARINE TERMS AND PROFESSIONALISMS IN POETIC TEXT." Cherepovets State University Bulletin 1, no. 100 (2021): 127–39. http://dx.doi.org/10.23859/1994-0637-2021-1-100-10.

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The purpose of the study is to provide linguistic analysis of marine vocabulary in the poetic text of northern writers. The relevance of this article is due to insufficient knowledge of the marine vocabulary functioning in the northern text of Russian literature. The professional vocabulary of fishermen and sailors in the Arkhangelsk North served as the research material. The sources of the material are “Dictionary of folk-colloquial speech of the city of Arkhangelsk” (Vol. 2. Urban sociolects. Part 1. Professional speech of sailors and fishermen; edited by Professor T. A. Sidorova, Arkhangelsk, 2016) and literary texts by V. A. Bednov, A. I. Levushkin and D. A. Ushakov. The article provides a classification of the marine professional vocabulary used in poetic context according to various parameters, and also describes its functions.

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33

Redka, Inna. "AESTHETIC ASPECT OF EMOTIVENESS OF POETIC TEXT." Scientific Journal of Polonia University 46, no. 3 (2021): 88–94. http://dx.doi.org/10.23856/4612.

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The study looks for ways of analyzing the aesthetic aspect of emotiveness in a poem. To accomplish the aim, the author undertakes an attempt to study the essence of the image of aesthetic feeling. Since a poetic text appears to be a complex unity of notional, emotive, and aesthetic codes, the methods of cognitive analysis are employed to formalize deep cognitive and emotive constructs that give rise to aesthetic senses within a poetic text. The study relies on the statement that an image of aesthetic feeling has an emergent nature which means that it appears in the process of poetic text writing as a result of a creative impulse of the author (O. Mandelstam). In the study, the image of aesthetic feeling is regarded as an emotive image of the highest level. On the one hand, it is directed at some well-established aesthetic categories, and on the other, it reveals the author’s attitude to them which is manifested through a sophisticated network of images. A step-by-step analysis of Shel Silverstine’s poem “A Light in the Attic” has been suggested to illustrate a possible way of uncovering image(s) of aesthetic feelings inscribed in the text.

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Tverdokhleb, Olga G. "GRAMMAR OF PARTICIPIAL CONSTRUCTIONS, ATTRIBUTIVELY CHARACTERIZING AQUATIC VOCABULARY, IN POETIC TEXT OF JOSEPH BRODSKY." Yugra State University Bulletin 13, no. 1-2 (2017): 34–40. http://dx.doi.org/10.17816/byusu2017131-234-40.

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The article substantiates the idea that in the poetic language of Brodsky there is widespread use of names of objects of water elements, characterized by a temporary basis for action in the form of an agreed definition, expressed by different involved shapes. On a large illustrative material it is shown that in the poetic compositions of Brodsky realities of the watery world, often described as a pre-existing active and independent figures, are the elements most appropriate for the poet events that have already occurred. In the last part the author comes to the conclusion that associated with the idea of time the use of participal constructions as attributive characteristics of aquatic nominations is a significant characteristic of the idiostyle of J. Brodsky. Methods of study of the language of the poetry of Joseph Brodsky proposed in this work can be used in the analysis of poetics of other authors.

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Marković, Bojan. "The Meaning of Writing Modern Poetry in a/the New Century." Transcultural Studies 11, no. 1 (2015): 22–34. http://dx.doi.org/10.1163/23751606-01101004.

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The paper deals with the sense of writing poetry as a form of text immanence that is antinomous to the contemporary age, which is also an alternative system of thought, of transformation, of imitation and of critical redefinition of the reality of that contemporary age. At the same time, poetry is a neglected, peripheral literary genre, but also a hyperbolized fictional form that opens the way to an alternative victory of opinions and feelings. Essayistic in structure, the paper discusses several poems and the poetics of three 20th century Serbian and Yugoslav Modernists (Kosovel, Dis, Crnjanski), in order to show, on the basis of their developing and differentiated poetic self-consciousness, what sense the writing of poetry might have in the 21st century. In these instances of poetics, paradigmatic of poetic self-consciousness in general, not all the possibilities of the sense of creativity and action have been exhausted, nor the poetic solutions leading to it.

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MARINA I., SVESHNIKOVA. "POLYVALENT CONSTANTS IN POETIC TRANSLATION." HUMANITARIAN RESEARCHES 78, no. 2 (2021): 59–63. http://dx.doi.org/10.21672/1818-4936-2021-78-2-059-063.

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This article is devoted to the problems of preserving information in the translation of a poetic text. The translator must convey to the recipient the information that was presented by the author in the text. Poetic translation should be considered as a phenomenon of inter-linguocultural communication. The main translation constants have an universal character. They are polyvalent and represent three categories of invariants that must be reproduced in translation: conceptual information, factual information, and aesthetic information. In the structure of a poetic text, its constituent elements are correlated not only linearly, horizontally, as in an ordinary utterance, but also vertically, and it requires a thorough preliminary analysis of the original text. In addition, the saturation of the poetic text with various stylistic means, author's neologisms, language and cultural realities is very high. The transfer of invariants to another language and their correlation in the translation text are demonstrated by the example of translations of I. Bunin's poems.

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Yampolsky, Philip. "Poetic Text and Melodic Text: Text-Setting in Two Song Traditions of Timor." Asian Music 53, no. 1 (2022): 80–126. http://dx.doi.org/10.1353/amu.2022.0004.

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Tebegenov, Т., and S. Asilbekuli. "ARTISTIC CHARACTER OF ZHUMEKEN NAZHIMEDENOV'S POETRY." BULLETIN Series of Philological Sciences 74, no. 4 (2020): 344–52. http://dx.doi.org/10.51889/2020-4.1728-7804.70.

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The article analyzes the artistic features of lyrical and ethical works in the poetry of the outstanding poet, laureate of the State prize of the Republic of Kazakhstan Zhumeken Nazhimedenov. The poet's poetry is dominated by civil-Patriotic lyric poetry, psychological and philosophical integrity of the sung questions: the native land of the great Steppe, the sacred homeland, the continuity of generations, respect for ancestors, etc. At the same time, the author analyzes the poetic and aesthetic semantic features of artistic images in lyrical poems about nature in the poet's poetry (personification, metaphor, epithet, comparison, symbol, allegory, psychological parallelism, etc.). the Lyrical and psychological nature of civil dedications to things and phenomena in nature is determined by text analysis. We also analyzed critical motives expressed by images of irony and sarcasm in the poet's poems, which assessed gaps and shortcomings in the system of relations in the domestic and social environment. Differentiated features of the historical-philosophical, aesthetic-poetic artistic solution of the poem in the epic poetry of the poet in the generalization and reflection of the reality of life with artistic reality. The research is highlighted in the context of a new consideration of the text analysis of the poetic features of works in the poet's poetry.

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Gintsburg, Sarali. "It’s got some meaning but I am not sure…" Pragmatics and Cognition 24, no. 3 (2017): 474–95. http://dx.doi.org/10.1075/pc.18017.gin.

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Abstract In this research I aim to contribute to a better understanding of transitionality in poetic language by applying for the first time the hypotheses recently developed by pioneers in the emerging field of cognitive poetics to a living tradition. The benefits of working with a living tradition are tremendous: it is easy to establish the literacy level of the authors and the mode of recording of poetic text is also easy to elicit or, when necessary, to control. I chose a living poetic tradition originating from the Jbala (Morocco). Although it is not epic and local poets create only relatively short poetic texts, memorisation is also used; it has been demonstrated that oral improvisation and the use of memory are not mutually exclusive. This suggests that research on the living Jebli tradition holds promise for our understanding of oral poetry, and for revisiting the intriguing question of formulaic language.

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SVESHNIKOVA, M. I., and E. I. SERNOVA. "SUSPENSION POINTS AND ITS FUNCTIONS IN THE TRANSLATION OF A POETIC TEXT." HUMANITARIAN RESEARCHES 4, no. 80 (2021): 104–10. http://dx.doi.org/10.21672/1818-4936-2021-80-4-104-110.

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The article is devoted to the problem of the transfer of such punctuation mark as suspension points in the translation of a poetic text from French into Russian. Examples of translations of French poetic texts from classics to modern works are analyzed. The role of the suspension points is shown in the process of changing the rules of the organization of poetic speech.

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Blake, Sarah. "TEXT, BOOK, AND TEXTBOOK: MARTIAL'S EXPERIMENTS IN THE CODEX." Ramus 43, no. 1 (2014): 67–93. http://dx.doi.org/10.1017/rmu.2014.4.

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Of all the Roman poets, Martial is perhaps the most concerned with his material medium; the physical book itself is a major character in theEpigrams. In the context of epigram-writing, this is not so unusual; as a genre, epigram is traditionally self-conscious of its development from ‘stone to book’. As recent scholarly work has shown, however, Martial's concern with the materiality of his poetry goes to the heart of his poetic project, as he reworks images inherited from Greek epigram as well as from Catullus, Horace and Ovid to fashion a new poetics of Flavian epigram and a correspondingly unique concept of the poetry book.

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Grinbaum, Oleg. "Issues of Verse Theory: Aesthetic Categories and the Poetic Text." Respectus Philologicus 25, no. 30 (2014): 118–39. http://dx.doi.org/10.15388/respectus.2014.25.30.9.

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This article discusses issues of verse theory as it relates to the stanza as a structural unit of a poetic text. The basic aesthetic categories (limits, harmony, grace, and beauty) are considered from the position of mathematical aesthetics, and a mathematical interpretation is offered for three of them (limits, harmony, and grace) in respect to the poetic text (stanza). The category “beauty” cannot correlate with formal descriptions, as far as beauty is the highest subjective-qualitative assessment of an observed object and formed on the basis of a quantitative-qualitative assessment of its limits, harmony, and grace. From the standpoint of aesthetic science, a verse represents the motion limits of a poetic thought. For the mathematical two new formal parameters are introduced, namely the “harmony” and “grace” of the poetic rhythm. In fact, these formal parameters are indicative correlates of expressive (sensual-meaningful) possibilities and kinds of artistic and poetic form (stanzas). In the network of mathematical aesthetics, new parameters acquire clear and mathematically precise definitions and computational procedures that make it possible to quantitatively assess the harmonic potential of different stanzas in their structural-systemic representation. The concept of a stanza’s harmonic profile is introduced, which allows very subtle differences to be captured in the aesthetic properties of different stanzas of Russian classical verse. The employment of new parameters is demonstrated through examples of the most productive of Pushkin’s stanzas.

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Smith, Matthew. "The Disincarnate Text: Ritual Poetics in Herbert, Paul, Williams, and Levinas." Christianity & Literature 66, no. 3 (2017): 363–84. http://dx.doi.org/10.1177/0148333117703987.

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This Introduction to a special issue on “The Sacramental Text Reconsidered” provides a brief genealogy of the practice of describing texts, performances, and poetics as sacramental, eucharistic, and incarnational. It also offers a critique and clarification of such reading practices by differentiating between the real divine presence theologically understood to dwell in a proper sacrament and the “disincarnation” enacted by sacramentally laden literary texts and performances. Drawing on the writings of Emmanuel Levinas, Rowan Williams, and St. Paul, I demonstrate the disincarnate as a poetic of ritual and oblation in an extended reading of Herbert’s poetry.

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Silantev, I. V., and Yu V. Shatin. "The Discourse of Impressionism in Beta’s (B. V. Butkevich) Poetics." Critique and Semiotics 38, no. 1 (2020): 10–21. http://dx.doi.org/10.25205/2307-1737-2020-1-10-21.

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The article analyzes the impressionistic poetics of Boris Butkevich, a literary figure of the first wave of Russian emigration, a representative of the Harbin literary school. Like most impressionists, the composition of the poetic text by Boris Butkevich lacks a clearly defined beginning and end. The described lyrical situation can theoretically be continued in both directions. The reference points of impressions turn out to be significant, and not their poetic analysis. A similar principle is also found in the author’s prose, which largely repeats and develops the poetics of his lyric poems. Along with repeated melodic tricks in Butkevich’s prose, cross-cutting motives play an important role, passing from one text to another and organizing the unity of the cycle. At the same time, the author maintains the basic principle of impressionistic discourse – the paradoxical inconsistency of the scale of values. The value of an event is determined not by the accuracy of coincidences with the accepted doxes, but by the fact of a random incident of an event in the author’s field of vision.

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Mahdi, Amer Rasool. "“[I]t is a word unsaid”." Al-Adab Journal 1, no. 126 (2018): 1–8. http://dx.doi.org/10.31973/aj.v1i126.3.

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This study attempts to trace the aesthetic of the act of naming in Walt Whitman’s poem “Song of Myself”. It tries, furthermore, to approach America as a geo-poetic concept and formation in the earlier American poetics of being. The literary geography of Whitman’s poetry might here be measured against the poeticity of the American con(text) or poetic dwelling, with all the nuances of the question of identity being implicated. The poet as a namer is the one who re-invents his linguistic-poetic gear to re-signify his existence in the act of renaming the second creation. Building on the Emersonian pseudo-philosophical premises, the poet Whitman thus sets himself the task of mapping out his Eden, or this terra incognita, by creating his textual geography and by Whitmanizing the American scene for that matter.

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Tamara, Goli-Oglu, and Abushek Maria. "METAPHORIC POETIC TEXT BY LESYA UKRAINKA: TRANSLATION ASPECT." Scientific Bulletin of Kherson State University. Series Germanic Studies and Intercultural Communication, no. 2 (November 27, 2019): 96–102. http://dx.doi.org/10.32999/ksu2663-3426/2019-2-14.

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Shchepanska, Khrystyna. "THE LEVELS OF IMAGERY IN THE POETIC TEXT." Проблеми гуманітарних наук. Серія Філологія, no. 42 (December 26, 2018): 186–94. http://dx.doi.org/10.24919/2522-4557.2018.42.152863.

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Dzhusupov, N. M. "CONCENTRATION OF FOREGROUNDING DEVICES IN A POETIC TEXT." RUDN Journal of Language Studies, Semiotics and Semantics 9, no. 2 (2018): 379–87. http://dx.doi.org/10.22363/2313-2299-2018-9-2-379-387.

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Young-sung Chueh. "The Poetic Transformation and Visualization of Narrative Text." New Korean Journal of English Lnaguage & Literature 49, no. 1 (2007): 165–84. http://dx.doi.org/10.25151/nkje.2007.49.1.008.

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Joon-Ki Kim. "The Poetic Transformation and Visualization of Narrative Text." New Korean Journal of English Lnaguage & Literature 49, no. 2 (2007): 143–55. http://dx.doi.org/10.25151/nkje.2007.49.2.008.

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