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Journal articles on the topic 'Poetic theory'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Daalder, Joost. "Herbert's "Poetic Theory"." George Herbert Journal 9, no. 2 (1986): 17–34. http://dx.doi.org/10.1353/ghj.1986.0013.

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2

Liu, Dan. "The Impersonal Theory of Poetry in “Tradition and the Individual Talent” by TS Eliot." Journal of Contemporary Educational Research 8, no. 6 (2024): 104–9. http://dx.doi.org/10.26689/jcer.v8i6.7350.

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Eliot, an important poet, playwright, and literary critic of the nineteenth century in the United States, was the founder of Western modernism. He pioneered the modern poetic criticism. His practice of modernist poetry is the transition from traditionalist poetics to modernist poetics in the 20th century. His famous poetics theory declaration “Tradition and the Individual Talent” is an immortal classic in the field of poetics theory, in which he proposed the concept of “Traditional,” the theory of “Impersonal” poetry, “Objective Correlative,” and so on. All had a profound influence on the 20th

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3

Trueba Atienza, Carmen. "El error poético en Aristóteles." Theoría. Revista del Colegio de Filosofía, no. 10 (June 1, 2001): 11–21. http://dx.doi.org/10.22201/ffyl.16656415p.2000.10.245.

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The question of the poetic error is treated by Aristotle in the context of his analysis of mimesis or poetic imitation, and constitutes a key element for the adequate comprehension of his mimetic theory of art. In this article, the author demonstrates that the Aristotelian notion of poetic error acquires an artistic or poetic sense, based on relevant passages of his Poetics. The author maintains that the notion of poetic error indicates that Aristotle recognizes some degree of autonomy to art concerning politics, ethics, and science.

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Mills, Philip. "Nietzsche's Poethics: Poetry as a Way of Life in 'The Gay Science'." Labyrinth 26, no. 1 (2024): 221–39. https://doi.org/10.25180/lj.v26i1.362.

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The notion of poethics has been used to approach the way in which forms of language and forms of life are interdependent and to reveal the ethical dimension of poetics. However, the interaction must go both ways; there must not only be an ethical dimension to poetics, but also a poetic dimension to ethics. To what extent is ethics dependent on poetics? In this essay, I argue that Nietzsche’s life-affirming ethics can be understood only in this poethical framework. The specificity of Nietzsche’s ethics, and why it is so difficult to locate on the spectrum of ethical theories, lies in the fact t

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5

Dooley, David, and Seamus Heaney. "Poetic Theory and Practice." Hudson Review 49, no. 3 (1996): 521. http://dx.doi.org/10.2307/3852530.

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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 th

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Sakr, Mohammed Gamal. "Prosodic text analysis theory." Journal of Arts and Social Sciences [JASS] 7, no. 1 (2016): 283–95. http://dx.doi.org/10.53542/jass.v7i1.1118.

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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 th

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8

Prus, Robert. "Poetic Expression and Human Enacted Realities: Plato and Aristotle Engage Pragmatist Motifs in Greek Fictional Representations." Qualitative Sociology Review 5, no. 1 (2009): 3–27. http://dx.doi.org/10.18778/1733-8077.5.1.01.

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Poetic expressions may seem somewhat removed from a pragmatist social science, but the history of the development of Western civilization is such that the (knowingly) fictionalized renderings of human life-worlds that were developed in the classical Greek era (c700-300BCE) appear to have contributed consequentially to a scholarly emphasis on the ways in which people engage the world. Clearly, poetic writings constitute but one aspect of early Greek thought and are best appreciated within the context of other developments in that era, most notably those taking shape in the realms of philosophy,

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9

Rohrbach, Emily. "Keats’s Vanishing Books." Romanticism 28, no. 2 (2022): 165–74. http://dx.doi.org/10.3366/rom.2022.0552.

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Keats’s poems written in the years leading up to his annus mirabilis, 1819, frequently feature books, but those references and images vanish from his poetic production in 1819 and the subsequent publication of that verse in his 1820 volume. This essay attempts to account for that shift in his poetics by exploring Keats’s relation to his friend and mentor Leigh Hunt, proposing that this poetic shift attends Keats’s political departure from Hunt’s privatised, metropolitan imagination in favour of a more public and egalitarian poetics of dispossession.

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10

Ogle. "Poetic “being-with”: A Case for Relational Poetics." Interdisciplinary Literary Studies 23, no. 1 (2021): 69. http://dx.doi.org/10.5325/intelitestud.23.1.0069.

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11

Huttunen, Tomi. "Montage in Russian Imaginism: Poetry, theatre and theory." Sign Systems Studies 41, no. 2/3 (2013): 219–29. http://dx.doi.org/10.12697/sss.2013.41.2-3.05.

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The article discusses the concept of montage as used by the Russian Imaginist poetic group: the montage principle in their poetry, theoretical writings and theatre articles. The leading Imaginist figures Vadim Shershenevich and Anatolij Mariengof were active both in theorizing and practising montage in their oeuvre at the beginning of the 1920s. Shershenevich’s application of the principle in poetry was called “image catalogue”, a radical poetic experiment in the spirit of both Walt Whitman and Sergei Eisenstein. Mariengof ’s main contribution to the montage poetics was his first fictional nov

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Samostienko (Suslova), Evgenia V. "POETIC THEORY OF COMMUNICATION BY ELIZAVETA MNATSAKANOVA." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 3 (2022): 98–110. http://dx.doi.org/10.18522/2415-8852-2022-3-98-110.

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This article is devoted to the study of communication strategies in the poetry of Elizaveta Mnatsakanova, one of the main Russian-speaking poets of the second half of the 20th century. Using the principles of working with sound and experimental musical composition, the author creates a very special poetic language that is typologically close to the so-called spectromorphology, an approach developed by the composer Denis Smalley in the 1980s. The author of this concept made a great contribution to the development of the theory of sound art, as he proposed a kind of grammar for electro-acoustic

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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 s

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Ben-Porat, Ziva. "Poetics of the Homeric Simile and the Theory of (Poetic) Simile." Poetics Today 13, no. 4 (1992): 737. http://dx.doi.org/10.2307/1773297.

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15

Judy, R. A. "The Poetics of Protest, from Africa to Minneapolis." Comparative Literature 74, no. 3 (2022): 293–305. http://dx.doi.org/10.1215/00104124-9722350.

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Abstract Offering an itinerary of the thinking that led to Sentient Flesh: Thinking in Disorder, Poiēsis in Black, R. A. Judy explains the concept of “poetic socialities” mentioned in it. This explanation begins with an account of the Muslim peripatetic philosophers’ reception of Aristotle’s Poetics, focusing on ibn Sīnā’s conception of the role poetic expression’s cognitive as well as affective force plays in the instantiation of what he calls الأمة الشعرية (al-umma al-sh’irīya), “the poetic or aesthetic community.” Elaborating how and why the phrase poetic socialities is the paraphrastic tra

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Rasheed, Muhammed Fattah. "Poetics of Defamiliarisation in Craig Raine’s Selected Poems." JOURNAL OF LANGUAGE STUDIES 6, no. 4, 1 (2023): 211–24. http://dx.doi.org/10.25130/jls.6.4.1.13.

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Defamiliarisation is one of the techniques that has been studied by literary criticism; especially the Russian formalist one. It is the technique of alienating or making estrangement. This study attempts at investigating the three devices of defamiliarisation (deviation, foregrounding, and antithesis) in Craig Raine’s selected poems: “A Martian Sends a Postcard Home” “An Attempt at Jealousy” and “Heaven on Earth”. The selected poems represent Raine’s best poems and the prominent example exemplifying the use of defamiliarisation in his poetry. The study aims at uncovering the poetic and aesthet

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17

Kluge, Alexander. "The Poetic Power of Theory." New German Critique 47, no. 1 (2020): 9–24. http://dx.doi.org/10.1215/0094033x-7908350.

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Abstract The roots of theory lie in the spirit of resistance and “essential powers” that Karl Marx and Immanuel Kant ascribed to human beings. The poetic power of social life seeks and finds counter-algorithmic expression through narrative capacities of differentiation, and the poetic power of theory operates as a political alliance out of which emancipation of any kind becomes subjectively possible, without being subjectively controlled. What twenty-first-century forms of theoretical practice, sensory intelligence, and storytelling allow for the courage of cognition in a world dominated by Si

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Ribeiro, Anna Christina. "Relevance Theory and Poetic Effects." Philosophy and Literature 37, no. 1 (2013): 102–17. http://dx.doi.org/10.1353/phl.2013.0016.

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19

Hodgkins, Hope Howell. "Rhetoric versus Poetic: High Modernist Literature and the Cult of Belief." Rhetorica 16, no. 2 (1998): 201–25. http://dx.doi.org/10.1525/rh.1998.16.2.201.

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Abstract: High-modernist writers professed a disdain for rhetoric and yet found it hard to escape. They scorned the artifice of traditional, overt rhetoric and they did not wish to acknowledge that all communication is rhetorical, whether frankly or covertly. They especially distrusted “persuasion by proof” just as they distrusted traditional religion, aversions which had significant consequences for modernist literature. Modernists such as Pound favored poetry over the more frankly rhetorical genre of fiction. They valued the poet's privilege, first articulated by Aristotle and later by Sidne

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20

Jon, Bumsoo. "시적 영감과 철학적 절제:키츠의 하이페리온 시편에 나타난 메타시적 암시". Criticism and Theory Society of Korea 27, № 3 (2022): 315–32. http://dx.doi.org/10.19116/theory.2022.27.3.315.

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If Hyperion centers on the contrasting fates of Hyperion and Apollo—gods associated with music, poetic inspiration, truth and prophecy—the primary themes of power, loss, struggle, and suffering can be read metaphorically as metapoetic allusions to the succession of literary generations, articulating the nature of poetry and writing. When rewriting his unfinished Greek fragments into a first-person narrative in 1819, John Keats conducts a major reassessment of Moneta’s role in the project, the Roman equivalent of Mnemosyne, the goddess of memory and the mother of the Muses. He redefines Moneta’

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21

Al-Issawi, Ban Jassim Mohammed, and Muzaffar Hashim Abdul Majeed Al-Ani. "The Poetics of Contrast Between Western and Arab Thought." KnE Social Sciences 10, no. 6 (2025): 155–73. https://doi.org/10.18502/kss.v10i6.18285.

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Researchers in literary circles frequently use the term ”poeticism”due to the ambiguity that often surrounds literary texts. This term clarifies the obscurities by offering explanation and reveals the underlying elements through the application of theory, analysis, and commentary. This paper presented to your academic conference aims to investigate the use of poetic contradiction on poetry, examining the impact of oppositions on poetry and identifying its effects through practical application. Early scholars paid significant attention to the poetry that dominated the scene at the time, startin

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22

Bond, William. "Love the Live Oak." Nineteenth-Century Literature 76, no. 4 (2022): 427–54. http://dx.doi.org/10.1525/ncl.2022.76.4.427.

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William Bond, “Love the Live Oak: Sidney Lanier’s Ecopoetics and the Critique of Mediation” (pp. 427–454) Sidney Lanier’s poetry has long been read as an exercise in the poetics of pure sound (and as either an escape from or an affront to a poetics of subjective lyric expression). As this essay shows, in an early phase of Lanier’s poetic career, his poetics of pure sound is tied to a late-Romantic form of nature poetry, which anticipates the new materialist ecotheory of the twenty-first century: specifically, in the 1872 essay “Nature-Metaphors,” Lanier lays out a model of nature poetry founde

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23

YOON, Hyonyung. "T. S. Eliot’s Objective Poetics and the Locus of Emotion." Journal of the T. S. Eliot Society of Korea 32, no. 2 (2023): 147–71. http://dx.doi.org/10.14364/t.s.eliot.2023.32.2.147-71.

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My paper aims to find the locus of emotion in T. S. Eliot’s objective poetics. Eliot is best known as the promulgator of modern poetics of objectivity in contrast to the Romantic conception of poetry emphasizing subjective feelings. Specifically, along with “an objective correlative,” “impersonality,” defined as “escape from emotion” or “escape from personality,” becomes the watchword identifying the objectivity of his poetic theory. The problem is that the subsequent Modernist reception of Eliot’s poetics contains misunderstanding it as if it disregarded the emotional aspect of poetry. But, a

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Rowe, John Carlos. "Islands in the Dream: Edgar Allan Poe and Archipelagic Studies." Poe Studies 54, no. 1 (2021): 87–104. http://dx.doi.org/10.1353/poe.2021.a825742.

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ABSTRACT: Poe's Eureka (1848) represents the universe as a process of the dispersal of energy into matter that will eventually reach a point of entropy in which the material cosmos will collapse back into an energetic center. The cosmology of Eureka is actually a poetic theory of how the otherwise disparate parts of nature and human experience are secretly related. As Poe returned to poetry in his later years, he wrote several prose works that aspired to the poetic expression of this cosmic unity. Often considered merely technical exercises in ut pictura poesis , "The Domain of Arnheim" and "L

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McCully, C. B. "Towards a theory of poetic change." Language and Literature: International Journal of Stylistics 12, no. 1 (2003): 5–25. http://dx.doi.org/10.1177/096394700301200101.

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This article1 provides an overview of the processes of structural change in poetic form(s), and aims to put those processes into a diachronic and conceptual framework. It is argued here, with reference to a wide range of examples drawn mainly (though not exclusively) from English, that poetic change can be seen to fall into four broad categories, adaptive change, assimilative change, typological change, and reactive change. The article concludes with an analysis of the reactive changes involved in the coming of non-metrical verse to the English poetic canon.

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Sussman, Henry. "The Poet as Cyber-Linguistic Programmer of Her Age: McCaffery." CounterText 7, no. 3 (2021): 427–56. http://dx.doi.org/10.3366/count.2021.0245.

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This article posits that Steve McCaffery's radical poetico-graphic experimentation, from the 1970s through to the present day, is an exemplary site at which innovations in poetics and technology converge. At stake in McCaffery's multifaceted achievement are, among other issues: the composition of the poetic page as a screen, with its integral design and integrity; the transition between analog and digital print organisations, in thinking as in technology; the history of printing, as evidenced by his deployment of the transitional technology of the IBM Selectric typewriter in the composition of

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Chaturvedi, Namrata. "Christian Devotional Poetry and Sanskrit Hermeneutics." International Journal of Asian Christianity 1, no. 1 (2018): 64–90. http://dx.doi.org/10.1163/25424246-00101005.

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This paper focuses on exploring dhvani as a hermeneutical tool for reading Christian devotional literature. Dhvani is a theory of poetic suggestion proposed by Ānandavardhana in the eighth century and elaborated upon by Abhinavagupta in the eleventh century that posits layers of semantics in poetic language. By focusing on the devotional poetry of the seventeenth-century religious poets of England, this paper argues for Ānandavardhana’s proposed poetics of suggestion as an enabling way of reading and cognizing devotion as a psycho emotive process. In the context of Indian Christianity, dhvani

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Frank, Jason. "Aesthetic Democracy: Walt Whitman and the Poetry of the People." Review of Politics 69, no. 3 (2007): 402–30. http://dx.doi.org/10.1017/s0034670507000745.

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This essay argues for Walt Whitman's significance to contemporary democratic theory, neither as a theorist of moral or aesthetic individualism nor as a theorist of communitarian nationalism, but as a theorist of the democratic sublime. Whitman's account of “aesthetic democracy” emphasizes the affective and autopoetic dimensions of political life. For Whitman, popular attachment to democracy requires an aesthetic component, and he aimed to enact the required reconfiguration of popular sensibility through a poetic depiction of the people as themselves a sublimely poetic, world-making power. Thro

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Kitts, Margo. "Mimetic Theory, Sacrifice, and The Iliad?" Bulletin for the Study of Religion 45, no. 3-4 (2016): 46–57. http://dx.doi.org/10.1558/bsor.v45i3-4.31345.

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This essay strives to apply Girard’s mimetic theory to Homeric sacrifice scenes, poetic characterizations, and the plot of the Iliad. The theory is found to be wanting at the level of sacrifice scenes, and barely salient at the levels of poetic characterization and plot. On the whole, Girard’s theory of sacrifice is anachronistic for the Iliad, and the Iliad’s poetic characterizations, particularly of Achilles, defy the lack of interiority presumed by Girard’s mimetic theory. However, Girard’s discussion of our fascination with violence does resonate with the Homeric Weltanschauung, as well as

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Fan, Yanzhu. "Poetic Metaphors and Embodied Cognition A Potential Pathway of Mind Development." Communications in Humanities Research 20, no. 1 (2023): 238–43. http://dx.doi.org/10.54254/2753-7064/20/20231378.

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Cognitive poetics theory regards metaphor as a significant mechanism in human unconscious cognitive processes for understanding abstract concepts and phenomena, which constitutes the essence of poetic expression. Poetic metaphors accentuate linguistic expression at the level of pure abstract concepts, transcending experiential and cultural limitations, and emerge as a significant wellspring for unconscious cognition and mind development. However, mind development cannot be exclusively reliant on metaphor, as abstract thinking arises from the interplay between rational agents and the objective

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Molde, Klas. "Toward a Theory of Poetic License." Poetics Today 41, no. 4 (2020): 561–93. http://dx.doi.org/10.1215/03335372-8720071.

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In a supposedly enlightened and disenchanted age, why has lyric poetry continued to make claims and perform gestures that are now otherwise inadmissible or even unimaginable? Animation, invocation, and unmotivated praise, apparently artificially imposed (dis)order, and spurious gnomic and vatic sayings that pretend to universal or transcendent knowledge are marks of the lyric as a genre. Sketching a theory of poetic license, this article addresses the lyrical entanglement of enchantment and embarrassment. The author argues for a concept of the lyric as a medium for regulating the balance betwe

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Hanson, Kristin, and Paul Kiparsky. "A Parametric Theory of Poetic Meter." Language 72, no. 2 (1996): 287. http://dx.doi.org/10.2307/416652.

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Yus, Francisco. "Poetic Effects. A Relevance Theory Perspective." Journal of Pragmatics 34, no. 5 (2002): 619–28. http://dx.doi.org/10.1016/s0378-2166(02)00030-9.

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Freer, Alexander. "Wordsworth’s Poetic Theory: Knowledge, Language, Experience." European Journal of English Studies 18, no. 3 (2014): 339–41. http://dx.doi.org/10.1080/13825577.2014.964584.

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Barolsky, Paul. "As in Ovid, So in Renaissance Art." Renaissance Quarterly 51, no. 2 (1998): 451–74. http://dx.doi.org/10.2307/2901573.

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AbstractThis essay is a prolegomenon to the general study of Ovid's relations to Renaissance art and art theory. As is well known, the Metamorphoses determined the subjects of numerous works of art during the Renaissance. What is not sufficiently appreciated, however, is the extent to which the ancient poet's sense of "metamorphosis" as a figure of poesis, making or "poetry," helped shape Renaissance notions of poetic transformation in the visual arts. The emergent taste for the non finito in the Renaissance, most notably in the work of Michelangelo, had important roots in Ovidean aesthetics.

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Bremer, Józef. "Wittgenstein's Tractatus as Poetic Philosophy and Philosophical Poetics." Poetics Today 42, no. 4 (2021): 519–40. http://dx.doi.org/10.1215/03335372-9356837.

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Abstract This article argues that it is helpful to discuss the logico-philosophical contents of Wittgenstein's Tractatus Logico-Philosophicus in terms that confront the poetic and literary qualities of its form and style. To begin with, it analyzes Wittgenstein's short remarks about expression as manifested in the “tone” of Georg Trakl's poetry and the “ineffability” of Ludwig Uhland's poem “Count Eberhard's Hawthorn.” Then it proceeds to consider his exchange of letters with Gottlob Frege about the form and style of the Tractatus. The final part of the article considers such Tractarian metaph

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Buivytė, Giedrė. "The Manifestations of Fate in Medieval Germanic Poetry and Lithuanian Folk Songs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 8–21. http://dx.doi.org/10.37384/aplkp.2021.26-2.008.

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Reflections of mythical worldview are embedded in traditional oral poetry, viz. Old Icelandic collection of poems Poetic Edda, Old English poem Beowulf, and Lithuanian folk songs. Archaic motifs and archetypal imagery are conveyed by means of poetic grammar (alliteration, kennings, epithets, etc.). Through interpretation, the hidden (symbolic) meaning of the poetic grammar is unveiled, and the connection between the two worlds, the sacred (the divine) and the profane (the human) (Eliade 1959), is exposed. To advance the analysis of poetic narrative, the methodology employed in the paper combin

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Khodakovska, N. G. "Poetic text as a concept of the theory of linguistic synergy." MESSENGER of Kyiv National Linguistic University. Series Philology 25, no. 2 (2023): 101–12. http://dx.doi.org/10.32589/2311-0821.2.2022.274933.

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The article studies the linguistic synergistic characteristics of German poetic texts viewed as special linguistic and aesthetic formations. Additionally, the poetic text is considered as a synergistic system that has all the properties of this system and functions according to the principles of synergy. The article examines the basic concepts of linguistic synergy, on which the research is based. Special attention is focused on the features of the process of self-organization of the poetic text as a complex, dynamic, non-linear, open system. The genre requirements relevant for the self-organi

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Koul, Radhika. "Navigating the Space Between Hermeneutics and Aesthetics: Dhvani and Comparative Poetics." Comparative Literature Studies 59, no. 2 (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

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Mottram, Brett. "Nugae on the Block: Maffeo Vegio (1407–1458), Virgil, and the Early Quattrocento Polemic over Light Verse." Journal of Medieval and Early Modern Studies 52, no. 2 (2022): 313–34. http://dx.doi.org/10.1215/10829636-9687900.

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Studies on the Renaissance reception of Virgil as an epic, georgic, and bucolic poet typically overshadow Virgil’s reception as an author of light, ludic verse. In 1428, Maffeo Vegio (1407–1458) wrote his Supplementum to Virgil’s Aeneid, an earnest attempt to complete the revered ancient epic. A decade later, however, Vegio was alluding to Virgil’s poetry irreverently in distichs and epigrams, regarding Virgil’s example as justification for poetic frivolity. The vogue for such poetic trifles sparked controversy between Vegio and his literary associates over poetic decorum and the moral limits

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Calderón Quindós, M. Teresa. "Blending as a theoretical tool for poetic analysis." Annual Review of Cognitive Linguistics 3 (October 31, 2005): 269–99. http://dx.doi.org/10.1075/arcl.3.14cal.

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The relation between Linguistics and Poetics has often been a controversial issue in Poetic Studies. With the advent of Cognitive Linguistics and its open disposition to consider any kind of discourse as interesting enough samples of human thought — and human thought being discovered to be of a figurative nature — doors have been widely opened to poetry. Despite the firm reluctance of some Literary sectors to move beyond traditional Poetics, the works by E. Semino, P. Stockwell, Gavins & Steen and M. Freeman are clear confirmation of the modern tendency to incorporate CL findings into poet

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Bradbury, J. G. "Poetic Vision." Renascence 63, no. 1 (2010): 13–21. http://dx.doi.org/10.5840/renascence201063130.

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Prynne, J. H. "Poetic Thought." Textual Practice 24, no. 4 (2010): 595–606. http://dx.doi.org/10.1080/0950236x.2010.499640.

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Chetty, Adhis. "Poetic interlude." Agenda 29, no. 2 (2015): 77–78. http://dx.doi.org/10.1080/10130950.2015.1048934.

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Skidan, Aleksandr. "Political/Poetic." Russian Studies in Literature 54, no. 1-3 (2018): 84–94. http://dx.doi.org/10.1080/10611975.2018.1507397.

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Sherry, Vincent, Bruce Bawer, Morgan Gibson, and Leonard M. Scigaj. "Poetic Development." Contemporary Literature 29, no. 1 (1988): 133. http://dx.doi.org/10.2307/1208530.

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Fishelov, David. "Poetic and Non-Poetic Simile: Structure, Semantics, Rhetoric." Poetics Today 14, no. 1 (1993): 1. http://dx.doi.org/10.2307/1773138.

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Wang, Xiaojing. "Die dialogische Natur des Duizhang." Poetica 53, no. 3-4 (2022): 323–40. http://dx.doi.org/10.30965/25890530-05301013.

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Abstract The Chinese poetic parallelism (Duizhang) as a central aesthetic instrument of classical Chinese poetry is extraordinarily difficult to translate. The meaning and association triggered by its structure must be lost in translation. The aim of the present work is to show, with the helpaw of Mikhail Bakhtin’s dialogic theory, what is actually lost by translating a Duizhang couplet. That depends on how the mechanism of the Duizhang fulfills its aesthetic function. The answer to this question could advance the discussion how to understand Chinese poetics, how to promote poetic translation,

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Bukwalt, Miłosz. "W krainie światła, w krainie Cienia. Nad prozą autobiograficzną Faruka Šehicia." Poznańskie Studia Slawistyczne, no. 16 (August 14, 2019): 69–87. http://dx.doi.org/10.14746/pss.2019.16.4.

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The aforementioned issues were studied with the use of a set of scientific tools in the area of anthropology of culture (abjective experiences and objects, symbolism of blood, category of childhood), theory of trauma, hypnology and hyperesthesia, polemology, humanistic psychiatry, Bachelard’s theory of poetic image, topoanalysis and poetics of the elements. The process of interpretation also included the Jungian concept of structure of personality known as the Shadow archetype.

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Iurlaro, Francesca. "Il testo poetico della giustizia. Alberico e Scipione Gentili leggono la Repubblica di Platone." ΠΗΓΗ/FONS 2, no. 1 (2017): 177. http://dx.doi.org/10.20318/fons.2017.3858.

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Riassunto: Il presente contributo cercherà di gettare luce sulla ricezione della Repubblica di Platone (e, insieme, della Poetica di Aristotele) nel dibattito sulla poesia che in Età moderna vide protagonisti, fra gli altri, due importanti giuristi: i fratelli Alberico (1552-1608) e Scipione Gentili (1563-1616). Come giustificano questi autori l’affinità fra poesia e diritto? A quali auctoritates del passato fanno riferimento? Si mostrerà, in primo luogo, in che modo concepiscano tale rapporto; poi, attraverso quali fonti del dibattito cinquecentesco sulla poesia ne articolino gli estremi conc

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