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Journal articles on the topic 'Poetical silence'

Author: Grafiati

Published: 28 May 2022

Last updated: 30 July 2025

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1

Vaudrin-Charette, Julie. "Reading Silenced Narratives: A Curricular Journey into Innu Poetry and Reconciliation." in education 21, no. 2 (2015): 150–70. http://dx.doi.org/10.37119/ojs2015.v21i2.223.

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Using a life writing research methodology in this article, I seek to understand the complexities implicated in reading silenced narratives as a way towards reconciling internations relationships. To do so, I weave in the poetical territories of Josephine Bacon, Innu poet from Pessiamit, Quebec. I analyse how a poetic text has created spaces for reinterpreting silence[s], that journey into and beyond my whispered narratives as an emerging, settler scholar and curriculum theorist. As I tune into several layers of silences, I examine the pedagogical implications lying within public and intimate t

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2

Kulish, Vladyslava, Maryna Chernyk, Olena Ovsianko, and Olha Zhulavska. "Pragmatic Metaphorisation of Nature Silence Effect in Poetic Discourse." Studies in Media and Communication 10, no. 1 (2022): 43. http://dx.doi.org/10.11114/smc.v10i1.5479.

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associated with verbal and non-verbal communication. The purpose of the article is to study the discursive and communicative-pragmatic nature of poetical images of silence in the English-language literary discourse. The universal and cultural functions of this notion were analysed and the main approaches to the poetical silence study were determined. It became clear that the phenomenon of Nature Silence can be actualised with the help of Nature and other landscape images in the field of English literary discourse. Such images must belong to the paradigm of English landscape images represented

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3

Wilkie, Brian, and Mark L. Greenberg. "Speak Silence: Rhetoric and Culture in Blake's 'Poetical Sketches'." Modern Language Review 94, no. 2 (1999): 503. http://dx.doi.org/10.2307/3737139.

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4

Abdokova, M. B. "POETRY ON THE VERGE OF SILENCE: POETICAL ASCETICISM OF ANATOLII SHTEIGER - METAPHYSICAL CONTEXT." RUDN Journal of Studies in Literature and Journalism 23, no. 3 (2018): 277–83. http://dx.doi.org/10.22363/2312-9220-2018-23-3-277-283.

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5

Perrot, Jean. "Keep the thread up! From humour to poetry. Silence as a spur to read and speak." Ondina - Ondine, no. 6 (September 7, 2021): 23–35. http://dx.doi.org/10.26754/ojs_ondina/ond.202164513.

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The purpose of this article is to proceed with a semiotic examination of several wordless picturebooks focussed on the use of a thread, Considering that it is the visual image which first and foremost prompts the meaning in iconotexts, we shall deal with it more particularly through the examination of two French picturebooks: the first one by Robert Scouvart, Histoire d’un fil (The Story of a Thread, Magnard 1990) shows how a single thread can magically delineate different characters introduced in an alluring play on words. The book will offer a distanced staging of the reading process through

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Akun, Akun. "When the Unspoken Speaks: As Seen in Andriani Marshanda’s You Used Me and Letter to God." Lingua Cultura 12, no. 2 (2018): 135. http://dx.doi.org/10.21512/lc.v12i2.3710.

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Repressed unresolved psychological conflicts for some people can be safely channeled into a poetical literary work as—despite its short and audio-visually framed and limited form— it could speak of bigger ideas with more freedom, and English as a medium had its own capacity to truthfully communicate the ideas. The goal of this study was to reveal the spoken and the unspoken truths behind Andriani Marshanda’s poetic expressions and their visualization in The Unspoken 1: You Used Me and The Unspoken 2: Letter to God. This research focused on how English played an important role in safely channel

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7

Kykot, Valeriy M. "LINGUISTIC MEANS OF REPRODUCING IMPLIED SENSE IN THE TRANSLATION OF R. FROST’S POETRY." Alfred Nobel University Journal of Philology 1, no. 29 (2025): 374–87. https://doi.org/10.32342/3041-217x-2025-1-29-22.

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This article aims to identify poetic implied sense markers in the original poetry of American poet Rob- ert Frost and means of their reproduction in translation, in particular, translation transformations. Among the methods applied in this study is the newly devised method of poetic work analysis em- ploying its macro-image scheme, which involves comparison of the original and translated texts at the level of autosemantic, synsemantic and subsemantic (implied sense) images and, in particular, original text anal- ysis to identify linguistic implied sense markers for its decoding and reproductio

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8

Keen, Catherine. "Lutto, silenzi e omissioni: la 'Vita nova' fra vissuto e poetato." Quaderni di Gargnano, no. 5 (December 7, 2022): 1–18. http://dx.doi.org/10.54103/quadernidigargnano-05-03.

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This essay reflects on Dante's exploration of the theme of mourning in the Vita nova. It draws on critical approaches proposed by Giorgio Agamben, on the challenges of concluding poetic works, and by Nicola Gardini, on the eloquence of the unsaid, to review how Dante's organization of a unified narrative text still leaves space for inarticulacy, silences and omissions that together underline the difficulty of voicing sorrow in poetic form. As the ending of the Vita nova projects Dante's "book of memory" forward towards future as well as past experiences, biographical and poetic, his poetics of

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9

Balashova, Elena A. "“Encyclopedia of life in the siege” in poems by Gleb Semyonov." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 227–36. http://dx.doi.org/10.37816/2073-9567-2021-59-227-236.

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The purpose of the paper is to show how Gleb Semyonov managed to update the issues of war poetry: he moves away from the chronicle, yet at the same time his texts allow us to recreate the life of Leningrad residents day by day. The author analyzes the body of war poems by Gleb Semyonov written from 1941 to 1960. The main content of the study constitutes the analysis of the cycle “Memories of the Siege”. The poet dwells on milestones of the life of the city and the life of an unfortunate person, whose moods change quickly from fear and numbness (“Silence”) to emerging animal feelings of a hunge

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10

Ebliylu, Nyanchi Marcel. "Negotiating Afro-Oriental Religious Eco-Political Space and the Modernist Backlash in God Was African by Nkemngong Nkengasong and Chronicles of a Corpse Bearer by Cyrus Mistry." East-West Cultural Passage 23, no. 1 (2023): 108–38. http://dx.doi.org/10.2478/ewcp-2023-0009.

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Abstract This article examines the representation of the connection between religious beliefs and the natural environment around sacred places in God Was African by Nkemngong Nkengasong and Chronicles of a Corpse Bearer by Cyrus Mistry. Comparing the eco-cycle around Zoroastrian Fire Temples, the Towers of Silence in Bombay and the shrines of Fuondem and other gods in Lewoh traditional religion, this article argues that the inter-connectivity between these Parsi-Bangwa religions reveals that gods reside in our immediate environment and only our eco-politics can preserve this supernatural conne

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Suranjana, Bhadra. "A 'Space' of One's Own: Exploring the Language of Resistance in Select Poems of Meena Kandasamy." postScriptum: An Interdisciplinary Journal of Literary Studies 3, no. 2 (2018): 93–100. https://doi.org/10.5281/zenodo.1318978.

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Contemporary women poets in India have re-radicalized the commonplace poetical conventions in order to subvert prevalent power structures. The self-representation of the cultural ‘other’ in poetry dissolves the feeling of being an ‘outsider’ as they venture to move beyond boundaries, beyond fixities. The process of creating a potent voice translates the ‘contact zone’ into the production of meaning. The two places, the ‘I’ and the ‘You’ get mobilized in the passage through a ‘Third Space’, a fusion of the horizons through

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Rios, Jocelyn, Hagman Jess Ellis, Rachel Tremaine, et al. ""Stay Silent Situation": Using Multilingual Students' Own Words Through Poetic Transcription to Tell Their Stories of Introductory College Mathematics Education." Journal for Theoretical & Marginal Mathematics Education 3, no. 1 (2024): Article 0311. https://doi.org/10.5281/zenodo.14397003.

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In this paper, we explore the role that silence plays for multilingual students of color within undergraduate mathematics classes. The poetic narratives presented in this paper focus on exploring the role of silence in students’ experiences. While silence often reflects marginalization (e.g., being silenced), it can also function as a mechanism for navigating different spaces, and as a form of resistance. As such, we take an asset-based and anti-deficit framing to explore how silence interacts with students’ cultural capitals, including, for example, navigation capital, resistance

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In, Soo-bong. "The Poetics of Otherness and Hospitality in the Poetry of Park Joo-Taek - Focusing on 『When Another Earth Is Needed』." Korean Association for Literacy 16, no. 2 (2025): 365–88. https://doi.org/10.37736/kjlr.2025.04.16.2.11.

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This study analyzes selected poems from When Another Earth Is Needed by Park Joo-taek through the lens of Emmanuel Levinas’s philosophy of hospitality. Park’s poetry explores existential anxiety, the suffering of the Other, and the in-between spaces of life and death within the tensions of urban and natural environments. By restoring the pain of silenced and excluded beings through poetic language, Park constructs an ethical subject that responds to the face of the Other with infinite responsibility. This paper examines how hospitality toward the voiceless, the ethics of waiting and silence, a

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Creely, Edwin, and Peter Waterhouse. "Silence, poetic inquiry and meaning making. The possibilities for literacy learning and education." Journal of Silence Studies in Education 3, no. 2 (2024): 170–84. https://doi.org/10.31763/jsse.v3i2.103.

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In this article we explore the relationship between silence and literacy, employing autoethnography and poetry as inquiry, highlighting how silence enhances meaning making in literacy practices. Silence is positioned not merely as an absence of sound or words but as a dynamic element integral to textual engagement and interpretation. Through an analysis of personal poetic texts, using Heidegger’s concept of dwelling thinking and Barthes's idea of Work and Text, we demonstrate how silence operates on multiple levels, coexisting with words and resonating in the learner’s contemplative spaces. In

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15

Borti, Adeline. "A Life in Two Worlds: The Silenced and the Unsilenced." Qualitative Inquiry 26, no. 3-4 (2019): 409–10. http://dx.doi.org/10.1177/1077800419838572.

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This autoethnographic poetic inquiry presents childhood and adulthood experiences of a silenced life that navigated the journey through silence into the world of speech. Using poetry to retell and relive these experiences creates the metaphor and the imagery into my world, thereby offering reflexivity, aestheticism, meaning, and hope. The two poems represent the stages of my life while I carry the reader along my passing years in a chronological manner. I invite the reader to enjoy, reflect, and interpret this poetry bearing in mind the broken shackles of the silenced voice.

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Fagan, Paul. "Silence, gender and metamorphosis in Joanna Walsh’s ‘Worlds from the Word’s End’." Short Fiction in Theory & Practice 11, no. 1-2 (2021): 91–109. http://dx.doi.org/10.1386/fict_00038_1.

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This article explores paradoxical silence as a strategy of contemporary feminist short story writing in Joanna Walsh’s ‘Worlds from the Word’s End’ (2017). To draw out the story’s engagements with writing women’s agency beyond the binaries of embodiment and disembodiment, passivity and activity, inner and outer life, it reads Walsh’s text at the nexus of three interrelated traditions. First, it situates the story within a genealogy of women’s ‘non-writing’, which develops new aesthetic strategies through the short story form for both writing and reading the silences of women. Secondly, it expl

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Tartamella, Suzanne. "Female Silence and Poetic Authority in Jonson’s Volpone and Shakespeare’s Measure for Measure." Ben Jonson Journal 31, no. 1 (2024): 52–71. http://dx.doi.org/10.3366/bjj.2024.0361.

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This essay examines the disruptive, even skeptical, potential of female silence in two plays not often discussed together: Ben Jonson’s Volpone (Celia) and William Shakespeare’s Measure for Measure (Isabella). These silences – whether voluntary or forced – come after each woman delivers an impassioned speech defending herself from an attempted physical assault. In both instances, their concluding silences help the playwrights critique the very comic conventions they are deploying. For Shakespeare, Isabella’s refusal to respond to Duke Vincentio’s proposals of marriage reflects the play’s skept

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18

Langdell, Cheri Davis. "Pain of Silence: Emily Dickinson's Silences, Poetic Persona and Ada's Selfhood in The Piano." Emily Dickinson Journal 5, no. 2 (1996): 197–201. http://dx.doi.org/10.1353/edj.0.0145.

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19

Mhayyal, Basaad Maher, and Munthir A. Sabi. "Expressing the Bewilderment of the Modern Man through Silence in Samuel Beckett’s Happy Days." Journal of the College of Education for Women 31, no. 4 (2020): 14–25. http://dx.doi.org/10.36231/coedw.v31i4.1445.

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Samuel Beckett’s Happy Days (1961) clearly portrays a lack of communication among the characters of the play which refers to the condition of modern man. This failure of communication led Samuel Beckett to use a lot of pauses and silences in all plays written instead of using words. To express the bewilderment of the modern man during the 20th century, Beckett adopts the use of no language strategy in the dramatic works. After World War II, people were without hope, religion, food, jobs, homes, or even countries. Beckett gave them a voice. He used a dramatic language out of everyday things, in

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20

Badenoch, Nathan. "Silence, Cessation and Stasis: The Ethnopoetics of "Absence" in Bit Expressives." Journal of Linguistic Anthropology 32, no. 1 (2021): 94–115. https://doi.org/10.1111/jola.12314.

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The study of expressive language has helped illustrate how ideophonicity operates between grammar and performance, as both syntax and poetics, across a wide range of phenomena experienced by speakers. In the Bit language, spoken in Laos and China by approximately 2,400 people, there is a rich vocabulary of expressives, or ideophones, used to depict a lack of movement, action or agency. In doing so, Bit speakers define silence in terms of sound, stillness in terms of potential or past movement, and absence through the experience of expectation or habit. It is widel

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21

Graham, Jean E. "Who “laid him in a manger”?" Explorations in Renaissance Culture 41, no. 1 (2015): 56–74. http://dx.doi.org/10.1163/23526963-04101003.

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Although female figures from the Bible are largely absent from the poetry of George Herbert, Henry Vaughan, and Thomas Traherne, a few poems treat female biblical characters in a substantive way. Yet even in these poems, biblical women are more passive and more silent than in the Bible, and each of these poems must be considered in the context of a poetic corpus which reinforces female passivity and silence. Overall, in drawing from the biblical narrative the poets follow two patterns: the omission of biblical women, leaving the corresponding male figures; and a treatment of the remaining fema

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22

Prozorova, Natalya. "SEMANTICS OF SILENCE IN POETICS OF O. F. BERGHOLZ." Проблемы исторической поэтики 21, no. 3 (2023): 208–27. http://dx.doi.org/10.15393/j9.art.2023.12682.

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The phenomenon of silence in the creative heritage of O. F. Bergholz has not been studied to date. The category of silence is considered in the article as a nonverbal communicative act, a nonverbal form of spiritual experience and a behavioral strategy. In the center of attention is the poem “Except” (“Reached mute despair…”), written by Bergholz after a trip to the construction site of the Volga-Don Canal. The text mentions the icon of the Savior “Good Silence,” thanks to which the category of silence acquires axiological characteristics: forced silence is a strategic means and is realized as

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23

Boase-Beier, Jean. "Translating Celan’s poetics of silence." Target. International Journal of Translation Studies 23, no. 2 (2011): 165–77. http://dx.doi.org/10.1075/target.23.2.02boa.

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Holocaust poetry is like all poetry in that it does not just convey events, but also triggers emotions, and has the potential to change cognitive models and challenge unconsidered views. And yet it relates to real events that must not be falsified. Silences are at the heart of Holocaust poetry. Here I examine a poem by Paul Celan and how it, and its silences, can be translated. Using the notion of conceptual blending I explain how the poem works, and how its translation can also work as a Holocaust poem.

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Tate, Daniel L. "The Verge of Silence." Research in Phenomenology 49, no. 2 (2019): 163–82. http://dx.doi.org/10.1163/15691640-12341417.

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Abstract Gadamer’s question “Are Poets Falling Silent?” is motivated by the “linguistic need” (Sprachnot) of modern lyric indicative of the “forgetfulness of language” (Sprachvergessenheit) that prevails today. In Paul Celan’s late work, Gadamer finds poetry that, bordering on the cryptic, stands on the verge of silence. Nevertheless, he insists that these poems do speak and that the title of Celan’s poem series, Breath-crystal, figures the truth of the poetic word. From this standpoint the paper discusses Gadamer’s hermeneutic understanding of the poetic word treating the constitutive element

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Tabor, Joanna. "Trapped in Silence. Vladas Šimkus – a Silent Modernizer of Lithuanian Poetry." Tekstualia 4, no. 71 (2022): 189–97. http://dx.doi.org/10.5604/01.3001.0016.1995.

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The article introduces the fi gure of Vladas Šimkus (1936–2004), who had a great impact on the work of many poets of his time, although he himself remained in the shadows. He belongs to a prominent poetic generation, which also includes Vytautas Bložė, Marcelijus Martinaitis, Tomas Venclova, Judita Vaičiūnaitė, Jonas Juškaitis and Sigitas Geda, but he is mostly known as an outstanding translator and editor. Many great Lithuanian poets admit that Šimkus has infl uenced them, but he is a rather forgotten poet. One of the most important elements of Šimkus’s poetics is silence, the meanings and fu

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Latremouille, Jodi Marie. "Silence, Discipline and Student Bodies." Journal of the Canadian Association for Curriculum Studies 16, no. 1 (2018): 53–69. http://dx.doi.org/10.25071/1916-4467.40354.

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In this ecological poetic inquiry, I contemplate a curriculum of silence, discipline and student bodies. As I seek to work through and against the entrenched-knowings of school and schooling in these ecologically urgent times, I contemplate how children’s bodies are disciplined, how the voices of nature are silenced, how dominance rears its head through the myths of competition, progress and human supremacy. The cluster of poems is a consideration of some of the ways in which bells, security screening systems, silent lunchrooms, dead-lines, and all of the so-called “practical necessities” of s

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Lo, Yimon. "‘A Tale of Silent Suffering’: Wordsworth’s Poetics of Silence and its Function of Reintegration." English: Journal of the English Association 69, no. 264 (2020): 25–41. http://dx.doi.org/10.1093/english/efz051.

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Abstract Silence is an important aspect of Wordsworth’s treatment of sound and the auditory imagination. With different emphases, a number of critics have attended to the significance of silence in Wordsworth’s poetry. Various other scholars have addressed the notion of community in Wordsworth’s silence. Their readings encourage a reappraisal of Wordsworth’s poetics of silence as a mode of mournful reconciliation with forgotten communities. Alert to the ambiguities and contingencies in Wordsworth’s consolatory vision, my argument reinforces the social and communal function of silence rather th

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Yao, Adjoua Nguessan Alice. "The Poetics of Silence in Les Ravagés and Jours de silence by Henri Michaux." Uirtus 3, no. 2 (2023): 184. https://doi.org/10.59384/uirtus.2023.2695.

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The representation of silence through literary works is a major concern among writers. Indeed, the language has few elements to manifest silence. In Les Ravagés and Jours de silence by Henri Michaux an aesthetic of silence dominates. Silence is aroused by the muteness of the insane in Les Ravagés. Painting and drawing practiced, in order to break this psychological inability to speak, give unsatisfactory results. The images obtained represent either desolate landscapes that evoke calm and silence (seascapes), or shapeless images (of men and animals) that are difficult to decipher. Painting and

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Kumar, Chethan. "Flowing Narratives, Erased Voices: The Politics of Language and Power Dynamics in A.K. Ramanujan’s ‘A River’." Shanlax International Journal of Arts, Science and Humanities 12, S4.May (2025): 123–25. https://doi.org/10.34293/sijash.v12is4.may.9167.

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A.K. Ramanujan’s poem “A River” serves as a powerful critique of the politics of language and the power dynamics inherent in poetic representation. The research paper examines the narratives, including the great canon of Sangam literature, which neglected the marginal voices and silenced the sufferings of common in the flow of literary tradition. The article further explores how language is used to include or exclude certain narratives. By juxtaposing the idealized river of the past with the stark realities of the present, Ramanujan exposes how language can be used to silence marginalized voic

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Onita, Adriana. "Graffiti Silence." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (2014): 67. http://dx.doi.org/10.21992/t91k9v.

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These tricontinental ekphrastic poems feature graffiti art(ists) that have caught my heart off guard. The first poem titled “Graffiti of Silence” is a response to the anonymous “listen bird”, ubiquitous in Edmonton's urban geography from 2003 to about 2008. Stenciled, spray painted or stickered, it always featured a speech bubble with one word: listen. It quickly became part of Edmonton’s local iconography, but the city’s Graffiti Management Program managed to eliminate the bird from its streets, but not from public memory. The second ekphrasis titled “The Fisherman” features the work of El ni

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Shcherbak, N. F., and V. I. Potienko. "Linguistic and Psycholinguistic Aspects of Silence: A Structural Model of Communication." Discourse 7, no. 3 (2021): 20–35. http://dx.doi.org/10.32603/2412-8562-2021-7-3-20-35.

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Introduction. This work examines the role of silence along the lines of the theoretical considerations suggested by L. Wittgenstein and M. Heidegger. It also focuses on the role of communicative silence in each of the six functions of language in the structural model of communication put forward by Roman Jacobson. Other important types of functions are considered.Methodology and sources. Firstly, various philosophical and linguistic approaches towards the definition of silence are studied. Non-communicative silence, being outside the language domain, is differentiated from silence as part of c

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De Visscher, Eric. "“There's no such a thing as silence…” John Cage's poetics of silence." Interface 18, no. 4 (1989): 257–68. http://dx.doi.org/10.1080/09298218908570550.

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Olga, García Yero. "Los últimos silencios de una casa." Argos 6, no. 17 (2019): 51–64. http://dx.doi.org/10.32870/argos.v6.n17.5a19.

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Análisis del poema, Últimos días de una casa, de la escritora Dulce María Loynaz. Desde una perspectiva de lo descriptivo y lingüístico que permita al lector acercarse a una de las más sobresalientes poetisas del siglo XX, ganadora del Premio Nobel de Literatura.

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Caldwell, Caleb. "Silence and Geoffrey Hill’s Poetics of Witness." Religion and the Arts 17, no. 5 (2013): 545–67. http://dx.doi.org/10.1163/15685292-12341300.

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AbstractFocusing on Geoffrey Hill’s early poetry concerning atrocity and the Holocaust, this essay argues that Hill presents his poems as shared events between the poles of the impossibility and the actuality of witness, instead of as poetic speech that fully signifies witness. Through close readings of “Funeral Music” and “September Song,” this article shows that Hill’s heavy use of negative rhetorical devices, his famous ambiguities, and his thematic explorations of silence do not debunk the possibility of witness but rather awaken awareness to the complications inherent in any response to a

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Rangarajan, Sudarsan. "The Poetics of Silence in Maria Chapdelaine." Neophilologus 96, no. 1 (2011): 33–46. http://dx.doi.org/10.1007/s11061-011-9262-4.

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Park, Jusik. "Limbo Silence': Kamau Brathwaite's Afro-caribbean Poetics." Modern Studies in English Language & Literature 66, no. 4 (2022): 53–81. http://dx.doi.org/10.17754/mesk.66.4.53.

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Baldacci, Alessandro. "Soglie dell'impermanenza." Polisemie 4 (December 1, 2023): 87–100. http://dx.doi.org/10.31273/polisemie.v4.1408.

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The article focuses on the relevance of space in Antonella Anedda's work, understood as an experience of openness to reality and history, as well as loss of protection and guarantees. It is then highlighted how the author's poetics of space can be usefully placed in dialogue with Benjamin's reflection in the Passages on "threshold experiences". Subsequently, the article aims to show the peculiarity of the reception by Anedda of the German-speaking poet Paul Celan, in an ethical rather than an aesthetic or merely existential key, starting precisely from a proximity regarding the relationship be

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Lyhina, Аnna. "Vasyl Haiduchok – the Poet of a Single Cycle." NaUKMA Research Papers. Literary Studies 3 (September 2, 2022): 49–52. http://dx.doi.org/10.18523/2618-0537.2022.3.49-52.

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The article analyzes the only known poetic cycle by Vasyl Haiduchok, published in the Skrynia maga-zine. The text is focused on the problem of silence, which is fundamental for Ukrainian underground poetry, in spite of being understood in different axiological and semantic planes. The article discovers how the concept of silence interacts with the Christian symbols, concepts of time and death, and traditional Ukrainian images. Being connected with the internal emigration as a constructive strategy of the author who resists the invasion of the aggressive Soviet language, the concept of unvoiced

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Al-Shudifat, Safaa, and Ahmad Al-Harahsheh. "The Sign of Silence in the Prison Poetry in the Abbasid Era until the End of the Fourth Century AH. "A Semiotic Stylistic Study in Selected Cases"." Arts and Social Sciences Series 3, no. 1 (2024): 79–108. http://dx.doi.org/10.59759/art.v3i1.552.

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This study aimed to explore the efficacy of silence speech in poetic texts, specifically in the discourse of prison poetry during the Abbasid era, and its role in effectively conveying the poets' messages. We can say that this research tries to present a semiotic stylistic analysis of silence speech and its morphological indicators, utilizing selected case studies from prison poetry in the Abbasid era until the end of the fourth century AH, which represents a period rich in manifestations of silence stemming from emotions such as sadness, frustration, and despair, as well as the magnitude of s

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Kanat, Zh ZH, and E. Veizāns. "SILENCE IN THE SPACE OF MODERN CHOREOGRAPHY." ARTS ACADEMY 2, no. 10 (2024): 5–17. https://doi.org/10.56032/2523-4684.2024.2.10.5.

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In the landscape of modern art, the role of silence, quietness, emptiness is significant, acting as characteristic concepts of the artistic consciousness of the postmodern era. The poetics of silence has developed in the field of musical art, cinema, literature, theater. As the artistic practice of recent decades shows, interest in the expressive potential of silence has also been noted in the field of modern choreography. Silence is explored as an artistic image and as an expressive technique in the choreographic productions of Carlos Carvajal, Nacho Duato, Jiri Kilian, William Forsyth, Marti

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Edmondson, Laura. "Antihomosexual Acts on Trial: The Poetics of Justice in Uganda." TDR/The Drama Review 63, no. 2 (2019): 6–33. http://dx.doi.org/10.1162/dram_a_00833.

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Reading across artistic, political, and legal expressions of LGBT activism in and from Uganda reveals an aesthetics of silence. These moments of silence serve as a strategy of deferral that enables Ugandans on both sides of the Anti-Homosexuality Bill controversy to refuse humanitarian savior narratives, affirm the legitimacy of the postcolonial state, and point the way toward an East African grammar of justice.

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Garre García, Mar. "The Poetics of Silence in the Translation of Samuel Beckett’s “Comment dire” / “What Is The Word” into Spanish." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 29 (December 23, 2020): 27–50. http://dx.doi.org/10.35869/afial.v0i29.3276.

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   “L’écriture m’a conduit au silence,” admitted Samuel Beckett to Charles Juliet in Rencontres avec Samuel Beckett (21). ‘Comment dire,’ his last written poem, was first published in 1989 and summarises a lifetime exercise of self-expression beyond the limits of language and time. Indeed, it was originally written in French only a year before Beckett died, devoid of a great deal of his communicative abilities. Thus, this poem represents a sort of literary testament (Carriedo 50) resonant of both his literary career and personal life. In fact, its misleading austerity reveal

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Villar-Argáiz, Pilar. "Secrecy, Alterity, and Defiant Femininity in Eiléan Ní Chuilleanáin's The Boys of Bluehill." Irish University Review 49, no. 2 (2019): 370–89. http://dx.doi.org/10.3366/iur.2019.0412.

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This article traces the connections between defiant femininity, indeterminacy, and the theme of secrecy in Eiléan Ní Chuilleanáin's collection The Boys of Bluehill (2015). In particular, it analyses the secret as the main poetic device used by Ní Chuilleanáin to articulate the gaps and absences within totalitarian, essentialized discourses such as History. In her poetry, secrecy – manifested as silence, uncertainty, marginality and alterity – emerges as the space of peripheral voices and experiences, buried and silenced by official accounts of Ireland's past. As the unavowable manifestation of

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Sandbank, Shimon. "Poetic Speech and the Silence of Art." Comparative Literature 46, no. 3 (1994): 225. http://dx.doi.org/10.2307/1771467.

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Silva, Luzia Batista de Oliveira, Ivone Oliveira Tavernard, and Junior Tavernard. "CREATIVE IMAGINATION, TRAGIC-POETIC ART AND EDUCATION OF SENSIBILITIES." Revista Inter-Legere 1, no. 22 (2018): 18–42. http://dx.doi.org/10.21680/1982-1662.2018v1n22id15292.

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This article aims to discuss about how creative imagination, tragic art and the education of sensibilities provides images of dreams of flying, ascension and freedom, contributing to the understanding of a poetic education of the child and the adult. The aesthetics of the poems and the literary lessons attest that art educates the sensibilities. We recognize this in Bachelard when he approaches the education-poetics in childhood and in the tragic-poetic art of Nietzsche, according to The Birth of Tragedy and Thus Spoke Zarathustra. In these works, the images are full of dreams of freedom repre

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Patroeva, Natal’ia V. "To the question of the poetics of the Antiochus Cantemir’s poems." Vestnik of Saint Petersburg University. Language and Literature 19, no. 4 (2022): 669–91. http://dx.doi.org/10.21638/spbu09.2022.402.

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The article offers generalizing data concerning the system of rhetorical techniques used by A.D.Kantemir in small and medium-sized poetic genres. The poetic practice of Kantemir is compared with the recommendations from the treatises of Feofan Prokopovich De arte poetica and De arte rhetorica libri X, concerning the use of various rhetorical devices in certain literary genres and styles. The hypothesis of the work is the assumption of the synthetic nature of the poetic syllable of Antiochus Kantemir, which is close not so much to the classicistic requirements of clarity and accuracy of the syl

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Pitts, Angela. "Orpheus, the Poetics of Silence, and the Humanities." International Journal of Literary Humanities 10, no. 2 (2013): 105–16. http://dx.doi.org/10.18848/2327-7912/cgp/v10i02/43868.

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Heller, Michael. "A Note on William Bronk's Poetics of Silence." Chicago Review 44, no. 3/4 (1998): 136. http://dx.doi.org/10.2307/25304318.

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Gardellini, Giuliana. "The Pragmatics of Silence in Pasquale Verdicchio’s Only You." International Journal of Linguistics 16, no. 6 (2024): 62. https://doi.org/10.5296/ijl.v16i6.22503.

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In this essay I offer a reading of the collection of poetry Only You by Pasquale Verdicchio, in the light of the theories of Pragmatics applied to silence. In the first section, I examine the main contributions to the debate on silence and Pragmatics, from Steiner (1967) to Khatchadourian (2015), passing through Austin, Grice, Searle and Sperber & Wilson. Particular relevance is also given to Jaworski’s (1993), Kurzon’s (1998) and Ephratt’s, the latter being the author of many recent studies on “eloquent silence” and its pragmatic functions (2008; 2011; 2022). Some biographical information

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Cox, Philip. "Mark L. Greenberg (ed.), Speak Silence: Rhetoric and Culture in Blake's ‘Poetical Sketches’ (Detroit: Wayne State University Press, 1996), pp. 221. £39.95 hardback. 0 8143 1985 8. Christopher Heppner, Reading Blake's Designs (Cambridge: Cambridge University Press, 1995), pp. xvi + 302. £45.00 hardback. 0 521 47381 0." Romanticism 5, no. 1 (1999): 111–15. http://dx.doi.org/10.3366/rom.1999.5.1.111.

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