Verbal art beyond categorization: inductive and aesthetic approaches to Remmy Ongala’s songs

2021 ◽  
pp. 1-18
Author(s):  
Roberto Gaudioso
Keyword(s):  
Verbal Art

Domesticated mammoths: Mythic and material in Nenets verbal tradition on ya’ xora

Multilingua ◽  
2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Karina Lukin
Keyword(s):  
The Other ◽  
Verbal Art ◽  
The World ◽  
The One

AbstractThis article discusses language materialities and the Otherworld through the findings of mammoth remains and text-artifacts representing Nenets verbal art. The remains and verbal art are read together as a network of mythic knowledge that forms a semiotic whole, where different signs interact and create potentials for new significations. The article aims to open up a web of relations in which materialities of differing ages and durabilities meet and affect each other through their semiotic potentialities. The materialities operate on several levels of signification, ranging from basic metaphors for mammoths to larger regimes that organize the signification. Consequently, mythic knowledge concerns worlds that are, on the one hand, imperceptible but, on the other, sensible through narration and imagination in terms of materialities. The key material elements of the mythic knowledge are tainted by the narration, such that they cannot be considered without the mythic qualities. In addition, the knowledge concerning the world affects Nenets rituals and ways of dwelling.

Aspects of style and meaning in the analysis of a Hausa Poem

1982 ◽  
Vol 45 (3) ◽  
pp. 546-570
Author(s):  
G. L Furniss
Keyword(s):  
Political Party ◽  
Verbal Art ◽  
Praise Poetry ◽  
The Way

Much of modern Hausa verse is either didactic in tone or is written in praise of God, a person, or a political party. Didacticism and praise are often seen as separate descriptive labels for poetry, song or other forms of verbal art. Yet treatment of topic may in fact be very similar in didactic and in praise poetry; certainly in Hausa this is the case. The aspect of treatment that shows this similarity is the association of the message/theme/topic with words conveying the ideas ‘good’, ‘worth’, ‘quality’ or words indicating their opposites ‘bad’, ‘worthlessness’, ‘lack of quality’. This association is made rather in the way that a product is sold by being linked by the advertiser to things ‘attractive’, ‘of value’, ‘of use’, etc., except that the valueloaded words in Hausa are drawn from a moral and religious code very different from those ‘codes’used to sell soap.

Classical Criticism

2021 ◽  
Author(s):  
Andrew Ford
Keyword(s):  
Higher Education ◽  
Liberal Arts ◽  
18Th Century ◽  
Literary Culture ◽  
Central Place ◽  
Dialectical Tensions ◽  
Verbal Art ◽  
European Education ◽  
Basic Concepts ◽  
And Function

Classical criticism refers to a conception of the nature and function of poetry and of verbal art generally whose principles were first theorized by the sophists in 5th-century bce Greece. In contrast to traditional views, they held that eloquence was no less a product of conscious design than a house or a sculpture, and that skillful speech was an art (τέχνη) that could be learned. The expertise they claimed centered on style rather than content, and the qualities they valued tended to be formal ones: clarity, orderliness, and balance, with a sense of decorum governing all elements. Their project was repudiated by Plato in a series of searching critiques, but after being refined by Isocrates and systematized by Aristotle, the study of rhetoric—which encompassed the study of poetry in an ancillary role—constituted the backbone of higher education in the liberal arts. Classical principles determined which works would be “canonized” in the Hellenistic libraries, where literary scholars began to call themselves “critics” or judges; after Greek literary culture was imported into Rome, the exemplary authors came to be called “classic” or “of the first rank.” Classical criticism retained a central place in European education and culture that would not be undermined until the 18th century. Although Romanticism rejected 18th-century classicism as excessively rationalistic and narrowly formal, its basic concepts and terms continue to be useful because of deep dialectical tensions built into them at the time of their formation.

Music in migrant camps as a medium creating non-narrative human relationships

2021 ◽  
Vol 12 (1) ◽  
pp. 347-360
Author(s):  
Julien Labia
Keyword(s):  
At Risk ◽  
Personal Identity ◽  
Direct Relationship ◽  
The Body ◽  
Verbal Art ◽  
Problematic Situation ◽  
Human Relationships ◽  
The Real ◽  
Musical Interactions ◽  
Expressive Activity

A migrant camp is a ‘non-place’ where personal identity is put at risk. Music is a means of personal adaptation in camps, even if it means allowing little place for the real reasons for displacement of the very people shaping these new hybridizations of music. The present power of music in such a place is to create strong relationships, ‘shortcutting’ both narration and the longer time needed in order to create relationships. The kind of personal advantage it is for someone to be a musician is a topic surprisingly forgotten, obscured by theoretical habits of seeing music essentially as an expressive activity directed to an audience, or as being a communicative activity. Music has a performative power different from language, as a non-verbal art having a strong and direct relationship to the body. Musical interactions on the field give migrants the ability to balance their problematic situation of refugees, shaping a real present.

scholarly journals Abay and modern Kazakh art texts

2020 ◽  
Vol 101 (4) ◽  
pp. 6-12
Author(s):  
A Adilova ◽  
◽  
B.S. Kaukerbekova ◽  
Keyword(s):  
High Frequency ◽  
National Language ◽  
Literary Texts ◽  
Verbal Art ◽  
Cultural Community ◽  
Word Use ◽  
Frequency Of Use ◽  
Literary Process

The article considers the place of Abay's poems in modern Kazakh artistic texts. Each author conveys his worldview and worldview in different situations through an artistic text. His lexicon includes, along with various means of the national language, fragments of various texts known to varying degrees in a certain linguistic and cultural community, as well as the word use of poets and writers who lived and worked before him. Such fragments may be used without change or А.С. Əділова, Б.С. Каукербекова 12 Вестник Карагандинского университета with a transformation. In the Kazakh linguistic and cultural community, Abay's poems can be called strong literary texts with a high frequency of use. Quotation at the level of structure, word, phrase, sentence, whole text can be seen in poetic and prose texts of the last 60–70 years in the Kazakh literary process. In this regard, the texts of such writers as M. Makataev, M. Magauin, J. Abdrashev, G. Zhailybai, G. Sаlykbai, M. Raiymbek, J. Sarsek are immediately recalled. Pointing out that this trend continues by young poets engaged in creativity in the last decades of this, XXI century, the authors concludes that the legacy of Abay is a standard of verbal art for more generations of poets and writers.

scholarly journals SEMANTICS OF POEM IN «DIV TICS OF POEM IN «DIVANI LUGATI-T-TURK»

2021 ◽  
pp. 36-45
Author(s):  
Qosimjon SODIQOV ◽  
Govhar RAHMATOVA
Keyword(s):  
World Literature ◽  
Fine Art ◽  
Oral Poetry ◽  
Verbal Art ◽  
Specific Expression ◽  
Artistic Value ◽  
Aesthetic Taste ◽  
History Of ◽  
Extensive Information ◽  
The Aesthetic

Lyric songs depict how rich is the aesthetic taste of the Turkic peoples and their special love for verbal art for a long period, and the fact that they possessed artistic resources capable of competing with the most agile peoples of their time. Moreover, these songs illustrate the artistic views of the Turks. Pure lyrical experiences, with their novelty, the richness of images, and unique pathos, have always engaged the reader. The poetry of the Turkic peoples is studied as a separate phenomenon in the history of world literature. Mahmud Kashgari’s Divani lugat at-Turk provides extensive information about the foundations of Turkish poetry and its scope. We can see the first paradigms of lyric poetry in the oral poetry of the Turkic peoples in the Divani lugat at-Turk. As a great linguist of his time and an advanced thinker – Kashgari proves each word with its specific expression or a piece of poetry. Each poem in his work is unique regarding its artistic value and semantics. We can see this, especially in these lyrical poems. Even simple episodes in lyrical songs demonstrate the ability of our ancestors to express thoughts beautifully. The lyrical passages in the Divani lugat at-Turk consist of the description of the mistress, the sad moments of the separation of beloved ones, and the poems addressed to his beloved one. The issue of fine art and its location is noteworthy in them. The devices used in them play an essential role as the initial version in the context of the literature of the Turkic peoples. The author cites some examples of such poetic art: tashbih, oxymoron, metaphor, tajnis, repetition, hyperbole (mubalaga), irsali masal, etc. These devices were actively reflected in all types of poetry of the later period. This article discusses the semantics of lyrical poems in the Divani lugat at-Turk and reveals their fine art.

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