Forms of Literary Pleasure

2008 ◽  
Vol 37 (2) ◽  
pp. 263-269
Author(s):  
M. D. Hurley
Keyword(s):  
Literary Pleasure

scholarly journals The Literary Pleasure of Dalia Al-Nahshli’s Poem ‘Al-Khali Fell Asleep’

2021 ◽  
Vol 11 (10) ◽  
pp. 1266-1272
Author(s):  
Khaled Al-Badayneh
Keyword(s):  
Old Age ◽  
Historical Consciousness ◽  
Literary Value ◽  
Human Thought ◽  
Thematic Unity ◽  
General Meaning ◽  
Literary Pleasure

This study aims to show the artistic and literary value of Al-Nahshli poem. The pleasure of the text comes from the presence of its textual standards, highlighting its thematic unity, which is so clear from the general meaning of the texts, without relying on the linguistic links that represent the standard of consistency, which is the first of the seven text criteria for De Beaugrande & Dressler (1981). The poem is a sad contemplation, a complaint about the passing of time, and a tingling twinge of old age that includes judgments and sermons inspired by human experiences on the extent of his historical consciousness; the idea of ​​death dominates the poem from beginning to end, this fate that human thought in all its stages as a state of dilemma; the poet was one of those who felt this fate.

scholarly journals The Unspoken in the Speech of Symbolism School: المسكوت عنه في خطاب المذهب الرمزي

2021 ◽  
Vol 7 (4) ◽  
pp. 138-127
Author(s):  
Basheer Thabit Mohammed, Lateef Mahmoud Mohammed Al-Ghariri Basheer Thabit Mohammed, Lateef Mahmoud Mohammed Al-Ghariri
Keyword(s):  
Ordinary Language ◽  
The Mind ◽  
Literary Pleasure ◽  
Aesthetic Values

It required the literary man to base his artistic output on a basic basis from which to achieve literary creativity, and literary trends and currents have varied, specifically in the postmodern period, which directed its attention to margins and the casual things. Accordingly, we will try to discover and search for what was rejected and excluded by the literary schools, while symbolism school was interested in and considered it as an original and a reference for them. There are some technical procedures that symbolism adopted and applied that were excluded and marginalized before, as it constitutes for them aesthetic values, literary pleasure and a special emotional pleasure. Therefore, we find that they relied on music and the mysterious feelings it evokes in the mind that are difficult to express in ordinary language. They (Symbolism school) found a new kind of authority to write the poetry, specifically after feeling freedom and openness to unlimited horizons.

Johnson's Conception of the Beautiful, the Pathetic, and the Sublime

PMLA ◽  
1949 ◽  
Vol 64 (1) ◽  
pp. 134-157 ◽  
Author(s):  
J. H. Hagstrum
Keyword(s):  
The Other ◽  
Contemporary Theory ◽  
English Poet ◽  
The Sublime ◽  
The One ◽  
Practical Criticism ◽  
Literary Pleasure ◽  
Aesthetic Meaning

The words beautiful, pathetic, sublime, and their synonyms appear often in Samuel Johnson's discussions of literary pleasure. Although I do not know that all three are ever used together in one sentence, the sublime and the pathetic, on the one hand, and the sublime and the beautiful, on the other, are among Johnson's most frequently recurring doublets. Each word becomes an important term of aesthetic meaning, clearly distinguished from the others; each expands under the pressure of contemporary theory; each is complicated and enriched by the vigorous personality of its user; and each is used as a tool of practical criticism to help account for the distinguishing excellence of a great English poet. For Johnson, Pope exemplified the beautiful, Shakespeare the pathetic, and Milton the sublime.

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