scholarly journals Средства создания эпического образа синьцзян-ойратской версии «Джангара»

2020 ◽  
Vol 13 (5) ◽  
pp. 1466-1475
Author(s):  
Tsagana B. Seleeva ◽  
Keyword(s):  
Research Interest ◽  
Artistic Expression ◽  
Poetic Language ◽  
Way Of Life ◽  
Artistic Style ◽  
Surrounding World ◽  
Heroic Epic ◽  
Animal World ◽  
Poetic Style

Introduction. The study of stylistic features inherent to national epic narratives is one of the most relevant areas of modern folklore research. Of particular research interest ― in terms of identifying distinctive and typological features of the artistic style ― is the epic of Jangar and its ethnic versions (Xinjiang Oirat and Kalmyk ones). The poetic language of the epic is rich and diverse in the use of various means of depiction. The style of the heroic epic is characterized by epic formulas-comparisons that perform important ideological and stylistic functions, add figurative expressiveness to the poetic style of the epic. Goals. The study aims to identify and highlight the stereotypical and original features in the style of the Xinjiang Oirat version of the Jangar, consider the essence of artistic expression of epic images, their portrait characteristics, actions based on comparisons with specific phenomena and objects of the surrounding world. Results. The study reveals that the method of comparison in the epic poetics of the Xinjiang Oirat version is dominant and quite stable. One of the important features of comparisons is that the expressiveness of epic images and their individual elements are based on objects of the animal and vegetable worlds, phenomena of the surrounding reality, familiar and close to the worldview of a nomad/pastoralist. These comparisons are derived from a simple parallelism ― the character and appearance, actions and deeds of the hero are compared to phenomena of nature and the animal world, correlate with the national worldview of the Mongolic peoples. Subject comparisons are related to elements of the nomadic way of life, which can be used to reconstruct the environment in which the creators of the epic lived, their life and occupations. Comparisons very often take a hyperbolic tone, which gives an emotional and expressive color to epic images. The comparative-typological analysis comparisons traced in the Xinjiang Oirat and Kalmyk versions makes it possible to conclude that there are evident typological correspondences within the national epic system and the epic community as a whole. Semantics of epic images of the Xinjiang Oirat version is constructed on archetypal symbols and concepts of the Mongolian epic community.

scholarly journals The Poetic of Colors in Qassim Haddad’s Texts (Oh Coal, My Master: Van Gogh’s Notes): شعريّة اللون في نص قاسم حدّاد (أيّها الفحم يا سيدي: دفاتر فنسنت فان غوخ)

2020 ◽  
Vol 4 (5) ◽  
Author(s):  
Amirah Ali Abdullah Al-Zahrani
Keyword(s):  
Analytical Approach ◽  
Literary Texts ◽  
Poetic Language ◽  
Critical Approach ◽  
Artistic Style ◽  
The Aesthetic ◽  
Figurative Expressions ◽  
Poetic Style

This study presents a critical approach to the poetic aspects of Qassim Haddad’s texts (Oh coal, my master) in his rewritings of Van Gogh's life. The importance of the study lies in the new experience of the text as Qassim has provided a distinguished artistic style where he presented the biography of the Dutch artist based on the heterobiography logic. He explored the artist’s paintings which reflected his attitudes towards life and art and invested in the content of his massages. The attractiveness of this topic is the reason for conducting the study as the poet Qassim Hadadd was able to explore deeply Van Gogh's ideas and consequently presented to us a biography of an exceedingly beautiful poetic style that presented his reading of the paintings and messages. Furthermore, texts are written in an elegant poetic language and are rich in color interpretations. The study adopts the Artistic Analytical approach that analyzed the figurative expressions of colors that have poetic connotations different from their denotative meanings which led to appreciate the aesthetic aspects of such literary texts.

BEOWULF IN RUSSIA. THE LANGUAGE OF THE OLD ENGLISH HEROIC EPIC IN RUSSIAN LITERARY TRANSLATION

2020 ◽  
pp. 226-239
Author(s):  
Natal'ya Yu. Gvozdetskaya ◽  
Keyword(s):  
Old English ◽  
Russian Translation ◽  
Literary Translation ◽  
Poetic Language ◽  
Heroic Epic ◽  
The Everyday ◽  
English Translations ◽  
Russian Literary ◽  
History Of ◽  
New Compounds

The paper is an attempt to analyze the methods of representing specific features of the language of the Old English poem Beowulf in the Russian literary translation of Vladimir Tikhomirov: alliterative collocations, synonymic groups, compounds and epic variations. These specific features of Old English poetic language are rendered in the translation through the diction of different stylistic coloring – both the high-style, even archaic words as well as the everyday words close to colloquialisms. Following the Old English poet, the translator uses the oral-epic manner of narration, neither reducing it to a limited stylization, nor turning it into an innovative experiment. The translator manages to convey the ability of the Old English poetic language to coin new compounds through creating ‘potential’ words that reveal the ‘open’ character of the Old English synonymic systems. The Russian translation of Beowulf is considered in the context of the history of English translations of the poem as well as studies of Old English and Old Scandinavian literature in Russia.

Homer's linguistic forebears

1992 ◽  
Vol 112 ◽  
pp. 167-173 ◽  
Author(s):  
William F. Wyatt
Keyword(s):  
Poetic Language ◽  
Correct Interpretation ◽  
Linguistic Features ◽  
Heroic Epic ◽  
Greek Epic ◽  
History Of

M. L. West has recently presented a magisterial account of the history of Greek epic in which Aeolic phases and other entities are assumed. His account is the more impressive because it combines linguistic features skilfully handled with an account of the thematic development of epic, and also specifies at what stages the various linguistic features entered the tradition. West assumes an Aeolic phase, or phases, of heroic epic composition, and accounts for the presence of Aeolic forms (162): ‘It has usually been inferred that they are just a residue left after Ionian poets had adapted an Aeolic poetic language into their own dialect as far as it would go. This is, I have no doubt, the correct interpretation.’ I think it is not.

scholarly journals The Art of Paradox in Wafai’s Poems

2021 ◽  
Vol 8 (2) ◽  
pp. 440-468
Author(s):  
Payan Kaka Salih Al Askary
Keyword(s):  
Nineteenth Century ◽  
Artistic Expression ◽  
Poetic Language ◽  
Western Nations

The paradox is an artistic expression used for beautifying the poetic language, the poems of Kurdish poets like Arabic, Persian, and Western nations include these arts and the plays of the poetic language. This type of poetic art can be seen noticeably in every era of the Kurdish classic poems which is a reason for enriching and empowering the poetic language. It will also, produce modern imagination and expressions which will be thoughtful and speculative and it will attract readers’ attention due to its’ closeness to the contradictory art which is again a type of beautifying the semantic art. According to the earlier researches in this field, paradoxical art is a type of contradictory art but it has specific liberty by itself. The appearance of paradoxical expressions will be in the shape of semantical, lexical, and in one or two sentences. The Diwan of Wafay was focused on for this research amongst the diwans of classical Kurdish poets. Wafay (1844-1904) was a poet in the second half of the nineteenth century and the beginning of the twentieth. He had a warm poetic language and meaningful and vivid sentences. His poems are full of semantics and lexical artistic beautifications. For this purpose, the researcher will investigate the placement shapes of the generic paradoxical composition and analyzing them according to grammar and rhetorical in Wafay’s poems.

scholarly journals NEOLITHIC SOCIETIES AND THEIR POTTERY IN SOUTH-EASTERN LITHUANIA

2020 ◽  
Vol Lietuvos archeologija T. 46 ◽  
pp. 111-145
Author(s):  
Eglė Šatavičė
Keyword(s):  
Social Status ◽  
Organic Material ◽  
Artistic Expression ◽  
Stone Age ◽  
Way Of Life ◽  
Natural Conditions ◽  
South Eastern ◽  
Ceramic Vessel ◽  
The Way

South-Eastern Lithuanian Stone Age pottery reflects the way of life, nutrition, social status, artistic expression, and intercommunity relationships of its creators and users. Natural conditions unfavourable for the survival of organic material and the intermingling of artefacts from different periods in sandy settlements limit the ability to precisely date and reconstruct the long, distinctive process of Neolithisation that began in the late 6th millennium bc. Analysing the traces of ceramic vessel use, the structure of the pottery, the coiling and decoration technologies, their changes and reasons, it is possible to understand better the traditions of the Forest Neolithic communities and the encounters of different influences in SE Lithuania. Keywords: Neolithic societies, SE Lithuania, potters, pottery, coiling, decoration, interaction between communities.

The Russian Futuristic Experiment: the Language of the Poetic Resistance

2020 ◽  
Vol 29 (2) ◽  
pp. 261-272
Author(s):  
Magdalena Kostova-Panayotova
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Artistic Expression ◽  
Poetic Language ◽  
Creative Mind ◽  
Avant Garde ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
The Mind

The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.

scholarly journals Means of expression of Ukrainian baroque poetry: linguistic style view

2021 ◽  
pp. 95-106
Author(s):  
Olesia Tieliezhkina
Keyword(s):  
Artistic Expression ◽  
Poetic Language ◽  
Scientific Interest ◽  
Linguistic Style ◽  
Long Time ◽  
Baroque Era ◽  
The Creation ◽  
Baroque Poetry ◽  
Poetic Work ◽  
Metaphor And Metonymy

The mysterious world of Baroque poetry has scientific interest among both literary critics and linguists for a long time. However, despite some elaboration of the problem, there are some gaps that need linguistic and stylistic coverage. It determines the relevance of the consideration of expressive and pictorial means of different linguistic nature, manifested in the poetic works of the Baroque era. The purpose of the research is to identify and characterize the means of linguistic and artistic expression of the language of the Ukrainian Baroque poetic. Fundamental in the formation of a system of artistic means, realized in Baroque poetry at all levels of language, is a combination of rational and irrational principles. In the poetry of that time, the “atmosphere of the literary game” was consistently created, which was embodied with the help of certain linguistic and expressive units. The author concludes that Ukrainian Baroque poetry is characterized by the use of various tropes and stylistic figures, including assonance and alliteration, equiphony and metaphony, paronymic attraction and phonetic epanalepsis, sound imitation and capitalisation, metaphor and metonymy, comparison and epithets, personification and periphysis, hyperbole and meiosis, parallelism and gradation, antithesis and oxymoron, polyptoton and annomination, doubling and anadiplosis, anaphora and epiphora, homeothelium and chiasm, amplification and polysyndeton. Among them, the artists mostly used figures based on exaggeration, opposition, repetition, and metaphor. The masterful combination of different stylistic means ensured the creation of an expressive, unique and perfect linguistic and artistic picture of that time. The logical continuation of the started research is to find out the influence of the Baroque tradition of decorating the fabric of a poetic work on the further formation of the Ukrainian poetic language.

scholarly journals ARTISTIC EXPRESSION OF PHILOLOGICAL THINKING IN POETIC TEXTS

2021 ◽  
pp. 62-69
Author(s):  
Елена Юрьевна Муратова
Keyword(s):  
Artistic Expression ◽  
Modern Poetry ◽  
Poetic Language ◽  
Linguistic Terms ◽  
Parts Of Speech ◽  
Notable Feature ◽  
The World ◽  
Human Emotions ◽  
Poetic Texts

В статье анализируются стихи в модусе связи лингвистики и поэзии. Современную поэзию отличают не только новые темы и видение мира, но и во многом иной поэтический язык. Анализируются разные взгляды ученых на поэтический язык. Заметной особенностью современных поэтических текстов является употребление лингвистических терминов, названий частей речи, синтаксических конструкций и под. в качестве полноправных художественных элементов стихотворения. На материале стихов М. Цветаевой, А. Вознесенского, Б. Ахмадулиной, Д. Бураго и др. доказывается, что лингвистические термины могут выражать филологическое мышление поэта, становясь живой частью его стихотворений, и способны специфически отражать картину мира, мировоззрение и человеческие эмоции. Приводится подробный филологический анализ стихотворения А. Вознесенского «Плач по двум нерожденным поэмам». The article analyzes poems in the mode of communication between linguistics and poetry. Modern poetry is distinguished not only by new themes and visions of the world, but also by a largely different poetic language. The paper also analyzes different views of scientists on the poetic language. A notable feature of modern poetic texts is the use of linguistic terms, names of parts of speech, syntactic constructions as full artistic elements of the poem. Basing on the material of poems by M. Tsvetaeva, A. Voznesensky, B. Akhmadulina, D. Burago, etc. it is proved that linguistic terms can express the poet’s philological thinking, becoming a living part of his poems, and are able to specifically reflect the picture of the world, worldview and human emotions. Moreover, the article provides a detailed philological analysis of A. Voznesensky’s poem “Lament for Two Unborn Poems”.

scholarly journals О поэтике олонхо «Нюргун Боотур Стремительный» П. А. Ойунского и тувинских героических эпосов

2020 ◽  
Vol 13 (4) ◽  
pp. 1155-1166
Author(s):  
Gulnara E. Savvinova ◽  
Keyword(s):  
Comparative Analysis ◽  
Research Methods ◽  
Comprehensive Approach ◽  
Artistic Expression ◽  
Poetic Form ◽  
Folk Tales ◽  
Folklore Studies ◽  
Heroic Epic

Introduction. The article provides a comparative analysis of artistic expressiveness means inherent to the Yakut Olonkho and Tuvan epics. The point is that poetics of the epic work Nurgun Bootur the Swift by P. A. Oyunsky recreated on the basis of folk tales has actually remained understudied, and this paper fills the gap. Goals. The work — as part of Yakut folklore studies — makes the first attempt to consider poetics and the system of artistic techniques of the Olonkho Nurgun Bootur the Swift in comparison to Tuvan heroic epics. Methods. The study employs a comprehensive approach that includes comparative historical and typological research methods. Results. The comparative analysis concludes that P. Oyunsky’s Nurgun Bootur the Swift is based on the principles of traditional folk epic, and reveals parallels to Tuvan heroic narratives. Special attention is paid to the means of artistic expression — hyperbole and comparison. There are functional semantic dependence and structural unity indicating a typological similarity of the epic works examined. The vivid language of Tuvan epic narratives and that of P. Oyunsky’s Olonkho are explicitly characterized by elements observed in heroic epic proper, and the poetic analysis shows the Yakut text is distinguished by artistic completeness. So, P. Oyunsky revived the Yakut heroic epic, enriched its conceptual/thematic essentials — to strengthen the unique poetic form.

The role of didactic works in world literature

2020 ◽  
Vol 3 (2) ◽  
pp. 10-14
Author(s):  
Dilfuza Bakhtiyorovna Zaripova
Keyword(s):  
Middle East ◽  
World Literature ◽  
Way Of Life ◽  
Artistic Style ◽  
Persian Poetry

In the 10th - 11th centuries, Persian - Tajik fiction began to develop, with some governors, especially Samanis, paying much attention to the development of Persian poetry. Literary centers were established in Bukhara, Samarkand, Marv, Balkh and Nishapur. The great speakers like Rudaki, Daqiqiy, Firdavsi, Asadi Tusi, Nosir Khisraf, Omar Khayyam, Nizami Ganjavi from the Tajik, Iranian and Azerbaijani nations were educated. Each of these writers has their own way of life and creativity, artistic style and literary services. Accordingly, these writers, who have lived and worked in such places as Bukhara, Samarkand, Termez, Merv, Khorezm, Nishapur, Balkh, Tus, Ghazna, Ganja and Shirvan, have gained popularity throughout the Middle East.

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