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.

scholarly journals KAJIAN TEORI FORMALISME DAN STRUKTURALISME

2019 ◽  
Vol 3 (1) ◽  
pp. 79
Author(s):  
Fadlil Munawwar Manshur
Keyword(s):  
Literary Work ◽  
Raw Material ◽  
Literary Texts ◽  
Critical Approach ◽  
Verbal Art ◽  
Literary Works ◽  
Literary Research ◽  
Sound Levels ◽  
Close Relationship ◽  
The Aesthetic

From the perspective of formalism theory, this study aims to reveal that a research on literary texts does not only pay attention to textual facts existing in literary works, but also needs to pay attention to what exists outside the text. In the literary works, the element of defamiliarization holds that literary language is able to express facts of stories using unfamiliar languages. From the perspective of structuralism theory, this study aims to reveal that structuralism is conceptually a continuation of formalism which largely depends on language. Structuralism theory has a close relationship with linguistics, especially in analyzing the functions of the language used. The analysis of language function can help understanding language semiotics that views literature as a sign that then led to literary semiotics. Therefore, functioning to examine a phenomenon, the concept of semiotic structuralism emerged as a social fact.  Critical approach was deemed suitable to be used in this study because formalism theory and structuralism theory are part of a social construction and part of a discursive formation in the formation of subject and reality. As a result, it could be seen the position of formalism theory and structuralism theory in literary research of which raw material is language. The findings in this study are that the formalism theory in its development is dynamic and its language construction stimulates readers to respond. In principle, literary work is not autonomous because it contains author’s feelings and society’s mind. Literary research should exceed the boundaries of formalism and be able to create new vocabularies in writing novels. In the novel, there is intertextual polyvalence, which is a series and intensive dialogic linkages that are capable of giving birth to new novels. Another finding is that structuralism theory has a close relationship with linguistics, for example phonological elements in linguistics which can help literary theory in analyzing sound levels in oral literary works. This theory has also developed a study of poetry to the aesthetic level so that this study has shifted from its original aspects of verbal art only to all art and artistic aesthetics in the present time. This shift distinguishes the views between formalism and structuralism in relation to norms and values inherent in language.

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 EMINENCE OF POETIC ARABIC LANGUAGE: LAMIYYAT AL ARAB OF ASH-SHANFARA EXAMPLE (1)

2020 ◽  
Vol 2 (1) ◽  
pp. 8-19
Author(s):  
YAHYA SALEH HASAN DAHAMI
Keyword(s):  
Analytical Method ◽  
Arabic Language ◽  
Poetic Language ◽  
Critical Approach ◽  
Depth Analysis ◽  
The Aesthetic ◽  
Shed Light

The significance of the Arabic language holds back from its being one of the most explicit languages in its brilliance and its repeated ability to adapt to countless other sciences and knowledge. The Arabic language has reached creativity and originality in different fields of literature in which the greatest is poetry. The paper aims at scrutinizing the figurative, rhetorical and aesthetic images in Lamiyyat Al Arab by Ash-Shanfara in which it follows the deductive, inductive critical approach focusing analytically on the first ten verses of the poem. Applying the historical-analytical method, the study attempts to reveal in the in-depth analysis of the aesthetic qualities and poetic issues as well as the figurative images in the poem. It commences with an introduction on Arabia and Poetic Language then moves to shed light on the protagonist-poet Ash-Shanfara as a great Arabic poet to be concluded with analysis and comments on the poem Lamiyyat Al-Arab trying to find out the original Arab values, morals, ethics, and tenets in the pre-Islam era it contains.

Working-Class Writing and the Use Value of the Literary

PMLA ◽  
2012 ◽  
Vol 127 (4) ◽  
pp. 932-938 ◽  
Author(s):  
Sonali Perera
Keyword(s):  
Working Class ◽  
World Literature ◽  
Literary Texts ◽  
Second Phase ◽  
Use Value ◽  
Aesthetics And Politics ◽  
Republic Of Letters ◽  
Greenwich Meridian ◽  
Country Culture ◽  
The Aesthetic

Formal preoccupations, which is to say specifically literary concerns, appear in small literatures only in a second phase, when an initial stock of literary resources has been accumulated and the first international artists find themselves in a position to challenge the aesthetic assumptions associated with realism and to exploit the revolutionary advances achieved at the Greenwich meridian.—Pascale Casanova, The World Republic of Letters“In our country culture has become so complex, this complexity is reflected in our literature. It takes a certain level of education to understand our novelists. The ordinary man cannot understand them …” … And she reeled off a list of authors, smiling smugly. It never occurred to her that these authors had ceased to be of any value whatsoever to their society—or was it really true that an extreme height of culture and the incomprehensible went hand in hand?—Bessie Head, A Question of Power (first ellipsis in orig.)ON WHAT BASIS ARE SELECT TRADITIONS OF LITERARY INTERNATIONALISM RECOGNIZED AS WORLD LITERATURE AND OTHERS DEEMED MERELY historical, relics of nostalgic Marxism or of resolved debates on aesthetics and politics? According to recent influential formulations, world literature is writing that in original or translated form circulates outside the author's country of origin. But what of traditions of literary internationalism, like those of working-class writing, that reverse and displace practical, utilitarian propositions to ask, instead, in more abstract terms, what is the use value of the literary? Bessie Head's A Question of Power poses a challenge to practical definitions. What of literary texts that have global currency but aren't of “any value whatsoever to their society”?

scholarly journals The role of a stylistic device in creating the image of the author

2020 ◽  
pp. 81-91
Author(s):  
N.V. Khalikova
Keyword(s):  
Main Subject ◽  
Artistic Style ◽  
The World ◽  
The Aesthetic ◽  
Subject Of Cognition ◽  
Artistic Image ◽  
Human Landscape ◽  
Stylistic Device ◽  
Book Culture

The purpose of the article is to compare the definitions of a stylistic device with modern philological ideas about the text and the image of the author as the main subject of cognition of reality in a feature. The methods of structural poetics make it possible to separate the stylistic means and methods as functionally different units of the artistic speech and the language of the writer. There is a steady connection between the worldview of the writer, their “image of the author” and their style. Autological and metalogical stylistic means are equally important for creating both an artistic and a non-artistic image (journalistic, scientific, everyday). Artistic means and techniques perform fundamentally different functions. Artistic means of image expressiveness contribute to the aesthetization of speech. Stylistic techniques organize the processes of meaning generation, preservation and transmission of meanings. The text records and reproduces artistic thinking, typical for this very writer, a set of ideas about a human, landscape, interior, ways of action and other classes of images. The artistic style is the same as the style of thinking, a level speech style of reflecting the perception of reality. The style can be adopted, it can be imitated and, thus, one can understand how the author thinks, what their manner of the aesthetic transformation of reality, forms of perception, is. The stylistic forms of the same author are reproduced from work to work, regardless of the plot and ideological content. To explain how the technique works is to identify the ways of the artistic thinking about the world (images). The stylistic device is closely connected with the intellectual book culture of society.

scholarly journals PARANOID, MOI? – ERASING DAVID

2010 ◽  
Vol 38 (110) ◽  
pp. 75-91
Author(s):  
Peter Ole Pedersen ◽  
Jan Løhmann Stephensen
Keyword(s):  
Theoretical Perspective ◽  
Surveillance Culture ◽  
Critical Approach ◽  
Cultural Intervention ◽  
Big Brother ◽  
German Art ◽  
Tech Nologies ◽  
Surveillance Society ◽  
The Aesthetic ◽  
Analytical Approaches

PARANOID, MOI? – ERASING DAVIDThe article discusses the relationship between the subject of surveillance and documentary film. As its main example, it uses David Bond’s Erasing David from 2009, which thematically revolves this particular topic, the British surveillance society (Big Brother Britain). The genre-specific and film historic aspects of this documentary are analysed and in a further perspective serve as the point of departure for a more general theoretical discussion of surveillance.Through the treatment of its content and the conceptual framework, Bond’s film places itself within what could appropriately be termed the “popular cultural documentary”. What characterises this part of the genre is a critical approach bordering on activism. This is sought, combined with the ability to entertain the audience, through elements of fiction and comic relief while attempting an analysis of a current and often controversial subject. Michael Moore’s productions are the most successful examples of this filmmaking strategy, and two film analytical approaches based on Moore’s 1989 debut Roger & Me are used to evaluate the aesthetic and conceptual coherence in Bond’s work.Following this, a three-part taxonomy for the analytical and normative understanding of the surveillance phenomenon and its socio-cultural and political implications is established. These are termed: The critical-subversive, the para-cultural and the affirmative mode of understanding. The critical-subversive mode is comparable to the expository documentary form. A strategy that, regardless of it is being articulated academically or aesthetically, aims at the disclosure of hidden societal mechanisms by way of facts. In a theoretical perspective, this is discussed in relation to Foucault’s idea of the ‘panopticon’ and more recently Bruno Latour’s corrective counter-concept ‘oligopticon’. The para-cultural intervention is akin to Michel de Certeau’s understanding of ‘creative re-appropriation’ and ‘making do’. This tactic, like the previous one, is generally speaking sceptical of a surveillance society and its implications, though it establishes a different, temporary form of critical stanza.The last mode of portraying and analyzing surveillance is termed affirmative. This is directly connected to the popular cultural representation of surveillance tech nologies. According to the German art historian O.K. Werkmeister, these tech nologies are here ascribed an almost omnipresent and omniscient potential. Regardles of the fact that these images of surveillance tech nologies and their capabilities often seem rather counterfactual, they nonetheless participate in creating an internalisation of the surveillance culture, one which is paradoxically endorsed by both its supporters and critics, among these David Bond.Both the theoretical perspective and the film analytical approach to Bond’s film discuss problematic weaknesses in his project. Bond tends to invest more in cracking the ‘formula’ for a successful presentation of his material, than discovering new formalistic or analytical territory in the filmic exposure of current surveillance culture.

scholarly journals (Language Modernity and modern in the reflections of the wings of silence of the poet (Hamid Abdul Samad al-Basri: اللغة حداثتها وحديثها في تأملات أجنحة الصمت للشاعر (حامد عبد الصمد البصري)

2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Worod Hamed Abdul Samad
Keyword(s):  
Poetic Language ◽  
The Past ◽  
Fantasy World ◽  
Spontaneous Behavior ◽  
The Aesthetic ◽  
Selection Of

There is no doubt that his words industry and distinctiveness in the selection of meanings for the formulation of meaning may have contributed to the elaboration of poetic language ideas through text vocabulary, and to allocate the aesthetic with its own standards led to perceptions of a more profound, and more comprehensive eloquence .This is exemplified by the reflections of Hamid Al- Basrawi between Single divulge, and other harbor and everything in between lies your taste, as it formed the language of the manifestations of memory, qualifying on the past and charged the reality that clinch meaning through those narrow lanes, barbed, the continuity of a sense of the past is only a translation of the poet's life conscious of reality through them, because the reality is often a deadlock to focus upon hassles and continuous effort, the escape to a fantasy world and the anniversary is a movement and vitality that will restore the poet and the receiver to a hidden phenomenon worlds, between the points (ego), (they are) and (we), artistic the vision specifically lies in the spontaneous behavior that brought him poet and vocabulary that guided the meaning of the privacy of its model and method put forward and how awareness of the breakdown of titles ranging from the first poem in the book until the conclusion as such an integrated living units in the context of essentially poetic duplicates the former by later.

scholarly journals Existential Sentences as a Characteristic Syntactic Feature of I. A. Bunin’s Poetic Texts

2020 ◽  
Vol 22 (4 (202)) ◽  
pp. 256-272
Author(s):  
Olga A. Selemeneva ◽  
Keyword(s):  
Literary Texts ◽  
Psychological States ◽  
Surrounding World ◽  
Traditional Structure ◽  
Lyrical Poetry ◽  
Poetic Text ◽  
Existential Sentences ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Main Components

In this article, existential sentences are examined as a syntactic dominant of I. A. Bunin’s lyrical poetry. The interest in the originality of the syntax of Nobel laureate’s literary texts is due to the lack of research on this issue, linguists’ focus on the aesthetic salience of the vocabulary, its expressive properties and combination potential, as well as stylistic figures and tropes. Meanwhile, it is the writer’s selection of specific syntactic structures for the implementation of the idea, the representation of key ideas and concepts that reflect his personality and the peculiarities of his perception of the surrounding world. The author refers to Bunin’s poems from 1886–1917 and 1918–1953 published in Bunin’s collected works in 9 volumes. In the writer’s poetic oeuvre, existential sentences are regularly used. Despite the traditional structure that underlies them and is represented by three meanings (‘the object of being’, ‘being’, and ‘area of being’), the richness of the lexical content of each of the main components stands out. As a result, existential sentences become a universal form used to represent completely different situations in the author’s individual worldview: the existence of natural objects in space, meteorological phenomena, events, time periods, artifacts, etc.; physical states of the surrounding world; psychological states of the subject. Acting as a semantic core of a poetic text, existential sentences do not have a fixed place in it, and are used as a lyrical beginning, an interposed element, or an ending in its structure. In each position, their use is conceptually significant. It is established that the peculiarity of existential sentences in Bunin’s lyrical poetry is their syntactic unconditionality (attachment to three registers of speech, i.e. reproductive, informative, and generative) and polyfunctionality (performing the pictorial, characterising and concluding, and generalising functions).

Introduction

2020 ◽  
pp. 1-21
Author(s):  
Samantha Matthews
Keyword(s):  
Case Studies ◽  
Virginia Woolf ◽  
Women Poets ◽  
Poetic Language ◽  
Social Spaces ◽  
Gender Hierarchy ◽  
Cultural Interest ◽  
The Aesthetic ◽  
Key Terms

Virginia Woolf dismissed Byron’s early poetry as ‘album stuff’ and critics have assumed album poetry is inherently unoriginal and imitative. The introduction challenges these received ideas by laying out the aesthetic and cultural interest of this neglected hybrid, protean form designed to be read and circulated in manuscript, and which developed its own poetic language, generic conventions, and common themes. Writers of album poetry range from canonical Romantic poets, women poets, society poets, to amateurs, and albums create social spaces where different views of gender, hierarchy, and poetry clash. ‘Albo-mania’ has been seen as a phenomenon of the 1820s. The introduction traces the fashion’s origins in the 1780s, defines and contextualizes key terms ‘album verse’ and ‘album’, while analysis of Byron’s ‘Written in an Album’ (1812) lays out the characteristics and creative possibilities of album poetry examined in the six case studies which follow.

Proletarian Modernism: Film, Literature, Theory

PMLA ◽  
2019 ◽  
Vol 134 (5) ◽  
pp. 1056-1075
Author(s):  
Benjamin Kohlmann
Keyword(s):  
Twentieth Century ◽  
Literary Texts ◽  
Aesthetic Theory ◽  
Alternative Route ◽  
Modernist Literature ◽  
Literary Works ◽  
Recent Scholarship ◽  
The Aesthetic ◽  
Literature Theory ◽  
Opening Up

This article identifies a body of work—films, literary texts, and theories of the aesthetic—that can help us reopen the question of what it means for an artwork to project a vision of classlessness. The article begins by focusing on early-twentieth-century proletarian modernism, in particular in the cinematic work of Sergey Eisenstein and in British literary works that repurposed Woolfian and Joycean styles during the later interwar years. Proletarian modernism, I argue, highlights an alternative route taken by modernist literature and art: unlike the late modernists feted in much recent scholarship, proletarian modernists aimed to retool modernism, opening up new and global political futures for it rather than anticipating its end. The article concludes by showing that the cultural genealogy of proletarian modernism mapped out here doubles as a prehistory of contemporary aesthetic theory: it enables us to recognize the significant political and theoretical erasures that structure recent accounts of art's democratic potential.

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