scholarly journals “A Sea Symphony” by R. Vaughan Williams and its literary source

2021 ◽  
pp. 244-249
Author(s):  
Olga Petrova
Keyword(s):  
Leaves Of Grass ◽  
Literary Source ◽  
Poetic Text ◽  
Complex Features ◽  
Poetic Texts ◽  
First Time ◽  
Vaughan Williams

The purpose of the article is to identify the features of the artistic concept of “A Sea Symphony” by R. Vaughan Williams and the key role in its formation of the literary source of the work. The methodology of the work is based on the application of analytical, structural, comparative and intertextual methods, which makes it possible to expand the horizons of cognitive search and identify intertextual semantic connections within the studied phenomenon. The scientific novelty is that for the first time in Ukrainian musicology the literary source of “A Sea Symphony” by R. Vaughan Williams receives analytical coverage as an important component of the holistic artistic concept of the work. Conclusions. As a result of the work carried out, it was established that the poetic texts by W. Whitman’s “Leaves of Grass” became the literary source of the symphony. They are both separate poems of the poet and fragments from his poems. Combining them, the composer builds his own compositional and dramatic logic, subordinate to the idea of revealing the significance of the mythological image of the sea, which appears in the symphony as a polysemantic archetypal complex. Features of the composer's work with a poetic text, the validity of certain notes, replications, transpositions while maintaining and accentuating its key role in building the musical and artistic whole are revealed. The specificity and principles of the distribution of poetic texts between parts of the work, as well as vocal parties, solo and choral, are determined.

It’s got some meaning but I am not sure…

2017 ◽  
Vol 24 (3) ◽  
pp. 474-495
Author(s):  
Sarali Gintsburg
Keyword(s):  
Oral Poetry ◽  
Poetic Language ◽  
Formulaic Language ◽  
Cognitive Poetics ◽  
Poetic Tradition ◽  
Living Tradition ◽  
Poetic Text ◽  
Literacy Level ◽  
Poetic Texts ◽  
First Time

Abstract In this research I aim to contribute to a better understanding of transitionality in poetic language by applying for the first time the hypotheses recently developed by pioneers in the emerging field of cognitive poetics to a living tradition. The benefits of working with a living tradition are tremendous: it is easy to establish the literacy level of the authors and the mode of recording of poetic text is also easy to elicit or, when necessary, to control. I chose a living poetic tradition originating from the Jbala (Morocco). Although it is not epic and local poets create only relatively short poetic texts, memorisation is also used; it has been demonstrated that oral improvisation and the use of memory are not mutually exclusive. This suggests that research on the living Jebli tradition holds promise for our understanding of oral poetry, and for revisiting the intriguing question of formulaic language.

Lexical Structure of the Poetic Text as a Key to the Comprehension of Its Inherent Values

2019 ◽  
Vol 80 (1) ◽  
pp. 20-25
Author(s):  
Nina S. Bolotnova
Keyword(s):  
Conceptual Analysis ◽  
Sequential Analysis ◽  
Literary Text ◽  
Russian Language ◽  
Lexical Structure ◽  
Poetic Text ◽  
Approach To Teaching ◽  
Poetic Texts ◽  
The Russian Language

This article is aimed at presenting a methodology for the conceptual analysis of poetic texts based on their lexical structure using the theory of communicative stylistics. The lexical structure of the literary text is considered to be a means of aсquainting the reader with the values manifested therein. The study of values intertwined within written works is particularly significant for the development of an axiological approach to teaching the Russian language. This article proposes a method for a sequential analysis of the lexical structure of a poetic text, which can be used at Russian language lessons.

Arthur Benjamin's Operas

Tempo ◽  
1950 ◽  
pp. 15-18
Author(s):  
Dennis Arundell
Keyword(s):  
Seventeenth Century ◽  
Royal College ◽  
Practical Knowledge ◽  
Good Work ◽  
National Opera ◽  
School Girls ◽  
First Time ◽  
The Devil ◽  
English Opera ◽  
Vaughan Williams

Ever since the seventeenth century composers of English operas have been handicapped by the snob-preference for foreign works irrespective of their merits. In Purcell's day a second-rate French composer, whose past is still shrouded in Continental mystery, was so boosted in London even by Dryden that it was only through an open-air performance by Mr. Priest's school-girls at Chelsea that Dido and Aeneas convinced both London theatre managers and eventually Dryden himself that Purcell was “equal with the best abroad.” In this century, when the usual opera favourites were established, it has been even more difficult for English opera-composers to get a showing (at one time it had not been unheard of for English operas to be translated into Italian or German for production in this country): but twenty-five years ago the Royal College of Music followed the example of Mr. Priest by producing for the first time Vaughan Williams' Hugh the Drover, which was afterwards given publicly by the British National Opera Company, and in 1931 under the auspices of the Ernest Palmer Opera Fund, introduced The Devil Take Her, the first opera by the Australian composer Arthur Benjamin. The enthusiasm of the singers, headed by Sarah Fischer and Trefor Jones, the cunning skill of the conductor, Sir Thomas Beecham and the practical knowledge of the producer, John B. Gordon, who had had so much experience at Cologne and who was at the time doing such good work for opera at the Old Vic, all combined to make the performance outstanding.

Studien zu Hölderlin

2020 ◽  
Author(s):  
Werner Hamacher
Keyword(s):  
German Language ◽  
Close Reading ◽  
Poetic Texts ◽  
First Time ◽  
Bear Witness

Following up on his magisterial Berlin master´s thesis on Hölderlin´s poetry of 1971, Werner Hamachers continuing attempts at close-reading Hölderlin represent perhaps the first deconstructions of important poetic texts in the German language. The essays presented here for the first time, in which the late literary theorist also deals with Heidegger's interpretation of Hölderlin, are proof of his extraordinary ability to stage the most rigorous philology in an elegant and witty manner. Anyone who immerses himself in them will always be amazed at how unique Hölderlin's poetry was and still is. At the same time, they bear witness to the exceptional subtlety, precision, and originality for which Werner Hamacher's own work is known.

scholarly journals GRANITOIDS, RARE-METAL PEGMATITES AND Ta-Nb MINERALIZATION OF SHPOLIANO-TASHLYK ORE AREA (INGUL MEGABLOCK, UKRAINIAN SHIELD)

2018 ◽  
pp. 24-29
Author(s):  
O. Hrinchenko ◽  
S. Bondarenko ◽  
T. Mironchuk
Keyword(s):  
Rare Metal ◽  
Ukrainian Shield ◽  
Wide Range ◽  
Ore Minerals ◽  
Ore Mineralization ◽  
Isomorphic Series ◽  
Single Complex ◽  
Complex Features ◽  
First Time ◽  
Range Of Values

Composition of granites, genetically associated pegmatites and superimposed metasomatites distributed within Shpoliano-Tashlyk ore area (Ingul megablock) is considered. It is established, that on the basis of similarity in their petrographic and petrochemical features granitoids of the area can be related to single complex. Features of ore mineralization are defined by both composition of granitoids (Sgranites) after which rare-metal pegmatites are formed and intensity of superimposed metasomatic alterations. Main minerals-concentrators of Ta and Nb mineralization in granitic pegmatites and metasomatites are represented by minerals of three isomorphic series – columbite-tantalite (Fe,Mn)(Nb,Ta,Ti)2O6, ilmenorutile-struverite (Ti,Nb,Ta)O2 and pyrochlore-microlite (Ca,Na)2Ta2O6(O,B,OH,F). Depending on geological setting such ore minerals as tapiolite, ixiolite, cassiterite, uraninite, nigerite, gahnite are commonly found in association with these minerals. Chemical composion of tantalo-niobates sampled from ore-bearing pegmatites and metasomatites is investigated by microprobe analysis. Most minerals of columbite-tantalite series are characterized by distinct and rhythmic internal zonality and contrasting mosaic structure which are related to considerable heterogeneities of their chemical composition. Within one aggregate mineral phases with wide range of values – from 9,80 to 71,0 % for Ta2O5 and from 10,6 to 70,1 % for Nb2O5 – are established. Among minerals ferruginous varieties which composition relates to Fe-columbite-tantalites (Nb2O5/Ta2O5 = 1–1,2; FeO/MnO = 2,5–6) prevail. Columbite-tantalites are characterised by high contents of admixture elements present (%): TiO2 – to 5,88; WO3 – to 3,70; SnO2 – to 9,20; Sc2O3 – to 5,40. Scandium ores occur as scandium-rich minerals that are mostly confined to the minerals of columbite-tantalite series found in Polohivka ore field. On the Ukrainian Shield high contents of Sc2O3 in tantalo-niobates are established for the first time. Minerals of ilmenorutile-struverite series do not quantitatively yield to minerals of columbite-tantalite series. For minerals of this series Nb2O5/Ta2O5 ratio varies in the range of 0,6-1,4. Among characteristic admixture-elements are prevailed (%): SnO2 – to 3,1, V2O5 – to 5,05; FeO – to 11,51, Cr2O3 – to 1,20. Minerals of pyrochlore-microlite series are of subordinate importance. For the first time by results of U-Pb dating of columbite-tantalites from Mostove ore manifestation (Shpoliano-Tashlyk area) the age of Ta-Nb mineralization is established to be about 1965 ± 25 million years.

scholarly journals REGULATORY POTENTIAL OF POETIC TEXTS BY O. E. MANDELSTAM OF DIFFERENT YEARS (ACCORDING TO THE EXPERIMENT)

2021 ◽  
pp. 73-79
Author(s):  
Алена Владимировна Шутова
Keyword(s):  
Research Data ◽  
Point Scale ◽  
Maximum Score ◽  
Study Materials ◽  
The World ◽  
Poetic Text ◽  
Regulatory Potential ◽  
Poetic Texts ◽  
Communication Material

Введение. Изучение особенностей восприятия поэтических текстов читателями является одной из актуальных проблем современной стилистики. Теория регулятивности как одно из направлений коммуникативной стилистики текста позволяет выявлять средства и способы воздействия текста на адресата. На основе анализа регулятивных средств и структур разных типов в лирике О. Э. Мандельштама можно исследовать характер возникающих в сознании читателя ярких образов в поэтическом тексте как форме коммуникации. Материал и методы. Гипотеза о том, что об особенностях регулятивных возможностей текста можно судить по реакции информантов, воспринимающих текст и его элементы, проверяется на основе проведенного рецептивного эксперимента, основанного на показаниях языкового сознания участников. Материалом исследования послужили поэтические тексты О. Э. Мандельштама разных лет: «На темном небе, как узор» (1909), «Из омута злого и вязкого» (1910), «Как люб мне натугой живущий...» (1930), «Мы живем, под собою не чуя страны» (1933). Выбор данных поэтических текстов обусловлен их идейной значимостью и временем создания (два первых стихотворения относятся к ранней лирике автора, два других – к позднему творчеству). Перечисленные факторы позволяют проследить характер их восприятия информантами с учетом отражения эволюции поэтической картины мира О. Э. Мандельштама. Результаты и обсуждение. Согласно условно взятой пятибалльной шкале воздействия, максимальным баллом респондентами были оценены стихотворения, относящиеся к гражданской лирике автора. Это связано с тематикой данных поэтических текстов (для большинства информантов она показалась знакомой и злободневной), их идейным своеобразием и большим количеством использованных в текстах регулятивных средств и структур, а также их спецификой (в стихотворении «Мы живем, под собою не чуя страны…» – яркие метафоры и эпитеты; в стихотворении «Как люб мне натугой живущий…» – ряд эпитетов). Заключение. Получены данные о факторах, определяющих регулятивный потенциал текста и характер интерпретационной деятельности адресата. Среди них можно отметить тематическое и идейное своеобразие поэтических текстов О. Э. Мандельштама, количество и разнообразие использованных автором лексических регулятивных средств и структур. Introduction. The studying of the peculiarities of readers’ perception of poetic texts is one of the relevant problems of modern stylistic. The theory of regulativity as one of the text`s stylistic communicative directions, allows identifying of means and methods of text influence on the addressee. Based on analysis of regulatory tools and various types of structures, in O. E. Mandelstam`s lyrics the nature of vivid images that appear in reader`s mind in a poetic text can be explored as a form of communication. Material and methods. The hypothesis that the features of the regulatory capabilities can be judged by the reaction of informants who perceive the text and its parts, is tested on the basis on the receptive experiment based on the indications of the participants’ language consciousness. O. E. Mandelstam’s poetic texts of different years were the study materials: «In the dark sky, like a pattern» (1909); «Up out of an evil clinging pool» (1910); «How do I love the strain of living» (1930); «We are living, but can’t feel the land where we stay» (1933). The choice of these poetic texts is caused by its ideological significance and time of creation (the first and the second poem belongs to author`s early lyrics, the last two – his latest works). All these factors allow us to follow the nature of their perception by informants, taking into account the reflection of the evolution O. E. Mandelstam’s poetic picture of the world. Results and discussion. According to conventional five-point scale of impact, respondents gave the maximum score to poems related to the author’s civil lyrics. It is connected with the theme of these poetic texts (for most informants it seemed urgent and familiar), its ideological originality and its large number of regulatory methods that was used in text, srtuctures and its specific (in the poem «We are living, but can’t feel the land where we stay...» – vivid metaphors and epithets; in the poem «How I love the strain of living...» – a number of epithets). Conclusion. As a result of this research, data about factors that determine regulatory potential of the text and the nature of the interpretative activity of addressee were obtained. Among them, we can note thematic and ideological originality of O. E. Mandelstam`s poetic texts, the number and variety of lexical regulatory tools and structures used by author.

scholarly journals سيميائية الخطاب السياسي، الشعر في الحجاز نهاية عهد الدولة العثمانية أنموذجاً / Political discourse semiotics: Hijaz poetry at the end of Othman empire

2018 ◽  
Vol 9 (1) ◽  
pp. 125-142
Author(s):  
Faisal Bin Salih Al Zahrani
Keyword(s):  
Descriptive Analysis ◽  
Arabic Literature ◽  
The Political ◽  
Analysis Method ◽  
Semiotic Analysis ◽  
Poetic Discourse ◽  
Semiotic Approach ◽  
Poetic Text ◽  
Poetic Texts ◽  
Definition Of

ملخص البحث:   يعد الأدب العربي في إقليم الحجاز جزءاً من أدب الأمة العربية الجميل؛ لكن الدراسات الأدبية لا تزال غير كافية على الرغم من بذل بعض الباحثين جهوداً لجمع مادته الأدبية التي لا يزال كثير منها مخطوطاً أو مفقوداً أو مخفياً لأسباب متعددة. يبحث المنهج السيميائي عن المعنى من خلال البحث عن الاختلاف الداخلي للمعاني عبر المنهج السيميائي لتحليل الخطاب الشعري؛ وذلك من منطلق المنهج السيميائي في دراسة النصوص الشعرية والتي تؤكد أنها تتكون من نظام لغوي يعطي مجموعة من المعطيات الخاصة، وهذه الرؤية أسقطها المنهج السيميائي على أغلب النصوص الإبداعية، مع تميز النص الشعري بقدرته على اختزال المعنى، وتسعى هذه الدراسة إلى تتبع الشعر السياسي في الحجاز والوقوف على الدلالات التي يبرزها التحليل السيميائي من خلال المعنى الشعري، وذلك باتباع المنهج الوصفي التحليلي؛ حيث تبدأ بمقدمة تعرف ببعض المصطلحات الهامة مثل: إقليم الحجاز، السيميائية، الشعر السياسي، وستقوم عناصر التحليل لعدة مستوايات: تبدأ الخطاب العام، والمستوى المعجمي، والمستوى التركيبي، ثم المستوى التركيبي. الكلمات المفتاحية: الشعر السياسي - السيميائية - الخطاب العام - المستوى المعجمي- المستوى التركيبي. Abstract Arabic literature in Hijaz area is a part of magnificent Arabic literature. Much of literary works are still missing for many reasons despite the effort of some researchers in collecting and recording them. The semiotic approach looks into meaning by examining its internal differences through semiotic method to analyze poetic discourse. The semiotic approach helps in studying the poetic texts that reveal that it contains a language system that implies certain inputs. This very method helps to reveal such a perception on most of creative texts, with the distinction of the poetic text as having the ability to compress meaning. This paper aims at tracking the political poems in Hijaz and dwell on the meaning revealed by the semiotic analysis through the poetic meaning. The study makes use of the descriptive analysis method. It begins with the definition of some significant terms such as: Hijaz, semiotics, political poems; the analysis is based on certain levels: it begins with the general discourse, lexical and phrasal levels.   Keywords: Political poems, semiotics, general discourse, lexical level, phrasal level.     Abstrak Satera Arab di Hijaz adalah sebahagian daripada kesusasteraan yang gemilang. Namun masih banyak karya-karya yang masih hilang disebabkan banyak faktor walaupun usaha-usaha para pengkaji dalam mengumpul dan merekodkannya. Pendekatan semiotik ini melihat aspek makna dengan melihat perbezaan dalaman melalui metod semiotik untuk menganalisa wacana syair. Pendekatan ini juga menolong menyingkap sistem bahasa tertentu yang menandakan input tertentu. Ia juga menolong menyingkap untuk menyerlahkan persepsi tertentu tentang kebanyakan teks kreatif, terutamanya kelebihan teks puitis untuk memampatkan makna. Kajian ini bertujuan untuk mengesan syair-syair politik di Hijaz dan mengkaji makna yang diserlahkan melalui analisa maksud puitis. Kajian ini menggunakan metod analisa deskriptif. Ia dimulakan dengan definisi beberapa terma penting seperti: Hijaz, semiotic, syair politik; analisa yang dibuat adalah berdasarkan kepada beberapa tahap: ia bermula dengan wacana umum seterusnya tahap-tahap leksikal dan phrasa.    Kata kunci: Syair politik, semiotic, wacana umum, tahap leksikal, tahap frasa

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).

scholarly journals Cognitive Poetry: Theoretical Framework for the Application of Cognitive Psychology Techniques to Poetic Text

2016 ◽  
Vol 3 (1) ◽  
pp. 59-83
Author(s):  
Anatoliy V. Kharkhurin
Keyword(s):  
Cognitive Psychology ◽  
Cognitive Processes ◽  
Theoretical Framework ◽  
Contemporary Poetry ◽  
Cognitive Poetics ◽  
Sensory Modalities ◽  
Poetic Text ◽  
Multiple Meanings ◽  
Poetic Texts ◽  
Theoretical Considerations

AbstractThis article presents a theoretical framework for the author’s experimental work in contemporary poetry, which has received the term cognitive poetry. In contrast to cognitive poetics, which applies the principles of cognitive psychology to interpret poetic texts, cognitive poetry applies these principles to produce poetic texts. The theoretical considerations of cognitive poetry are based on the assumption that one of the major purposes of creative work is to elicit an aesthetical reaction in the beholder. The aesthetical reaction to poetic texts could be achieved via their satiation with multiple meanings presented through multiple sensory modalities. Cognitive poetry employs techniques developed in cognitive psychology to explicitly address cognitive processes underlying the construction of multiple conceptual planes. The following techniques are discussed: priming, the Stroop effect, multimodal and multilingual presentations. The applications of these techniques are illustrated with examples of poetic texts produced by the author.

scholarly journals Sound-Color and Phono-Semantic Analysis of Literary Poetic Text by Synesthets

2018 ◽  
Vol 24 (2) ◽  
pp. 47-62
Author(s):  
Мariya Elivanova
Keyword(s):  
Subject Matter ◽  
Semantic Analysis ◽  
Edgar Allan Poe ◽  
Individual Variability ◽  
High Potential ◽  
Color Analysis ◽  
Poetic Text ◽  
Nervous Function ◽  
Sound Color ◽  
Poetic Texts

The article is concerned with investigating the problem of synesthesia that manifests itself in the fact that stimulation in one sensory-based system or cognitive system that leads to automatic reaction in another one. This article is the continuation of the research published in the previous one (Еливанова, Семушина, 2017) in which we described statistically significant sound / alphabet letters-color and words-color correlations typical for synesthets. Тhe aim of the next stage was to research synesthets’ capability of sound-color and phono-semantic analysis of a poetic text. Phonosemantics is a Russian branch of linguistic, its subject matter is sounds that create images. 12 synesthets took part in the research at the first stage. We offered them to analyze a piece of poetry “Grasshopper” by V. Hlebnikov (В. Хлебников). We revealed that synesthets have different capabilities of sound-color analysis of a literary poetic text that manifest individual and typological specifics of sound-color capability. 2 (16.7%) of examined respondents who have artistic type of higher nervous function with its high potential color-sound language system are good at intuitive phono-semantic analysis of a poetic text. Then we offered 3 curated synesthets extracts of poetry by А. Блок, А. Белый and Edgar Allan Poe (in original and in the translation by 3 different Russian poets). Analysis showed that individual method of synesthets partly coincides with the method of automatical analysis that is based on letter occurrence frequency in a text. Synesthets do not necessarily feel colors of frequent letters / sounds that have not equal meaning for the color perception of words and the text as a whole.  Synesthesia specifics combined with emotional image reflection of color-sound of analyzed texts let synesthets intuitively decode motivation coded with the help of phonetic means of language in the text by the authors of poems. In spite of individual variability of synesthetic perception of a text there is phono-semantic general invariability that is caused by imaginative comprehension of sound-color of poetic texts.

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