scholarly journals LINGUOREPRESENTATION OF IMAGES OF HEAVENLY LIGHTS IN B.-I. ANTONYCH’S POETIC TEXTS

2020 ◽  
pp. 134-144
Author(s):  
Olha SENKOVYCH
Keyword(s):  
Time Of Day ◽  
Individual Experience ◽  
The Sun ◽  
Gold Silver ◽  
The World ◽  
Celestial Bodies ◽  
Poetic Texts ◽  
The Individual ◽  
Psychological Mood ◽  
Aesthetic Preferences

The paradigm of describing celestial bodies sun, moon, stars is important for understanding the national-linguistic picture of the world. An objective picture of the world in the poetry of B.-I. Antonych is represented by stable associative-semantic connections of the celestial bodies – time (sun –dawn, day, light time of day; moon, stars – evening, night, dark time of day). The individual poetic picture of the world is commensurate with the objective also in the artistic statement of the property of celestial bodies to radiate light, to be sources of radiance. The corresponding archetypes ‘light’, ‘radiance’, ‘brilliance’ determine the semantics and value of numerous author’s landscape descriptions and psychological-mood metaphors. A number of recorded metaphors represent the folklore-mythological tradition of describing celestial bodies by a visually perceptible sign of shape (sun– circle, wheel, sphere; moon – sickle, horned, horseshoe, circle), color (sun – gold, red; moon – yellow, gold, silver, red; star – silver, gold). These traditional poetic models are supplemented by individual authorial interpretations. Productive author’s models of describing the realities of the sun, moon, and stars include domestication, anthropomorphization and natural morphization. It is established that the contextual uses of celestial bodies in the poetry of B.-I. Antonych is mostly correlated with direct, nominative meaning or actualized in the folklore-mythological key. Also, the concretely nominative and cultural-aesthetic information implicitly embedded in them is often rethought and actively expanded. These nominations actively form new lexical-associative complexes of meanings, new connotations caused by individual experience, ideas, feelings, emotions of the author, his personal creative and aesthetic preferences.

Drowning in negativism, self-hate, doubt, madness: Linguistic insights into Sylvia Plath’s experience of depression

2015 ◽  
Vol 11 (1) ◽  
pp. 41-54 ◽  
Author(s):  
Zsófia Demjén
Keyword(s):  
Lived Experience ◽  
Medical Humanities ◽  
Sylvia Plath ◽  
Individual Experience ◽  
Qualitative And Quantitative ◽  
The World ◽  
The Individual ◽  
Linguistic Methods ◽  
Linguistic Approach

This paper demonstrates how a range of linguistic methods can be harnessed in pursuit of a deeper understanding of the ‘lived experience’ of psychological disorders. It argues that such methods should be applied more in medical contexts, especially in medical humanities. Key extracts from The Unabridged Journals of Sylvia Plath are examined, as a case study of the experience of depression. Combinations of qualitative and quantitative linguistic methods, and inter- and intra-textual comparisons are used to consider distinctive patterns in the use of metaphor, personal pronouns and (the semantics of) verbs, as well as other relevant aspects of language. Qualitative techniques provide in-depth insights, while quantitative corpus methods make the analyses more robust and ensure the breadth necessary to gain insights into the individual experience. Depression emerges as a highly complex and sometimes potentially contradictory experience for Plath, involving both a sense of apathy and inner turmoil. It involves a sense of a split self, trapped in a state that one cannot overcome, and intense self-focus, a turning in on oneself and a view of the world that is both more negative and more polarized than the norm. It is argued that a linguistic approach is useful beyond this specific case.

Chimeras In Time-Honored Societies

Think India ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 463-466
Author(s):  
TUMMALA. SAI MAMATA
Keyword(s):  
Major Elements ◽  
The Sun ◽  
Human Beings ◽  
Life Changes ◽  
Inner Self ◽  
The World ◽  
Nature And Nurture ◽  
The Individual ◽  
The Right ◽  
Superstitious Beliefs

A river flows serenely accepting all the miseries and happiness that it comes across its journey. A tree releases oxygen for human beings despite its inner plights. The sun is never tired of its duty and gives sunlight without any interruption. Why are all these elements of nature so tuned to? Education is knowledge. Knowledge comes from learning. Learning happens through experience. Familiarity is the master of life that shapes the individual. Every individual learns from nature. Nature teaches how to sustain, withdraw and advocate the prevailing situations. Some dwell into the deep realities of nature and nurture as ideal human beings. Life is a puzzle. How to solve it is a million dollar question that can never be answered so easily. The perception of life changes from individual to individual making them either physically powerful or feeble. Society is not made of only individuals. Along with individuals it has nature, emotions, spiritual powers and superstitious beliefs which bind them. Among them the most crucial and alarming is the emotions which are interrelated to others. Alone the emotional intelligence is going to guide the life of an individual. For everyone there is an inner self which makes them conscious of their deeds. The guiding force should always force the individual to choose the right path.  Writers are the powerful people who have rightly guided the society through their ingenious pen outs.  The present article is going to focus on how the major elements bound together are dominating the individual’s self through Rabindranath Tagore’s Home and the World (1916)

scholarly journals III. On the nature and construction of the sun and fixed stars

1795 ◽  
Vol 85 ◽  
pp. 46-72 ◽  
Keyword(s):  
Central Body ◽  
Planetary System ◽  
Considerable Progress ◽  
The Sun ◽  
Great Satisfaction ◽  
The Earth ◽  
The World ◽  
Celestial Bodies ◽  
The Universe ◽  
Made In

Among the celestial bodies the sun is certainly the first which should attract our notice. It is a fountain of light that illuminates the world! it is the cause of that heat which main­tains the productive power of nature, and makes the earth a fit habitation for man! it is the central body of the planetary system; and what renders a knowledge of its nature still more interesting to us is, that the numberless stars which compose the universe, appear, by the strictest analogy, to be similar bodies. Their innate light is so intense, that it reaches the eye of the observer from the remotest regions of space, and forcibly claims his notice. Now, if we are convinced that an inquiry into the nature and properties of the sun is highly worthy of our notice, we may also with great satisfaction reflect on the considerable progress that has already been made in our knowledge of this eminent body. It would require a long detail to enumerate all the various discoveries which have been made on this subject; I shall, therefore, content myself with giving only the most capital of them.

scholarly journals Memórias Imaginadas

2013 ◽  
Author(s):  
Maria Dulce Loução
Keyword(s):  
Social Value ◽  
Individual Experience ◽  
Social Content ◽  
Architectural Production ◽  
Cultural Phenomenon ◽  
World Today ◽  
The World ◽  
The Subject ◽  
The Individual

O mundo hoje, tal como refere Leach, é “uma cultura da cópia”. O mundo tornou-se infinitamente policopiado, onde a imagem, hiper real, se converte em simulacro e, pela sua própria natureza, destituída da própria realidade que se propõe reflectir. Hoje, o mundo de uma certa arquitectura, é o mundo da Imagem, que conduz a um deficiente reconhecimento do espaço construído, sem conteúdo social, sem toque na realidade tangível. È deste distanciamento da Disciplina da Arquitectura que resultam imagens sedutoras, consumíveis e sem discurso, onde a produção arquitectónica se reduz a manipulações filosóficas que legitimam a forma sem conteúdo. A sedução é sempre superficial. O acto de projectar enquanto antevisão de um futuro pressupõe a existência de uma Ideia gerada a partir da invenção, imaginada. Assim, o projectar, o inventar por imagens é a própria essência da arquitectura. Embora baseado na experiência individual, intuitiva e intangível, o ensino da arquitectura sustenta-se em “factos convencionais” como diz Moneo, transcendidos em valor social que lhe confere o sentido, revestindo, assim, a aprendizagem da arquitectura de uma dimensão de transcendência. A arquitectura é, assim, e por via do social e do artístico, fenómeno cultural, e o arquitecto um produtor de cultura inserido num contexto convencional, no qual a arquitectura ganha sentido.  The world today, as said by Leach, is “a culture of copy”. The world has become infinitely multi-copied, where the image, hipper real, is converted in simulation and, by its own nature, dismissed from reality itself on which a reflection is proposed. Today, the world of a certain architecture, is a world of Image, which leads to a deficit when recognizing the constructed space, without social content, without touching the tangible reality. It is through the detachment from the Subject of Architecture that seductive images result, consumable and without speech, where the architectural production is reduced to philosophical manipulations that validate form, without content. Seduction is always superficial. The act of designing as a preview of a future, assumes the existence of an Idea generated from the imagined invention. Therefore, designing and inventing through images is the exact essence of architecture. Although it is based on the individual experience, intuitive and intangible, the teaching of architecture is sustained by “conventional facts” like it was said by Moneo, transcended in social value that gives it meaning, thus filling the learning of architecture with a transcendent dimension. Architecture is then, by a social and artistic way, a cultural phenomenon, and the architect, a producer of culture, inserted on a conventional context, in which architecture acquires meaning.

scholarly journals ATTRIBUTIVE CHARACTERISTICS OF CELESTIAL BODIES IN THE MIDDLE POLISIAN BELIEFS

2021 ◽  
pp. 104-110
Author(s):  
Antonina Plechko
Keyword(s):  
Local Population ◽  
Field Research ◽  
The Sun ◽  
The Moon ◽  
Audio Recordings ◽  
The World ◽  
Celestial Bodies ◽  
Bad Weather ◽  
Diverse Groups

The article analyzes the attributive characteristics of celestial bodies: the sun, the moon and the stars in the Middle Polisian beliefs on the basis of dialect texts, which are valuable authentic material for the reconstruction of traditional spiritual culture. The research material was the texts of field research on inanimate objects collected in the territory of the Middle Polissia of Ukraine in 55 settlements of Zhytomyr and Rivne regions during 2010–2019 years. The purpose of our research is to describe tokens that are means of reflecting the attributive characteristics of the nomination of celestial bodies in the Middle Polisian dialects as one of the components of the linguistic picture of the world of a separate dialect space. The subject of analysis is the lexical and syntactic expression of the attributes of the sun, the moon and the stars in the beliefs of Polishchuks (local population of Polisian region. In the research the method of expeditionary collection of material, audio recordings with subsequent decoding and transcription of field material, the method of systematic description of the studied phenomenon for systematizing the collected material were used. The classification of attributes is given and the analysis of meteorological, color, sacred, temporal meanings, on external signs (on the size, on the form) is carried out. The results of the study indicate that the most filled and diverse groups of attributes that make up the Middle Polisian linguistic portrait of the characteristics of celestial bodies are meteorological and color definitions. Meteorological, temporal, external attributes enter into antonymous relations, as they contain in their semantic structure the corresponding positive / negative evaluative element (weather / bad weather). The color attributes, associated with the sun and the moon, are represented only by light and bright colors, there are no dark colors. While describing celestial bodies, we note a group of sacred meanings and adjectives with a gentle color, the suffix of diminution, which indicate a special perception of celestial bodies by Polishchuks. The collected material only partially reflects the characteristics of celestial bodies in the Middle Polisian dialects as one of the components of the linguistic picture of the world, so other means of reflecting the nomination of the sun, moon and stars require detailed study.

scholarly journals Sound in the individual poetic picture of the world of Mykola Vihranovskyi

2019 ◽  
pp. 86-95
Author(s):  
Iryna Ivanenko
Keyword(s):  
National Space ◽  
Individual Author ◽  
Living Things ◽  
The World ◽  
Poetic Practice ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Definition Of ◽  
The Individual ◽  
Metaphorical Structures

The article analyzes models of metaphorical description of sounds that are relevant to M. Vinhranovsky’s individual poetic picture of the world. It is determined that the most productive type of audio metaphorization is related to the verbalization of associative sound-to-nature relationships. Its relevance is determined by the collective (secured by verbal tradition) and individual (author) experience of perceiving objects of national space, such as river, sky, water, forest, grove, trees, as well as related phenomena of nature (wind, storm, thunder, rain). and living things (birds, animals, insects). The persistence of associations in the poetic texts motivated by this experience has been consistently confirmed. The collective and individual experience of perception of the phenomena of the nature of rain, thunderstorm, rain, wind, water motivates the active use of «sound» verbs, which metaphorize the various actions and intensity of manifestation of these phenomena. The stylistic performance of common linguistic formulas with stylistically neutral verbs – carriers of the archives of ‘sounds of nature’ is traced. It is proved that an important fragment of the sound definition of the world in the national linguistic-poetic practice and in the idyllic style of M. Vinhranovsky as its symbolic fragment is the image of “silence”. Updating the “zero” manifestation of audio semantics, it creates a semantic opposition to images with the seven “sound”. The aesthetic unfolding of the image of silence in various structural metaphorical structures: verbal predicative, verbal object, oxymoronic, tautological is attested. Analyzed metaphors confirm that the aesthetized verbalization of sound impressions is one of the dominants of M. Vinhranovsky’s individual poetic phrase, in which the metaphors with the seven ‘sound’ are indisputable artistic dominants.

scholarly journals PECULIARITIES OF A VERBAL REPRESENTATION OF A CONCEPTUAL LANGUAGE IMAGE “NIGHT” IN THE POETIC TEXTS OF AFANASY AFANASYEVICH FET

2019 ◽  
Vol 7 (6) ◽  
pp. 481-485
Author(s):  
Ilvira R. Galiulina ◽  
Alexandr V. Spiridonov ◽  
Iana A. Byiyk
Keyword(s):  
Russian Language ◽  
Cognitive Approach ◽  
Discursive Space ◽  
Continuous Sampling ◽  
Verbal Representation ◽  
The World ◽  
Poetic Texts ◽  
The Individual ◽  
Conceptual Language ◽  
The Russian Language

Purpose: This study was conducted in the framework of the anthropocentric direction with elements of the cognitive approach. Based on the concept of Yuriy M. Lotman, who asserts that a literary text is a model of reality, it verbally represents real components that structure the real world and ideal components. The purpose of this article is to identify the characteristics of the representation of the linguistic image of the concept “night” in the poetry of Afanasy A. Feta as a fragment of the Russian language picture of the world. Methodology: For this purpose, the extralinguistic conditions of the formation of the discursive space of Afanasy A. Fet's poetic texts are analyzed. The theoretical literature on the picture of the world and the poetic text are studied. The peculiarities of the linguistic concept image as a complex and multidimensional education are revealed. The paper also reveals the method of continuous sampling on the material of collections of poems by Afanasy A. Fet compiled a card index of poems about the night (187 poetic texts). Result: The rating of the frequency of language units is determined: night, moon, star, dawn; the ways of representing the linguistic image-concept “night” through the prism of the author purely individual consciousness have been revealed. The peculiarities of the verbalization of the linguistic image of the concept “night” in the composition of graphic-expressive means are determined. The study made it possible to conclude the picture of the world of the poet Afanasy A. Fet is a unique version of the individual picture of the world that has enriched the “concept-sphere” of the Russian language. The individual picture of the world of the lyrics is presented in his poetic texts, the complexity of the study of which lies in the fact that they are pointed out such features as emotionality, fragmentation, phatic imagery. Applications: This research can be used for universities, teachers, and students. Novelty/Originality: In this research, the model of Peculiarities of a Verbal Representation of a Conceptual Language Image “Night” in the Poetic Texts of Afanasy Afanasyevich Fet is presented in a comprehensive and complete manner.

scholarly journals The Crimea’s linguistic image in the poetry of Lesia Ukrainka

2020 ◽  
pp. 88-99
Author(s):  
Nina Danylyuk
Keyword(s):  
Indigenous People ◽  
Young Female ◽  
The Black Sea ◽  
Profound Knowledge ◽  
The World ◽  
The Crimea ◽  
Poetic Texts ◽  
The Individual ◽  
Crimean Tatar ◽  
Living Creature

The article is devoted to the linguistic image of the Crimea, conceptualized on the basis of the analysis of Lesia Ukrainka’s poetic texts from the cycles “The Crimean Recollections” (the collection “On the Wings of Songs”, Lviv, 1893), “The Crimean Reminiscences” (the collection “Thoughts and Dreams”, Lviv, 1899) and two poems “A Memory from Yevpatoria” (1904) and “A Wave” (1908) which do not belong to any collections. In these texts Lesya Ukrainka’s recollections about the visit to the Crimea in 1890–1891, 1897–1898, and in 1907–1908 are reflected with the help of figurative means. A linguistic image of the Crimea is a segment of the individual-authorial map of the world of the writer that reflects her language-thinking, Ukrainian origin, and profound knowledge of folklore resources. It has been found out that the image is consists of the descriptions of such cities as Yalta, Yevpatoria, and Bakhchysarai where the writer stayed or visited them. A special distinction is given to Bakhchysarai with its realia of the khan’s palace and muslimness to which three poems were devoted. With the help of figurative means the lines of mountains and certain places, connected with the Crimean legends (Baidary, Chortovi skhody (Devil’s stairs)), obtain their prominence. The nature and elements of the Black sea are thoroughly depicted – quiet in the bright weather and wild during the storm. Many contexts prove that the poetess perceived the sea as a living creature, relevant to her moods and feelings. It has been pointed out that Lesia’s Crimea is associated with her dear ones – first of all with her brother Mykhailo and beloved Serhii, with the forgotten poet Nadson, with the Crimean Tatars (the appearance and clothes of a young female Tatar (who is called by a diminutive form of the ethnic name Tatar - tatarochka) is described in the brightest way). Most of the appellatives of the peninsular (God’s given land, a land of constant rays, a bright country, a country of light, a joyful country, a beautiful side (of the world) and others) have a positive connotation caused by the author’s admiration of its gorgeous nature. But there have been found negative evaluative expressions that resulted from the understanding of the decay of the traditional Crimean Tatar material and spiritual culture, enslavement of the indigenous people (Неволя й досі править в сій країні! - Captivity still rules in this country!). That is why the author compared the captivated land with a boat, broken by a storm, and a steppe horse that dies in the sands of a desert.

scholarly journals Existential and Psychological Problems of Aging: The Perspective of Ukrainian Lyrics’ Art Representation

2021 ◽  
pp. 39-51
Author(s):  
О. V Shaf ◽  
N. P Oliynyk
Keyword(s):  
Theoretical Basis ◽  
Psychological Problems ◽  
Sexual Attractiveness ◽  
Individual Experience ◽  
Life Strategies ◽  
The Feminine ◽  
The World ◽  
The Individual ◽  
Unique Individual ◽  
Anxiety And Fear

Purpose. Aging is intricate process of self-transformation in view of involution of body, loss of sexual attractiveness, but at the same time, old age is a time for reconsideration of self-existence in time and in the world within coherence of life sense targets and their (successful) realization. Unique individual experience of growing old implemented in Ukrainian literature (and lyrics) can complete the data received by gerontology. Moreover gender approach in literary gerontology highlights masculine / feminine phenotypical features of internal reverberating of aging. Theoretical basis. To inquire into existential and psychological problems of aging exemplified in the twentieth-century Ukrainian Lyrics it is seems to be the most effective to employ philosophical (A. Anhelova, V. Demidov, T. Dziuba, K. Pigrov, S. Lishaev, O. Khrystenko and others) and psychological (O. Berezina, S. Hamilton, V. Savchyn, Y. Sapogova and others) approaches in gerontology, as well as feministic studies on elder female body discrimination, in particular in literature (K. Woodward, J. King). Originality. This research paves the way to the development of gender and literary dimensions in Ukrainian gerontology and anthropology in general. Some of the existential and psychological problems of aging (as anxiety of body involution and decline of strength, as well as finding the compensatory pleasure in wisdom and spiritual treasures) are revealed on the material of 20th-century Ukrainian poetry (N. Livytska-Kholodna, B. Lepkyi, M. Zerov, Yurii Klen, Y. Malaniuk, Y. Tarnawsky, I. Zhylenko, S. Yovenko and others). The individual lyric experience of aging in different gender moods is anchored mostly in psychic, mental, sense-life strategies. Conclusions. Among the feminine strategies of aging self-reception there are observation of own elder body with anxiety and fear, its "invisibility", deepened feelings of loneliness, self-estrangement, but also finding the sense of life and soul harmony in own family, offspring. Masculine self-reception of aging deals with ideal spiritual model of Wise old man – more abstract than personal; masculine anxiety is caused by physical bodily declining, not attractiveness, but strength and power loosing.

scholarly journals The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

2021 ◽  
pp. 369-386
Author(s):  
Jorge Latorre-Izquierdo ◽  
Marcos Jiménez-González ◽  
Clare-Elizabeth Cannon
Keyword(s):  
American Dream ◽  
Free Movement ◽  
Main Building ◽  
The World ◽  
History Of ◽  
Poetic Texts ◽  
The Individual ◽  
Literary Myth ◽  
Rockefeller Center ◽  
Free Movement Of Capital

New York’s Rockefeller Center is one of most symbolically rich places in the world, although few of its millions of visitors stop to reflect on what its images of power really mean. In the form of an Atlantean mythological allegory, Rockefeller Center was conceived as symbolic propaganda for capitalist, liberal values implicit in both the ‘American Dream’ and the ideology espoused by the Rockefeller family. It embodies the utopia of progress and science that promotes the freedom of the individual and the free movement of capital. Due to ideological clashes –or the vagaries of fate– the Catalan José María Sert was the artist to ultimately complete the most eloquent mural in the main building, a mural which had formerly been painted by Diego de Rivera, and entitled Man at the Crossroads. Sert was a muralist who had previously worked on the scenographic illustration of Manuel de Falla’s Atlántida, capturing some of the motifs that inspired that great cantata based on poetic texts by Jacint Verdaguer. That earlier work is reflected in the lobby of Rockefeller Center’s main building. While Diego de Rivera’s censored frescoes have been studied prolifically, little attention has been paid to Sert’s paradoxical reading of the same subjects. In this article, we analyse the history of the Atlantean Mediterranean literary myth in relation to Spain, the use John D. Rockefeller Jr. made of them in his emblematic urbanistic ensemble, and also the peculiar reading that the Catalan muralist made of these themes of Atlantis in relation to capitalism.

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