POETIC TEXTS IN TEACHING OF RUSSIAN ON B1 LEVEL (ON THE EXAMPLE OF WORKING WITH VOCABULARY DENOTING PERCEPTION IN THE POEMS OF O. BŘEZINA AND V. S. SOLOVYOV)

2020 ◽  
Author(s):  
Simona Koryčánková
Keyword(s):  
Teaching Methodology ◽  
Main Function ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Polysemous Words

The author of the article aims to introduce Russian poetic texts into the teaching of Czech students on B1 level. The chosen teaching methodology is based on motivating the students with the use of Czech symbolist poetry by O. Březina and a subsequent analysis of a poem by V. S. Solovyov. Work with the poetry of both authors focuses on perceptual lexicon, which plays key role in uncovering the meaning of a symbolist text. Students can thus gain knowledge of polysemous words and their different author’s connotations in an enticing and creative way. This enhances not only their knowledge of the content and language, but also of the aesthetic component related to the main function of an artistic text

The Dualism of Place in Lattif Halmat’s Poetic Texts

2021 ◽  
Vol 8 (3) ◽  
pp. 387-409
Author(s):  
Sarkawt Omer Ibrahim ◽  
Zanear Zyad Ibrahem
Keyword(s):  
Analytical Study ◽  
Theoretical Method ◽  
Philosophical Concept ◽  
Binary Oppositions ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Definition Of ◽  
Horizon Of Expectations

     This research, which is entitled “The Dualism of Place in Lattif Halmat’s Poetic Texts”, is a critically analytical study on the dualism of place, the role and position of the element of place within the frame of poetic texts. In the poet’s poetic texts, the element of place created a kind of reversal in the readers’ horizon of expectations. The binary oppositions have become the structure of art and the aesthetic of poetic texts. And often, they have become (purple patches) in the texts in a way that all the surrounding words are ablaze with their power and their beauty.  This research is composed of two chapters: The first chapter is devoted to the concept and definition of dualism and the philosophical concept of dualism in a theoretical method. In terms of their presence in Lattif Halmat’s poetic texts, the second chapter deals with the dualism of place within the frame of poetic texts in a critically analytical way. And finally, the research ends with the conclusions and bibliography.

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).

Poetry at Stake: Blaise Cendrars, Cultural Studies, and the Future of Poetry in the Literature Classroom

PMLA ◽  
1997 ◽  
Vol 112 (1) ◽  
pp. 40-55 ◽  
Author(s):  
Carrie Noland
Keyword(s):  
Cultural Studies ◽  
Textual Analysis ◽  
Symbolic Capital ◽  
Cultural Construction ◽  
Blaise Cendrars ◽  
Close Textual Analysis ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Institutional Boundaries ◽  
Institutional Construction

Cultural studies has tended to neglect poetic texts, but poetry is in fact well suited to provoke classroom debates concerning the cultural construction of the aesthetic object, as Blaise Cendrars's Dix-neuf poèmes élastiques (Nineteen Elastic Poems) confirms. Bakhtin's notion of the heteroglossic helps to demonstrate that Cendrars's poems are also “rejoinders” in a dialogue with their institutional other: advertising. But Cendrars does not merely claim advertising as poetic material; he identifies poetry as a form of advertisement. Cendrars suggests that the symbolic capital of poetry cannot exist unless the poem brings attention to itself by means of a practice that it posits, paradoxically, as its other. However, the fact that poetry is constructed by advertising its difference does not make poetry equivalent to advertising. Cultural studies reveals the institutional construction of poetry, but only close textual analysis can highlight the semiotic distinctions between poetry and advertising that institutional boundaries engender.

scholarly journals Abu Bakr Salem's Saudi-Hadhrami Songs in Translation

2020 ◽  
Vol 20 (2) ◽  
Keyword(s):  
Extra Dimension ◽  
Translation Studies ◽  
Descriptive Study ◽  
Prosodic Features ◽  
Translation Process ◽  
Cultural Elements ◽  
The Aesthetic ◽  
Poetic Texts

This exploratory and descriptive study attempts to investigate Abu Bakr Salem’s songs and poems to see how demanding the process of translating such poetic texts is. Three of the most authentic songs of the Saudi-Hadhrami famous singer have been translated and discussed to achieve the study goals which are refreshing translation studies with this regard as well as checking whether these Arabic songs are translatable. The translator was given much freedom to render this kind of challenging text which is loaded with cultural elements and prosodic features in the light of Low’s (2005) Pentathlon Approach. The translator has done his best to manifest the aesthetic elements as far as possible. The findings are that folkloric Saudi-Hadhrami songs are untranslatable and the translation process is too complicated. Therefore, translators are not recommended to translate songs because a loss of meaning or form becomes something unavoidable. The intricacies lie mainly in manifold dimensions including cultural, colloquial, and prosodic aspects. In addition, the extra dimension of the music is beyond the translator's control.

scholarly journals THE ROLE OF THE SYMBOLIC IMAGE IN THE INTERPRETATION OF THE NATIONAL PICTURE OF THE WORLD (ON THE EXAMPLE OF ANALYSIS OF THE IMAGE OF BAMBOO IN CHINESE LINGUOCULTURE)

2021 ◽  
pp. 111-120
Author(s):  
Синхуа Ван
Keyword(s):  
Chinese Philosophy ◽  
Actual Problem ◽  
Main Research ◽  
Chinese Speakers ◽  
The World ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Symbolic Image ◽  
Linguistic Means

Введение. Эпоха глобализации и расширения межкультурной коммуникации формирует новые вызовы и ставит их на разрешение ученым, осуществляющим свои изыскания в различных научных областях. Актуальной проблемой гуманитаристики является описание национальных картин мира посредством моделирования их фрагментов. В лингвистике особую значимость сегодня имеет изучение вербальных средств объективации концептуальных смыслов. В числе последних выделяются поэтические тексты. Их эстетическая направленность позволяет исследовать в качестве лингвокультурологических и когнитивных средств образы, присутствующие в этих текстах. Цель – исследовать роль образных символических средств в интерпретации фрагмента китайской картины мира, связанного с осмыслением образа бамбука в древних поэтических текстах. Материал и методы. Материалом исследования послужили поэтические тексты древних китайских авторов. В качестве единиц выступили языковые средства, воплощающие один из наиболее распространенных в китайской лингвокультуре образов ‒ образ бамбука. Основные методы исследования ‒ контекстологический и лексико-семантический. Результаты и обсуждение. Особенности биологического строения бамбука и разноаспектные возможности его применения в жизни носителей китайского языка определяют богатейший образный потенциал лексемы-номината. Включенность данной лексемы в широкий контекст значительно обогащает процесс смыслопорождения. Языковые средства, объективирующие толкование образа бамбука в китайской лингвокультуре, в текстовой перспективе получают возможность своей концептуальной интерпретации. Последняя развертывается на основании рассмотрения символических компонентов смысла, вписанных в национальную картину мира на уровне ее фрагментов. Направления символизации значения языковых единиц, номинирующих образ бамбука, выявляются путем рассмотрения речевой структуры древних поэтических текстов китайских авторов. Заключение. Ключевыми проявлениями символичного значения образа бамбука в китайской лингвокультуре можно назвать варианты интерпретации данного образа как символа высокой нравственности, чистоты, покоя, гармонии и умиротворенности. Такое символичное толкование не противоречит основным догмам китайской философии, в его основе лежит ассоциативная перекличка, возникающая в сознании носителей языка, как результат сопоставления свойств растения и характеристик человека. Introduction. The modern era of globalization and the expansion of intercultural communication creates new challenges and puts them to the solution of scientists carrying out their research in various scientific fields. The actual problem of the humanities is the description of national pictures of the world by modeling their fragments. In linguistics, the study of verbal means of objectifying conceptual meanings is of particular importance today. Among the latter, poetic texts stand out, the aesthetic orientation of which makes it possible to investigate the images present in these texts as linguoculturological and cognitive means. Aim and objectives. Explore the role of figurative symbolic means in the interpretation of a fragment of the Chinese picture of the world associated with the interpretation of the image of bamboo in ancient poetic texts. Material and methods. The material of the research is poetic texts of ancient Chinese authors. The units are linguistic means that embody one of the most common images in Chinese linguoculture – the image of a bamboo. The main research methods are contextological and lexical-semantic. Results and discussion. The peculiarities of the biological structure of bamboo and the diverse possibilities of its use in the life of native Chinese speakers determine the richest figurative potential of the nominated lexeme. The inclusion of this lexeme in a broad context significantly enriches the process of generating meaning. Linguistic means that objectify the interpretation of the image of bamboo in Chinese linguistic culture, in the textual perspective, get the possibility of their conceptual interpretation. The latter unfolds on the basis of considering the symbolic components of meaning inscribed in the national picture of the world at the level of its fragments. The directions of symbolizing the meaning of linguistic units nominating the image of a bamboo are revealed by considering the speech structure of ancient poetic texts of Chinese authors. Conclusion. The key manifestations of the symbolic meaning of the image of bamboo in Chinese linguistic culture, judging by the results obtained, can be called the options for interpreting the image of bamboo as a symbol of high morality, purity, peace, harmony and serenity. Such a symbolic interpretation does not contradict the basic dogmas of Chinese philosophy; it is based on an associative roll call that arises in the minds of native speakers as a result of a comparison of plant properties and human characteristics. Keywords: linguistic picture of the world, symbolic image, Chinese linguoculture, poetic text, bamboo image, lexical means, linguocultural analysis.

scholarly journals NARRATIVE PERSPECTIVE IN EDGAR POЕ’S POETICS: A LINGUISTIC ASPECT

2019 ◽  
pp. 84-91
Author(s):  
Н. А. Марущак
Keyword(s):  
Literary Criticism ◽  
Edgar Allan Poe ◽  
Literary Texts ◽  
Structural Elements ◽  
Detective Novel ◽  
Narrative Perspective ◽  
Empirical Research Methods ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Linguistic Aspect

Edgar Allan Poe is an American poet, prose writer, essayist, literary editor and critic. The author’s works are mainly looked at from the perspective of literary criticism when studies, among other aspects, are aimed at exploring the aesthetic views of the author, the influence of his works on formation of symbolism in late 19 — early 20 centuries as well as the diversity of structural elements of the detective novel genre. Additionally, the philosophy of Poe’s consciousness is explored, and biographical facts of the author’s life are carefully analysed. In its turn, this article systematizes the existing approaches to the study of poetics aiming at outlining specific features of poetics of Poe. A focus is made on the use of combined methodology that includes both stylistic analysis and empirical research methods. In this article poetics is treated as a system of the author’s linguistic and conceptual preferences together with the ways of expressing the content of the text. This approach is applied to the study of both poetry and prose, and the research of the author’s poetics is understood as a detailed analysis of not only poetry or prose separately, but as a view of a comprehensive system of texts that consist of a plot, a narrator, characters, specific settings, etc. In this research the nature of interaction of specific elements of Poe’s poetics as well as the peculiarities of narrative perspective in the author’s works are examined. In doing so, its components, specifically the author’s idiolect and idiostyle, are comprehensively considered by way of integration of various methods and approaches. The conclusion is made about narrative character of Poe’s poetic texts as their important feature. Narrative perspective is understood as the connection between the character and his relations with social surroundings described in the text. The factors that influence narrative difference between literary texts are outlined. Such notions as shift of perspective and focalization are clarified.

AZERBAYCAN BESTECİLERİNİN ESERLERİNDE ETÜD TÜRÜ THE GENRE OF ETUDE IN THE WORKS OF AZERBAIJANI COMPOSERS

2021 ◽  
Vol 6 (12) ◽  
pp. 77-86
Author(s):  
Gulnar MIRZEYEVA
Keyword(s):  
Music Education ◽  
Piano Music ◽  
Development Stage ◽  
Main Function ◽  
Music Schools ◽  
Russian Music ◽  
Different Types ◽  
The Aesthetic ◽  
Russian Composers ◽  
Musical Genres

The etude genre is one of the examples characterized by the emergence of different types of music that develop at certain stages of musical art. Although the introduction of studies as an independent genre in musical literature dates back to the XVII-XVIII centuries, its main function in the development of piano art was already present in other musical genres. The next stage in the development of the study genre is related to the work of the Romantic Movement representatives F.Chopin, R.Schumann, F.List. The acquisition of new features of the genre is due to the work of Russian composers. Thus, with the increase in the content features of art-concert studies, new features such as programming and integration with other genres were observed in Russian music. Interest in piano in Azerbaijan in the late 19th and early 20th centuries first appeared in aristocratic strata, but gradually spread to a wider area. The development of the art of performing on the piano also influenced the creativity of the composer an gave impetus to the formation of the national repertoire for this instrument. Although the etude genre in the works of Azerbaijani composers is not common in the works of European and Russian composers, there are important examples only in the early stages of the formation of miniatures. Azerbaijani composers E.Nazirova, F.Guliyeva, A.Azizov, A.Abbasov, Niyazi, J.Hajiyev, R.Shafag, Kh.Mirzezadeh and others managed to create interesting examples of this genre. One of the main features of the analysis of Azerbaijani somposers etudes is that these examples are pioneered for educational purposes. For this reason, some of the studies we analyzed (M.Mirzayev, J.Hajiyev etc.) are aimed at the first stage of music education with its small volume and simple structure. Studies of relatively large artistic and technical complexity (E.Nazirova,Niyazi,F.Guliyeva) are suitable for the upper classes of music schools. Although the evolution of the study genre and the features of its various genres are not embodied in these works with the splendour seen in the works of European and Russian composers, Azerbaijan is an interesting example of piano music in its educational repertoire. As a result, we can say that the etude genre is not a special development stage in the works of Azerbaijani composers, but each of the existing examples is important in the formation of the aesthetic tastes of young pianists, musical performances on a national basis, and it is successfully applied in the educational repertoire.

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 Image, Function, Meaning, and Structure: The Role of Aphorisms in the Kazakh Epic Poem Kyz Zhibek

2020 ◽  
Vol 23 ◽  
Author(s):  
Muhammadgali Abduov ◽  
Nazilya Abduova ◽  
Nicolae Stanciu
Keyword(s):  
Folk Song ◽  
Main Function ◽  
Epic Poem ◽  
Folk Literature ◽  
Image Function ◽  
The Aesthetic ◽  
Linguistic Methods ◽  
Universal Bases ◽  
And Linguistics

In this article, the function of aphorisms in folk song, which also contains lyrical and dramatic elements, is analysed and defined through cultural (mostly folklore) literature, and linguistic methods. The main purpose of this paper is to show the role of the gnomic words generated by folk creators in an epic poem’s plot, their main functions in the development of conflict and the aesthetic expression of the work. Therefore, the meaning of symbols has been interpreted in close connection with the actions, archetypes and metaphors inserted in the structure of the song. Using as an example the song “Kyz Zhybek”, which is a prominent creation in Kazakh folklore, and reviewing research papers on the subject, the present article follows the contrastive analysis in researching the echoes of archetypal traditions in a Muslim cultural frame. Ethnos in culture remains in an attempt to recover the identity of a group using what seems specific in folklore, history, and linguistics and to track them in an original ideology articulated on national and universal bases. This paper may help researchers when studying folklore heritage, with understanding the scope of using the aphorisms and the main function actualised by them in folk literature. In addition, the role of aphorisms in a folk song is systematised, and their historical and identity significance is underlined.

Learning/teaching, creating and performing through LBMS

2020 ◽  
Vol 12 (1) ◽  
pp. 95-106 ◽  
Author(s):  
Cibele Sastre
Keyword(s):  
Dance Education ◽  
Rio Grande ◽  
Teaching Methodology ◽  
Main Function ◽  
Rio Grande Do Sul ◽  
The South ◽  
Creative Processes ◽  
Body State ◽  
South Of Brazil

This article presents Laban/Bartenieff movement studies (LBMS) experiments through pedagogical procedures and creative processes. It comprises artistic and performative perspectives in choreography and dance education from a nineteen years’ research within master and doctorate studies. Laban’s Motif writing shifts its main function to act as a trigger for creative processes. Besides, somatic serenities, as an important body state for the production of presence, are encouraged in somatic‐performative practices that include LBMS into dance programme courses in Rio Grande do Sul. The concept of somatic serenities is introduced to develop an inner‐outer body connection state as an intimate experience with dance, which produces knowledge. This text considers performative dance practices and practice as research as an LBMS teaching methodology in dance courses in the south of Brazil.

Sign in / Sign up

Export Citation Format

Share Document