UNIQUE FEATURES OF BAHRAM RUZIMUHAMMAD'S POETRY

Modernist verse structure, its punctuation peculiarities isanalysed in the poem by B. Ruzimuhammad.

Individual Rhythmic Variation in Oral Poetry: The Runosong Performances of Seto Singers

The article explores the individual differences of rhythmic variation in traditional sung oral poetry. The analysed group of ritual songs is part of the Seto singing culture – a subtradition of Finnic oral trochaic tetrameter. The rhythmic variation, created by different positioning of stressed syllables in the song line, reveals itself on two levels, in linguistic verse structure and in musical performance. In the singers’ performances the verse and musical structures complement each other, having a cumulative rhythmic effect. By designing the rhythm at both levels, the singers systematically take into consideration the linguistic features of the used words. A statistical analysis shows a remarkable divergence in the rhythmic variation of different lead singers. The results are more homogeneous at the level of linguistic verse structure and more diverse at the level of musical performance. Also, the rhythmic choices of the lead singer and his or her choir in the course of the performance may differ. We may speculate that this divergence in individual rhythmic strategies could have been caused by the singers’ type of creativity and skills, their different perceptions of genre features and intergeneric relations, and the musical influences between more closely related singers.

Hebrew Poetry and the Appositive Style: Parallelism, Requiescat in pace

Michael O’Connor (whose 1980 opus, Hebrew Verse Structure, provides a compelling linguistically grounded description of the poetic line) has called the endurance of Lowthian parallelism a “horror” that wreaks havoc on lexical semantics and “is beyond the comprehension of any sensitive student of language.” Why does a model known to be a descriptive failure for a century persist in teaching resources and commentaries? It is because nothing compelling has risen to replace it. O’Connor’s linguistic analysis of the line offered the first piece to replacing the traditional model, but O’Connor’s model was more compelling for the structure of the poetic line than for the relationship of lines. In this study I take up interlineal syntax and offer an analysis that compliments and completes O’Connor’s approach, allowing us to provide a proper burial for the admirable but ultimately unworkable Lowthian parallelism.

AL-QUR’AN ANTARA WAHYU AURAL DAN KODIFIKASI ‘UTHMĀNĪ

This study will begin by discussing the history of the Qur’an, the Qur’an as a revelation, the history of the writing of the Qur’an and the content of the discussion of the Qur’an. By describing what the initial scriptures were written about and when the general codification of the Koran was agreed upon became the main global reference, it could be understood by educated people, especially the laity. As we already know that the Koran in general is initially a complex thing, meaning that the process of occurrence requires stages that are not instantaneous. Various concepts related to the scriptures, such as “God, Angels, Revelations, Prophets,” are often understood as taken forgranted. Likewise the process of revelation of the Qur’an, such as narration, writing, gathering and opening, is often not a concern. This paper intends to discuss the Qur’an from a Historical-Theological perspective. Other things accepted in dogma, such as God's word, verse structure, spelling, and structure of the text, are questioned again by positioning in the historical context at the time the revelation was revealed and then written. The emphasis of this paper is on the process of sacralization of the Koran having a long journey and intersecting with the historical events of the Muslims between the aural and the codification of ‘Uthmānī. Briefly, outlining the history of revelation and writing of the Koran becomes a “holy book” for religious communities. The process of sacralization of the "holy book" cannot be separated from the increasingly mature written tradition of human life that is complex. But does not deny the tradition of previous writings, such as the Bible or books of the Jews and Christians. Because the tradition of writing al-Qur’an is imitating from previous books. Is that right?.

“Red Tomatoes” by B. Chichibabin: the poet’s path and the possibilities of the poem

The article presents a comprehensive semantic, poetological and contextual analysis of the poem Red Tomatoes («Кончусь, останусь жив ли…») written by the Russian poet Boris Chichibabin with consideration of debatable aspects of existing interpretations. The significance of this creation for the poet’s personal and creative formation has been specified. The interpretation of the poem’s key symbolic image has been amplified, and a real comment has been attached to it. Archetypical, folkloric and literary pretexts of the poem have been characterized. The correlation between the external, biographical and lyrical plots has been commented on. The semantic load of all formal components of the poem, such as composition, verse structure, phonics, and metrics, has been checked up. It has been shown that the poetic construction appears to be nearly the only support in a torn, hostile world, in which a prisoner found himself; at the same time, along with a classic verse structure, the poet uses non-classic metrics – a fuzzy three-ictus accentual verse, thus demonstrating the possibilities of a “free” poem. The meeting points of Chichibabin’s poem and the “semantical poetics”, created by Osip Mandelstam and Anna Akhmatova, have been detected (such as the understanding of the connection between history and a person, infusion of creation into life, turning words to deeds, relatedness of a poem to a real-life situation, prosaic character of the poem, combination of the generalized and philosophical notions with the specific and sensual ones, etc.) The prosaic character of the poem is reflected in the introduction of the elements with a plot, hidden dialogue, the use of colloquial intonations, playing with tenses, as well as the cinematic hints. The author of the article comes to the conclusion that the poem written by young poet signifies not only his young creative maturity but also a special poetic intuition – while revealing an enhanced semantic character of all the elements of the poem and implementing the performative possibilities of the poetic expression, Chichibabin’s text correlates with the perspective artistic discoveries of post-Symbolistic epoch.

PLOT, STORY, COMPOSITION IN THE EMOTIVE TEXT OF POETRY

In the article there is an attempt to enter emotion in the structure of work, namely to look at its action at the level of plot and composition. It becomes firmly established that an emotion is just the way to create a plot. The poetic work consists of emotional events, each of which has its own dominant emotion. Motion of these emotions forms composition of a plot. A thesis is grounded that emotional events, incorporated by a general emotion, express certain emotive topics that predetermine as a whole the development of a plot. Emotions are a part of poetic text, emotions determine its emotionality and serve as material for revealing of the emotions in a plot. It is noted that Maksim Tank gives preference to his anecdotal works where a little story is present and where elements of plot – emotive topics – are linked by a cause-and-effect relationship. But Yauheniya Yanishchyts avoids a strict efficiency of verse structure, she prefers to leave emotions and feelings free.