Explorer les frontières poreuses de la poésie. Variations prigentiennes

The purpose of this paper is to analyze the prigentian poetical experience of deconstruction and the poetry conceived as a work in progress based this time on an inter-art dialogue. At the crossroads of literary theory and comparative literature, we will explore the author’s efforts to redefine the limits of the poetical experience and his intentions to even erase the conventional boundaries between literary or artistic categories. Since the poetical oeuvres of Prigent, as well as his theoretical work advance various reflections on the limits of the language and the medium of expression, we aim to analyze how this aspects impact the relation between text and image in the prigentian poetical work. Eventually, our work interrogates the role of the intertextual and intermedial dialogue in Prigent’s attempt to radically redefine the limits of the poetical experience.

The Stylistic Features of the Isolated Voice Attributed to the Poetical Work “Fragments of a Woman” by Suad Al-Sabbah as a Model

The stylistic features of isolated sound are an integral part of the inner rhythmicity of the text, and the inner rhythmicity constitutes a part of the acoustic structures that help reveal the vocal implementation to embody the imagination and achieve the image in the text at large. The criterion we adopted in our analysis of the stylistic features of the isolated voice attributed to the poetical work “Fragments of a Woman” by Suad Al-Sabbah is the ratio of whispered sounds on the one hand to its counterparts of fricatives and explosive sounds on the other hand, and the extent to which this ratio exceeds its ratios in normal speech. We were able to observe that the proportions of the presence of different sounds in the poems are commensurate with the emotional and moral connotations within them. The percentage of whispered sounds in the poems exceeded its proportion in ordinary speech when the poet was dominated by the feelings of weakness and fear for challenging the established social constants and norms or as a result of the feelings of sorrow and sadness that the poet lives in the life of repression and injustice. Nonetheless, this percentage was notably lower when the poet covered her revolution by expressing her pride in her homeland or background. The presence of the explosive sounds in a higher percentage compared to fricatives might be attributed to the fact that the entire poetic work is an all-encompassing revolution against numerous constants and long-standing concepts of the Eastern society, and one of the means of expressing the revolution linguistically is the high-rate of explosive sounds.

Facets of life and society as depicted in Pillaitamizh literature

Pillaitamizh is a unique, short literary work in Tamil which stands out amidst the multiple short literary formats in Tamil language. Gods, Goddesses, Kings, Queens, nobles or learned teachers are personified as small children and the poetical work is structured as ten stages of growth starting from the first month after birth to about ten to twelve years of age. This format of poetry not only depicts the various beauties and nuances of Tamil language but also reflects upon the way of family life, different aspects of scientific thoughts, religious and philosophical norms, formats of worship, the psychology of the mother and the child to name a few. Some of these features are highlighted in this article and the conclusion that this is a complete and unique poetic structure par excellence is arrived at.

REPRODUCTION OF TROPES IN THE POETICAL WORK OF E. A. POE “DREAMS” TRANSLATED FROM ENGLISH INTO CHINESE

Translation of fiction, and in particular — translation of poetic works plays an extremely important role in modern translation studies. In the process of global more and more people are learning foreign languages and showing a deep interest in the cultural heritage of other countries, including literature. This explains the increased interest of readers in the poetry of foreign authors. The complexity of literary translation is due to the fact that the translator must not only have the basic translation skills, but also must have the creative abilities and background knowledge to fully reproduce all the artistic means that are found in the original text. The objective of the article is to analyze the reproduction of tropes in translation of the poetic work of E. A. Poe “Dreams” from English into Chinese to identify tactics, techniques and transformations allowing to reproduce artistic means in translation. According to the results of the study, it was found out that in the poetic work “Dreams” the following artistic means were employed: epithet, metaphor,personification, comparison and rhetorical question. Despite the difference in the mentalities of the English and Chinese people, the translator used the tactic of national coloring preservation while rendering in translation all the above-mentioned artistic means. This tactic made it possible to fully implement the desired emotional impact on the target audience and convey the mood and attitude of the original author. In the five cases out of the twelve, the translator resorted to the transformation of the addition to deepen the emotional impact on the recipient. It may be concluded that the translator hasn’t only achieved the goal but also managed to preserve the main function of the work of art — an aesthetic impact on the reader, and besides successfully re-created eleven of the twelve artistic means at work.

THE STUDY OF THE WORD “LONELINESS” IN THE POEMS OF SOHRAB SEPEHRI IN THE FRAMEWORK OF PSYCHOLINGUISTIC

Sohrab Sepehriis concidered as one of the geniuses of Persian poetry by creating the artistic and mythical themes. The present study is a descriptive-analyticeone which data has been collected on the basis on “library method” and the word “Loneliness” has been accurately studied in Sohrab Sepehri complete poetical work with the psychological approach to language.In this research, Sohrab Sepehri`s complete poetical worka in the book named “hasht ketab” have been scrulinized according to Leech view (1969).The author seeks to answer these questions: what items has Sohrab Sepehri benefited from to present the element “loneliness”on the basis of psycholinguistics? And which of his books has presented the highest frequency of the element “loneliness”? This research illustrates the fact that Sohrab Sepehri has benefited from “Sense of Words” and due to the fact that he has also been a skillful painter besides being an out standing poet, it is speculated that he has also used the element “color of words”. The results indicate the element of loneliness has been found to be a very significant item in Sohrab Sepehri`s poetical works, but the frequency of presenting this element overweighs in one of his books named “Death of color”.

‘Space, the Bound of a Solid’: Alice Meynell and Thomas Hardy

The second case study to work with the ideas outlined in chapter 5 uses the highly meta-poetical work of Alice Meynell, together with some of her prose writings, to understand the significance of the sculptural and phenomenological presence of fixed form poems on the printed page. The approach developed from the work of Meynell is then used to uncover in the poetry of Thomas Hardy a somatic poetics that figures an intriguingly material type of lyric transaction through the printed page of the mass-circulated book.

LA CRAVATE ET LA MONTRE SEBUAH KALIGRAM KARYA APOLLINAIRE : ANALISIS SEMIOTIK

rpieces remain timeless and his influence on the world of literature and artare greatly felt. The way typographical poetry, which is a kind of visual poetry orcalligram, is presented is extremely interesting and this article intends to describethe relation between the meaning of the words in the calligram and its pictorialform in one of Apollinaire's poems in the form of a calligram titled “La Cravate etLa Montre.”The term calligram means “Belle Ecriture”, that is, “beautiful writing”,coming from the Greek words kallos, meaning “beautiful”, and gramma, meaning“writing'. So a calligram work of art, also called visual poetry and typographicalpoetry, is a poem or poetic lines or lines of poetic words arranged in such a way thata picture is formed. To comprehend, enjoy, and appreciate well a poetical work,one needs to examine its various aspects. A poem in the form of a calligram needsto be structurally and semiotically analyzed. By means of such analysis, its fullmeaning could be obtained and it can be comprehended as a work of art with poeticvalues.The poem concerned here is a monologue coming from “I” to “you”. Thisis strengthened by the presence of the subject on, meaning “we”, the phrase monCoeur, meaning “my heart”, and the phrase ton corps, meaning “your body”. “I”intends to deliver an important message to mankind about life as a journey towardsdeath. One's life time in this world is extremely short so that one should spend thetime doing useful things. So a happy person is someone who makes use of time toenjoy life with freedom from strict rules. Life should not be burdened with manyrules that bind freedom. In Latin such a view is expressed in the phrase CarpeDiem, which corresponds to the French Mets à profit le jour présent. This isreflected in the tie and clock shapes of the poem. A tie worn on the neck causes aconstricted feeling making one feels unable to breathe freely so that it must betaken off. The clock shape is used to refer to the passing of time illustrating life as ajourney towards God and death.Keywords: calligram, typographical poetry, iconicity

'Het apenspel'. De Franse paradox in de Vlaams-Belgische literatuur uit de vroege negentiende eeuw

In 1842 verscheen Poëtische luimen, de vierde poëziebundel van de Antwerpse dichter Theodoor Van Ryswyck (1811-1849). De bundel bevat een veertigtal dichtstukken van uiteenlopende aard (komisch, poëticaal-literair, politiek of sociaal geëngageerd), waaronder ‘Het apenspel’. In dit gedicht klaagt Van Ryswyck het kopieergedrag aan van de Belgen ten aanzien van de Franse cultuur en gewoonten; de Belgen apen de Fransen op velerlei gebied na. Om dit probleem aan de kaak stellen, maakt Van Ryswyck gebruik van Franse woorden en van een Frans motto. ‘Het apenspel’ is zowel inhoudelijk als formeel exemplarisch voor de paradoxale omgang met de Franse taal en cultuur bij Vlaamsgezinden in de jonge Belgische natiestaat: de Belgen kopiëren gedrag, zeden, gewoonten en literatuur van een natie die ze zelf verachten.Dit artikel onderzoekt de dubieuze relatie met de Franse taal en cultuur aan de hand van het poëtische oeuvre van Theodoor Van Ryswyck. De functie van de Franse taal en literatuur in Van Ryswycks poëzie wordt bestudeerd; zowel woordenschat, motto’s als melodieaanduidingen komen daarbij aan bod. Er worden verschillende dichtbundels van Van Ryswyck aangehaald om zo een representatief beeld te schetsen van de aanwezigheid van de Franse taal en letterkunde in Van Ryswycks oeuvre. Deze tekstuele functieanalyse zal leiden tot een interpretatie van de paradoxale relatie met de Franse taal en cultuur in de vroegnegentiende-eeuwse, Vlaams-Belgische letterkunde.________‘The Ape Game’: The French paradox in the Flemish-Belgian literature of the early nineteenth century 1842 saw the publication of Poëtische luimen (Poetical whims), the fourth collection of poems by the Antwerp poet Theodoor Van Ryswyck (1811-1849). The volume consists of around forty poems of varying genres (comical, poetical-literary, politically or socially committed) including ‘Het Apenspel’ (the ‘Ape Game’). In this poem Van Ryswyck denounces the copycat behaviour of the Belgians with respect to French culture and customs; the Belgians imitate the French in many areas. In order to denounce this problem, Van Ryswyck uses French words and a French motto. ‘The Ape Game” exemplifies in form and content the paradoxical way in which the French language and culture is dealt with by the supporters of the Flemish Movement in the young Belgian nation state: the Belgians copy behaviour, morals, customs and literature of a nation, which they despise themselves.This article researches the dubious relationship with the French language and culture based on the poetical work of Theodoor Van Ryswyck. It studies the function of the French language and literature in Van Ryswyck’s poetry by reviewing his use of vocabulary, mottos and indications of tunes. Various collections of poems by Van Ryswyck are quoted in order to present a representative picture of the presence of French language and literature in the literary work of Van Ryswick. This textual functional analysis is the basis for an interpretation of the paradoxical relation with the French language and culture in the early nineteenth century Flemish Belgian literature.