At the Crossroads of Memory and Imagination: a Poetic Image of a Window at Night in Samuel Beckett’s "A Piece of Monologue"

The pivotal objective of this research is to analyse a poetic image of an imaginary window at night as well as a “ghost” room in Samuel Beckett’s play A Piece of Monologue through the binary lens of Gaston Bachelard’s The Poetics of Space, and Beckett’s biography. An absent onstage window, being part of an imagined reality created by the Speaker, becomes the nexus of this short play, and is discussed in relation to its locus, the writer’s memory, and material imagination. Tightly linked to Beckett’s life, childhood home and the instance of his birth, this image becomes a multi-layered construct, which gains a life of its own in the play and represents the universal themes of birth, death, loss of loved ones and mourning.

“The Image of the World in the Word Appeared...” (Based on the Creative Work of the Bilingual Poet Bakhyt Kairbekov)

The purpose of this article is to show that the image of the world of the Kazakh poet, represented by the Russian language, differs both from the Russian image of the world and from the Kazakh, i.e. a foreign language is capable to transform the national image of the world. On the basis of the creative work of the Kazakh poet, translator Bakhyt Kairbekov, the possibility of forming a transnational consciousness through universal and national images is shown. The appeal to his work is due not only to his outstanding talent, but also to the fact that we almost do not know what a modern Kazakh is like, what the world of his ancient homeland is like, nevertheless we live side by side. It was achieved using the method of lingua-cultural interpretation, with the help of which, firstly, the discrepancy between the images of the Kazakh and Russian ethno cultures was revealed, and, secondly, the transformation of the national image of the world was recorded. All the main problems raised in the poetry of Bakhyt Kairbekov draw images of Kazakh culture, the Motherland for him has become one of the main chords of creativity, but in his work there are almost no direct nominations (fatherland, country, etc.), the homeland appears through conjugated images of a horse, heath , freedom, rivers, water, mountains, sky, stars, etc. His poetic image is not a photographic copy of the real world of a Kazakh (heath, mountains, etc.), it contains the attitude of the depicted person to the aesthetic, moral and intellectual values of his people.

Konotacije leksičkog sloja motiva stida u engleskim prijevodima bošnjačke balade “Hasanaginica”

Translating a work of literary art, especially poetry, also means translating its style. At the lexico-stylistic level, style manifests itself in both denotative and connotative meanings of the lexical units of a text. By analyzing the connotations of the lexical layer of shame motif in English translations of Bosniak ballad “Hasanaginica”, we can identify and problematize the interpretation of this motif in the target texts in relation to the source text. Applying the method of lexico-stylistic analysis to the key verses of the shame motif, both in the source text and in the target texts in English, we examine the ways in which different translators build the mystical motif as the only abstract concept that never develops into a poetic image, leaving space for multi-layered connotations that are imposed on the reader. The results of the analysis point to the translations that are closest to the source text in terms of containing minimal differences in the degree of their interpretive limitation or intrusiveness. The most vividly evoked key verse of the shame motif is found in Francis Jones’ translation. However, the final vocabulary choice made by a discerning translator possessing a high degree of stylistic awareness should also be influenced by other aspects of the original text, such as its established rhythmic pattern or meter that requires preservation and other formal characteristics of this ballad, which are not to be found in Jones’ translation. Therefore, our conclusion is that the results of lexico-stylistic analysis of the original should be weighed against the results of analysis on other linguo-stylistic levels of expression (phonostylistic and syntaxostylistic) in order to synthesize them as successfully as possible, which could help recreate a new, more effective and reliable translation of this masterpiece of our oral literature.

On the poetic image of a cat in selected works by F.J. Klimek

The article brings an analysis of 49 poems containing the image of Felis domestica produced from both human and animal perspective This image does not correspond with the linguistic and cultural definition of a cat in the Polish language as on the one hand it goes far beyond that definition, and on the other hand it ignores, reinterprets or refines some of its elements.

Elements of Short Poems by (Mudrik Zhali)

This research is entitled: ( Elements of Short Poems by (Mudrik Zhali)) .It consists of third sections, which are an attempt to define and use the content, form and Elements value of poetry. It has several concepts in contemporary Kurdish poetry, especially among contemporary poets in the last century in (Koya) city. This present research has scientific significance and value in the field of regeneration and highlighting the poet's ability and talent in this field. For this research, we used an analytical and descriptive method. It consists of third topics: The first topic: Experience of the poet (Mudrik Zhali).. The concept of haiku. The second topic: Elements language, poetic music, poetic image, and symbols in poet’s poetry. The third topic: Reading poetry of (The Eves of the Memories of the Impossible Love).With abstracts of the research in Arabic and English and a list of references.

LINGUISTIC ASPECT OF A. PYSIN’S LYRICS

The article is devoted to one of the important problems in Philology. Research was carried out to identify linguistic means of creating poetic images in the works of A. Pysin, one of the most famous Belarusian poets of the second half of the twentieth century. Partial linguistic analysis gave rich material for determining the role of Pysin’s epithets, metaphors, various figurative meanings of the word in poetic context. Also attention is drawn to the apt descriptive expressions, conciseness and richness of content, capacity and soaring poetic expressions of A. Pysin. The content of the considered poems by A. Pysin and the nature of their linguistic interpretation are extremely important in terms of educating pupils (students) such feelings as citizenship, patriotism and other positive qualities of the individual. The purpose of this study is to identify the place of a poetic word in the context, its meaning in the content of the expression, the nature of this meaning, semantic compatibility with other words, etc.; trace the author’s search for the right word for the greatest semantic accuracy and imagery of expression. The following research methods were used: descriptive, contextual analysis. The material of the research was the linguistic means of the poetic image of the lyricist A. Pysin. A textual analysis of A. Pysin’s lyrics helps to better understand the meaning of individual figurative images of works, reveals the possibilities of the vocabulary of the language to improve the harmony of the ideal and material in the field of poetry. An analysis of the texts of poems shows the poet’s careful concern for the accuracy of the word in his poetry. Many laconic figurative statements of A. Pysin are easy to remember, emotionally impressive and can be perceived as winged sayings. The linguistic analysis of only a small part of the poems involves the wide use and variety of linguistic means to create highly poetic images that are impressive and memorable. These are, first of all, epithets, metaphors, paraphrases, phrases and other fixed expressions.

W. TREVOR’S APPLICATION OF J. JOYCE’S INSPIRATION

While finding out the relation of W. Trevor’s writing to Joyce, we are to take into account the fact, fixed by the German writer H. Bell in his “Irish diary”: Joyce is one of the ordinary surnames in Ireland. Yet the aim of the article was to search for the influence of the literary technique of J. Joyce — one of the well-known modernists — on W. Trevor’s creative works. On the one hand, W. Trevor himself in the interviews insisted that “Dubliners” and “A Portrait of the Artist as a Young Man” were valuable for him within the whole life; on the other hand, the known and famous writers and critics aimed at finding those links. A number of researchers took into account that Joyce’s later texts were not so valuable for Trevor’s creative works. His influence was not the linguistic pyrotechnics of the “Ulysses” but the modest and punctilious voice of “Dubliners”. It is possible to determine some levels of Joyce’s presence in W. Trevor’s texts: Joyce as a character, as a model of creative activity, as a pattern for stylization and even comic imitation. One of the characters of Trevor’s “Music” was fascinated with Joyce’s appearance, his photograph. Sometimes, while hearing music, he was imagining himself a human being similar to Joyce. “The Third Party” began with a meeting of two men, one the husband, one the lover in a Dublin hotel bar. They have to come to an agreement on the end of the marriage, which was not achieved. The plot of this story is somewhat a travesty of “A Little Cloud” (from “Dubliners”). Moreover, the main characters are W. Trevor’s version of two different types of mental constitution vivid in “A Little Cloud” as well as in “Ulysses”. The interview of two characters in Trevor’s text allowed using Joyce’s telling strategy: an application of subjective third-person narration. An aspect of location in Trevor’s story is similar to that of Joyce, it is Dublin. Nevertheless for Trevor Dublin was a city, where events took place, not a version of the important original location, as it was with Joyce. The same may be said about “Two More Gallants”. Th is story of the modern and equally traditional Irish writer is the most vivid example of the author’s dialogue with the original text of Joyce. Th e writer simultaneously reflected and parodied “Two Gallants” (from “Dubliners”). There is a certain similarity between the viewpoints of both authors on Dublin and Ireland in general. The creative activity of Joyce was governed by Ireland. W. Trevor’s links with Ireland were restored only when he became something of a stranger to this country. Moreover, Trevor’s conception of Ireland remained constant as if nothing had happened in this country during the second half of the XX century. So the reality of “Two Gallants” and “Two More Gallants” remained alike, as well as irresponsibility of the main characters. The narrative nerve in Joyce’s text may be defi ned as no-event, while Trevor’s text is arranged according to tale tradition. “Two Gallants” is associated with the concentrated poetic image of paralysis. A similar representation is evident in “Two More Gallants”: puppets dance to the music of original sins. Th at shows Trevor’s play with the original text.

O. Mandelstam’s poem “Save my speech forever…”: to the interpretation of “dark” places

The dark places of O. Mandelstam’s poem “Save my speech forever…” are considered, and explanatory solutions and comments are offered for each case. The existing interpretations in the scientific literature are critically analyzed, in particular: the presence of a figurative leitmotif in the poem (the article argues for the absence of such a leitmotif); the version supported by a number of experts about the poet’s readiness to make a deal with the authorities expressed in this text (arguments are given in favor of the fact that this version is based on allegoresis that is not quite acceptable for this particular case; hypostasis of the poetic image). The functional basis of the focusing on speech obscuration, which is considered a significant characteristic of the poetics of the late Mandelstam, is clarified, and the origins of the internal form of the term Heraclitus’ metaphor introduced by the poet are revealed.

Image in Mikhail Gershenzon’s Theory of Reading

The work is devoted to the theory of reading by Mikhail Gershenzon in a double reflection – on the one hand, ideas about myth-creatin specific to the period at the turn of the 19th–20th centuries, on the other hand, critical statements on interpretation strategy, suggested by the scholar. The article discusses the principles of constructing Mikhail Gershenzon’s theoretical ideas in the double focusing view. Considering slow reading not as a method, but as the art of revealing the poet’s vision, Mikhail Gershenzon drew the myth-making potential of poetry (in a broad sense) in the process of interpretation to the interpreted work itself. The art of reading is akin to the art of poetry (artistic creativity), designed to find in the word its living source – myth – to revive the “mystery of the word”. Thus, the poetic image becomes at the same time a way of thinking, merging with it, influencing the very form of thought. Mikhail Gershenzon developed, on the one hand, the theory of the poetic word of Alexander Potebnja, on the other hand, relies on Henri-Louis Bergson’s concept of médiatrice image. Poetic image becomes the dominant feature of Mikhail Gershenzon's reading theory. The criticism of the principles of slow reading reflected the transition to a formalists view on of evolution of artistic creativity as erasure of metaphor and obsolescence of technique.

Suvorov’s Cycle of Odes in the Battle Lyrics of Gavriil Derzhavin

The article analyzes G. Derzhavin’s battle odes, comprehends the generalAbstract: The article analyzes G. Derzhavin’s battle odes, comprehends the generalconcept of the Suvorov cycle, its thematic originality, problematics and ideological pathosfrom the point of view of the influence of the historical context on the representation of theimage of Suvorov. The article examines the artistic reflection of the real historical features ofSuvorov, reflected in the body of works of the battle cycle in the form of a collective image.The author of the article reconstructs the image of the famous commander, represented bythe poet, based on the results of studying the battle odes in which he is mentioned, as wellas on the analysis of the ode “On the Capture of Izmail,” where he is implied. Odes “On thecapture of Izmail,” “On the Capture of Warsaw,” “The Eagle,” “On Victories in Italy,” and “Onthe Crossing of the Alps” are suggested to be considered as a cycle of battle odes based onthematic similarities and correlations in the depiction of the object. The paper also considersthe method of revealing the poetic image of Suvorov through the method of comparison.