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Na temelju stihovno-teorijske literature analizira se slobodni stih Tonka Maroevića. Prvi dio rada bavi se sažetim prikazom znanstvenih opisa slobodnoga stiha koji služi kao temelj analize slobodnoga stiha Tonka Maroevića. Zatim, središnji dio rada posvećuje se analizi Maroevićeva slobodnoga stiha, analizira se, naime, ritmička, grafička (strofička) te eufonijska struktura stiha. Analizom se zamjećuje koja metrička svojstva uzrokuju svojevrsnu ritmičku stegnutost, odnosno uzrokuju svojevrsnu aritmiju stiha, a kada se slobodni stih oslobađa od određenih metričkih konstanti koje su vidno, ali i čujno, opterećivali ritmičku strukturu same pjesme. Također, prikazuje se i tip slobodnoga stiha (duh metra u pozadini) kojem je vezani stih metametrička podloga. U zaključnome dijelu prikazuju se tipovi i podtipovi slobodnoga stiha koji su se iskristalizirali ovom analizom., The free verse of Tonko Maroević is analysed on the basis of the verse-theoretical literature. The first part of the paper deals with a concise presentation of scientific descriptions of free verse, which serves as the basis for the analysis of the free verse written by Tonko Maroević. The central part of the paper is devoted to the analysis of the rhythmic, graphic (strophic), and euphonic structure of Maroević’s free verse. The analysis shows which metric properties cause a kind of rhythmic constriction and when the free verse is being released from certain metric constants that both visually and audibly burdened the rhythmic structure of the poem. Also, a type of free verse (ghost of meter), to which rhymed verse is a metametric background, is shown. The concluding section presents the types and subtypes of free verse that have crystallised in this analysis.

The purpose of this article is to investigate in Aphrodiasporic landscapes in Notebook of a Return to the Native Land by Aime Cesaire (1939), a fundamental poem by the Martinican poet Aime Cesaire, the configuration of the Aphrodiasporic landscapes. The long poem, written in free verse poems, is one of the milestones of the political, aesthetic, cultural and ideological movement of Negritude, launched in Paris in the 1930s, but which brings together in its core various cultural manifestations of the Black Diaspora, such as the Harlem Renaissance, emerged in the United States in the 1920s, the Indigenism of Haitian literature, of the same decade, and Cuban Negrismo of the 1930s.

Este artículo estudia los elementos de la estética dadaísta que configuran el verso libre en el poema “Chinfonía burguesa” desde el enfoque teórico de la versología moderna. Se plantea como hipótesis que en el verso libre de los autores se actualizan estrategias discursivas de impronta dadaísta como el uso semántico del espacio, rimas y los paralelismos para plantear una crítica a las concepciones burguesas desdeel marco de la irracionalidad. Así, el trabajo explora los alcances de la estética dadaísta, su relación con el verso libre en Hispanoamérica y suaplicación en el poema a través de un análisis formal e interpretativo.

El presente artículo estudia la interacción existente entre la tradición y el coloquialismo en Cancionero sin nombre (1937), Poemas y Antipoemas (1954), La cueca larga (1958) y Manifiesto (1963) de Nicanor Parra. Dichos textos se estudiarán teniendo en cuenta las propuestas de Belic en Verso español y verso europeo respecto al verso libre. Asimismo, consideraremos lo señalado por Antonio Quilis en Métrica española para el análisis métrico y rítmico de los poemas seleccionados. La hipótesis del presente artículo sostiene que tanto lo coloquial como lo tradicional convergen en el verso libre propugnado por el vate chileno. En ese sentido, el trabajo inicia con una aproximación general a la obra de Nicanor Parra, luego se realiza el análisis comparativo correspondiente a los poemarios y, finalmente, se presentan las conclusiones.

The object of analysis in the provided article is the language-game as a method of representing the author’s vision. The content behind term “language-game” is revealed by an art space of A.I. Vvedensky, Russian poet of avant-gardism and philosopher. It is analyzed a distinction between children’s and adult’s works. The main content of the current study is an analysis of the most effective methods of language-game presentation in artistic communication of the poet, such as free verse, contamination of phraseological units, comparison, semantic indifference of lexemes, transformation of grammar categories, phrase deformation, etc. Based on the conducted research, a conclusion about specifics of the poet’s individual writing style can be made. In Vvedensky’s linguistic poetics, language-game manifests itself at different levels of text function as an important factor to text formation. It is important to note that language-game techniques found in his children’s works are aimed at building a positive dialog and are seen as a positive phenomenon, while his more mature works feature an abstract artistic world with abstract artistic meaning.

The subject of our study is the narrative techniques in the poetry of ʻAbd al-Wahhāb al-Bayātī (1926-1999) which were taken into account through the example of his second published works Abārīq Muhashshamah “Broken Pitchers, 1954”, as narration. The aim of the article is to define the features of narration and how the same techniques appear in creative work of a poet, one of the pioneers of modernity in contemporary Arabic poetry, in addition to Badr Shākir al-Sayyāb (1926-1964), and Nāzik al-Malā'ikah (1926-2007). The study defines the following objectives: Determining the approaches developed in studying the aspects of narration in poetry, to distinguish the narrative examples in the modern poetic text under study; To show the process of creating the poetic genre in the Bayati literature through the example of free verse poems. This article seeks, through the methodological principles of narrative research, to reveal the features of the narrative model that organizes communication in al-Bayātī 's poetry, as well as the features of the composition of the narrative structure of the text in al-Bayātī 's collection Broken Pitchers. The article analyzes the poetic texts and their intertwining with prose, as it tries to uncover the narrative and performance discourses from which the poet set out in determining the techniques of narration he uses, the communicative possibilities such as dialogues and the narrator's point of view in the poems at al-Bayātī.

Esse artigo tem por objetivo analisar uma tradução em versos do poeta brasileiro Alberto Ramos. O poeta, classificado muitas vezes como um parnasiano, é tido por muitos como o precursor do verso livre no Brasil, por Péricles Eugênio da Silva Ramos, entre outros. O foco do estudo é, assim, a métrica dos versos do poeta e, a partir da análise desses versos, se poderá discutido se suas características realmente o fazem se aproximar de uma produção fora da métrica tradicional que apontaria para o verso livre. Para isso, analisaremos Poemas do Mar do Norte (1894), tradução de Die Nordsee, de Heirich Heine.

The paper provides review of the monograph by Ekaterina Evgrashkina The Semiotic Nature of Semantic Uncertainty in Modern Poetic Discourse (based on German and Russian poetry), published in the Russian language as part of the series NEUERE LYRIK. Interkulturelle und interdisziplinäre Studien. Herausgegeben von Henrieke Stahl, Dmitrij Bak, Hermann Korte, Hiroko Masumoto und Stephanie Sandler. BAND 5. Berlin: Peter Lang, Internationaler Verlag der Wissenschaften, 2019. 173 s. ISBN 978- 3-631-78193-7. The monograph deals with the main trends of German and Russian poetry of the last decades. The focus is on the phenomenon of hermetic poetry. Modern authors consciously choose writing strategies such as literary improvisation, language play, and various intermedial inclusions. The first chapter ‘The problem of poetic meaning’ provides a theoretical framework for the field of research. It introduces the definitions of discourse, the concepts ‘language games’ (developed by L. Wittgenstein), ‘text / discourse’, ‘text / work’, dialogical dimensions of poetic text. The second chapter ‘Semiotics of modern poetry’ covers the concept ‘mobile semiosis’ (J. Baudrillard) and some others. In hermetic poetic discourse, generation of meaning is based on mobile semiosis, in which the relationship of stability between the signifier and the signified is called into question. In The Role of the Reader, Umberto Eco describes two models of the reader, different strategies for interpreting text. Susan Sontag denies the possibility of final interpretation of a text, she suggests eroticism of art instead of hermeneutics. The third chapter ‘Linguistic installations’ considers various manifestations of poetic Hermeticism in modern poetry, the experience of concrete and visual poetry in German: Timm Ulrichs (1940), Klaus Peter Dencker (1941), Barbara Köhler (1959), Werner Herbst (1943–2008), Anatol Knotek (1977), Herta Müller (1953). The final chapter ‘The self-reflexive discourse’ deals with the trend of modern poetry towards free verse and construction of new complex poetic forms. The process of occasional word formation is shown in the lyrical texts by German poets Thomas Kling (1957–2005), Lutz Seiler (1963), Konstantin Ames (1979), Lioba Happel (1957), Thomas Böhme (1955), and by Russian authors Polina Andrukovich (1969), Alexander Ulanov (1963), Dmitry Vorobyov (1979). In poetic discourse, the constitution of the poetic subject correlates with the introduction of new elements of culture into the poetic text. Such innovations do not lead to a mechanical increment of the elementary meaning, but to a structural transformation of the whole picture. The reviewed monograph is significant in that it provides theoretical understanding of individual poetic practices and the analysis of specific empirical material – the latest German and Russian poetry.

Este artículo estudia los elementos que configuran el verso libre en la sección “Poemas de la yolatría” de Suenan timbres de Luis Vidales desde el enfoque teórico de la versología moderna. La hipótesis plantea que el verso libre actualiza metros del verso tradicional; así como también opera con grupos rítmicos semánticos y paralelismos con la finalidad de recrearlos y elaborar un verso libre propio o característico de Vidales. El trabajo desarrolla el análisis microtextual de los cuatro poemas de dicha sección, luego con la interpretación del poema “El hueco” y, finalmente, con las conclusiones.

El presente artículo ahonda en el estudio del verso libre y, más en particular, de la silva libre impar, una de las formas de versolibrismo más características de la poesía española contemporánea. Se examinan los mecanismos métricos y rítmicos que intervienen en la con"guración estructural de Taller de arquitectura, de José Agustín Goytisolo, un texto formalmente unitario en el que el poeta proyecta su particular visión de la arquitectura y el urbanismo. En la silva libre, Goytisolo encuentra su mejor expresión de lo conversacional. Mediante el uso del encabalgamiento y la pausa, o de la rima como recurso expresivo, el poeta alcanza ese "no equilibrio entre tradición y modernidad que le permite lograr acercarse a lo narrativo sin tener que renunciar al componente rítmico del verso.

Arabic poetry is the heart of all types of literature in all Arabic realms. Consistent with this generalization, it can be right that the development of poetry in the modern age, among Arabs, is a positive measure. At that argument, the same would be focused on modern Saudi literature since it is typically considered a central, authoritative, and undivided part of Arabic poetry. In this paper, the researcher has attempted to illustrate some literary aspects of modern Arabic poetry in the Kingdom of Saudi Arabia as an instance of the greatness of Arabic poetry with a particular reference to a contemporary Saudi poet. The study starts with an introduction to the condition of poetry in Arabia. In the first section of the study, the researcher points up the importance of Arabic poetry as an Arabic literature genre. The second section deals with poetry and literary movement in Saudi Arabia as the central section of the investigation. After that, the task moves ahead to deal with a model of the modern Arabic poetry in the kingdom, Mohammad Hasan Awwad, a modernized rebellious poet with stark poetry, then the researcher, analytically and critically, sheds light on some selected verses of one of the poems of Awwad, Night and Me. The study finishes with a discussion and a brief conclusion. Keywords: Arabic literature, Arabic poetry, free verse, greatness, Kingdom of Saudi Arabia, modernism.

This article examines two intrinsically linked periodical publications: Others: A Magazine of the New Verse (1915–1919) and Others: An Anthology of the New Verse (1916–1920) both edited by Alfred Kreymborg. To date, scholarship on the publications has focused either on the magazine or, to a lesser extent, on the anthology, but never on the dynamic between the two publications. The article begins by considering the way both publications challenged the boundaries of medial form in an effort to better characterize the respective functions of the magazine and the anthology in the Others dynamic. It demonstrates how the anthology, an annual publication, allowed Kreymborg to reclaim editorial agency over the Others brand, facilitating a secondary round of editing of the magazine's contents. By creating a secondary selection of poems increasingly collated by guest editors, Kreymborg was able to further shape the representation of the duo. The restoration of the Others anthology to the history of the Others project sheds new light on key contributors and resultantly requires us to further nuance our understanding of the Others magazine as a largely inclusive project. In uncovering the role the Others anthology played in the Others dynamic, this article ultimately underscores the need to include the serially published modernist anthology in our understanding of the diverse and interrelated modernist media ecology.

The Road is Wider than Long is a paradoxical artist’s book created by Roland Penrose in 1939. At the same time documentary and poetic, a travel report and a lyrical production, it comprises free verse, typographic poetry, “papiers collés”, and photographs. This heterogeneous nature allows to explore the contrasts and contradictions between but also the coming together of avant-garde poetry and photography. First, this article shows how The Road is Wider than Long draws from amateur practices by focusing on Penrose’s method of handling the pictures. Then, turning to the actual text, it elaborates on the notion of “poetic rendition”. Finally, it discusses the power of poetry when it is interwoven with and combines different aesthetics and intentions, and this at the crossroads of memory and document. Originally a keepsake to keep a record of a couple’s trip memories in the Balkans, The Road is Wider than Long belongs at the same time to Surrealist books with photography illustrations and to the tradition of the photobooks focused on territories. Réalisé par Roland Penrose en 1939, The Road is Wider than Long est un livre d’artiste paradoxal. À la fois documentaire et poétique, récit de voyage et production lyrique, il se compose de vers libres, de poésie typographique, de « papiers collés » et de photographies. Cette hétérogénéité permet d’explorer les contrastes et les contradictions, mais aussi les riches interactions, entre la poésie d’avant-garde et la photographie. Cet article commence par montrer que The Road is Wider than Long s’ancre dans les pratiques amateurs en se penchant sur la façon dont Penrose manipule ses images. Une analyse précise du texte permet ensuite de développer la notion d’« interprétation poétique », avant d’en venir à une réflexion sur les pouvoirs de la poésie lorsqu’elle interfère avec diverses esthétiques, au croisement de la mémoire et du document. Pensé à l’origine comme un « keepsake » conservant les souvenirs d’un couple en voyage dans les Balkans, The Road is Wider than Long se situe dans deux traditions en même temps : celle des livres surréalistes illustrés par la photographie et celle des livres de photographie portant sur les territoires.

‘[I]t has unfortunately become a fashion that people who obviously cannot claim to have any legitimation or any understanding in the field of sinology […], take hold of the sinological works of others and exploit them merely for business reasons’, complains the sinologist Leopold Woitsch in 1924, referring to Albert Ehrenstein's newest translations of Chinese poetry. The debate on who could authoritatively translate Chinese poetry was fiercely contested in German modernist circles and still rages to this day. Most scholars still contrast ‘poetical’ and ‘scholarly’ translations of Chinese poetry, either claiming that the former in an intuitive way come closer to the original, or criticizing the work of the poets who did not possess the linguistic and cultural background knowledge to dare approach Chinese poetry. However, it is exactly the interaction between the two modes that shaped the German reception of Chinese poetry in the twentieth century. Referring to a number of examples from the early-twentieth-century adaptations of Tang poetry, this article offers a more differentiated perspective on the cooperative and competitive relations between poets’ and scholars’ translations of Chinese poetry. Against the background of controversies surrounding ‘legitimate’ translations which shaped literary modernism in the early twentieth century, I show how the poetic and scholarly approaches were (and remain) closely interconnected, and discuss the thematic and aesthetic implications of this interrelationship.

The article discusses the syntactic structure of Tomas Tranströmer’s poems that reflects the uniqueness of his poetic worldview and the depth of philosophical meaning. Chains of homogenous parts of the sentence, mostly with conjunctionless coordination, are used to reflect the infinite diversity of the outer world as seen through the poetic vision. In these conjunctionless coordinated chains of nominal parts of the sentence — attributes and objects — commas are used for rythmical and expressive purposes, stressing the semantic significance of every component, and facilitate preserving the alliterative sounding of the poem. By contrast, when objects of the outer world are depicted with a negative value as a chaotic mass, commas between the lexemes that refer to them, are absent. Tranströmer’s poetic syntax is also characterized by a special “density” of relative clauses introduced with the conjunction som, that often expand on the main part in the form of a nominal sentence. They often have a complicated syntactic structure with “cyclic” repetition of the prop-word. Another typical feature of versification in Tranströmer’s works is the use of elaborate syntactic compounds which include various constructions — extended predicative attributes, adverbial constructions with the preposition med, as well as complex objects with an infinitive. A special function in Tranströmer’s syntactic structure is assigned to colons and hyphens. The use of colons makes it possible to express what is only accessible to the poet’s inner vision — what is hidden in the past or the future, seen in a dream, and revealing itself in the distant space. The use of hyphens inside sentences and between them expands the limits of the outer world making its image multidimensional. Translating Tranströmer involves the use of syntactic transformations caused by the typological differences between Swedish and Russian. Lexical substitutions can also be found, including the use of Russian words of a higher register, for example, the translation of the relative pronoun som ‘which’ with the conjunction что meaning ‘which’ but in a higher register and typical of an epic narrative, allows for the preservation of the rythmic structure of the original.

This article explores the role of the discussion “What free verse is not free from”, published in the “Voprosy literatury” magazine in 1972, and in the formation of a discourse about free verse at the stage of the formation and development of the poetic traditions of the Russophone free verse. Special attention is paid to studying the positions of poets the free verse practitioners in order to understand how the poets themselves determined the boundaries of free verse.

Since the beginning of the twentieth century, free verse (vers libre) begins an active penetration into Russian poetry, decisively moving from the category of a marginal poetic phenomenon into the most active forms of national verse. Since the end of the 1910s Russian free verse also appears in the thriving Siberian poetry. First of all, this occurs in the works of authors who work with verse in line with the main currents of the general Russian poetic tradition – relatively speaking, among the Siberian futurists, acmeists, and imagists. The article examines the process of the emergence of free verse (free verse) in the Siberian branch of Russian poetry in the first third of the twentieth century. Examples of early free verse from periodicals and books of the 1920s – 1930s, which were created in line with the all-Russian trends in the development of versification, are given. However, if we talk about the absolutely specific features of the Siberian free verse of the first third of the twentieth century, then this is, without a doubt, its use in translations and arrangements (including quite free ones) of the lyrics and epic of the peoples of Siberia. Publishing interlinear translations was common practice in those years. However, falling into the context of Russian literature, these interlinear translations were already perceived as poems, and precisely as written in free verse. The most productive source of Siberian free poetry can be considered the so-called “self- laying”, author’s variations on the themes of which are published by Anton Sorokin, Vsevolod Ivanov, Leonid Martynov and Pavel Vasiliev. Of particular interest are the Altai and Khakass “songs” of Ivan Eroshin, a significant part of which is also written in free verse. For the most part, these are small stylized lyric poems. His “Songs of Altai” is a rare example in world poetry of the reincarnation of a European poet into foreign characters – hunters, shepherds, even girls – on whose behalf most of the miniatures of the books “Blue Yurt” and “Songs of Altai” are written, performed by different types of verse. In total, from 1923 to the beginning of the 1950s, Eroshin wrote more than 40 vers libre, distinguished by the utmost laconicism combined with a bright “barbaric” imagery. A special place among the stylists of folk poetry (including the folklore of the peoples of Siberia) in Soviet poetry of these years is occupied by the poet and playwright Andrei Globa. His cycle of 1922 “Kyrgyz Songs”, consisting of 17 poems, was written mainly in free verse. His collection “Songs of the Peoples of the USSR”, which has survived three editions, includes translations and stylizations of works of different genres, many of which are also written in free verse. In addition, the paper examines the features of the use of free verse in translations and free transcriptions of the folklore of the peoples of Siberia, performed by V. Zazubrin, O. Cheremshanova, E. Tager.

A pseudo-translation is a fiction, an original text that the author chose to present as a genuine translation for either psychological (e.g. to be acknow-ledged as a writer), ideological (to convey potentially polemic contents with-out being directly involved oneself) or literary reasons (to import new literary patterns supposedly belonging to another tradition). Romantic French poets such as Mérimée, Nodier , Rabbe, and Nerval saw fictitious translations as a way of experimenting with new poetic devices and of freeing themselves from what they regarded as the narrow conventions inherited from French Classicism. My intention in this paper is to contextualize the practice of pseudo-translations in France and in Europe, and to analyze to which extent pseudo-translations of poetical texts contributed to major changes in 19th-century French poetics, be it through the promotion of a new conception of poetry, the introduction of so-called ‘free verse’, or the creation of a new genre: the prose poem.

O presente trabalho apresenta uma tradução inédita em versos livres do poema Gigantomaquia Latina, de Cláudio Claudiano. O texto, cuja data de composição ainda é desconhecida pelos estudiosos, está localizado no grupo dos poemas menores de Claudiano. Tendo como tema a batalha entre deuses e gigantes ocasionada pela inveja que a Terra sentia dos deuses superiores, o poema, composto em hexâmetros, chegou incompleto aos nossos dias, dispondo apenas de 128 versos. Este trabalho contém, além da tradução com notas acompanhadas do texto original, uma apresentação sobre autor e considerações a respeito do texto que será abordado.

The figure of Marie Krysinska, a French poet of Polish origin who lived between the end of the 19th and the beginning of the 20th century, is at the crossroads between the metrical problem of French free verse and the cultural problem of women’s place in the history of literature. After an introduction about the relation between women’s poetry and free verse in France at the end of the 19th century, this article presents Marie Krysinska and her querelle with Gustave Kahn about the invention of French free verse. The following pages aim to develop a comparison between Kahn and Krysinska from both a theoretic point of view and a poetic one, in light of the most recent studies on the evolution of French poetic forms. While on the one hand their theoretical writings show some important similarities, due to their common symbolist background, on the other hand some formal differences in their poems prove that they followed two different ways of using the free verse and explain the difficulties of understanding Krysinska’s poems. The last part of the article resumes the development of the “Krysinska case” in literary studies: violently attacked by critics at the beginning of the 20th century, forgotten by scholars for about fifty years, Krysinska has been rediscovered and reevaluated only in the nineties, and it is now possible to recognize her importance in the literary context of her time, as well as the value of her poetic production.

Designed to deceive some readers, such as the censor, while inviting others to read “between the lines,” Aesopian texts task their translator with added interpretive complexity. Does a given translation reflect both text and subtext, target audience and hurdle audience? Is the target audience of the translated text even mappable onto an original text’s schema of hurdle and target audiences? The writings of Varlam Shalamov further complicate the translation of Aesopian texts. Whereas Leona Toker and others identify Aesopian moments in Shalamov’s prose, Svetlana Boym argues that in his writings the deceptive device of mimicry resists totalitarianism precisely when it goes beyond any Aesopian or other useful purpose. Shalamov’s 1963 essay “The National Borders of Poetry and Free Verse” (“Natsial’nye granitsy poezii i svobodnyi stikh”) invites engagement as an exemplary Aesopian text—one whose “deceptive means,” however, call for a more capacious understanding of Aesopian language. Nineteenth-century satirist Mikhail Saltykov-Shchedrin first used the term “Aesopian” to indicate the “trembling” littérateur’s unique style of writing, whose “deceptive means” showed “a remarkable resourcefulness in their invention.” The Aesopian mimicry of Shalamov’s essay on free verse exceeds both predator’s and trembling prey’s powers of appreciation, calling for equally artful mimicry on the part of the translator.

Qiang Jin Jiu, a classical poem created by one of the best ancient Chinese poets Li Bai, has more than one English version. Whether it is translated into a metrical verse or a free verse in English, the culture-loaded words in the poem have always been a major problem. For this reason, this study selects four English translations of metrical and freestyles respectively and sorts out the culture-loaded words that are easily misunderstood, aiming to find out the differences between the metrical and free verse translations through case studies to promote the out-going of Tang poetry.

The article analyzes the intertextual connections of the pretext and parody on the material of D. Samoilov's poem “Free verse” and A. Ivanov’s parody “Professor, poet and Anna”. The purpose of the analysis is to identify the transformation mechanism of the paradigmatic structure of the text vocabulary in parody by comparing the lexical paradigms that function in each text, and identify differences in their composition and functions. The composition of paradigms, the nature of their formation, configuration are analyzed. A comparison is made of paradigmatic schemes in both texts, on the basis of which conclusions are drawn about the differences in the composition and functions of paradigms in the pretext and parody, as well as on the nature of the transformations that undergo parademics in the pretext in parody. The article establishes the nature of the intertextual connection between the parody and the pretext, as well as the identification of the text transformation schemes during the creation of the parody. An analysis of the links between the precedent text and the parody reveals the mechanisms by which the text is transformed at the paradigmatic level. As a result of the analysis, a simplification of the paradigm configuration in the parody was discovered, thereby reducing the text depth. The following conclusions were made: in paradia, the paradigm formation scheme is simplified; decreases the number of levels of paradigm hierarchy; the role of intertextual links in the understanding of the text is reduced; in parodies, in addition to in-text, intertextual paradigms are also formed, linking parody with pretext and generating additional meanings. The author puts forward the hypothesis according to which the specificity of the intertextual connection between parody and pretext described in the article is characteristic in general of the genre of parody. Keywords: pretext, parody, paradigm, paradigmatic analysis, intertextuality.

The starting point of the paper is the Greek understanding of poetry, which became the norm in antiquity and has maintained such a status well into post-antiquity. According to this understanding, poetizing is a measuring or a putting of words into a measure (Gr. metron), while poetry is an art of metrical speech binding and thus of versification. The rhythm in Greco-Roman poetry seems to have been captured in a measure that was a quantitative measure, the duration of syllables. But already in ancient metrics rhythm began to separate from meter, although it remained subordinate to it as a systemic structure. When in late antiquity the distinction between long and short syllables, on which the quantitative system of versification was based, became inaudible, the liberation from the meter began under the sign of rhythm. “Rhythm” in Middle Ages described the structure of poems in the vulgar languages of post-antique Europe and established itself in the Renaissance as the primary term for the syllable versification system. However, the imitation of the meter continued in European poetry, with demetrification and remetrification alternating. Therefore, modern versiology illustrates the development of European versification with the movement of sea waves, which is not equable as in nature: the meter is in decline, while the rhythm is steadily increasing. In the picture it paints, the final liberation of rhythm from the meter is represented by the free verse. Nonetheless, at the end the paper returns to the beginning with the warning that rhythmos originally did not refer to something audible, but to the mostly visible momentary form of something unstable. On this basis it finally tries to define what a poetic rhythm is.

Whereas A Prosody of Free Verse broke new ground in understanding the rhythmic patterning in free verse, Polyrhythmicity explores how multiple rhythms work in poetry. Most conventionally, a poet will take a formal verse form with a regular metrical pattern, and both conform to the pattern as well as breaking the pattern to create variation or to highlight sense. But much poetry operates between the polyrhythmic nature of the spoken voice (see Chap. 5), formal metres, syllabic patterns and free verse. It always embodies rhythm to a certain degree and takes its cue from musical patterning and specifically from song (see Chaps. 4 and 5). This chapter will explore how multiple rhythms work in American, Scottish, Chinese and other Asian poetry and how these different rhythms reflect the relationship between feeling and sense; between the written word and the spoken word; and between the ethereal and the physical. Consideration is given to polyrhythmicity in the lyric mode and the work of Ezra Pound and Don Paterson on the theory and practice of rhythm in poetry.

This article is a condensed summary of the author’s primary research. Using music, prose, and free verse, I seek to highlight the issues that work revealed within jazz and improvised music studies, and studies into vibraphone practice; briefly show the practical-philosophical roots of my methodology in the research; and present the practice-led roots of my current philosophy of the vibraphone.

The poetry of Tang is a kind of classic literature of China and famous historical heritage. Taking the "Harmony-guided Three-Level poetry translation criteria" as the theoretical basis, this paper compares the translations of two translators of different styles in different periods of Li Bai's "Looking at the Mount Sky Gate" from the macro, middle and micro levels. As for the Chinese translator Xu Yuanchong, his version has high formal beauty and musical beauty. Besides the expression of a few images, he also gave a good consideration to "the beauty of numbers". Rewi Alley's translation is a free verse, but he tries to approach the original poem in terms of meaning. By the analysis of the above two versions, the authors endeavor to give their own version according to the "Harmony-guided Three-Level poetry translation criteria". The translation study of "Looking at the Mount Sky Gate" can enrich the theory of "Harmony-guided Three-Level poetry translation criteria" and promote the spread of Chinese literature and culture. Article visualizations

The modern Azerbaijani poetess Khanimana Alibeyli paid great attention to the issues of poetics and craftsmanship in her works for children. Her works have always been distinguished by the unity of form and content, structure, the choice of the right words for rhyme and used the types of rhyme as needed. In her poems, Khanimana Alibeyli mainly used several ways of organization as a poetic dimension – the syllabic system of versification, and partly free verse (vers libre). The poems of the poetess, based on the syllabic system, are mostly low-syllable, and seven-syllable, sometimes eight and five-six-syllable poetic forms prevail. One of the memorable moments of Khanimana Alibeyli’s poetry is the choice of rhyme in the poem. Rhyme brings special harmony and beauty to her poems. And Khanimana Alibeyli uses various methods to create harmony and rhythm in her poems. In her work, imitative, double, invoking words, onomastic units, monologues and dialogues are often found. Poems in the works of Khaimana Alibeyli are sometimes presented by the author, and sometimes in the language of her little heroes. Khanimana Alibeyli is the author of hundreds of poems, dozens of plays for children, more than thirty books. His work has always been the focus of criticism and the literary community. The poetess’s works played an important role in shaping the worldview of children and adolescents, expanding their interests, educating morality and spirituality, strengthening their character and, at the same time, polishing their artistic taste. The article examines the artistic and stylistic features of her work.

No presente artigo pretendemos discutir algumas questões estéticas tratadas no ensaio "A escrava que não é Isaura" (1924), de Mário de Andrade. Partimos de uma análise do conceito de modernidade e de modernismo na obra de Charles Baudelaire para melhor analisarmos algumas particularidades do Modernismo Brasileiro, de modo a contextualizar a defesa do verso livre e do conceito de harmonismo e de simultaneidade no ensaio do poeta de Pauliceia desvairada.

"In the article the Brusov`s theory on free verse in its development (1900 – 1923) as well as the verses written by the author in those years which refer to the main thesis statements of this theory are examined."

The article concerns textual phenomena in the poetry of Urszula Kozioł, which constitute a part of a linguistic method for examining relations between elements of poetic language. The examples discussed concern free verse – they reveal elaborate structures and linguistic processes focused on syntactic condensation, poetic accommodation, elliptic verse or phraseological trace. In the poetry of Kozioł, especially phraseology is original, which makes the receptive perspective adopted at describing linguistic phenomena representative of complicated formal-semantic processes. The draft is an attempt to read the Poet’s texts with the use of linguistic tools, so it not only gives a complete picture of an individualised poet but helps to point out peculiarities, the examination of which requires a reflection on language perception in poetic structures.

Students and other new readers of modernist poetry often experience difficulty with the influential early work of Ezra Pound. Although these typically brief poems may appear (deceptively) simple, an understanding of the relationship between Imagism and Vorticism is crucial to reading―or teaching―them effectively, which in turn requires significant familiar ity with relevant poetics theories as well as representative poems. This essay clarifies the complex relations Imagism and Vorticism as two dis tinct styles that are too often conflated to the detriment of an accurate understanding of either one (and, in consequence, of the later modernist poetry that builds on their discoveries). In order to elucidate the modern ists’ justification of free verse over traditional metrical composition, I begin with an elaboration of T. E. Hulme’s 1911 theory of the “cheerful, dry, and sophisticated” modern classicism on which both Imagism and Vorticism were largely predicated, developing Hulme’s important distinc tion between the version of classicism that is “static” (and gives rise to Imagism) and the one that is “dynamic” (and leads to Vorticism and beyond it). In the following two sections, I draw upon and synthesize a broad range of Pound’s own poetics statements to reveal the evolution of first sound (“melopoeia”) and then the image (“phanopoeia”) throughout his early work. Although the body of this article is analytical and histori cal in nature, it concludes with a practical template prompt for a creative response assignment, appropriate to undergraduate and graduate students, designed to help new readers recognize for themselves how Vorticist art works and why it matters.