Search

The symbolism of bird images occupies one of the central places in the system of Romantic worldview. It represents the Romantic attitude towards the outside world in Гайдук С. Образ орла як уособлення поета у поезії епохи романтизмуISSN 2411-4758109general and towards the closest human «partners» in nature, in particular. In literary works, it also shows Romantic orientations on certain artistic traditions: folk, biblical, antique. It is noted that the eagle image is one of the main bird images of the wild fauna which can be found in Romantic poetry. The purpose of the article is to highlight the peculiarities of the eagle symbolism as the personifi cation of poet in the poetry of T. Shevchenko, O. Pushkin, N. Yazykov, and J. Keats. It is stated that the eagle image is the personifi cation of such features of Romantic outlook as freedom, creative inspiration, high spiritual demands. Thus, in Romantic culture, the eagle is a symbol of poet. The poet’s personality is directly associated with such features of this bird as, high aspirations and sharp eyesight. This emphasizes the poet’s need to be over events and situations in order to depict them adequately, without conformism. To a certain extent, this is a manifestation of a Classical tradition. This eagle symbolism is very typical of Classicism. It is indicated that the aforementioned Romantic poets carry such features of eagle as pride, majesty, safety, independent glory, freedom, on the poet image as a creator. Therefore, the eagle image in their poetry becomes the personifi cation of poet, a distinctive symbol of the literary Olympus and literary fame. However, it should be remembered that symbol as one of the most signifi cant components of Romantic poetry is characterized by ambiguity. The ways of representing the eagle image in the works of Romantic poets form a multi-dimensional range of symbols. That is why the interpretation of other symbolic meanings of the eagle image in the poetry of the Romantic era is the prospect of our further research.

Scholarship on manuscript culture often privileges textual fluidity and scribal agency. However, a casual attitude toward texts and authorship was not universal in manuscript transmission. This essay focuses on BL, Harley MS 7392(2), which is representative of the type of miscellany compiled and circulated in learned institutions where poetry was highly valued and exchanging it helped to cultivate communal identities. The copying habits and attribution practices of its compiler reveal a concern for the integrity of the text and an interest in the question of authorship. This essay argues that, at times, copyists attempted to preserve more "fixed" forms that accorded with the wishes of authors, a feature that has been associated with print culture.

Poetry has a prominent history in Arabic literature. The classical Arabic poetry has 16 m that vary in rhythm and target purpose. Chanting a poem eloquently requires knowing the poem’s meter and obtaining a diacritized version of its verses (letters inscribed with their short vowels); diacritics are often not inscribed in Arabic texts. This work proposes solutions to classify input Arabic text into the 16 poetry meters and prose. It also investigates the automatic diacritization of Arabic poetry. We adopt machine learning approach using a large dataset of 1657 k verses of poems and prose to develop neural networks to classify and diacritize Arabic poetry. We propose deep and narrow recurrent neural networks with bidirectional long short-term memory cells for solving these problems. The proposed model classifies the input text with an average accuracy of 97.27%, which is significantly higher than previous work. We also propose a solution that achieves an accuracy that approaches 100% when multiple verses of the same poem are available through predicting the class from the aggregate probabilities of the multiple verses. Diacritizing poetry is much harder than diacritizing prose due to the poet’s meticulous selection of phrases and relaxation of some diacritization rules.

Creativity is an essential aspect of what it means to be human. We can choose to express this creativity in works of the imagination, such as writing poetry, composing music or painting pictures, but we can also express ourselves in other forms of activity which are perhaps less esoteric, however still imaginative, such as building bridges, making furniture, constructing railway engines, landscaping gardens, and so on. Work then is essential to human existence; it provides outlets for our cre...

The works of Argentinian scholar Jorge Luis Borges (1899-1986) have captivated physicians. An assiduous reader, he was given, with magnificent irony, "books and the night". Borges suffered from chronic and irreversible blindness, which influenced much of his work and has been the subject of different literary and diagnostic analyses from the ophthalmological point of view. However, the characteristics of his visual impairment have escaped the neurological approach, which is why we reviewed his work looking for data suggesting a concomitant brain injury. On his autobiography, he recounts how, during an episode of septicemia, he suffered hallucinations and loss of speech; in addition, in some poems and essays he describes data that suggest "phantom chromatopsia", a lesion of cortical origin. After that accident, Borges survived with a radical change in literary style. Although a precise diagnosis is impossible, his literary work allows recognizing some elements in favor of concomitant brain involvement.

This study undertakes a thorough analysis of the aspects of intertextuality and their undertones in William Blake’s companion poems:The Lamb (1789) from the Songs of Innocence and The Tyger (1794) from the Songs of Experience. These poems are often read side by side since they are described as counterparts to one another reflecting Blake’s dualistic ideology on the conflicting states of the human soul (good vs. evil). The researchers adopted Charles Bazerman’s(2004) theory in analyzing intertextuality within texts. The analysis of the poems revealed that there are 22 instances of religious and literary intertextual allusions within both poems and their type of textual integration was mainly description. In addition, a great percentage of those allusions consist of religious undertones which help reflect the dualistic approach that Blake adopted in his volumes of poetry.

A look at our great poetic heritage with poems by John Keats and Charles Baudelaire (the latter in translation), and to the present with a new poem by Catherine Savage Brosman.

Ivan Alekseevich Bunin (1870–1953) – the greatest poet of the 20th century. For a long time, there was a view of Bunin’s poetry as something secondary in relation to his prose, which is explained by the underestimation of its ideological and artistic wealth. However, in the studies of recent decades (works by Yu.V. Maltsev, O.N. Mikhailov, V.V. Nefedov, T.G. Dinesman, A.A. Dyakina, etc.) this ap- proach was revised, and the dominant point of view became the statement about the innovative nature of Bunin’s poetry, in the development of a number of themes and motives, often ahead of his prose. The creative formation of Bunin the poet falls on the period when the era of classical realism was coming to an end and the struggle of various literary schools and trends intensified. Innovation in the development of the traditions of predecessors, the development of modern aesthetic trends have lef t a noticeable imprint in the poet’s work. On the one hand, his lyrics developed in the depths of the classi- cal realistic tradition, on the other hand, modification genre-poetic structures are obvious in it, plac- ing the poet's work on a par with the experiments of modernists in the field of verse. It is quite obvious that all the variety of genres and artistic and stylistic techniques that Bunin’s work demonstrates turns out to be a single whole, subordinate to the logic of the author’s thought and feeling. An in-depth and thoughtful study of such a unity in the variety of forms of its manifestation is an important and relevant aspect of modern Bunin studies. At the same time, the question concerning the artistic originality of the poetry of I. Bunin, es- pecially of the late period of his work, is still open, in connection with which an attempt is made in this article to clarify one of the aspects of such originality – the problem of the lyrical hero and the f orms of his expression in I.A. Bunin 1918–1926 – a turning point in his life and work.

The article is devoted to the characteristic of the features of embodiment of sound images in the poetry of one of the brightest representatives of the poetic pleiad of the “sixties” Bella Akhmadulina. Akhmadulina’s poetry is characterized by increased emotionality, subtlety of world perception and connected with them synesthesia, which is an integral component of the poet’s artistic think ing. Akhmadulina pays great attention to sound images. It is typical for herto create a verbal characteristic of a sound, the image of a sound, and the use of the sound potential of a poetic word. In poetess’s poems the various sounds of the surrounding world are embodied. An important place in Akhmadulina’s works belongs to the image of the v oice, which is separated from the lyrical heroine and personified. At the same time, in some cases, the poetess also resorts to the reification of the voice. Akhmadulina’s poetic works is associated with the birth of a sound from silence and muteness. But “voicing” is often painful for the poet, which is quite conformed to the motif of “voice -blood”, “speech-bleeding”, which is typical for Akhmadulina’s works. However, from the poetess’s point of view, sound, sounding for a poet is the only possible form of existence, and silence (muteness) is simply fatal for him. Musical images take an important place in Akhmadulina’s works, which quite often acquire anthropomorphic characteristics in her poems. Natural phenomena and objects are associated with musical instruments, and the sounds they produce are associated with music. Even the relationship of lovers and the dynamics of these relationships are often represented by the poetess through musical images. Akhmadulina pays great attention to the sound organization of the verse. The poetess uses sound metaphors associated with “poetic etymology”, various repetitions, including root ones, alliteration and assonance, paronomasia, the most diverse, but often bright and original rhymes. This issue undoubtedly deserves a more detailed discussion and can be considered as a perspective of a research.

This paper examines some tenets in the Andalusian and Romantic poetry and shows how poets such as Ibrahim Ibn Khafāja (1058-1138) and William Wordsworth (1770–1850) used nature as a motif in their poetry. Relying on a historical approach, this paper links smaller features such as themes and literary devices in the Andalusian and Romantic poetry with larger features, including genre, traditions, and cultural system. I argue that the emphasis on both the larger and smaller features of poetry creates what Franco Moretti calls “distant reading.” Comparing and contrasting Ibn Khafāja’s “the Mountain” and Wordsworth’s “the Daffodils,” for instance, introduces nature as a recurrent theme in both Andalusian and Romantic literary traditions, reinforcing Johann Wolfgang Goethe’s description of poetry as a common possession of humanity” (Goethe 229). In addition to that, comparing the images and themes in both the Andalusian and Romantic poetry not only shows internally linked meanings, but it creates what Cesar Domínguez, et al, call “a space for polyglottism, multidisciplinarity, scholarly collaboration” (75). Reading these works and movements closely and distantly serves as a cross-cultural dialogue between the Arabic and English poetic conventions. While Ibn Khafāja and Wordsworth lived in different places and times, wrote in different languages, and did not have the same socio-political circumstances, their poems show the richness and multiplicity of the historical experience of world literature.

This article examines in detail Maria Shkapskayas poetry book Tsa-Tsa- Tsa (1923) and its handwritten genesis. It explains the role and significance of ancient Chinese poetry for this literary piece of work. The problem is to attribute the texts that make up the book and find out their translated or stylized basis. The general thesis is that all the poetic texts of the book are translations: the names of Tao-Yuan-Ming, Du Fu, and Bo-Juyi indicated by Shkapskaya in the manuscripts are reported. One of the texts in the book is attributed as the Sixth Poem from the Shi ju gu shi ( Nineteen Ancient Poems ). The removal of the names of Chinese authors (not only in the book published in 1923 but also in the manuscript of 1921) and the alignment of the thematic word series silk, crane, thousand, spring that organize the book into a single text indicate a tendency to blur the border of the own-alien text (even though the book was treated by the author as translation from the Chinese, in autobiographies and correspondence). This trend leads to the appearance of a central artistic image of the book (it is a feature of M. Shkapskayas poetic books). It is the image of a lonely, longing woman. The mention of the spinning wheel connects this image with the popular (especially in Western European literature) image of Gretchen. This way the poetry book Tsa-Tsa-Tsa goes beyond the narrowly translated work and reveals some features of chronologically later literary trends (such as postmodernism and metapoesis).

The issues of rhythm and metre in prose of 1960-1970s reflect the experiments of young writers not only within the form. The search for new genres and ways of expressing new content are diverse. The article deals with literary works by Boris Leonidovich Rachmanin, the author of poetry collections, stories, screenwriter, who boldly created a new internal form of his works using both possibilities of meter and rhythm in his prose, which was different from the works of his predecessors in the Silver Age or those who worked in the Russian diaspora. The analysis of works A Letter, The Action Takes Place on the Other Planet and others shows the functional potential of special rhythm and melody of prose in the individual style of the writer and also outlines semasiological approaches in the analysis of a literary work in general. Comparison of literary works by B. Rachmanin with the works by A. Bely or I.A. Bunin as his predecessors and Yustinas Martsinkevichus as his contemporary author gives an idea of the tradition Rachmanin inherited and the cultural style of the epoch in which the writer worked.

The Arden Shakespeare published a poetry collection titled On Shakespeare’s Sonnets in 2016 in which several contemporary poets have responded to one Shakespearean sonnet of their choice. Most of the themes in the sonnets such as the transience of earthly life, the endurance of love, and the procreation of beauty are retained in their modern versions. However, recent approaches to these themes do not follow the sonnet tradition due to the poets’ adherence to modern topics, as seen in the poems of Douglas Dunn, Jackie Kay, and Andrew Motion, and an emphasis on realism instead of the romanticised exaggerations in the sonnet genre, as observed in the poems by Alan Jenkins, Carol Ann Duffy, and Elaine Feinstein. In some of these poems, love for the beloved, for instance, is treated alternatively as a temporary feeling that cannot endure the passing of time. The platonic ideal of love for the beloved is reconstituted with a mother’s compassion for her son. The idea of the procreation of beauty is replaced with an adoration of the regenerative power of nature. In some others, the influence of the contemporary context is evident with indications of urban images such as traffic, technology, and shopping malls. Through such examples, this paper aims to discuss some of the rewritten versions of Shakespeare’s sonnets to explore the idea that recontextualisation and subversion of the source text are central to the practice of Shakespearean adaptation despite the initial tenet of the production of this particular collection, which is to celebrate Shakespeare’s literary heritage.

The article considers N. Gumilevs poem The Moon at Sea from the cycle Porcelain Pavilion. New in the work is the interpretation of the poem, the identification and explanation of the Chinese realities of N. Gumilevs poetic text. Revealed the original texts, which became the basis for the creation of N. Gumilevs poem The Moon on the Sea, considered a version of the poem, preserved in the poets manuscript. The authors reasoning and conclusions are based on critical research, which compares two cultures. The analysis of N. Gumilevs poem is carried out in the semantic aspect using the search for textual parallels. Interpretation of N. Gumilevs poem The Moon on the Sea allows, on the other hand, to approach the world outlook of the Silver Age culture, explains the genesis of the image of China in N. Gumilevs poetry.

The corporeal practice of ballet training, comprised of visual and aural input along with kinesthetic awareness and sensation, serves to transmit and reify a specific form of embodied knowledge. Passed from generation to generation and body to body, from at least mid-19th century Europe to its current global representations, systems of ballet training and modes of ballet performance have moved through history and geography continually enacting and reenacting a legacy of repertoire rife with collective/cultural memory and meaning. Ballet training methodologies and choreography have evolved significantly, yet well-established vocabulary, syllabi, curricula, and repertoire continue. Given the continually evolving yet perennial nature of ballet, theories from the field of performance studies provide an interesting lens through which we might examine classical ballet and its repertoire. This article contributes to the existing academic literature by framing ballet as a living culture – an ever-evolving, self-perpetuating, way of life - rather than as a purely historical or aesthetic topic. By engaging with performance studies theorists to explore notions of culture, tradition, ritual, orature, and repertoire, this article encourages further investigation of ballet through a variety of lenses.

I present here my translation of four essays by Grigory Kruzhkov on translation. It is a series of three complementary articles: Translation and Quantum Mechanics, Translation and Eros, Translation and Immortality, and a review of Pushkin’s translations of Eugene Oniegin into English. The author’s reflection concerns both the general nature of the translation and the artistic analysis of specific examples from English-language poetry translated into Russian, and in the last text – conversely – various versions of the translation of the masterpiece of Russian classics into English. Kruzhkov is an original poet and translator with great achievements. He translated poets of various eras, from Donne, Keats, Shakespeare, Yeats, Dickinson to Joyce, Kipling, Frost, and Heaney. Due to the unparalleled practical and theoretical competences of the author, who for years has been carrying out his translation and research work, as well as creating his own poetry, these texts open up to the sensitive reader the world of poetry along with the secrets of the translator's arts of Kruzhkov himself.

This essay explores the film collaborations of Franco-Egyptian filmmaker Safaa Fathy and Franco-Maghrebian philosopher Jacques Derrida, offering an extended reading of their court-métrage, Nom à la mer (2004)—a film about language, exile, and loss, made by a pair of wanderers both keenly interested in the spectral effects of translation as they haunt the filmic medium. Nom à la mer is a cinematic rendering of the French translation of Fathy's original, Arabic-language poem, recited by Derrida in voice-off as Fathy's camera focuses on a single, highly overdetermined site in a small Andalusian town. This essay reads the film as both an artefact of the pathos of translation and as a scene of valediction, played out by both collaborators on grounds simultaneously intimate and historical.

Recently, the patient-centered and comprehensive dental treatment are emphasized as the same important competency as traditional clinical skill training in dental education. It is a silver lining to reorganize current dental education and redefine the role of dentistry to dentist, patient, and society. Narrative medicine has emerged as a variant from medical humanities and takes inspiration from philosophy, literature, poetry, art, ethics, and social sciences. Narrative medicine adds humanistic care with empathy and listening to patients in daily care. In this article, we introduce the definition of narrative medicine, the concept of narrative dentistry, implementation of narrative medicine into dental education, and challenges in initiating narrative dentistry. During the current COVID-19 pandemic, it also affords the opportunity to initiate narrative medicine into dental education, dentist could emerge to heal patient holistically, but not simply eliminate oral diseases.

RESUMO Diante das inúmeras possibilidades de performances de gênero na linguagem, discutimos, neste artigo, a obra da escritora norte-americana Joy Ladin, mulher trans, judia, poetisa premiada e professora universitária, em cuja escrita observamos uma constante reelaboração do performar-se mulher, num continuum feminino. Na leitura dos poemas “It Like Me”, “The Poem and Me” e “Not Unlike” (LADIN, 2017), atentamos para a ocorrência do que a própria autora chama de trans poética e adotamos diferentes noções da teoria literária feminista e dos estudos de gênero, com destaque para o conceito de eu lírica (POUBEL, 2020). Nessa discussão, entendemos a escrita como espaço para acolher e expressar identidades que não são estáveis e nem semelhantes, demonstrando como as performances das eu líricas na poesia de Joy Ladin podem moldar variadas mulheres - autoproclamadas mulheres - no discurso e, a partir disso, mudar a direção na qual estas são vistas dentro e fora da linguagem. ABSTRACT Considering the many possibilities of gender performance in language, this paper discusses the work of the American writer Joy Ladin, a Jewish trans woman, awarded poet and professor, whose writing shows a constant reenacting of performing woman, in a feminine continuum. By reading the poems “It Like Me”, “The Poem and Me” and “Not Unlike” (LADIN, 2017), we highlight the occurrence of what the author herself called a trans poetics and we adopt different notions from feminine literary theory and gender studies, especially the concept of eu lírica (POUBEL, 2020). In this discussion, we understand writing as a space to welcome and express identities that are neither stable nor similar, showing how the performances of eu líricas in Joy Ladin’s poetry can shape various women - self-proclaimed women - in discourse and, based on that, change the way women are seen inside and outside language.

The article deals with the problems of creativity and myth making in the Moscow texts by A. Dolmatov. The research is aimed at studying the authors ideas about his lyrical hero and the formation of the narrators self-portrait. A. Dolmatovs texts are dedicated to Moscow and the urban way of life, since it is the Moscow theme that is the sense-making component in the writers work. The article presents a brief history of rap poetry formation in Russia in the XXI century. The main features of problematics and poetics of A. Dolmatovs texts are analyzed. The task is to trace the evolution of the authors ideas on poetics and the meaning of rap as a genre of literature. The relationship of Dolmatovs lyrical hero with the city of roads, Moscow, defines the development of the authors work in alternative poetry of the 21 century.

This article argues that it is helpful to discuss the logico-philosophical contents of Wittgenstein's Tractatus Logico-Philosophicus in terms that confront the poetic and literary qualities of its form and style. To begin with, it analyzes Wittgenstein's short remarks about expression as manifested in the “tone” of Georg Trakl's poetry and the “ineffability” of Ludwig Uhland's poem “Count Eberhard's Hawthorn.” Then it proceeds to consider his exchange of letters with Gottlob Frege about the form and style of the Tractatus. The final part of the article considers such Tractarian metaphors as “showing and saying,” “logical space,” “reflecting the world as in a mirror,” “ineffability,” and “climbing and throwing away a ladder.” The proposed examination concentrates mainly on the distinction—but also the connection—between what, through language as used in both philosophy and poetry, can be said and what can be shown, this being one of the central themes of the Tractatus itself. It is then claimed that the roots of Wittgenstein's later understanding of both “ordinary language” and the connection between philosophy, poetry, and the ethical form of one's life are already present in his first period of creativity.

The article deals with the I.S. Turgenev’s last cycle Poems in prose which title has been changed several times throughout his work on it. The cycle put together the main aspects of writer’s previous creative works which led to the continuous search for the most suitable title to fully express author’s intentions: from the original Posthuma which is focused on the life after death experience to the last Poems in prose which additionally underlines the uniqueness of the form used for Turgenev’s last creative work. The study reveals the main theories on the cycle’s titles and the reasons behind their changes as well as suggests the own vision of the evolution of concepts “after death” and “senile” which are seemed to be bound in writer’s world view. The sequential analysis of the existing cycle’s titles undertaken in the current research finds the logic of Turgenev’s title transformations where the fear of death is gradually replaced by the thoughts of future new life which will be continued beyond the Earth life. The significance of the research lies in the absence of the unified approach to the naming and understanding of the Turgenev’s last cycle while the title of the book was considered to change the work’s perception even by Turgenev’s contemporaries. The scientific novelty of the work is added by using the author’s French edition of Poems in prose which up until now hasn’t been studied properly. It allows to expand the material of the research and look thoroughly into Turgenev’s strategy of naming his final cycle which was preserved for the foreign publication as well.

Using the example of the work of the Soviet Russian poet Pavel Nikolaevich Vasilyev, the author shows the representation of transcultural aesthetics in a literary text created in Russian by a Russian author, formed in the conditions of the borderline coexistence of two cultures: Russian and Kazakh. His works can be classified as borderland literature, in which the combination of the Russianlanguage discourse and the paradigm of the steppe, nomadic culture generates a hybrid text with a peculiar artistic aesthetics and poetics, which can be traced at the external and internal deep levels. The I of the author with borderline thinking has a stable ethnic identity, while openly showing its bicultural affiliation, which is quite consistent with the thesis about the flexibility of the cultural identity of a transcultural poet or writer. At the external text level of works of art, transculturalism finds expression in themes, in exoticisms, in foreign language insertions. The transcultural essence of the authors consciousness generates hybrid texts containing symbiotic verbal images and techniques that demonstrate hybrid canons and symbols (symbols of wormwood, horse), incorporating elements of Kazakh and Russian cultural stereotypes and codes (stereotypical ideas about the Asian appearance of Kazakhs), which coexist without conflict in the artistic picture of the world of Vasilyev. As a result, a poetic picture of the world, unique in aesthetics, enriched with the paradigms of two different cultures, which is the property of the Russian cultural space, appears.

The motif of the coutume is very present in trouvère lyric; the reason is not only, as one might think, the didactic aspect inherent in the songs.Indeed, this motif which expresses itself in the words us, usage, cou(s)tume, coustumier, acou(s)tumance, works in close connection with a key lyric motif, that of the service d’amour.Coutume / usage maintain their technical meaning in the background, as the rhyme usage / hiretage proves, when the lover becomes the “fief of love” of his lady. The coutume moreover is valorized by its connection with the past, anchisours being paragons of Fine Amor. Finally the coutume of the trouvères, like that of Law, concerns orality, since in this poetry all love is speech.The use of true Love is to give value to the one who feels it. Thus develops a reflection on the feeling, its veracity, its authenticity: any negative effect, any failure of love can only be the result of the vil usage of the hostile world of the others, emblematized as losengiers. But if the fol usage is in fact that of the traitors, any disillusioned lover will be tempted to give in to male coustume, to habit, to the “par usage” which is nothing but an appearance. For both the coutume of speech and the coutume of love are fraught with more questions than certainties. Le motif de la coutume est bien présent dans la lyrique d’oïl, la raison n’en est pas seulement, comme on pourrrait le penser, l’aspect didactique inhérent aux chansons.En effet, ce motif qui trouve à s’exprimer par les mots us, usage, cou(s)tume, coustumier, acou(s)tumance, fonctionne en liaison étroite avec un motif clef de la lyrique, celui du service d’amour.Coutume et usage gardent alors en arrière-plan leur sens « technique », comme le prouve la rime usage/hiretage, quand l’amant devient le fief d’amour de sa dame. la coutume est en outre valorisée par le lien qu’elle entretient avec le passé, les anchisours étant des parangons de la Fine Amour. Enfin la coutume chez les trouvères, comme dans le Droit, relève de l’oralité, puisqu’en cette poésie tout amour est parole.L’usage de l’Amour vrai est de donner valeur à celui qui l’éprouve. Se développera donc une réflexion sur le sentiment, sa véracité, son authenticité : tout effet négatif, tout échec d’amour ne peuvent qu’être le résultat du vil usage du monde hostile des autres, emblématisés en losengiers. Mais si le fol usage est bien celui des traîtres, en tout amant désenchanté se glisse la tentation de s’abandonner à la male coustume, à l’habitude, le « par usage » qui n’est plus qu’apparence. Car la coutume de la parole comme la coutume de l’amour sont plus lourdes d’interrogations que de certitudes.

The reception history of Rondeau LXII reveals divergent views as to whether this poem belongs to the corpus of Christine’s poems on widowhood, or not. This article sheds light on these views by showing that Christine develops a distinctive type of imagery (imminent submersion, drowning) to engage with the experience of abandonment, either as fictional lover (Rondeau LXII) or as grieving widow (notably the Cent balades, Rondeaux, the Advision Cristine and the Mutacion de Fortune). Even though the manuscript tradition makes it clear that the poem does not belong to the widowhood corpus, the identical imagery linking Rondeau LXII to works of Christine specifically related to the handling of her husband’s death blurs the distinction between lover and widow. It thus becomes easier to understand why some readers have read Rondeau LXII as though it were part of the widowhood corpus. L’histoire de la réception du Rondeau LXII présente des vues divergentes sur la question de savoir si ce poème appartient au corpus des écrits de Christine concernant le veuvage. Cet article entend jeter quelque lumière sur ces points de vue contradictoires, en montrant que Christine développe des images distinctives (submersion imminente, mort par noyade) dans son traitement de l’expérience de l’abandon, soit en tant qu’amante fictive (Rondeau LXII) soit en tant que veuve inconsolable (notamment les Cent balades, Rondeaux, l’Advision Cristine et la Mutacion de Fortune). Même si la tradition manuscrite démontre que le poème n’appartient pas au corpus sur le veuvage, les images identiques reliant le Rondeau LXII aux œuvres de Christine qui traitent spécifiquement de la mort de son mari estompent la distinction entre l’amante et la veuve. On comprend mieux donc les raisons pour lesquelles certain(e)s lecteurs/lectrices ont lu ce rondeau comme s’il appartenait aux poèmes sur le veuvage.

The folktale written tradition has obscure origins. Folktale is a very old and very widespread literary genre which, originally, belonged only to purely oral tradition. With very few exceptions, it takes on written form relatively late, according to current opinion, with Straparola (1550-53) and Basile (1630-34). This article attempts to demonstrate, by contrast, that the written tradition of folktales has in fact its origins in Italy, but almost two centuries before the Piacevoli Notti. It began, in the second half of the XIVth century, with the cantari, little poems of popular taste, in ottava rima, which, for the first time in European literature, systematically explored the folktale tradition, and borrowed from it a large number of narrative frameworks. Tales such as Liombruno, Bel Gherardino, Campriano and so on, are, from every point of view, real folktales in literary form : they opened the way from Märchen to literature, and enjoyed great success for several centuries, deeply influencing both literature and popular narrative. La tradition écrite du conte populaire a des racines obscures. Le conte populaire est un genre littéraire très ancien et très diffusé qui, à l’origine, reste confiné à la tradition purement orale. À peu d’exceptions près, il prend une forme écrite seulement tard : selon l’opinion courante, avec Straparola (1550-53) et Basile (1630-34). Cet article s’efforce de démontrer, au contraire, que la tradition écrite des contes est réellement née en Italie, mais plus de deux siècles avant les Piacevoli Notti. Cette tradition a vu le jour, pendant la deuxième moitié du XIVe siècle, avec les cantari, des petits poèmes de goût populaire, écrits en ottava rima, qui, pour la première fois dans la littérature européenne, explorèrent systématiquement la tradition folklorique du conte populaire, et empruntèrent à cette tradition un grand nombre de canevas narratifs. Des ouvrages comme Liombruno, Bel Gherardino, Campriano et ainsi de suite, sont, à tous points de vue, de vrais contes populaires dans une forme littéraire : ils ont ouvert la voie qui amène du Märchen à la littérature, et ils ont bénéficié d’un énorme succès, pendant des siècles, influençant en même temps la tradition littéraire et la narrative populaire.

Jean Froissart’s dits amoureux illustrate the ways in which Froissart plays with the layering and overlapping of textual voices, with memory, and with time, all of which are important in the construction of the text as an artefact and memorial – a significant aspect of Froissart’s relationship with writing. The tensions Froissart sets up between the singular and the universal, and between lived experience and poetic experience, produce poetic texts that play on the notion of “voice”. The “voice” that appears here is implicitly linked with the idea of the “speaking subject”, with the implied connection between author, narrator and protagonist, and with the symbiotic relationship between life and art, reality and fiction. This continuum is, however, complicated by the setting of this voice in poetry. This article explores the resulting tensions, and how they are exploited by Froissart to create his polyvalent texts. Dans les dits amoureux de Jean Froissart, la polyvalence de la voix, la mémoire et le temps se présentent comme des moyens importants pour faire vivre le texte en postérité – image significative qui influe sur la relation entre Froissart et ses œuvres. Les textes poétiques invoquent le concept d’une voix multiple, créée par une tension entre le singularité et l’universalité, et entre l’expérience vécue et l’expérience poétique. La “voix” qui se manifeste ici se lie avec l’idée du “sujet qui parle”, avec une liaison implicite entre l’auteur, le narrateur et le protagoniste, et avec une relation réciproque entre la vie et l’art, la réalité et la fiction. Cette continuité se complique alors, quand la voix s’exprime dans la poésie. L’article ici présenté étudie les tensions qui en résultent, et la manière dont Froissart les exploite pour créer ses textes polyvalents.

There is always a hidden meaning in literary works, concise works like poetry. It is always there even though it is not visible in the expression of its words. This is one of the main factors that characterize poetry, a string of impressive, dense, and implied meaning. This study attempts to describe the meaning contained in the lyrics of the song Secret by Hamasaki Ayumi by using the semiotic theory of Riffaterre's poetry. In this study, song lyrics are treated like poetry because of the similarity in form and nature. The results of data analysis found that the main message to be conveyed by the author is freedom. The author feels confined and bound by his status as a famous artist. He feels that he does not have his world because his world belongs to the public.

The proverb hana wa sakuragi, hito wa bushi highlights the significance of cherry blossoms (sakura) as the pinnacle of Japanese aesthetics and floral symbolism. This paper constructed a discourse analysis of cherry blossoms portrayed in the haiku by the Great Four - namely Matsuo Basho, Yosa Buson, Kobayashi Issa and Masaoka Shiki. Three poems from each poet were analyzed as samples, accumulating to 12 haiku overall. To avoid equivocality, all 12 haikus observed would explicitly mention sakura with its kanji character or hiragana. The analysis would cover linguistic aspects and metaphorical interpretations associated to convey the portrayal of cherry blossoms in the context of that haiku. Further discussion of the analysis would have the creative representations of cherry blossoms among the four esteemed poets to be compared in six aspects – time, imagery, state, rhetoric, idiomatic expression and contrasting quality. With both linguistic aspect and relativistic viewpoint to form the discourse analysis, this shows that cherry blossoms can act as a form of display for personal philosophical values and personalities of the four Japanese poets specifically as well as the Japanese society in general.

There are compelling similarities between Afanasy Fet’s lyric poetry and classical Chinese lyric poetry. This connection is traced in the article with specific examples. Fet, carried away by the ideas of Schopenhauer, argued that thepoetic feeling lives in every person and can be called the sixth and highest feeling. In classical Chinese poetry, the Confucian concept of ‘the sense of things,’ the Taoist formula ‘words and forms’ and the idea of the unity of man and nature played an important role. With characteristic fixation of subtle changes of light and shadow, with the transmission of flushed feelings, Fet’s oeuvre reminds the readers of the ancient Chinese lyric poetry. Like classic Chinese texts, Fet’s poems are textbooks where the idea of the unity of man and nature is developed. In both Chinese poetry and Fet’s works, human life goes into natural life, gaining eternity in the nature. As a result, although Fet was not familiar with Chinese culture, the intuitions that fed his work surprisingly coincided with pictorial techniques as a way of conveying emotion in classical Chinese poetry, separated from him by many centuries.

This publication offers the first translation from Sanskrit into a European language of the commentary of the Digambara exegete Brahmadeva (14th cent.) on the first ten verses-dohakas of the poetic treatise “The Radiance of the Supreme Ātman” (Apabhraṃśa Paramappapāyasu) by Yogindu (ca 6th cent.). This text is one of the very few Jain writings on mysticism. The article comprises an introduction to the problems of the treatise and also provides a general idea of the understanding of the spiritual substance-the ātman and its three forms: the external one, the inner one and the supreme.

Bu araştırma Rönesans Döneminden başlayıp yirminci yüzyılın başlarına kadar olan dönemde yabancı şiir çevirisinin çağdaş Arap şiirine olan etkisini irdelemektedir. Eleştirmenlerin çağlar boyunca şiir çevirisinin mümkün olup olmadığı şeklindeki görüşlerini aktarmakta, şiirin yenilenmesi konusundaki kaleme aldıkları ister eleştiri yazıları aracılığıyla olsun, ister edebi metinler yoluyla olsun, şairlerin katkılarını ve modern şiir hakkındaki görüşlerinin gelişim sürecini aktarmaktadır. Bu araştırma modernist şairlerin zevklerinin gelişim sürecini anlamaya; sanatsal projelerinin düşünsel tetikleyicisini, yirminci asrın ellili yıllarından itibaren sahada öncü olmalarına yardım eden teşvik edici faktörleri, yollarına çıkıp sahadaki hâkimiyetlerine son veren engelleri ve geleneksel şiirin tekrar dönmesine neden olan etkenleri bulmaya çalışmaktadır., This research studies the influence of translating foreign poetry on contemporary Arabic poetry since the onset of the renaissance, till the beginnings of the twentieth century. It also reviews the critics’ opinions along the centuries tackling the question of poetry translation, whether it’s possible or impossible. Moreover, it observes the poets’ contributions which stand for the issue of modernising poetry either through their critical views or their literary topics and presents how their opinions and views have been developed towards the modern poetry. This research tries to understand the development of modern poets’ literary taste and the intellectual stimulus to their artistic project since the beginning of the fifties of the twentieth century. It, in addition, highlights the obstacles that the poets faced and what caused to detain their domination on the literary scene and the (return) revival of the traditional poem one more time.

The Temple Hymns by Enheduanna, high priestess of Sumer Moon god Nanna in Ur and daughter of king Sargon of Akkad (2334-2279 BCE), consist of 42 hymns that praise the significant temples of the Mesopotamian cities and their deities. By their writing the goal of uniting the Sumer-Akkad pantheon was set as a part of the wider political task of uniting the Sumerian and Akkadian peoples set by Sargon of Akkad. Numerical patterns in the structure of the hymns are studied in the present paper, with special attention to the number of the lines in each hymns as stated in the colophons. It is demonstrated that the sum of the lines of all hymns is an exact multiple of 100 whereas the sums of the number of lines in both first and second halves of the hymns and several of their subsets make exact multiples of 50 and 10 respectively. A hypothesis is proposed for the deliberate choice of these exact numbers by the author of the hymns and their considerable achievement in the poetic structure of the hymns, as well as achieving the set goal, among other means, by the means of quantitative poetic structure of the hymns.

Analyzing any text according to pragmatic principles means approaching the text's meaning and the writer's intention. This study investigates the role of pragmatics theories in interpreting and understanding poetic text and their impact on the poet's style. In other words, how the poets exploit pragmatics theories, such as Searle's speech acts, Grice's maxims, and deixis, in their style of writing to convey their intended meaning to the readers. Therefore, two confessional poems are selected to be analyzed pragma-stylistically: The Dolphin was written by Robert Lowell (1973), and Mementos 1 was written by W. D. Snodgrass (1960s). The current study aims to: 1) analyze the texts of selected poems by applying pragmatics theories to find out the style of each poet through which one can reach the right interpretation of the poem.2) find out the most dominant type of speech acts used by each poet. 3) investigate any flouting of Grice's maxims. 4) identify types of deixis and find out the most dominant types used in confessional poems. The present study concludes that 1) representative speech acts are performed more than other types.2) most of Grice's maxims are flouted, and the quantity maxim is the most dominant flouted by each poet. 3) Both poets use person deixis more than other types.

This paper attempts a comparative study in the presentation of vulnerability and instability evident in people's life due to modernity by Mathew Arnold, a Victorian poet, and Robert Frost, a Modern American poet. Investigating various features with crises existing in modern life is a major aim of this paper. Moreover, the comparative analysis seeks to identify the major similarities and differences in the portrayal of human nature based on modern features in the poetry of these two poets. Since this research is theoretical in nature, it depends primarily on reviewing already published works on the relevant topics. The presence of modern elements is very obvious in the writings of both the poets though they belong to two different periods. Their poetry reflects modern crisis and vulnerability like alienation, pessimism, doubtfulness, isolation, self -centeredness, and so on. Nature is also treated in a different way as well as the reality of modern life represented in a different light by the poets. Finally, this research focuses on bringing out the features of instability and vulnerability of modern life that are still mirrored in contemporary society.

Aziyadé (1879) and Fantôme d’Orient (1891), an autobiographical debut novel and a travel narrative by Pierre Loti, are key texts in French exoticist literature. Set in the Ottoman Empire on the eve of its disintegration, Loti’s debut novel illustrates a young man’s discovery of life à la turque through an account of his stay in Istanbul and his liaison with Aziyadé, a young married Turkish woman from a harem. The affair ended with his departure, but Loti’s fondness for Istanbul remained. He returned to the city ten years later, as a best-selling literary writer and a member of the Academie Française, to seek the traces of his past. Fantôme d’Orient is the account of his three-day stay in search of his Turkish life and a self-reflexive meditation on memory, loss, death, and distance. Loti’s Turkish persona and profound attachment to the country raise questions on affect and affinity, or on what it means to write as a Turcophile. Taking its cue from the links among exoticism, imperialism and travel writing, this paper illustrates the personal, the political, and the poetic implications of Loti’s assumed Turkish identity. Focusing on affect and rhetoric, it seeks to answer how affinity shapes discourses conditioned by power and empire, highlighting its poetic potential and political sensibilities.

Every country has its own culture. Japan has a close culture of art, both modern and traditional. One of the Japanese arts in literature is poetry. Poetry in Japanese literature is called haiku. To find out the differences and similarities in the meanings contained in the autumn-themed haiku by Masaoka Shiki and Takarai Kikaku, the writer intends to analyze the comparison of the two-autumn haiku by Masaoka Shiki and Takarai Kikaku. Comparative analysis of meaning is studied using Ronald Barthes's semiotic study to find its meaning. The semiotic study used is Ronald Barthes's semiotics which uses two stages of study through denotation and connotation, then its relationship with myth or culture. The result of this research produces a comparison of the similarities and differences between Masaoka Shiki's autumn haiku and Takarai Kikaku's. The similarity of autumn haiku by Masaoka Shiki and Takarai Kikaku is the theme raised, namely the beauty of nature and the environment. While the difference between the autumn haiku by Masaoka Shiki and Takarai Kikaku is the philosophical meaning of the discussion, and in the background of time and atmosphere mentioned.