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This study aims to analyze the symbols used in Najwa Zebian's book of poetry called "The Nectar of Pain" to uncover themes of human's feelings and emotions. The poetess is a Lebanese who wrote her poetry after she was betrayed by her lover. She was in trauma due to her lover's disloyalty. She wrote her poetry to express her feelings of pain, hope, revenge and love. Therefore, her poetry expresses her post-traumatic condition through figures of speech and symbols. This study analyzed symbols through close reading technique. After the analysis, this study shows that the poetess has expressed many themes through the use of symbols. This analysis revealed dominant themes of her poetry are revenge, self-identity, betrayal, hope and hypocrisy and double standards of her lover. Key symbols used are "rose," "heart," "flower," "darkness," "sky," "pearls," "home" and "bird." To address the emotional turmoil reflected in her work, readers could explore therapeutic practices like journaling or poetry workshops that healing through creative expression. [ABSTRACT FROM AUTHOR]

This article explores the evolution of Japanese concrete and visual poetry from the early 1920s until the 1970s. Even though Japanese poets were initially inspired by French Symbolism and the literary, phonetic, and visual tendencies of Dada and surrealism, their transcultural, multilingual, ideological, and theoretical exchanges with Western modernist literary figures like Ezra Pound and the pioneers of the international vanguard concrete poetry movement, including the Brazilian Noigandres group, Eugen Gomringer, Luís Carlos Vinholes, and the French poet Pierre Garnier, were equally influential in developing their poetic métiers. With their experimental and innovative concrete and visual poetry, Japanese poets like Kitasono Katué, Niikuni Seiichi, Fujitomi Yasuo, Kamimura Hirō, and Yoshizawa Shoji created works that incorporated poetry with the visual arts, revolutionizing the distinctions between "word" and "visual object," and literary and aesthetic discourses. [ABSTRACT FROM AUTHOR]

This article proposes a new theoretical approach to the study of literary symbolism, using Relevance Theory, Lexical Pragmatics, and second-generation cognitive sciences. It argues that the meaning of a literary symbol consists of the tension between a "literal" meaning and an unparaphrasable abstract meaning. Furthermore, it maintains that the literary symbol requires a specific communicative context, called "symbolic reading". This theoretical framework is applied to the analysis of the works of Juan Eduardo Cirlot, with special attention to his permutation poetry. [Extracted from the article]

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Copyright of Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the important movements in literature is symbolism. As a literary movement, it is defined as an allusive expression of the mind and spirit of the poet within the framework of a number of symbols. This movement, which we find many examples in the classical Arabic literature, has reappeared as a result of the introduction of Arabs to the European literature. The reflection of symbolism, which first appeared in the European literature with Charles Baudelarie, reached its peak with the Tammuzi movement in the Arab literature. The idea of reaching the depth of meaning arising both from the tense political environment in the Arab society and the phenomenon of allusiveness in poetry has led many poets to participate in this literary movement. The most important element of symbolism is the figure. Undoubtedy, one of the symbolic figures of the modern period in this context is Jesus Christ. The symbol of Christ has been constantly mentioned by Jebra Ibrahim Jebra and Jibran Khalil Jibran in prose, and by the pioneers of the modern poetry such as Badr Shakir al-Sayyab, Khalil Hawi, Mahmoud Darvish, Izz ad-Din al-Musanara, Amal Dunqul and Abdul Wahhab al-Bayati in poetry. Both Muslim and Christian poets have tried to explain the meaning they want to express with some symbols such as mercy, hope, resistance, leader, affliction, identification and expatriate within the framework of Christ. [ABSTRACT FROM AUTHOR]

There is a growing research literature on phonetic symbolism in poetry, sometimes with incongruent results. Through a theoretical structural analysis we show that, (a) individual speech sounds have (sometimes conflicting) potentials to suggest elementary percepts, such as abruptness, hardness, smoothness; and (b) from these elementary percepts some general psychological atmosphere may be abstracted that may be individuated in specific emotions as 'love,' 'joy,' or 'anger,' by semantic feature-addition. This proposal can reconcile incongruous research results. Sound-symbolic lexical entries are governed by similar principles, but fossilized. Large-scale statistical investigation may reveal significant sound-symbolic effects only when the same phonemes repeat throughout the poem. They may, however, miss conspicuous local sound effects, revealed only by local analysis. Some sceptical conclusions in the research literature may be due to this phenomenon. The proposed method may account not only for statistical correlations, but also for the perception of a pervasive emotional atmosphere in a poem. [ABSTRACT FROM AUTHOR]

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The article presents a literary criticism of the poem "Spirit(ual) Level," by Seamus Heaney, focusing on the poet's use of sublunar metaphysics transience and transcendence. Heaney's use of semantic interaction between the realistic and the transcendent, interactions of ontological dimensions, poetic magic and historical transcience is explored. An overview of the poem's selected texts and the symbolism of tree, air and music is offered.

Linguistic manipulation in the service of theme of ultra-earthliness in Wordsworth's selected poetry is the ultimate end of the study. The motivation behind this study is the spiritual stance of the poetry clothed in the stylistic craftsmanship of the poet that reminds postmodern individuals: ishrat-e- qatrah hai darya mai'n fana ho jana i.e. One's ultimate pleasure lies in merging and unifying with Allah (Ghalib, 2010). Mainly, the paradigm of qualitative research has been employed along with quantitative approach. Sampling has been collected through the selected poems with hand picking technique (Non-probability sampling technique) using textual analysis as a tool. Computational and descriptive statistics techniques have been used to present analyze and interpret the data. The study concludes that Wordsworth's poetry revolves around manipulation of humanizing metaphor, nature imagery, oxymoron and symbolism leading to theme of ultra-earthliness and is an antidote for fever and fret of the day as the frustration and depression of the postmodern individuals can be alleviated through his/her reconciliation with nature. His poetry is a spiritual healing as reading Daffodils; an Eastern reader starts 'Dhamal' (dancing in ecstasy) with the rhythmic movements of the flowers. Humanizing metaphor and nature imagery are key stylistic features that foregrounds ultra-earthliness in the poetry which have been exploited more than oxymoron and symbolism. The postmodern who is far away from religion and moral values can find betterment by developing spiritual understanding of life is the implication of the study. [ABSTRACT FROM AUTHOR]

Even though Coleridge's fantastic romantic poem 'The Rime of the Ancient Mariner' (1798) and Rimbaud's hallucinatory symbolist poem 'Le bateau ivre' (1871) use very different procedures, both of them show, each in their own way, a ghostly movement of the ship: a movement that seems to lead into the vastness of the globe but finds itself confined to the narrowness of one's own self. Both of these sea poems draw a route that in the end is aimless in its bouncing and circular movement. The haunted ghost ship as a wooden skeleton without crew flies over water in Coleridge's ballad, or falls into unattainable depths in Rimbaud's long poem. Can these poetic travel narratives be described as forms of a 'haunted globalization,' in which leaving the known for the unknown turns out to mean always moving around the same - the self, the known, the own writing process? Even if in the self, there will always be found the other, the foreign, too. [ABSTRACT FROM AUTHOR]

The article focuses on Italian symbolist Giovanni Pascoli. It is noted that Pascoli was not popular abroad though he was considered one of the most representative poets of Italian symbolism. The author presents samples of his style and message in an effort to familiarize the reader with his verse. She discusses the rural environment and society that are depicted in his poems.

The article focuses on the role of the pound sign in the poem "The Cantos" by Ezra Pound. Topics mentioned include the history of its use in the 20th century, the presence of the sign in Pound's personal writings, and the analysis made by Canadian literary scholar and critic Hugh Kenner of Pound's novels.

The article offers the author's insights about poetry writing. Topics discussed include the ultra-symbolist practice of poet Stéphane Mallarmé, the description of French Symbolism by literary critic and poet William Empson as a strategy for insinuating scandal, and the insights of literary theorist Geoffrey Hartman on connection between criticism and poetry.

The article comments on the influence of the praying circle on the poetry of Emily Dickinson. Topics include the influence of the praying circle appearing to symbolical in Dickinson's poetry and could be seen in her deep sense of poetic vocation and in the way her fluid metaphors serve to be at rest and her poems frequently re-enacting the communal space that the praying circle embodies.

From the perspective of rhetorical word, a symbol is a phrase or a sentence that has an apparent meaning. Moreover, it inspires the reader a wide range of meanings. Since expressing the complicated social and political ideas and indirect reflection of social and political thoughts is easier if done symbolically, so the symbol and symbolism - especially in Persian literature and specifically in the realm of Persian poetry - have had a special appearance. In addition to the factors mentioned, in the contemporary literature, paying attention to defamiliarization in literary works and the emergence of particular schools interested in ambiguity, have increased the range of symbolization. More especially, the symbol has all the features of artful ambiguity, and it is one of the major factors causes ambiguity in the poem. Thus, giving exact definitions and contemplating on symbols of contemporary poetry could resolve the ambiguity of them and help the reader to distinguish between similar figures, that is, coded kennings and symbol-like metaphors. In literature, especially in language of poetry, the inability of language to reflect obscure mystical ideas, avoiding direct expression of political and social concerns of the reader in the course of participation with an aim of creating ambiguous literary works is the main motivation towards symbol and symbolization. According widespread use of symbol and its different species can be viewed from different perspectives. The creation of ambiguity is the main purposes of using symbols (especially in contemporary poetry), so the efforts of many poets to achieve this goal have caused formation of similar symbols. The explanation and resolution of this issue can open new window for understanding the poetry in front of the audience. This paper examines the ambiguity of symbols in terms of its precise boundaries. Ambiguity is one of the important and key processes in the Iranian poetry; or in a better word, today poetry. In such poetry ambiguity is a necessity to explore the new world or from a different perspective, it is the result of this complex world. In general, in Persian poetry there are three types of ambiguity such as: nonessential ambiguity, intentional and unintentional ambiguity. An effective literary texts, owes its origin to creation of multiple meanings and spreading its levels of meaning. One of the serious differences between literary work with other linguistic works is the plurality of meaning. Richness and depth of literary texts and creation a range of meanings, is the result of ambiguity. In this respect, engaging the reader in creating meaning will make a typical interaction between the audience and the text. Ambiguity provides opportunities for deep thinking and reacting of reader, so takes reader beyond freedom of the text within its borders and freedom of thought has to be brought for its reader. Having interaction between text and reader in the history has caused different reactions and multiple conversations with generations. This process has been interpreted as dynamicity of the literary work. The ambiguity of the poem is creating by the symbols and symbolism. So the symbol is a rhetorical element suggests the reader the apparent meaning, in addition to a wide range of meaning. In classical Persian works ambiguity in text is created indifferent forms such as kenning and metaphor and code. Today, symbol is burdening this task mostly. In past, allegory in terms of clarity divided to the four categories: Allusion, gesture, code and innuendo. Those kennings are considered as codes that vehicles are hidden in them, and perception of their meaning is difficult and sometimes impossible. So, in this case, code should be considered as a mark or word. Also there are metaphors due to their newness and uncertain senses to support new meaning according to the traditional meaning and appearance of metaphors (i.e. not considering true and apparent meaning), with multiple figurative meanings takes readers to the border of suspicion of doubt about symbols. These metaphors generally are divided into two categories:metaphors that are close to the symbol and symbols that have been decoded. Since the nature of symbol is fundamentally ambiguous and multiple causes dynamicity and depth of literary work. Poets - especially today poets - try using symbols and symbolic terms in their work or even take steps in symbolization. The scope of this paper consists of the concept of true symbols and similar ones such as coded kennings and symbol-like metaphor. As noted above, "ambiguity" is the main goal of a symbol,especially in today poetry, where the poet hides his purpose and expression in cover of meaning and makes the audience confused. Although other rhetorical elements, such as metaphor and allegory, pave the way for reaching this goal, because of signs (which lead the reader to the original meaning) cannot be as ambiguous as symbol and by semantic flexibility force reader to think deeply. Therefore, poets' efforts to connect metaphor and kenning to symbol for reaching a higher level of ambiguity, put issues like coded kennings and symbol-like metaphors in front of real symbols. [ABSTRACT FROM AUTHOR]

An essay is presented on poems that use animals to allegorically represent something else. This article examines the category of poems with allegorical animals and the boundaries between poems that use animals to represent human concerns. He argues that doubleness and complexity characterize the allegorical representations of animals in the early modern history of English literature.

The article focuses on the poetry of Amy Levy and her biblical hermeneutic on the book of Esther chapter 9 verse 22. Accordingly, Levy was an Anglo-Jewish woman marginalized by the upper-middle-class community of which her family belonged. Her poetry visualizes the eschatological prospect of return and restoration to come and uses the symbols and language of divine presence like in the book of Esther. The Jewish feminist theology of Levy is considered to be a Second-Wave phenomenon.

In this paper, we discuss some important concepts in Jose Maria Eguren's prose, gathered in the text Motivos, such as symbol, symbolic and symbolism. The criticism has emphasized the peculiar symbolism of his poetical universe but without comparing with depth the poetry and the reflections about this poetry, besides symbol's concept. In this article, some ideas are proposed about this series of problems, and it tries to support that the egurenian symbol is a sensory image that fulfils the double and antithetic function of to discover a Nature's mystery, already existing, as well as of to create his own Nature. [ABSTRACT FROM AUTHOR]

The article offers poetry criticism of the poem "A orillas del Duero" or "Campos de Castilla," by Antonio Machado. It explores the theme and purpose of the poem as well as the metaphors, rhythms and the aesthetics of stanzas. The use of symbolic characters throughout the poem is explained. The author provides a critical interpretation of the poem and offers different meanings behind several elements, such as the vulture, river and merino sheep.

The article presents a literary criticism of the nature-oriented symbols used by Walt Whitman in his poems. Whitman's ideas about democracy, love, sex, mysticism and science were poetically represented by the symbols of the "I," the grass, the calamus plant, the sea and water, the birds, the sun and moon and the city. These symbols are evoked in the poems"The Leaves of Grass," "Song of Myself," "Scented Herbage of My Beast," and "Out of the Cradle Endlessly Rocking."

The past seven centuries of scholarly attention to and debate over the Roman de la Rose bear strong witness to the fact that the allegorical figure Faus Semblant presents us with an interpretive crux—one of many such in the poem—that we are not likely to resolve in the coming centuries. Perhaps it should come as no surprise that a character who so embodies paradox—a profane friar who is openly honest about his intent to deceive—should be so difficult to pin down; it is his singular talent, after all, to dissemble and confuse. The last century has seen a significant increase in criticism centered upon Faus Semblant that seeks to understand what he signifies within the larger allegory of the poem and how he relates to Jean de Meun's purported satire and antifraternalism. But this struggle to understand and explain the character began centuries earlier and, like him, has taken many forms. As early as the thirteenth century, the passage of Jean's poem in which Faus Semblant explains his craft and guile had begun to attract a diverse group of revisers: scribes, who added or deleted passages in order to shape a reading of the poem or avoid offending readers; remanieurs, such as Gui de Mori, who substantially rewrote the passage in efforts to reshape the poem into a more cohesive (or perhaps morally suitable) form; readers, whose marginal inscriptions and notae often accompany the passage; and illustrators (and thus bookmakers and buyers), as images of Faus Semblant are frequently included in illuminated copies of Rose manuscripts. Even Jean himself seemed to feel the need to gloss and contain Faus Semblant, offering an apology and clarification in lines 15213–30. [ABSTRACT FROM PUBLISHER]

The essay discusses the concept of "cryptonymy," or the analysis of poetry by searching for words or "cryptocurrents" which are not used but are suggested in the poem as a means to unearth deeper meaning. The author applies the method to the poems of Paul Muldoon, the originator of the idea, and explores the idea that poets are responsible for the interpretations suggested by "cryptocurrents" in their work.

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This essay offers poetry criticism of the poem "The House of Fame" by Geoffrey Chaucer. It explores the use of imagery and symbolisms. The use of temple's narrative glass walls in the poem as a method to link writer and the reader is explained. The author provides a critical interpretation of the poem and offers meaning on the images used.

The article discusses the Icarus myth as an archetype of the ingenious person in British Romantic poetry and the use of soaring and falling motifs in romanticism. The influence of "Night Thoughts," which was written by Edward Young and is referred to as graveyard poetry, on Romantic poetry is discussed. Daedalian moderation, the use of wings or birds as symbols of supernatural phenomenon, a sense of the sublime, and the desire of man's soul for heaven are mentioned. The poem "To Enterprise" by William Wordsworth is also discussed. The symbolism in the poetry of Percy Shelley and George Byron is mentioned.

This article examines the symbolism and metaphor for drought and draught in various poetry. The entry notes in "Songs of Experience" by William Blake, that drought can be seen in the rose tree's action of denial or refusal to be nourished by the beauty of the first rose. It cites that drought can also occur in a situation where imagination works even when it is dead in the case of the poem "The Waste Land" by T. S. Eliot. The author infers that drought is both meteorological and metaphorical emptiness that affects the human condition.

The article is an analysis of a set twelfth-century poems that are about living "so deep in the mountains," or 'yama fukami,' which were said to have been exchanged by monks Saigyō and Jakuzen. The poems are said to show the image of religious reclusion in 'waka.' It is also noted that Saigyō transformed the images of grass huts and mountain homes, which female poets usually associate with hidden flowers and languishing women. The method used by Saigyō is said to have opened a new space for expressing ideals of Buddhist renunciation.

The article focuses on the poetry of Viacheslav Ivanov and Viktor Khlebnikov. It discusses the relationship between the two poets who shared ideas and interests that influences the mythological themes of their early works although Khlebnikov rejects the Ivanov's symbolism. The author criticizes how Ivanov and Khlebnikov created their poems, along with the various themes and passages that were derived from them.

This article focuses on the nightingale and its artistic role in the poetry of John Milton. It states that the nightingale became Milton's self-portrait as an artist. It notes that his representation of the nightingale in his literary pieces was labeled by imaginative freedom, emotional strength, and identification of being informal. Milton works that represented by the nightingale include "Carmina Elegia," "Il Penseroso," and "A Maske."

This article examines the use of flowers as imagery in four war poems. The poems are by John McRae, Ivor Gurney, Keith Douglas and John Jarmain. The flower imagery has often been construed as emblematic of national commemoration. However, the author contends that they can be interpreted much more ambiguously to include the trauma that commemoration often obscures.

This article presents a general essay on poetry itself and uses the book "Reveries over Childhood and Youth" by W. B. Yeats to illustrate points. The article discusses objective theories of art, Anglo-Saxon diction, and the depiction of people as celestial stars in poetry. The article explains that stars are symbolic of fame, memory, attachment, and impossibility.

Copyright of Implied Meanings / Teksto Slėpiniai is the property of Vytautas Magnus University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents literary criticism for the book "Et moi aussi je suis peintre" by Guillaume Apollinaire, edited by Daniel Grojnowski. The book is a collection of poems and images designed to provide a lyrical quality that resembles a painting. The composition of the book is examines, with descriptions of layout and style choices. A conversation about the notion of the ideogram is also provided.

Recent criticism of Christina Rossetti's major fairy-tale narrative poems 'Goblin Market' and 'The Prince's Progress' has demonstrated the importance of understanding their religious symbolism. In this light, 'The Prince's Progress' has been read not only as an ironic tale of an individual pilgrim's progress, but also as structured upon a scheme of historical progress—from the transgression in paradise of Genesis through to the renewal of Revelation. Yet it has proved difficult to incorporate the poem's most extended episode, that of the alchemist, into this historical scheme. This article, by tracing the biblical and literary sources of this figure, argues that the alchemist is an embodiment of the old dispensation of 'the Jews', or of 'the law', in the historical scheme of Christian supersessionist theology. This provides strong support for that critical tradition in which the poem is to be understood ultimately in religious terms. But this article also argues that the supposition that the characters within the narratives of 'Goblin Market' and 'The Prince's Progress' are themselves capable of the symbolic interpretation of events—a supposition that is becoming critical orthodoxy—rests on an understanding of Rossetti's symbolic method in these poems which is wholly mistaken. [ABSTRACT FROM AUTHOR]

This article focuses on the implication of two literary forms with the same title including the novel by J. M. Coetzee and poem by C. P. Cavafy entitled "Waiting for the Barbarians" on the discourse on barbarians in European civilization. The novel restaged and recontextualized the poem but both expressed intertextual relation between history and literature. It is viewed as a historical light with allegories of the human condition and the barbarians as abstracts symbols with universal value and dimensions. The poem is structured as a dialogue while the novel is staged in an unknown city and the iteration of the title showed the kinship between the two text. The progressive form of the verb in the title of the poem points to the lack of closure in the process of waiting.

The article focuses on the use of the imagery of the natural world by Nāser-e Khosrow as a technical language for writing poetry. The function of nature is to give him a poetic means with which to express all the major concerns of his other work with the intensity of emotion in poetry. Khosrow used the nature in three folds in his odes. The basis of Khosrow's allegories for instruction in his philosophy and "the true faith" is nature. The author sets out his biography and achieves his personal, sentimental objective in composing poetry through nature.

A literary criticism of the poem "Song to David" by Christopher Smart is presented. It examines the meaning of the Greek letters: alpha, gamma, eta, theta, iota, sigma and omega, placed in the beginning of the seven verses found in the middle part of the poem. It proposes a new interpretation of symbolism in the poem's pillar verses, then justifies this interpretation by illustrating the role of symbolism in the overall structure of the poem.

Copyright of Literator is the property of African Online Scientific Information System PTY LTD and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents an essay which was first read as a professional inaugural lecture in the Queen's University of Belfast, Northern Ireland on May 30, 1991. The essay explores the poetic paradox of the symbolic poem "Sainte," by French Symbolist poet Sténe Mallarmé. The poem enlist in its orchestration a range of musical instruments. Its sixteen lines gravitates slowly to a paradox in which the text is consummated and accedes to a less determinable musicianship. The poem is constructed as a perfect artistic diptych, with eight lines devoted to the symbolic depiction of identifiable instruments of human music.

This article presents information about the book "Something About Whales," by Abba Kovner. "Something About Whales," a children's book written by Kovner, is an allegory dealing with calamity, survival, bereavement, and remembrance. The article positions the book in the scholarly discussion of Kovner's work, highlighting the manner in which the molding of the protagonist and the shaping of the locale anchor the work in Kovner's poetics, and tracing its thematic roots to Kovner's world view and his concept of Jewish continuity. Translated volumes of Kovner's poetry appeared in the U.S.

Focuses on the poetry of Ada Christen. Emotions expressed in Christen's poems published in the book "Lieder einer Verlorene (Songs of a Lost Woman)"; Versification of the poems of Christen; Imageries used in the poems.

Discusses the poem "Barbara Fretchie," written by John Greenleaf Whittier and published in 1863 and its simalarities to the U. S. civil war. Symbolism in the poem; Interpretation of the poem; Themes and implications of the allegories used in the poem; Discussion of the allegorical level of the poem in relation to prewar America.